Denon DJ SM50 Service Manual

SM50

User Guide

Guía del usuario

Guide d’utilisation

Guida per l’uso

Benutzerhandbuch

Appendix

English ( 2 – 7 )

Español ( 8 – 13 )

Français ( 14 – 19 )

Italiano ( 20 – 25 )

Deutsch ( 26 – 30 )

English ( 31 )

User Guide (English)

Box Contents

SM50 Studio Monitor (1) User Guide
IEC Power Cable (1) Safety & Warranty Manual
Isolation Pad (1)

Support

For complete system requirements, compatibility information, and product registration, visit the
Denon DJ website: denondj.com.

For additional product support, visit denondj.com/support.

Specifications

Frequency response
Crossover frequency
Low-frequency amplifier power 50 W with 20-gauge wiring to this transducer
High-frequency amplifier power 40 W with 20-gauge wiring to this transducer
LF cutoff flat, 80 Hz, 100 Hz
MF boost In/Out of 2 dB centered at 2 kHz
HF trim
Acoustic space
Maximum signal-to-noise

(dynamic range)

Polarity Positive signal at + input produces outward LF cone displacement
Input impedance

Input sensitivity

Power

Protection

Cabinet

Size (width x height x depth)

Weight (monitor + power cable)

50 Hz – 20 kHz (+3 dB)

2.6 kHz

+2 dB, 0 dB, -2 dB above 3 kHz
0 dB, -2 dB, and -4 dB

> 97 dB (typical A-weighted)

20 kΩ balanced, 10 kΩ unbalanced
100 mV pink noise input produces 92 dBA output SPL at 1 meter with

volume control at maximum
factory-programmed for either 115V ~50/60 Hz or 230V ~50/60 Hz
RF interference, output current limiting; over-temperature; transient

on/off protection to prevent speaker "pops"; subsonic filter; external
mains fuse

Front and rear baffle 1" MDF with 0.75" MDF wrap. Black lacquer
paint on enclosure with soft touch black paint on curved front plate.

8" x 12.5" x 10.1"
191 mm x 318 mm x 257 mm

17.2 lbs./unit

7.8 kg/unit

Above specifications subject to change without notice.

2

Connection Diagrams

Denon DJ SM50 monitors feature balanced XLR and 1/4" connectors, as well as unbalanced
RCA-type analog inputs. Connect the outputs of your audio interface, mixer, or other line-level
device to these inputs.

Note: The XLR/TRS and RCA inputs are summed (i.e., mixed together) before arriving at the
SM50 amplifier, so it is possible to have two sound sources connected to a speaker at the
same time. However, we recommend that not playing audio through both connectors
simultaneously, which may overload the inputs and result in clipping (distortion) at the inputs.

Tip: If your mixer, interface, or other audio source features both XLR/TRS and RCA-type
outputs, use the XLR or TRS connectors instead of the RCA connectors whenever possible.
XLR and TRS cables incorporate a "balanced" design that carries a signal over three
conductors ("hot," "cold," and "ground") instead of two conductors as found in RCA cables
("hot," and "ground"). This results in lower noise, higher rejection of radio-frequency (RF)
interference, and better overall fidelity. If XLR/TRS jacks are unavailable, use RCA-style cables
but try to keep the cables as short as possible.

Scenario 1

Audio Interface
(Balanced TRS
to Balanced TRS)

Scenario 2

Mixer
(Balanced XLR
to Balanced XLR)

Scenario 3

Preamplifier
(Unbalanced RCA
to Unbalanced RCA)

MIDI INVOL MIDI OUT R L R L USB

LR

3

Features

1. Power Connector: This socket accepts a standard IEC-type

power cable.

2. Input Voltage Selector*: This recessed switch adjusts the

input voltage from 100-120V or 220-240V and allows your
SM50 monitor to be used worldwide. Make sure this switch is
set correctly for your country to prevent damage to the speaker.

3. Power Switch: This switch powers your SM50 monitors on and

off.
Note: This product does not have a standby/low-power mode.

4. XLR+1/4" Input (+4 dBu)**: This input jack accepts line-level

signals from a balanced XLR or 1/4" TRS connector. Connect
your audio interface, monitor controller, mixer, or other line­level audio source to this jack.

5. RCA Input (-10 dBV)**: This connector accepts line-level

signals from audio sources with unbalanced RCA-style outputs.

6. Volume Knob: This knob adjusts the gain level of all three of

the rear panel inputs (XLR, 1/4" and RCA). The gain is at
minimum when the knob is turned fully counter-clockwise; the
gain is set to its maximum level when the knob is turned fully
clockwise; additionally, the gain is set to unity when at the
12:00 position. Adjust this knob to a position where you are
working with a comfortable range of travel on the output volume
knob of your connected audio interface, monitor controller, or
mixing console.

7. LF Cutoff Switch: This switch sets the low-frequency cutoff
point of your monitor. See the About the Rear-Panel EQ
Contour Switches section to learn more about this switch.

8. MF Boost Switch: This switch allows you to contour the mid-range response of your monitor to your specific
studio. See the About the Rear-Panel EQ Contour Switches section to learn more about this switch.

9. HF Trim Switch: This switch allows you to adjust the high-frequency response of the monitor to your specific
studio. See the About the Rear-Panel EQ Contour Switches section to learn more about this switch.

10. Proximity Control Switch: This switch allows you to set a "shelf" EQ to tailor low-frequency response to your
specific studio. See the About the Rear-Panel EQ Contour Switches section to learn more about this switch

* Power outlets in North America, Japan, and many parts of South America usually supply between 100V and 120V,
whereas outlets in Europe and most of Africa and Asia provide between 220V and 240V. If you are not sure about
your region, be sure to check your power outlet's rating and set the Input Voltage selector before connecting and
switching on your SM50 monitors.

** The XLR/TRS and RCA inputs are summed (i.e., mixed together) before arriving at the SM50 amplifier. We
recommend not playing audio through both connectors simultaneously, which may overload the inputs and result in
clipping (distortion) at the inputs.

Declaration for Always-On Products for Regulation (EC) No. 1275/2008:
To provide audio signal at the noise floor level, this studio monitor speaker product should be in the “always on”
status for terminal users to use. The requirement of a power management function as provided under point 2(d) of
Annex II would be “inappropriate for the intended use’’ of the equipment. This product is an exception to the design
requirements as provided under Annex II, thus an “off,” “standby” and/or “another condition” mode and a power
management function is not appropriate for its intended use. When not using this product, we suggest switching it
off.

5

4

132

7

8

9

AC SELECT

10

6

POWER

ON OFF

4

Setup

The configuration and placement of your SM50 monitors on speaker stands or your desktop
workstation may affect the performance of the speakers. Use the following tips to achieve the
best performance out of your SM50 monitors.

Tip: If possible, place your SM50 monitors on speaker stands instead of your desk top. Desks
tend to resonate sympathetically at low frequencies and may adversely affect the bass
response of your monitors. If speaker stands are not possible due to space restrictions and you
notice a buildup in bass, try placing the monitors on isolation pads (included) to acoustically
de-couple the monitors from the desk.

Speaker Placement

Place the SM50 monitors so that the two speakers
and the engineer form an equilateral triangle when
viewed from above. Angle the speakers slightly
inward so that the drivers face the engineer.

In general, it is recommended that SM50 monitors be
placed at least one foot away from the nearest wall,
ceiling, or any other large, flat surface (the reason for
this is covered in detail in the following chapter of this
guide). If practical considerations such as limited
studio space make this impossible, SM50 monitors
include separate equalizer controls to compensate for
placement near walls and corners, as well as to
compensate for the general acoustic response of
your monitoring environment.

Speaker Height

Position the speakers so that they are parallel to the
ground and that your ears are between the midpoint of
the woofer and the tweeter.

Speaker Orientation

If possible, place the SM50 monitors in their upright position and avoid laying the speakers on
their sides. The SM50 woofer and tweeter are vertically aligned and will provide the best
performance when the speakers are placed upright. Placing them on their sides may create
strong reflections from nearby surfaces resulting in spectrally unbalanced sound.

If your SM50 monitors must be oriented horizontally due to space or line-of-sight
considerations, place the speakers so that their tweeter is on the "inside" to improve imaging.

Tweeters

5

About the Rear-Panel EQ Contour Switches

These switches allow you to tailor the EQ curve of your SM50 monitors to complement the
frequency response of your studio. Since studio monitors (including the SM50) are designed to
have a flat frequency response, you may be wondering why these speakers include additional
EQ controls. They are included for three reasons:

1. Size, shape, and acoustical treatment of your specific studio: SM50 monitors are
tested and tuned in an anechoic chamber to be as linear (flat) as possible. This means
that leaving the switches set to their default settings will closely resemble monitoring in
an "ideal" environment similar to those found in high-end recording studios. In these
studios, acousticians carefully determine the size and shape of the control room,
placement of the studio monitors and large furniture, construction materials of the walls
and ceiling, as well as all acoustical treatments that must be applied to various parts of
the room. All this ensures that studio monitors will sound as flat and accurate as possible
at the "mixing position."

In the real world, however, many project studios are set up in preexisting rooms where
the size/shape of the room cannot be easily modified to improve acoustics. This means
that the design of the room itself may have adverse effects on the frequency response of
the monitors (i.e, sound reflections from flat surfaces in the room may cause the monitors
to not sound linear). For that reason, the SM50 features "corrective" EQ controls to
compensate for adverse effects that may be caused by your room.

2. Placement of the SM50 monitors within your studio: The proximity of your SM50
monitors to the walls (and floors/ceilings) may adversely affect the frequency response of
what you hear at the mixing position. This is because all speakers radiate low-frequency
sounds in all directions—not just toward the mixing position. If there are large, flat
surfaces (such as walls or ceilings) within one foot of the speaker, these surfaces act as
low frequency "sound reflectors" that return bass energy projected from the rear of the
speaker back into the studio. This can result in bass that sounds "tubby" and
exaggerated.

3. Using a subwoofer: If you plan to use a subwoofer with your SM50 monitors, you will
need to filter out low-frequency sounds so that only the subwoofer plays low-frequency
sounds (the SM50 monitors will only play mid-range and high-frequency sounds, in this
scenario). This needs to be done so that the subwoofer and SM50 monitors do not both
play the same low-frequency sounds, causing a greatly exaggerated bass response
within your studio.

The SM50 addresses all three of these issues with the following controls:

Proximity Control Switch

As stated earlier in this section, your SM50 should ideally be placed at least one foot away
from the nearest wall, ceiling, or other large, flat surface. In the real world, this may be
impractical due to space limitations within your studio. For that reason,
a Proximity Control Switch. This switch compensates for placement near walls by "shelving"
(reducing) frequencies below 200 Hz. This switch should be set as follows:

• 0 dB: This default setting should be used if the monitors are placed at least one foot

away from the nearest wall.

• -2 dB: This setting reduces frequencies below 200 Hz by 2 dB. Use this setting if the

speakers must be placed closer than one foot from the nearest wall.

• -4 dB: This setting reduces frequencies below 200 Hz by 4 dB. Use this setting if the

speakers must be placed within one foot of the corner of a room (i.e., the
intersection of two walls).

Tip: Be sure to leave at least 3" of space between the rear of the speaker and a wall to allow
the rear-firing port to "breathe" properly. Placing the speaker any closer than 3" may adversely
affect low-frequency response.

6

SM50 monitors feature

HF Trim Switch

This control allows you to boost or attenuate (reduce) your SM50 monitors' high-frequency
response above 3 kHz. This switch can be set in the following ways:

• 0 dB: This default setting leaves high-frequency signals unaffected (high-frequency

sounds are neither boosted nor attenuated).

• +2 dB: This setting boosts signals above 3 kHz by 2 dB.

• -2 dB: This setting attenuates signals above 3 kHz by 2 dB.

To configure the HF Trim switch, begin by mixing a few songs with this knob set to the default
0 dB position. If your mixes sound good in the studio and on other speakers (car stereos,
"multimedia" computer speakers, etc.), leave this switch in the default position.

If your mixes sound good in the studio but they sound "dull" and lack high-frequency "sparkle"
on other playback systems, set the switch to -2 dB.

Alternatively, if your mixes sound good in the studio but sound too "crispy" or "brittle" and
contain too much high-frequency content, set this switch to +2 dB.

Setting this switch to either +2 dB or -2 dB allows the SM50 monitors to compensate for a
mixing environment that is either too "live" (i.e., too much high-frequency reflection from the
walls and other surfaces) or too "dead" (i.e., not enough high frequency sound is being
reflected around the room).

MF Boost Switch

This control engages a mid-range boost from 1 kHz – 3 kHz with a 2 dB peak at 2 kHz. The
switch can be set in the following ways:

• Out: This default setting allows incoming signals to bypass the midrange boost

circuitry (the midrange of a signal is not affected).

• In: This setting engages the midrange boost circuitry and creates a 2dB peak at 2

kHz with a 1 kHz bandwidth (i.e., signals between 1.5 kHz – 2.5 kHz are boosted).

To configure the switch, leave the switch set to the Out position and mix a few songs. If you
notice your mixes sound good in the studio but the midrange tends to be too prominent (e.g.,
the vocals/guitars are too loud) on other speakers, set the knob to In. This will make the
midrange of your SM50 monitors slightly more pronounced in the studio and will result in more
balanced mixes since you will be less inclined to "push" the midrange of your mixes.

LF Cutoff Switch

This control allows you to engage a high-pass filter that removes low-frequency sounds from
the monitors. This switch can be set in the following ways:

• Flat: This default setting allows your monitors to play their entire frequency

spectrum with no low-frequency filtering.

• 80 Hz: This setting engages a second-order (12 dB/octave) filter that rolls off

frequencies below 80 Hz.

• 100 Hz: This setting engages a second-order (12 dB/octave) filter that rolls off

frequencies below 100 Hz.

If you are using your SM50 monitors with a subwoofer that does not have a built-in crossover,
set this switch as close as possible to the low-pass cutoff frequency of your subwoofer. The
low-pass cutoff of the subwoofer should be listed in the "technical specifications" section of
the subwoofer's User Guide.

If your subwoofer has an internal crossover that sends high-frequency signals out to your main
monitors through a pair of outputs, leave the LF Cutoff Switch on your SM50 monitor set to
Flat.

Tip: Many subwoofers feature a low-pass cutoff frequency of 80 Hz. If you are not sure about
your subwoofer, use this setting as a starting point.

Tip: The Low Cutoff switch can can also be engaged if you wish to hear what your mixes
would sound like on speakers with smaller woofers (such as those found in most televisions).

7

Guía del usuario (Español)

Contenido de la caja

Monitor de estudio SM50 (1) Guía del usuario
Cable de alimentación IEC (1) Manual sobre la seguridad y garantía
Almohadilla de aislamiento (1)

Soporte

Para conocer los requisitos completos del sistema, la información de compatibilidad y realizar el registro del
producto, visite el sitio web de Denon DJ: denondj.com.

Para soporte adicional del producto, visite denondj.com/support.

Especificaciones

Respuesta en frecuencia

Frecuencia de cruce 2,6 kHz

Potencia del amplificador de frecuencias bajas 50 W con cableado calibre 20 a este transductor

Potencia del amplificador de frecuencias altas

Corte de LF (Frecuencias bajas)

Refuerzo de MF (Frecuencias medias) Entrada/salida de 2 dB centrada en 2 kHz

Ajuste de HF (Frecuencias altas) +2 dB, 0 dB, -2 dB por arriba de 3 kHz

Espacio acústico

Relación señal-ruido maxima (rango dinámico)

Polaridad

Impedancia de entrada

Sensibilidad de la entrada

Suministro eléctrico

Protección

Gabinete

Dimensiones (ancho x alt x prof)

Peso (monitor + cable de alimentación)

Las especificaciones mencionadas arriba están sujetas a cambios sin previo aviso.

50 Hz – 20 kHz (+3 dB)

40 W con cableado calibre 20 a este transductor

plano, 80 Hz, 100 Hz

0 dB, -2 dB y -4 dB

> 97 dB (típica con ponderación A)

Una señal positiva en la entrada + produce un desplazamiento
del cono de LF hacia afuera

20 kΩ balanceada, 10 kΩ no balanceada

Una entrada de ruido rosa de 100 mV produce un SPL de salida
de 92 dBA a 1 metro con el control de volumen al máximo

programado en fábrica para 115 V ~50/60 Hz o r 230 V ~50/60
Hz

Protección contra interferencia de RF, limitación de corriente de
salida, contra sobretemperatura y transitorios de
encendido/apagado para evitar chasquidos en el altavoz, filtro
subsónico y fusible de suministro eléctrico externo

Baffle delantero y trasero - MDF de 2,5 cm (1 pulg.) con
envoltura de MDF de 0,75 pulg. (1,9 cm). Recinto pintado con
laca negra y toques de pintura negra en la placa frontal
curvada.

191 mm x 318 mm x 257 mm; 8,0 x 12,5" x 10,1 pulg.

7,8 kg/unidad; 17,2 lb/unidad

8

Diagramas de conexión

Los monitores Denon DJ SM50 tienen conectores balanceados XLR y de 1/4", y entradas
analógicas no balanceadas de tipo RCA. Conecta las salidas de tu interface de audio,
controlador de monitorización, mezclador u otro equipo de nivel de línea a estas entradas.

Nota: Las entradas XLR/TRS y RCA se suman (es decir, se mezclan) antes de llegar al
amplificador SM50, de modo que es posible tener dos fuentes de sonido conectadas a un
altavoz al mismo tiempo. No obstante, recomendamos no reproducir audio a través de ambos
conectores simultáneamente, puesto que pueden sobrecargarse las entradas y producir
recorte (distorsión) en las mismas.

Consejo: Si tu mezclador, interface u otra fuente de salida dispone de conexiones XLR/TRS y
RCA, usa los conectores XLR o TRS, en lugar de los RCA, siempre que sea posible. Los
cables XLR y TRS incorporan un diseño "balanceado" o "equilibrado" que transporta la señal
por tres conductores ("fase", "neutro" y "tierra") en lugar de dos, como ocurre con los cables
RCA ("fase" y "tierra"). El resultado es menor ruido, un mayor rechazo de las interferencias de
radiofrecuencia (RF) y una mayor fidelidad general. Si no hay salidas XLR/TRS disponibles, usa
los cables RCA, pero intenta que sean lo más cortos posible.

Escenario de instalación 1

Interface de audio
(Jack TRS balanceado
a TRS balanceado)

MIDI INVOL MIDI OUT R L R L USB

Escenario de instalación 2

Mezclador
(XLR balanceado
a jack XLR balanceado)

Escenario de instalación 3

Procesador preamplificador
(RCA no balanceado
a RCA no balanceado)

LR

9

Características

1. Conector de alimentación: esta toma acepta un cable de
alimentación normal de tipo IEC.

2. Conmutador AC Select*: este conmutador empotrado ajusta la
tensión de entrada a 100-120 V o 220-240 V y permite usar el
monitor SM50 en todo el mundo. Verifica que el conmutador
esté correctamente ajustado para tu país para evitar dañar el
monitor.

3. Interruptor Power: este interruptor enciende y apaga tus
monitores SM50.

Nota: Este producto no tiene un modo de espera/ahorro de
energía.

4. Entrada XLR+1/4" (+4 dBu)**: este jack de entrada toma
señales de nivel de línea de un conector XLR o 1/4" (6,3mm)
TRS balanceado. Conecta tu interface de audio, controlador,
mezclador de monitores, u otra fuente de audio de nivel de línea
a este jack.

5. RCA Input (-10 dBV)**: este conector acepta señales de nivel
de línea de fuentes de audio con salidas no equilibradas de tipo
RCA.

6. Dial Volume: este control permite regular el nivel de ganancia
de las entradas del panel posterior (XLR, 1/4" y RCA). Si el
control está completamente girado hacia la izquierda, la
ganancia será mínima; y si está completamente girado hacia la
derecha, la ganancia será máxima. La posición central ("a las 12
en punto") corresponde a la ganancia unitaria. Ajústalo a una
posición que te permita trabajar con un recorrido satisfactorio
de los controles de volumen de salida del interface de audio, del
controlador de monitores o de la consola mezcladora.

7. Interruptor de corte de LF: Este interruptor establece el punto de corte de frecuencias bajas de su monitor.
Para más información acerca de este interruptor, consulte la sección Acerca de los interruptores de
contorno de ecualización del panel trasero.

8. Interruptor de refuerzo de MF: Este interruptor le permite ajustar el contorno de la respuesta en frecuencias
medias de su monitor a su estudio específico. Para más información acerca de este interruptor, consulte la
sección Acerca de los interruptores de contorno de ecualización del panel trasero.

9. Interruptor de ajuste de HF: Este interruptor le permite ajustar el contorno de la respuesta en frecuencias
altas de su monitor a su estudio específico. Para más información acerca de este interruptor, consulte la
sección Acerca de los interruptores de contorno de ecualización del panel trasero.

10. Interruptor de control de proximidad: Este interruptor le permite establecer una ecualización tipo
"aplanada" para adaptar la respuesta de baja frecuencia a su estudio específico. Para más información
acerca de este interruptor, consulte la sección Acerca de los interruptores de contorno de ecualización
del panel trasero.

* Las tomas de corriente en América del Norte, Japón y parte de América del Sur son de 100-120 V, mientras que en
Europa y la mayor parte de África y Asia proven 220-240 V. Si no estás seguro sobre la toma de corriente en tu zona,
comprueba la tensión del enchufe y ajusta el selector de tensión de entrada en la posición correcta antes de
encender los monitores SM50.

** Las entradas XLR/TRS y RCA se suman (es decir, se mezclan) antes de llegar al amplificador SM50.
Recomendamos no reproducir audio a través de ambos conectores simultáneamente, puesto que pueden
sobrecargarse las entradas y producir recorte (distorsión) en las mismas.

Declaración sobres productos encendidos permanentemente según la reglamentación (EC) Nro. 1275/2008:
Para proporcionar señales de audio al nivel del piso de ruido, el producto altavoz del monitor de estudio debe estar
en estado “siempre encendido” para ser usado por los usuarios finales. El requerimiento de una función de
administración de energía tal como se presenta en el punto 2 (d) del Anexo II sería “inapropiado para el uso
previsto” del equipo. Este producto es una excepción a los requerimientos de diseño tal como se presentan bajo del
Anexo II, por lo cual los modos “apagado”, “en espera” y/o “otra condición” y la función de administración de
energía no son apropiadas para su uso previsto. Cuando no esté utilizando este producto, sugerimos apagarlo.

5

4

132

10

7

8

9

AC SELECT

10

6

POWER

ON OFF