Macrom 45.40 User Manual

CAR AUDIO EQUIPMENT

45.40

Owner`s Manual

Bedienungsanleitung

Manuel d`Emploi

Manuale di Instruzioni

Manual de Instrucciones

Contents / Inhalt / Table de Matieres / Indice / Ìndice

• Connections / Anschlusse / Connexiones / Collegamenti / Conexiones . . . . . . . . . . . . . . . . II

• System Chart / System-Diagramm / Exemples de Systeme /

Diagramma di Sistema / Diagrama del Sistema. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . III

“ ENGLISH”

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

PRECAUTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

FEATURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

CONTROL AND INICATORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

CONTROL AND INICATORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

TECHNICAL DATA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

THEORY OF OPERATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

“ DEUTSCH ”

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

PRECAUTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

EIGENSCHAFTEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

EINSTELLUNGEN UND ANZEIGEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

EINSTELLUNGEN UND ANZEIGEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

TECHNISCHE DATEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

FUNKTIONSPRINZIP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

“ FRANCAIS ”

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

PRECAUTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

CARACTERISTIQUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

CONTROLES ET INDICATEURS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

CONTROLES ET INDICATEURS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

DONNEES TECHNIQUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

PRINCIPE DE FONCTIONNEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

“ ITALIANO ”

INTRODUZIONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

PRECAUZIONI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

CARATTERISTICHE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

CONTROLLI & INDICATORI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

CONTROLLI & INDICATORI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

DATI TECNICI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

TEORIA DEL FUNZIONAMENTO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

“ ESPAÑOL ”

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

PRECAUTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CARACTERÍSTICAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CONTROLES & INDICADORES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

CONTROLES & INDICADORES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

DATOS TÉCNICOS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

TEORIA DE FUNCIONAMIENTO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

1 2 3 4 5 6 7 8 9 10

Rear SubFrontInput

2 Ch 4Ch

Gain

Control

4V 0,2V

Flat 63 80Hz

50 80 120Hz

Wave

Alignement

Min. Max.

Mode

Gain

Control

4V 0,2V

Gain

Control

4V 0,2V

Front/Sub Rear

11 12

13 14

45.40 5 Channel Power Amplifier

Power Speaker Connector

Sub

L/F R/F

ChecK Control

L/R R/R

Check Control

Power Connector

+ Batt Remote GND

Sub+L/F R/F L/R R/R

Power Speaker Connector

CONNECTIONS / ANSCHLUSSE / CONNEXIONES /

COLLEGAMENTI / CONEXIONES

Sub+L/F R/F L/R R/R

SYSTEM CHART / SYSTEM-DIAGRAMM / EXEMPLES DE SYSTEME /

DIAGRAMMA DI SISTEMA / DIAGRAMA DEL SISTEMA

Head Unit

Pre Output

Front Left

system

Rear Left

system

Front Right

system

Power Amplifier 45.40

Rear Right

system

Subwoofer

III

TEORIA DE FUNCIONAMIENTO

AJUSTE DE FASE EN CONTINUO Efectos del desplazamiento de fase. La configuración de los filtros hipass, lowpass y band pass da lugar, como resultado inevitable, al desplazamiento de fase. Pero no nos extenderemos mucho sobre este tema, ya que ello sobrepasaría los límites de esta discusión. Será suficiente saber que toda red de crossover con efectos sobre la amplitud de la señal, tendrá también efectos sobre la fase. ¿Qué es la fase? Es la reacción de tiempo entre dos señales. Probablemente se habrán encontrado ya con este problema basilar al enlazar dos altavoces en un sistema estéreo. Si los dos altavoces no están en ”FASE”, el bajo en salida se reproduce solo parcialmente y el resultado obtenido es el de un sistema con un sonido “POBRE’. Si invertimos los hilos de uno de los altavoces subsanaremos el inconveniente, ya que se invierte la fase de la señal que va a ese altavoz. Este es un ejemplo de desplazamiento de fase de 180° entre dos altavoces de la misma sección (low pass): con el crossover podrán producirse desplazamientos de fase entre secciones, que parten desde 0° y cambian gradualmente a 360°. El desplazamiento de fase, originado por filtros crossover afecta a los puntos siguientes:

1) la habilidad del sistema

crossover/altavoces en reproducir la forma de la onda.

2) el achatamiento de la salida acústica

en combinación con dos o más altavoces.

3) el ángulo de radiación de la salida del

altavoz. Varios crossovers dan lugar a varias salidas con ángulos de radiación diferentes. A éstos, la salida combinada de más de un altavoz alcanza un máximo. La figura ilustra el concepto de ángulo de radiación. La variación de los ángulos de radiación se produce por un desplazamiento de la fase, que es sensible a las frecuencias en el punto de cruce. El concepto fundamental de elección de curva de un crossover y las características del corte quedan circunscritos en los puntos siguientes: a) considerar el sistema de altavoces b) efecto del desplazamiento de la fase del crossover y colocación de los altavoces respecto a la respuesta del sistema en frecuencia.

Alineación de fase del crossover y del altavoz: el modo que hace que un sistema de altavoces reproduzca minuciosamente la pulsación de una forma de onda, es el colocar los altavoces de tal modo que los frentes de onda lleguen a oidos del oyente en el mismo momento: el perfeccionamiento de esta característica se llama alineación de fase, o alineación de tiempo. La figura debiera ayudar a comprender mejor el concepto. El sonido viaja por el aire a una velocidad aproximada de 1100 pies/segundo, por lo que una distancia de unas 12 pulgadas equivale a un retraso de un milisegundo a 1000 Hz: si dos altavoces no están alineados, los frentes de onda llegan con retraso unos con respecto a otros. Este problema de la alineación de fase es peor a nivel de frecuencias de corte, porque todos los altavoces están contribuyendo a la salida acústica total del sistema y, por lo tanto, todo retraso entre fuentes (woofer, tweeter) crea una respuesta en frecuencia desequilibrada en la región alrededor de la frecuencia de corte. El modo más sencillo de limitar este problema es ajustar fisicamente la alineación vertical de los altavoces, hasta que sus centros acústicos queden alineados. Esta operación hace que la distancia entre altavoz y oyente sea igual para todos los altavoces y que todos tengan el mismo nivel acústico.

INTRODUCTION

The name of MACROM has always been the synonym of tradition, of a European acoustic and musical tradition in the pursue of the topmost sound quality and the fact that you chose to buy this product makes it clear that you due agree with us. With the help of this manual you will be able to maximise the enjoyment that you will get out of your new 45.40 Mono Amplifier. This amplifier incorporates many advanced technical features and performances. Therefore, it is essential that all signals sources, speakers and interconnection devices are of the highest sonic quality. We strongly recommend the use of MACROM head units, power amplifiers, speaker systems, high-quality interconnection cables and accessories, because the integration of all these products is very complex. We therefore advise that you have installed the 45.40 by your MACROM dealer.

This product has no user-adjustable controls; read this manual carefully in order to become well acquainted with all the special features and functions of your new MACROM 45.40. Do not hesitate to contact your MACROM dealer should you have any problem.

PRECAUTIONS

1. The unit may be damaged by wrong lead connection, therefore read carefully the

instructions of this manual for the correct connection of the leads.

2. The last lead to be connected is the one to the positive (+) terminal of the battery; connect

this lead only after having completed and checked all other connections.

3. Be sure to install the crossover in a position with good air circulation and good heat

dissipation.

4. In case of fuse replacement make sure to replace it with a fuse of the same amperage. If

fuses blow more than once, carefully check all electrical connections. Also have your car’s voltage regulator checked. Do not attempt to repair the unit yourself. If repairs are ever needed, take the unit to your MACROM dealer or to your nearest MACROM service station.

5. In order to get the best possible performance from this unit, make sure that the

temperature inside your car is within the range of -10° C and +60° C before you switch the unit on. Good air circulation is essential to prevent heat build-up inside the unit.

FEATURES

• FIVE-CHANNEL AMPLIFIER, 2CH FRONT, 2CH REAR ALONG WITH MONO SUB

• HIGH-PASS AND LOW-PASS CROSSOVER BY MEANS OF SWITCH

• THREE-POSITION FREQUENCY CUTOFF SELECTOR SWITCH

• CONTINUOUS ADJUSTMENT OF INPUT SENSITIVITY

• CONTINUOUS PHASE ADJUSTMENT OF THE SUB OUTPUT (WAVE ALIGNMENT)

• 4CH OR 2CH INPUT SELECTOR

• MOS-FET POWER SUPPLY WITH DUAL DC-DC CONVERTER

• “CHECK CONTROL” STATUS INDICATOR

• THREE PROTECTION DEVICES

• REMOTE ON AND OFF

• GOLD-PLATED RCA INPUT CONNECTIONS

• PROFESSIONAL GOLD-PLATED SCREW-TYPE SUPPLY TERMINALS

CONTROLS AND INDICATORS

2 Ch 4Ch

Mode

Flat 63 80Hz

50 80 120Hz

1 • FRONT/SUB INPUT CONNECTORS: Connect the pre-output leads of the head unit to the input connectors of the amplifier. This input will drive the end section of both the FRONT section and the SUB one.

2 • REAR INPUT CONNECTORS: Connect the pre-output leads of the head unit to the input connectors of the amplifier. This input will drive the end section of the REAR section.

3 • 4CH/2CH INPUT MODE SELECTOR:It allows to select the amplifier’s input configuration as follows: a) “4ch” - the operation of the five channels depends upon the connection

of the four input channels

b) “2ch” - utilize the FRONT/SUB inputs to drive the five channels by

means of two inputs only.

4 • FRONT CROSSOVER SELECTOR: Il allows to select the FRONT amplifier’s operation mode: a) “FLAT”: the FRONT amplifier reproduces the whole audio range on

grounds of the signal present at its input;

b) “63 Hz”: the High-Pass crossover is activated at 63 Hz to determine the

starting value of the high frequencies present at FRONT outputs;

c) “80 Hz”: the High-Pass crossover is activated at 80 Hz to determine

the starting value of the high frequencies present at FRONT outputs.

5 • FRONT INPUT GAIN ADJUSTMENT CONTROL: It allows to adjust input sensitivity to the FRONT section from 200 mV to 4 V.

6 • REAR CROSSOVER SELECTOR: It allows to select the REAR amplifier’s operation mode: a) “FLAT”: the REAR amplifier reproduces the whole audio range on

grounds of the signal present at its input;

b) “63 Hz”: the High-Pass crossover is activated at 63 Hz to determine the

starting value of the high frequencies present at REAR outputs;

c) “80 Hz”: the High-Pass crossover is activated at 80 Hz to determine

the starting value of the high frequencies present at REAR outputs.

7 • REAR INPUT GAIN ADJUSTMENT CONTROL: It allows to adjust input sensitivity to the REAR section from 200 mV to 4 V.

8 • SUB CROSSOVER SELECTOR: It allows to select the crossover frequency of the SUB amplifier: a) “50 Hz”: the Low-Pass crossover is activated at 50 Hz to determine the

end point of the low frequencies present at SUB output;

b) “80 Hz”: the Low-Pass crossover is activated at 80 Hz to determine the

end point of the low frequencies present at SUB output;

c) “120 Hz”: the Low-Pass crossover is activated at 120 Hz to determine

the end point of the low frequencies present at SUB output.

9 • SUB INPUT GAIN ADJUSTMENT CONTROL:

It allows to adjust input sensitivity to the Sub section from 200 mV to 4 V.

CONTROLS AND INDICATORS

Min. Max.

10 • SUB OUTPUT PHASE ADJUSTMENT: It allows the continuous phase adjustment in the region comprised between Min and Max of the SUB output compared to the FRONT and REAR outputs. The easiest way to determine the “Wave Alignment” is to use a third-of-octave sound analyzer. Utilize a CD with a pink noise track and position the microphone exactly at ear level in the driver’s seat. Adjust the Wave Alignment as follows: Turn the potentiometer of the “Wave alignment” until the crossover point between the SUB section and the other sections reaches the maximum value. The audio analyzer will display the maximum increase. If the same adjustment is to be made without the relevant instrument, one must rely on his own ears. Utilize again a CD with a pink noise track or a well known sound track. Turn the Wave Alignment potentiometer until low frequencies increase.

11 • SPEAKER CONNECTOR: Outputs for speaker connection. The amplifier allows to connect speakers with minimum 2-ohm impedance per channel. NOTE: No mono or mixed-mono bridge configuration is possible. Be sure to keep the right polarity and phase in connecting the speakers. Avoid any contact between poorly insulated wires and the car’s ground or metal pieces and between the wires themselves.

12 • BAT + CONNECTOR: to be connected directly to battery + by means of a fuse located close to the battery itself. Utilize a cable having an adequate section. Do not connect this cable to the car’s electrical system wiring (eg.: dome-light circuit, car radio etc.)

13 • GND CONNECTOR: connect the ground terminal to a clean base metal part of the vehicle chassis (if possibile, to an existing screw). Utilize a cable having an adequate section.

14 • REMOTE-ON CONNECTOR: to be connected either to the remote switch-on output lead or to the output lead of the power antenna coming from the head unit. As a resul, the 45.40 will be switched on and off simultaneously with the head unit.

15 • CHECK CONTROL LED: this led shows the amplifier’s status of operation : WHITE: the unit is off GREEN: the unit is working OK RED: the unit has entered the protection mode The 45.40 is equipped with three different protection devices: Overheating: in case of wrong installation the unit enters the protection mode before being damaged. As soon as the temperature returns to normal values, the unit resumes normal operation. Overload: if several speakers are connected to the amplifier and the total impedance decreases below the allowable threshold (0.5 - 1 ohm), the amplifier enters automatically the protection mode to avoid any damage. To restore normal operation the head unit has to be switched off and then on again. Output short circuit: in case of a short circuit at the speakers outputs, the unit enters the protection mode to avoid serious damage to the end stage transistors. Normal operation is restored by eliminating the short circuit and by switching on the head unit again.

TECHNICAL DATA

RMS Power measured at 12.5 Volts DC:

Total maximum power 450 Watts Front @ 1 kHz < 0.08 % THD into a 4 ohms load 2 x 45 Watts Rear @ 1 kHz < 0.08 % THD into a 4 ohms load 2 x 35 Watts Sub @ 50 Hz < 0.1 % THD into a 4 ohms load 1 x 80 Watts

Dynamic Power measured at 14.4 Volts DC:

Front @ 1 kHz < 0.1 % THD into a 4 ohms load 2 x 65 Watts Rear @ 1 kHz < 0.1 % THD into a 4 ohms load 2 x 50 Watts Sub @ 50 Hz < 0.1 % THD into a 4 ohms load 1 x 115 Watts

Front @ 1 kHz into a 2 ohms load 2 x 90 Watts Rear @ 1 kHz into a 2 ohms load 2 x 70 Watts Sub @ 50 Hz into a 2 ohms load 1 x 130 Watts

Crossover frequencies

High-Pass, Front/Rear Flat, 63 or 80 Hz Low-Pass, Sub 50, 80 or 120 Hz

Crossover slope 12 dB/Octave Frequency response ± 1 dB 10 - 50,000 Hz Total harmonic distortion 0.08% Signal-to-noise ratio (IHF A-weighted) > 100 dB Input sensitivity/Impedance at 12.5Volt DC 200-4000 mV/20 kohms Speakers’ impedance 2 ohms min Power supply 14.4 V DC (11-16 V allowed) Weight 3.5Kg Size 217(l) x 49(h) x 370(d) mm

Due to continuing improvement, the features and the design are subject to change without notice.

THEORY OF OPERATION

CONTINUOUS PHASE ADJUSTMENT The effects of phase shift. The unavoidable consequence of the configuration is the phase

shift, which we will not comment at length as it goes far beyond the boundaries of this discussion. It is enough to say that any crossover network affecting the signal amplitude also affects the phase. What is the phase? The phase is the time reaction between two signals. You probably encountered this basic problem in connecting two speakers to a stereo system. If the two speakers are “out of phase”, the bass frequencies are output only partially giving as a result a “LEAN” sound. On inverting the wires of one speaker the problem can be solved because the phase of the signal that goes to that speaker is inverted. This is an example for a phase shift of 180° between two speakers of the same section (low pass); with crossovers it is possible to have phase shifts also between different sections; they can reach from 0° and change gradually to 360°. Phase shift caused by crossover filters affects the following characteristics:

1) the ability of the crossover/speaker

system to reproduce the wave form

2) the flatness of the combined acoustic

output of two or more speakers (low and high)

3) the radiation angle of the speaker.

Various crossovers produce different outputs with different radiation angles where the combined output of several speakers reaches a peak. The figure explains the concept of radiation. The change of radiation angle is caused by the phase shift that is sensitive to the frequencies at the crossover point. The fundamental concepts for the choice of a crossover curve and of the cutoff characteristics are based upon the following: a) considerations about the speaker system b) the effect of the phase shift of the crossover and the positioning of the speakers with regard to the frequency response of the global system.

Phase alignment the crossover and the speaker: the best way to allow a speaker system to accurately reproduce the pulses of a wave pattern is the positioning of the speakers in such a way that the wave front coming from different sources reaches the ears of the listener in exactly the same time fraction; the improvement of this characteristic is called phase alignment or time alignment. This concept is better explained by the figure. Sound travels at a speed of approx. 1100 ft./sec. through air; therefore, a distance of 12 inches stands for a delay of one millisecond at 1000 Hz. If two speakers are not well aligned the waves forming the wave front reach the ear with a delay one with respect to the other. This problem in phase alignment is particularly acute in the near regions of the cutoff frequencies because all the speakers contribute to the overall output of the system; any delay between the sound sources (woofer, tweeter) gives as a result an unbalanced frequency response in the region around the cutoff frequency. The best way to minimize this problem is to physically correct the vertical alignment of the different speakers until the perfect alignment of their single acoustic center points is obtained. Due to this adjustment the distance between the speaker and the listener is the same for all the speakers within the system thus arranging them on the same acoustic level.

+ 21 hidden pages

Macrom 45.40 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual