Altec Lansing 15 Walnut User Manual
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STUDIO MONITOR
SPEAKER SYSTEMS
OPERATING
INSTRUCTIONS
Model 19 Walnut
Model 19 Oak
MODEL 19
OAK
Model 15 Walnut
Model 15 Oak
MODEL 15
OAK
or ceiling. Baffle angle of the monitor may
be adjusted by raising or lowering one
pair of supporting chains at the anchor
points. Figure 1 illustrates a typical
ceiling-mounted system. When the cabinet
is hung ‘bass-side-up’, the network/
equalizer assembly may be removed,
rotated 180 degrees, and reinstalled to
maintain a right-side-up orientation.
Optional Mounting Base
If the discriminating listener wishes to
use the Studio Monitor Speaker System in
the home environment, the optional
mounting base may be secured to the
bottom of the cabinet. To install the
optional mounting base, position your
Studio Monitor Speaker System on one
side or the top, using a carpeted surface
to protect the finish of the cabinet. DO
NOT lay the system on its front side,
because the grille coverings may be dam
aged. Position the base against the bot
tom of the cabinet, rubber feet facing
outward, aligning the pilot screw holes.
Install the supplied screws (No. 8 x 2V2"
for Model 19 and No. 10 x IV2" for Model
15 to secure the base to the cabinet.
Tighten all screws.
Altec Studio Monitor Speaker Systems are
designed to meet the stringent specifica
tions of extended frequency response,
low distortion and wide dynamic range
that are required for use in recording and
broadcasting studios. The bass loud
speaker (woofer) produces extended lowfrequency response even when driven at
exceptionally high power levels. Two fre
quency adjustment controls (high and
mid-range) are provided to adapt the
Studio Monitor Speaker Systems to a
wide range of acoustic environments,
including audition rooms, recording studio
control room monitoring, remix studios,
mastering rooms, broadcast studio moni
toring and playback, auditoriums, night
clubs, conference rooms, theaters,
churches, and other professional
applications.
All of these Studio Monitor Speaker Sys
tems combine excellent overall band
width, low distortion, uniform dispersion
and extended frequency response. Major
differences between the larger (Model
19 and smaller (Model 15 systems are
sensitivity, acoustic output and enclosure
size. For applications where sensitivity
and acoustic output are of major impor
tance, the larger Model 19 should be
used. Where space is at a premium and
slight reduction in sensitivity and
acoustic output is not detrimental, the
smaller Model 15 becomes the logical
selection.
Wall or Ceiling Mounting
For many professional applications the
Studio Monitor Speaker System is hung
or suspended from a wall or ceiling. A
recommended type of installation utilizes
four V4 "-20 eyebolts which are secured
in the sides of the cabinet with flat
washers and nuts. The low-frequency
loudspeaker must be removed to install
the eyebolts. The Studio Monitor Speaker
System is then suspended by the four
eyebolts with a lightweight chain (200-
pound pull) from anchor points in the wall
Spc<’ii\catio}i}i and rojn pout nts aubjcrt to rha npc irittiont
notice. Overall ¡xrformance teiU he maintaitud or improved.
Figure 1. Suspended Studio Monitor
Speaker System
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_1 11
SOUND PRODUCTS DIVISION
1515 S. Manchester Ave., Anaheim, Calif. 92803
42-02-033968-02
LITHO IN U.S.A. 278-6/vl
Electrical Connections
Two terminals at the underside of the
cabinet connect leads from the amplifier,
if more than one Studio Monitor Speaker
System is connected to the amplifier(s),
be sure to observe polarity so that proper
acoustic phasing is achieved.
Removal of Grilles
‘Push-and-lock’ fasteners secure each
grille to the cabinet. To remove a grille,
simply grasp the upper corners and pull
firmly outward. To put the grille back on,
align it with the cabinet and press each
corner until firmly seated. For the Model
15, also press the center of the grille,
just below the horn area, to engage the
central fastener.
Frequency Controls
Two frequency controls are located on the
network/equalizer assembly, behind the
grille (lower grille for the Model 19. When
the controls are positioned in the OPTI
MUM area of adjustment, a ‘flat’ fre
quency response is obtained for most
acoustic environments. Figure 2 shows a
typically ‘flat’ response of the Model 19
when both frequency controls are set in
the OPTIMUM area of operation.
10 20 50 100 200 500 1000 2000
FREQUENCY IN HERTZ
Figure 2. Typical Response of Model 19 with
Optimum Control Settings
10 20 50 100 200 500 1000 2000
FREQUENCY IN HERTZ
SOLID LINE = HF AND MF CONTROLS FULLY CLOCKWISE
BROKEN LINE = HF AND MF CONTROLS FULLY COUNTERCLOCKWISE
Figure 3. Typical Response of Model 19 with
Controls at Maximum and Minimum Positions
SOLID LINE = HF CONTROL FULLY COUNTERCLOCKWISE,
BROKEN LINE = HF CONTROL FULLY CLOCKWISE,
= MF CONTROL FULLY CLOCKWISE
= MF CONTROL FULLY COUNTERCLOCKWISE
5000 10000 20000
5000 10000 20000
When the HF LEVEL control is turned
counterclockwise from the OPTIMUM
area, the higher frequencies are ‘rolled
off or reduced in volume. This enhances
the bass and mid-range frequencies.
When the MF LEVEL control is turned
counterclockwise from the OPTIMUM
area, the mid-range frequencies are atten
uated, producing a ‘dip’ in the mid-range
portion of the audio spectrum. This
enhances the bass and treble frequencies.
Turning the control clockwise from the
OPTIMUM area enhances the mid-range
frequencies.
Figure 3 shows effects to the audio
spectrum when the two controls are
turned fully ‘up’ or ‘down’. With both
controls ‘up’ (solid line), both mid-range
and treble frequencies are enhanced. With
both controls fully ‘down’ (broken line),
the same frequencies are attenuated,
which enhances the bass frequencies.
Figure 4 shows effects to the audio
spectrum when the controls are turned to
extreme opposites to one another, with
Figure 4. Typical Response of Model 19 with
Controls at Opposite Maximum and Minimum Positions
one control fully ‘up’ and the other con
trol fully ‘down’. With the HF control
‘down’ and the MF control ‘up’ (solid
line), mid-range frequencies are enhanced
and treble frequencies are attenuated.
With the HF control ‘up’ and the MF con
trol ‘down’ (broken line), mid-range fre
quencies are attenuated and treble fre
quencies are enhanced.
Maximum range of the two controls is
nominally 14 dB. Upon inspection of the
curves shown in Figures 3 and 4, some
interaction is seen between the two con
trols. This control interaction prevents
extreme imbalance between mid to high
response, and assures minimum phase
shift through the crossover network. Con
trols for the Model 15 function in a
similar manner.
By experimenting with these controls, you
may determine which particular settings
produce the most pleasing effects for
your acoustic environment.
SERVICE INFORMATION
Speaker system components may be
detached from the cabinet by removing
appropriate mounting screws. The lowfrequency loudspeaker and the network
assembly each mount to the cabinet with
four screws (see Figure 5). The Model
19 horn/driver assembly is mounted to
the upper part of the cabinet with six
bolts, which are accessible when the
acoustic damper pad is removed. The
Model 15 horn/driver assembly is mounted
with four bolts. The driver and interfacing
gasket are attached to the horn with two
nuts and two washers (see Figure 6).
Electrical connections are made in
accordance with the schematic diagram
of Figure 7.
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