Click here to download ELECTRO-VOICE EX-18 (01) PDF MANUAL

PDF Content Summary:

****** Page 1 ****** EX-18 ELECTRONIC CROSSOVER 11 OWNER’S MANUAL copy

****** Page 2 ****** EV/TAPCO TWO-WAX/ THREE-WAY ELECTRONIC CROSSOVER EXIS is a two-way t The TAPCO DESCRIPT ION: single channel electronic crossover i three-way making the unit designed with the user in mindi two channel or It has been simple and easy the EXIS To this end, design goal, to operate was a macor provides the necessary controls and functions fon bi cn tri- The crossover Frequency ampl i ng most speaker systems. I Ekhz in From 100hz two adjustable to i s cont inuous) y The crossover s ope ranges and level controls are provided, The h igh frequency output of each channel has is 1 eciE/occavej a phase invert switch to Facilitate setup and operation amy The mode swi tch a lows easy conversion from two-way to systemw The entire front panel is recessed to three-way operat ion, A secur- prevent accidental operation of any of the controls i it y and The E 11B is rack mountable cover is included w lth the uniti requires one unit (1 .75 ins) OF rack space, FEATURES STEREO/ TWO CHANNEL OR MONO/SINCLE CHANNEL TPIAMP OPERATION MODE SWITCH FOR INSTANT two WAX/ THREE WAX CONVERSION CONT INUOUSLY VARIABLE CROSSOVER FREQUENCY –100 HZ To 16 KHZ IN TWO PANCES 18dE/octave SLOPE–FEWER PHASE PROBLEMS–BETTER DRIVER PROTECTION HIGH FREQUENCY PHASE REVERSE SWITCH LEVEL CONTROLS COLOR CODED GRAPHICS BALANCED INPUT–ACCEPTS EITHER BALANCED OR UNBALANCED SOURCES, LOW IMPEDANCE UNBALANCED OUTPUTS–CAPAELE OF DPIVINC LONG LINES +22dBu OUTPUT LEVEL–DRIVES ANY POWER AMP SPACE SAVER–1 INCH RACK HEIGHT SECURITY COVER–PROTECT CONTROL SETTINGS 1 DWG ao- 700044 -A

****** Page 3 ****** OPERATION 2 WAY/ 3 WAY SWITCH This swi tch a) lows the Ell e to operate in a true two or three-way mode In ei ther case a controls perform on) y the actual function indicated, each channel 1m two-way mode, functions independently and mav be used for completely different uses, For instance: house ( mains) and moni cors, two different moni- tor sends or of courser stereo, In two-way mode, use the white colored graph 1 csw In three-way mode, the two channels are placed in series to form a mono ( single channel) three-way No external patching (other than inputs and outputs) crossover. is required, When using the Ell g in three-way mode use the gold colored graphics, FREQUENCY KNOB The frequency* knob adjusts the crossover frequency, Thi s is the point at which both crossover outputs are ad E: down from their passband levels, the Frequency range where the crossover outputs The crossover frequency may be ado us ted anywhere are between 100hz and ISOOhz, If the range switch is depressed the frequency range is now Ikhz to 16khz (1000hz to t 6} OOOhzn In the two-way mode, each Frequency knob is 1 ndependent of the other. In the three -way mode, the eft hand knob adjusts the low frequency to midrange transistion ( crossover frequency) and the right hand knob ad ousts the midrange to hi Frequency transistion, RANCE SWITCH The range swi t ches shifts knob by a Factor of 1 multiplied by ten. With crossover Frequency knob the range of each respective Frequency the Front panel marking That is, is the swi tch depressed, the range 0+ the is now 1000 to 1 6, 000 h z (1k to 16Khz), This al lows the selection of crossover pox n ts desired in some three-way systems and sma) ler two-way systems, LEVEL CONTROLS

****** Page 4 ****** the two eve I controls set the output level In two-way mode of They should be set for the high frequency outputs, the In three-way operation, most pleasing hi frequency bal ance, the I eft hand knob adjusts only the midrange speakers and the right hand knob adjusts the high frequency speakers, Aaaxn, they should be set for the most p) easing musical balance, In both cases this should be done with other system equal i z at ion flat, Note that ( input channe I or graphic) the set at 2way/3way swi tch a) lows independent control of m Idrange and tweeter in the three-way mode, (+1 gur•e 4, page 6) POLARITY SWITCH Each polarity swi tch reverses the polarity o + its respect i SE For two-way operation this wou)d be the h igh output i and for operatiorji three-way both quenc y outputs i midrange and high frequency outputs. Operating the switch is simi lar to reversing the red and lack wires at loudspeaker terminals. The polarity swi tch al lows you to instant determination OF your system’s phasing. The norma an setting of the polarity switch is the button out posit i .71, (woofers and tweeters out of phase) This results in the frequency response for most speaker systems CONNECTIONS AC POWER AC requirements are: 1 15 VAC, 50/60hzt If operation with a 2 wire outlet is required, a ground i ng adaptor is recommended with the green wire tied to a good earth ground. It is important to obtain AC power for any remote equipment ( ) i Ee a console operated away from the rest of the equipment) from the same power out) et (or at least one on the SAME ground circuit) z s the one that supp! i es your power ampl i fiers. this will insure the owes t ground I oop noise, DON’T use the outlet that may be located near the console location, FUSE The Ell g requires a 4/ I OOA s 10 b ) ow Fuse, type ;3AG 4/100 equiva lent, If replacing the fuse does the not correct prob ) em, refer the unit to art authorized servace center or to TAPCO.

****** Page 5 ****** INPUT The Ell 8 has 1 nput using a bal anced circuit 1/4 ” phone (tip/ ring/ sleeve) jack, and will accept any source, balanced or unbalan— ced, high or ) ow impedan- Refer to f igure I ce, possible connect ion schemes, FIG. IA Unbalanced connected sources may be directly inserting a 2 circuit ( tip- / sleeve) plug into the 1 n- put O ack (figure IA). Under certain ground ing condi- t ions, the connection recom- mended in figure i E; may result in ) ower ground hum RING sourc E SLEEVZ FIG. 1B see eve FIG. IC levels, In most circumstances, connection per figure IA adequate. may a Iso be connected directly, Ba arced sources ring The tip connection is h i, tip/ ring/ sleeve plug, sleeve is chassis ground, This connection is diagrammed OUTPUTS The ou t puts are unba j anced. The output source is low ( < 600 ohms) impedance and can drive ong ines and The power amplifiers directly, level is +22dBu maximum output ( i OV rms) and can dri ve most O will be use a is 10 and in figure ON BAC O FIG. 2 power amps d irectly, insures The low source impedance Multiple even with long i rtes. hi gh frequency response, The amplifiers may be driven by par •l lei ing their inputs, amplifiers facilitate this by havtr.g I ooping (para) I e led) jacks on each input, good power TAPCO i nput In systems wi th the crossover mounted at the consol e (mixer) is important that the remote console equipment location, it General I y ' share the same ground as the power amp) ifiers. this means using the same power outlet, ****** Page 6 ****** APPLICATIONS bi or tri amplification can For most sound system app) i cations i provide a sign 1 f 1 carit performance advantage over conventional A biarnpl i Fied system uses a separate power passive crossover-s. amp) i fier For each speaker (woofer and tweeter) in the system, system woul d require three Likewise, the triamplified The crossover is p) aced before the amplifiers and amplifiers, Thus, each amp) i fier after the mixer, preamp or equal i zer. respective handl e the frequency range of its on ly need This arrangement al lows each speaker(s) to be speaker(s). driven by an amp) i fier that exactly suits the needs of that For a low frequency speaker, th i s me ans parti cu I ar speaker. having enough power to insure adequate ) ow frequency headroom i The absense OF the passive crossover e it iminates the crossover network unit insertion I oss and improves the damping factor This 1 mproves I ow Frequency performance by seen by the woofer, a) lowing the ampl i fier to control the woofers cone movement more precisely 1 OdE higher 1 n Most h 1 gh frequency oudspeaRers are about This means that efficiency than most low frequency speaKers, for the same acoustical output ) eve I f the power requirements are Put into plain numbers: if the tweeters require about 10 to 1 , the woofers will 10 watts for a given sound pressure I eve I , require 10 t imes more for the same I eve I (t 00 watts). Because the I imited power of the high frequency amplifier% of it is much less likely to damage (b)ow up) the tweeters during an oops condition ( dropped mike, loud feedback-t etc.), Musical signa) s demand the largest amount o f power at freqencies, This is compounded by the ower• e e Ficiency of most woofers, A passive) y crossed over system ræquires tremendous amounts of power to accurately reproduce musical transients at real-I i fe ()ive performance) levels, In Chi s system, when the power ampl i fier cl ips, the only thing the loudspeaker system can do is to try to reproduce i t, During the instant that the ampi i Fier is c) ipped, a l) other signals go i ng through t are a) so c I ipped& This means all h ich frequency signals are I osti The cl ipping heard as harsh distort ion and is especial) y hard on the tweeter•s which are equ ipped to handle the drastically changed energy content. This 1 s probably the number one cause o F twee ter burn out, Irt a b i amplified system, when a arge I frequency transient c) i ps the I ow frequency amplifier r the accompaninq high Frequenc i es cl i pped because they h a ve the i r are not ampl i fierc The ) ow frequency c) ipping is reproduced by the ow Frequency speaker, but is droumed out by the c lean highs coming out of the tweeter, The net result is that the system will sound cleaner, i ortger, 5 ****** Page 7 ****** HIGH FREQUENCY DRIVER PROTECTION In any b i, tri on multi-amp system, It 1 s especially important to provi de frequency rol loff for the high frequency speakers. This protection can take the form of a series capacitor. The r 0) ) off should occur at about I octave below the crossover point, This will help protect the driver from DC should the ampl i fier short outi or f r zm ) ow frequency energy when the high and low frequency sends get m ve-ed The formula to use is: 14FZ) where IE6=1, OOO F = the crossover frequency in HZ Z = the speaker impedance in ohms C=the capacitor value in microfarads (mfd) use (in order of preference) mylar or fi I m, polar non electrol y tic or series connected (plus to plus, 21 the calculated value) polar electrolytic capacitors with at least a 50 V rating, For the commonly used 16 ohm drivers: 500 hz=40mfdt BOOhz=24mfd, 1 OOOh-e=n zOmFd, e ohm drivers will require twice SETUP AND 2 WAY the capacitance. OPERATION O 3 o F'*'EOuENCY 1-0 WOOFER FIG. 3 WCX3FER ( S ) 500 hz=B0mfd, WAY TWEETER WC-OFER FIG. 4 1, 2, Refer to F i gures and 4 for wiring connections. Set all power ampl i fier volume controls to minimum or off. Se lect proper mode and crossover frequency for your system, Consult the I oudspeaker manufactur•er for choice of crossover frequency, Check, doub I e check and triple check the loudspeaker connections, make sure that the high frequency amp) i fier actuall y Feeds the high frequency speakers and that the low Frequency amplifier actual I y feeds the low frequency loudspeakers. Be certain, a mixup here spel ) s certain disaster. (B)own up loudspeakers! ) 6 ****** Page 8 ****** 5, 9. 2, 4. 5. Turn on crossover, mixer(s) and signal processing equipment, Set any over-a)) system equal ization ( graphic, parametric or other) to flat 9 t he ow frequency Insure that Now turn on power amps, control (if any) is set to 0 and that the amp) i fier eve I high and/or mid amp) ifiers have their level cont rois (if any) set to maxi mum. Slow) y advance into the crossover input. Feed a signal Check to be sure that the high frequency eve I control. is actuall y corn i ng sound you he ar the Return the control to off. Frequency speakers i Now turn the I ow Frequency power ampl i f 1 er on or IJse a low a s ignal into the crossover inputt the ow frequency speakers are actual sure tha t and that no sound emerges from the h i ph frequency the I ow frequency amplifier The I eve I control on set to maximum. control Now bring up the • high frequency ) eve I pleasing, Three-way speakers i tweeters when they Enjoy! musical balance is heard. For the Repeat step / syst ems: the woofers Its really important that the high Feed up. level. Be y working speakers. shou) d be untii midrange only woon only tweet and midranges only midt Its expensive don't, TURN OFF PROCEEDURE Turn Wait Turn off power amps. 1 minute or until the system w 111 no off all other equipment' IN CASE OF DIFFICULTY longer produce sound. Is the power LED on? Is the unit Check power connections b t ched on? Check fuse if power LED is out and unit 1 s swi t ched on. Are a I I the cab i es 0K? of Check a l) audio connect 1 ons. aji system problems are bad cables. Are the appropriate ) evej controls Check control settings. the power ampl i+ier•s turned on and level turned upo controls (if any) turned upo Verify that is audio signa) at the input there that cable direct lv crossover by pl ugg ing Check the high frequency power ampl i amplifier by temporarily patching the high freqw to the Frequency amp) i fier the cr ossover inpu t into the and then patching signal into the high Frequency power amp. DO NOT DO THIS WITH THE HICH FREQUENCY SPEAKERS CONNECTED! Remember to repatch the woofers and tweeters when you are finished e • ****** Page 9 ****** When take serN1 ce center or contact supply the serial number of the Ell e to an the factor y + your unit, authorized T APCO Be prepared to NO USER SERVICEABLE PARTS INSIDE, CAUTION–HICH VOLTAGE PRESENT INSIDE CASE, PEFEP ALL SERVICING TO QUALIFIED SERVICE PERSONNEL, For further factory t when you can FREQUENCY RESPONSE: OUTPUT NOISE: HARMONIC DISTORTION: 1M DISTORTION: MAXIMUM INPUT: MAXIMUM OUTPUT: INPUT IMPEDANCE: OUTPUT SOURCE Z: OUTPUT LOAD Z: cmRR: CAIN: FILTER TYPE: SLOPE: CONFIGURATION: FREQUENCY RANGE: SIZE (HWD): WEIGHT: applications assistance i write or you wri tet include your phone number be reached at that number, SPECIFICATIONS call and a the time 20HZ TO 20KHZ + .5dB -92dEv TYPICAL TYPICAL (IRhz, (SUM OF OUTPUTS) 1 OR oad) TYPICAL (SMPTE METHOD) +20dEV +22dBV 15K UNBALANCED, 30K BALANCED 470 OHMS, ALL OUTPUTS 600 OHMS OR GREATER 40dB OVERALL UNITY MAXIMALLY FLAT BUTTERWORTH IBDE/OCTAVE a POLE STATE VARIABLE 100 TO 16, OOO HZ IN 2 RANGES 1 975 X 19 1 5 (INCHES) 4 LBS POWER REQUIREMENTS: 115 VAC 50/60 FUSE: TYPE SAC SLO ELO, 4/100A ****** Page 10 ****** TAPCO BIBLIOGRAPHY BOOKS THE PA BIBLE available from Electro Voice, 600 Cecil St., PA BIBLE. $2 gets you Vol 1 and Buchanan MI 49107, all 2. 4, 5. 2. 5. subsequent chapters. THE AUDIO CYCLOPEDIA Howard Tremaine c 1969 Howard W, Co. Indianapolis IN. Sams ACOUSTIC TECHNIQUES FOR HOME AND STUDIO F, A) ton Everest c 197.3 Tab Books #646, Blue Ridge Summit PA 17214 SOUND REINFORCEMENT an anthology OF art 1 cles from the the Audio Eng it-jeering society, 97 Journ a of Engineering Society Inc. Audio SOUND SYSTEM DESIGN Don and Carolyn Davis c1975 Haward W. Sams Co. Indianapolis I N. MAGAZINES RECORDING ENGINEER/ PRODUCER pub ) i shed bi -monthly (6 iss/ yr ) POB 2449 ywood CA 9002B. by Gal lay Communications Inc. $10/ yr STUDIO SOUND monthly, subscription department, Link House, Dorset EH15 ILL, Creat Britain, 25 West S t s, Poole, Sent free to qual i f i ed readers, monthl y t Cowan Pub I iSh ing, MODERN RECORDING AND mustc Vanderventer Ave, Port Washington NY 1 1050. SOUND ARTS Sound Arts merchandising Inc, 220 Westbury Ave. Carle P lace, NY 1 1514, JOURNAL OF THE AUDIO ENGINEERING SOCIETY (JAES) monthly except Jan/ Feb and Jul /Aug, Free to members of any grade, $45 to nonmembers, State OF the Art papers on a II phases OF audio engineering. Papers are written by professionals in audio engineering and are usuall y presented at one OF the society's a yearly convent ions (February-Europe, May-Los Ange lest November-New York), Highl y technical, wri t ten at eng ineering level (don't spare the math). membership in the society is open to anyone with an 1 nterest in audio eng ineer ing, There are a membership grades: Member, Associate and Student, Dues vary with membership A subscription to the Journal is part of the yearly grade, Contact: dues. Audio Eng ineering 60 E 42nd St. New York NY 10165, dB the SOUND ENGINEERING MAGAZINE Pub) i shing Co. 9 Society, Lincoln Bui ) ding, (212) 661 2355 monthly, $9/ yr. Sagamore ****** Page 12 ****** •o 00








Leave a comment, question, review or page error below. Account not required.

This site uses Akismet to reduce spam. Learn how your comment data is processed.