User’s Manual UPTURNED T series
Upturned T
USER’S MANUAL
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TABLE OF CONTENTS
1. SAFETY pag. 3
2. GENERAL INFORMATION pag. 3
3. CLOSE-UP VIEW OF THE MODELS pag. 3
3.1 PSUT8TE and PSTU8AE
3.2 Loudspeaker mixed orientation: a careful study
3.3 PSUTBASE/A
3.4 PSUT1
3.5 PSUTS
4. OPERATING INSTRUCTIONS FOR UT ACTIVE STACK SYSTEMS pag. 6
4.1 Description of the elements in an active stack system
4.2 Composition of active stack systems
4.3 Array effect
4.4 High frequencies and spatial aliasing
4.5 Presetting
4.6 Concurrent use as stage fill and main P.A.
4.7 Live applications: considerations
4.8 Dierences between the UT 1_1 and 2_1 Active Stack systems
4.9 Summary table
5. USER’S GUIDE FOR UT PASSIVE SPEAKERS pag. 11
5.1 Amplification and limitation
5.2 PSUT1 and PSUTS systems with PS1000 amplifiers - operating instructions
5.3 ”External” presets
5.4 Connections
5.5 PSUT1 and PSUTS full-range connection
5.6 Installation of passive systems from a functional and acoustic point of view
5.7 Rigging accessories
5.8 Power cables - section/length table
5.9 High-Volt lines (100 V)
6. SYSTEM CONFIGURATIONS pag. 16
6.1 UT active stack configurations
6.2 UT passive configurations
6.3 PSUT1+PSUTS configurations
6.4 Surround configurations
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1. SAFETY
When using Peecker Sound speakers be aware of the safety standards
of your country. These professional audio systems can produce very high
sound pressure levels and must be used with caution. Hearing loss is
cumulative and can result from long periods of exposure to sound pressure
levels exceeding 90 dB. Never stand near electro acoustic speakers at high
volumes. For oor-installations, make sure that the foundation oor is level
and stable.
2. GENERAL INFORMATION
The Upturned T series consists of 5 models (and suited accessories) of
which an overview is given below.
Stackable Hybrid-dispersion Sound Column Top
PSUT8TE
PSUT8AE
PSUTBASE/A
PSUT1
PSUTS
The Upturned T series has a wide range of applications based on the
particular type of audio system under consideration.
The common denominator of the whole series is the use of full-range
loudspeakers, that is 4” transducers with Neodymium magnets suitable
for the entire frequency range from medium-low up to the highest range
of the audio spectrum. Even though they do not reach the same pressure
as horn-loaded compression drivers, full-range cone loudspeakers have
considerable advantages that become crucial at the acoustic pressure
levels of these speakers and for their recommended applications.
In this case, the human voice is reproduced through a single transducer
without the aid of a crossover, thereby achieving greater coherence, while
the whole medium frequencies range is reproduced more accurately
compared to a standard speaker using several small transducers instead
of a single, large loudspeaker (as in the case of typical 2-way systems with
comparable sound pressure).
These full-range loudspeakers are used for both PSUT8TE and PSUT8AE
column speakers (containing up to 8 of them), as well as for the “small”
PSUT1 (containing a single loudspeaker).
Element - RMS Power: 400 W - Musical Power: 800 W
Impedance: 16 Ohm - Max SPL (@ 1m): 129 dB - Max
SPL (@ 16m): 107 dB - Transducers: 8x4”, full range
Stackable Wide-dispersion Sound Column Additional
Element - RMS Power: 400 W - Musical Power: 800 W
Impedance: 16 Ohm - Max SPL (@ 1m): 128 dB - Max
SPL (@ 16m): 105 dB - Transducers: 8x4”, full range
Active Professional Subwoofer, base for 1 PSUT8TE or 1
PSUT8TE + 1PSUT8AE - Class D Digital Amplier Power
RMS: 800+800 W - DSP on board: 24 bit, 96 kHz (4
presets) - Max SPL (@ 1m): 132 dB
Transducers: 1x12”, neodymium magnet
Single Module for stacked clusters (up to 4 elements)
RMS Power: 50 W - Musical Power: 100 W
Impedance: 16 Ohm - Max SPL (@ 1m): 114 dB
Transducers: 1x4”, full range
High eciency ultra-compact Suspendable
Subwoofer - RMS Power: 160 W - Musical Power: 320 W
Impedance: 8 Ohm - Max SPL (@ 1m): 120 dB
Transducers: 2x6”
The PSUTBASE/A active subwoofer, with 12” reex loudspeaker and a
24 bit/96 kHz DSP is associated with PSUT8xx columns (this is how the two
PSUT8TE or PSUT8AE models are referred to in this text) forming compact
active systems that look like an upturned T.
PSUT8xx loudspeaker systems can be directly inserted on the active subwoofer
from which they receive the required power without any signal or power
cable. The quality and depth of the reproduced sound, the unique horizontal
sound coverage, the long throw typical of the arrays, plus user friendliness and
transportability are just some of the features that stand out with this active
stack solution.
The PSUT1 model is designed for ambient, diused sound texture and can be
combined with “its” PSUTS sub to obtain a higher sound pressure and punch
than other audio systems of similar size and target.
The compact PSUTS subwoofer (two 6” loudspeakers with reex coupling)
expands the frequency range covered by the PSUT1 towards the lower end,
creating various congurations (it is possible to stack various PSUT1s and
adjust them one by one) either with a single or a two-channel amplier.
3. CLOSE-UP VIEW OF THE MODELS
3.1 PSUT8TE and PSUT8AE
Sound columns, composed of 8 x 4” full-range loudspeakers with Neodymium
magnet. The impedance of each element is 16 Ohm. They come with
sturdy buttery hinges and electric connectors for direct assembly in stack
congurations. In fact, these speakers can be hooked up together and/or to
a PSUTBASE/A active subwoofer (gure 5 and 6) so that they can receive and
transmit the audio power without using a cable.
The rst column, PSUT8TE (Top Element), is always at the top of the stack (max.
4 PSUT8xx) while the second one, PSUT8AE (Additional Element), is used as an
intermediate element, as explained below:
PSUT8TE TOP ELEMENT passive column speaker with hooks and direct contact
input plug positioned on the bottom to receive power from the
elements underneath it;
PSUT8AE ADDITIONAL ELEMENT passive column speaker with hooks and direct
contact input plug positioned on the bottom and output socket on
the top, to receive power from the element underneath and transfer it
to the one above.
The maximum performance of PSUT8AE and PSUT8TE column speakers
is obtained with active stacks formed by directly inserting them into a
PSUTBASE/A active subwoofer.
This system is extremely musical and tonally balanced and the only
connections are power cords and signal cables in the sub at the “base” of the
column that looks as an upturned T.
Figure 1. Right hand side: PSUT8TE - left hand side: PSUT8AE, design drawings
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3.2 Loudspeakers mixed orientation: a careful study
The 8 loudspeakers in PSUT8xx sound column can be arranged - two by two
- at four dierent angles (from the bottom: 30°, 20°, 10° and 0° as compared
to the front axle) in the PSUT8TE version and at two dierent angles (from the
bottom: 30°, 20°, 30°, 20°) in the PSUT8AE version.
The orientation of the transducers was tested by means of detailed simulations
starting from the measurements of the individual speaker polarity. These tests
were carried out in the R&D lab of Sound Corporation. The purpose of the
mixed loudspeakers orientation was to obtain the widest possible horizontal
dispersion angle whilst maintaining maximum timbre homogeneity within
this angle. This requires, for instance, that individual loudspeakers’ emission
beams should become as complementary as possible at high frequencies
in order to limit the spatial aliasing problem due to the interaction between
adjacent loudspeakers (see “High frequencies and spatial aliasing” – Section 4.4).
As the centre of rotation of each individual loudspeaker, the Sound Corporation
engineers selected the centre of the polar response measurement for which
the smallest phase variations occurred when changing the angle at mediumhigh frequencies.
Due to the dierent orientation of the two versions (PSUT8AE and PSUT8TE),
most of the loudspeakers in a stack conguration will be directed in pairs at
alternating angles of 20° and 30° up to the last two sets whose angles are 10°
and 0° (gure 2). So, a more acute angle is formed for the loudspeakers at the
top only, as they are to generate the strongest pressure component (at high
frequencies > 5 kHz) on listeners standing at a distance, whose viewing angle
“on the source” is narrow.
Conversely, listeners standing close-by will have wider average “viewing angles”
and prevalently perceive the sound from the intermediate loudspeakers,
for which reason they are also set to a wider angle (gure 2). Focusing high
frequencies to reach audience at distance through a smaller angle will lessen
sound absorption and dissipation occurring over long distances.
The following pictures (gure 3 and 4) show a simulation of a PSUT8AE
model obtained from the directivity measurements of the individual
loudspeakers in the octave of the 6 kHz: the rst curve represents a
hypothetical column with all the loudspeakers facing the front (in-line
arrangement), the second curve represents the PSUT8AE model with its
typical sound beam distribution. The latter also shows how the lobes of
the vertical polar pattern (blue line) are rounded and less intense while
the horizontal polar pattern (red line) is signicantly wider and more
homogeneous.
Figure 3. Horizontal (red line) and vertical (blue line) polar patterns of
a hypothetical PSUT8xx model with all the loudspeakers
directed towards the front (in-line arrangement, 0°)
Figure 2. The loudspeakers at the bottom have a wider horizontal sound beam (blue in the
figure) and thus ensure adequate coverage for both musicians and the first rows of the
audience. The loudspeakers at the top - more aligned - will cover listeners at the far end,
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thanks to a narrower horizontal angle.
Figure 4. Horizontal (red line) and vertical (blue line) polar pattern of
a PSUT8AE model with the real arrangement of the loudspeakers’ angles
as designed and set up by Peecker Sound engineers
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3.3 PSUTBASE/A
The active subwoofer PSUTBASE/A with 12” reex loudspeaker with
Neodymium magnet was purposely designed for the formation of active
stack systems with PSUT8xx column elements (gure 6).
A plug-in socket and buttery hinges are provided on the top in order to
accommodate various column elements.
It has a powerful DSP (24 bit/96 kHz) on board on a stereo amplier with
800+800 W switching technology, one channel of which is used to pilot
the column elements above it. The internal DSP has 4 standard default
presets for each of the possible active stack congurations and the desired
timbre (see paragraph 4.9).
Figure 5. PSUTBASE/A, back and front view
3.4 PSUT1
The PSUT1 is a small loudspeaker system tted with one single 4” full-range
transducer with Neodymium magnet and 16 Ohm impedance.
It was designed for xed installations, for diused sound reinforcement in stores,
coee lounges, museums and exhibitions. However, it is also very suitable
for touring events such as audio installations for musical performances (the
concept of many small speakers is highly tting for spacial sound applications
with multi-channel technologies).
A number of PSUT1 can be screwed to each other to form clusters of up to 4
elements that can be dierently directed individually by means of an optional,
special accessory (STD-PSUT124). Alternatively they can be wall-mounted to
the desired angle by means of the STD-WUT1 swivelling bracket. All the PSUT1
units are protected from low frequencies by a passive high-pass lter. Use of
classic spring connectors (red/black) ensures fast and easy wiring.
Figure 7. PSUT1 “one-module” micro-loudspeaker system
Figure 6. PSUTBASE/A with PSUT8TE column hooked on top
of PSUT8-ST70 stand holder (active stack)
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Figure 8. Two clusters consisting of 2 and 4 PSUT1 modules respectively,
complete with wall-mounting accessories
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3.5 PSUTS
This subwoofer has two 6” reex coupling loudspeakers and 8 Ohm overall
impedance. PSUTS subs are used together with a variable number of PSUT1
modules and can be installed both on the oor or on the wall (better if close
to the ceiling) by means of dedicated accessories. It is also possible to screw a
PSUT1 speaker or a cluster of them directly on a PSUTS.
PSUTS subwoofers have an internal high-pass lter (12 dB per octave) and can
be parallel connected to PSUT1 satellites through the same amplier channel
to form a single full-range system, duly “crossed” and perfectly tuned in the
crossover band (centred on 160 Hz).
Figure 9. PSUTS dual subwoofer
4. OPERATING INSTRUCTIONS FOR UT ACTIVE STACK SYSTEMS
4.1 Description of the elements in an active stack
We have already covered the application of the PSUTBASE/A subwoofer
and PSUT8TE - PSUT8AE column speakers for floor-standing, compact,
active systems configurations (more commonly known as active stack
systems) in paragraphs 3.1 and 3.2.
The UT active stack systems are made from four basic elements:
PSUTBASE/A Active subwoofer with butterfly hinges and
direct-contact output socket on the top for power
feeding to the module above
PSUT8-ST70 Extension element with direct-contact input plug on
the bottom and output socket on the top for feeding
power from the lower element to the upper one
PSUT8AE “ADDITIONAL ELEMENT” passive sound column with
direct-contact input plug on the bottom and output
socket on the top, to receive power from the lower
element and feed it to the module above
PSUT8TE “TOP ELEMENT” passive sound column with butterfly
hinges and direct-contact input plug on the bottom,
to receive power from the lower element
4.2 Composition of active stack systems
UT Active Stack 1_1_mono systems (where “1_1” stands for 1 column
speaker and 1 active subwoofer) are composed of 1 PSUTBASE/A +
1 PSUT8-ST70 + 1 PSUT8TE.
This system can be doubled to obtain a traditional left/right conguration
called UT Active Stack 1_1_stereo.
Figure 10. PSUTS systems with a “C” (STD-PSUTS)
wall-mounting bracket and 2 screwed-on PSUT1s
UT Active Stack 2_1_mono systems (where “2_1” stands for 2 column
speakers + 1 active subwoofer) are composed of 1 PSUTBASE/A +
1 PSUT8AE + 1 PSUT8TE.
The system can be doubled to obtain a traditional left/right conguration
called UT Active Stack 2_1_stereo.
Figure 11. Installation of the basic Active Stack 1_1 system
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Figure 12. Installation of the Active Stack 2_1 system
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4.3 Array effect
UT Active Stack systems fall under the loudspeakers array category.
However, they dier from the classical professional modular arrays in
the fact that they are compact, straight and strictly vertical; as such, they
produce a sound beam that is directed vertically with extreme precision.
Up to a certain distance depending on the frequency, these arrays
produce a sound decay of only 3 dB per doubled distance (cylindrical
waves) as against 6 dB for standard point sources (spherical waves). The
separation distance between the near eld (cylindrical waves) and the far
eld (spherical waves) can be calculated using the following formula:
where L is the length of the linear array, λ and f are the length of the wave
and frequency, and c is the speed of sound.
As already mentioned sound starts to spherically decay, just like a
punctual source, as the target distance is greater than d (6 dB per double
distance, in fact). However, the array eect still occurs, taking the form of
a pronounced vertical directivity, which also depends on the frequency.
When the frequency increases, the separation distance between the two
phenomena increases. Thus, the sound pressure decay decreases and the
beam of vertical dispersion in the far eld is reduced.
To conrm this theory, the directivity balloons are shown below
(simulated in the far eld starting from the directivity balloons measured
on the individual loudspeakers) for a PSUT8TE element at 250 and 1000
Hz frequencies: at 1000 Hz, the vertical array is much more directed (see
gures 13 and 14).
Note: the resulting strong directivity requires a very accurate use of the active
stack systems that are highly suitable for any location with a limited vertical
beam (for example, at-oor or slightly lowered audience stalls), but not for
traditional opera houses, for instance, where the stage layout requires a wide
vertical coverage. Listeners should always be in the “slice of space” edged by
the vertical extension of the array.
The debate on the border between near and far eld shows how sound
pressure decay, on the axis of a linear array, becomes weaker when the
frequency increases (a longer near eld - where sound decays by only 3 dB per
double the distance - occurs). This generally involves an excess of mid-high
frequencies at long distances from the audio systems, but also an excellent
intelligibility of speech and singing at a distance and a high ratio of the
direct-to-reverberant eld due to strong vertical directivity.
4.4 High frequencies and spatial aliasing
The situation we described is merely a model of a continuous, linear sources
distribution, while in real conditions the PSUT8xx models, like any real array,
have discrete sources streaming by a certain step, or central distance, that in
this case is equal to 120 mm. Above a certain frequency, a deviation occurs
from the ideal behaviour of an array. This is represented by a “sound colour”
that is a function of the space, in the near eld (due to mutual loudspeaker
cancellations in points where a destructive interference prevails) and by the
presence of undesired lobes in lateral directions (upward and downward), in
the far eld.
The following formula shows the minimum frequency above which this
phenomenon occurs:
Figure 13. Directivity balloon (simulated in the far field starting from the directivity
balloons measured on the individual loudspeakers) for a PSUT8TE element at 250 Hz.
The array is positioned vertically, i.e. directed along the blue axis
where C is the speed of sound, Δx is the value of the central distance and
sin φ is the sine of the angle between the listener and the farthest loudspeaker;
this angle is 0° for listeners along the array axis at an innite distance and
approximately 30° for listeners at 2 meters from the sound column, on axis.
In this case, the minimum aliasing frequency is of approximately 3 kHz, at 2
meters, and rapidly increases as the distance scales up (thus narrowing the
frequency range aected by the aliasing).
The pronounced directivity of each loudspeaker at high frequencies further
reduces the spatial aliasing phenomenon. Furthermore, the orientation
of the mixed cone loudspeakers typical of the PSUT8xx models boosts this
benet even more: a listener who moves on the horizontal plane, will always
approach the axis of a single loudspeaker at a time and at high frequencies
the individual contribution of the relevant loudspeaker is predominant, thus
limiting the interaction of loudspeakers and, consequently, the aliasing eect.
Therefore, the mixed orientation of the loudspeakers widens the horizontal
dispersion beam at high frequencies and lessens the problems of interaction
between the loudspeakers, but does not optimize the array eect in that area
of the spectrum which would be quite unrealistic, considering that, at highfrequencies, transducers no longer have the precision phase they normally
display at midrange frequencies. This involves a deviation from the theoretical
behaviour of a line array.
Additionally, high frequencies are considerably “restrained” by the presence of
obstacles, the audience rst and foremost. This is why, as already mentioned,
the audience in the last rows will hear the high frequencies especially from the
loudspeakers positioned in the top part of the column. This explains why, in
a real-life situation, high frequencies are subject to a strong attenuation over
distance - due to audience absorption and air dissipation -, while for an ideal
(continuous) array these frequencies would spread more eciently in a free
eld as compared to the rest of the spectrum.
Figure 14. Directivity balloon (simulated in the far field starting from the directivity
balloons measured on the individual speakers) for an element at 1000 Hz.
The array is positioned vertically, i.e. directed along the blue axis
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The theory of arrays combined with the analysis of high frequency behaviours
leads to the validated assumption of a slight shortfall in low and very high
frequencies at considerable distances in response to active stack systems,
while the midrange frequencies are eciently spread. For this reason the
default settings should be used (selecting between short throw and long
throw on the rear panel of the PSUTBASE/A), allowing the user to handle the
problem by deciding whether to optimize the near or far frequency response.
See more in the following paragraph.
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4.5 Presetting
There are two buttons on the back panel of the PSUTBASE/A to select any of
the 4 default presets for dierent systems or situations.
The “A” switch is used to select the right equalization for the conguration of
the system being operated (UT Active Stack 1_1 system or UT Active Stack 2_1
system). See gure 15.
The “B” switch is used to select between two dierent timbres for both systems
(with 1 or 2 PSUT8xx), thereby introducing a dedicated timbre for the particular
system selected with the “A” switch.
For both systems, the near throw results in a transfer function optimized at
7 meters while the long throw transfer function is optimized at 14 metres.
Normally, the rst setting gives a more balanced response in an area up to 10
metres, while the second one is best selected for areas from 10 to 20 metres.
These timbres can also be selected for dierent reasons, such as the type of
music or personal taste, for example. In particular, the timbre produced by the
long throw setting could be used for both distant optimization and at close
range to obtain a loudness eect, when playing music at low volumes or for
dance music reproduction. See gure 16.
Figure 15. This chart shows the frequency response (distance of 5 meters in a closed
environment, with the microphone at a height of 1.6 meters) for two systems:
1) Active Stack 1_1, with the correct presetting (for 1 PSUT8xx) and
the incorrect one (for 2 PSUT8xx), respectively the green and the red curve;
2) Active Stack 2_1, with the correct presetting (for 2 PSUT8xx) and
the incorrect one (for 1 PSUT8xx), respectively the black and blue line.
Please note the importance of selecting the correct presetting
for a balanced frequency response (green and black curves)
4.6 Concurrent use as stage ll and main P.A.
UT Active Stack systems are perfect for simultaneous use as a main P.A. and
stage ll and can be installed at the back of the musical performance to
cover the areas used by the artists and the front audience stalls.
Its main features are: the particular horizontal coverage of the sound
eld created by the UT Active Stack systems (allowing coverage of the
performers in an angled position too); a blander sound decay over
distance as compared to the standard point source (due to the vertical
array conguration that generates adequate sound pressure levels on
the stalls without forcing excessively high levels on stage) and a perfect
response of the transducers without excessive resonances (making
them extremely “resistant” to the Larsen eect generally triggered by the
microphones on the stage).
The PSUT8xx loudspeakers and the PSUTBASE/A self-powered subwoofer
are therefore perfect for medium/small clubs where live music is played
without the necessary facilities to ensure good listening both on stage
and for the public, that is any situation in which there are no on-stage
monitoring systems or sound engineers to handle them. A single 1_1 or
2_1 system placed at the back of the stage allows the artists to manage
sound, knowing that the sound will be the same as that heard by the
audience. This is especially true during jam sessions, which frequently take
place without an external p.a. manager. In such cases, this is a winning
solution, providing consistently high quality (a good sound to the artists
improves their performance) and an extremely user-friendly installation
(the system is extremely portable and can be quickly uninstalled, to be
used again as required).
We would like to stress that, for live music, the separate use of the twochannel stereo is purely related to marginal considerations about the
eects. This system does not perform a sound-related spatial function as
for home Hi-Fi reproduced sound (listening from a precise point at the
same distance from two L and R loudspeaker systems), hence having
a single sound emission point represents no drawback, especially for
small-scale live situations. One single sound point covering the entire
room is actually rather convenient for places where only two cables are
available and usually very short ones: high quality sound that is clear and
well-spread right to the back of the venue can be obtained by adding to
the active stack systems a small professional mixer with incorporated ambient
eects.
Two active stacks (sub + sound columns) are only required when the
sound coverage provided by a single one is not enough (all the technical
details are explained in the table below).
Regardless of these considerations, UT Active Stack systems can obviously
be positioned at the front of the stage and used in a traditional left/right
conguration.
Figure 16. This chart shows the frequency response (distance of 5 meters
in a closed environment, with the microphone at a height of 1.6 meters)
with the near and long throw presetting, respectively the blue and the red curve
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4.7 Live applications: considerations
Upturned T active stack systems are perfect for acoustic live performances
where they provide an excellent performance/dimensions ratio.
The timbre and the dynamics of active stack systems are highly satisfactory
for acoustic guitar amplication, producing a vivid, authentic sound
and excellent feedback to the performer. The same applies to acoustic
bass or contrabass (which will not require any bulky dedicated amp).
Amplication of the human voice is strong and clear and is particularly
resistant to the Larsen eect.
Active stack systems are also recommended for live sound reinforcement
in small indoor venues. In this case, as usual, the sound of guitars and
electric bass guitars will come from the single ampliers while the active
stack system will be used for the amplication of voices (and - why not?
- for bass drum reinforcement). This conguration can once again be
placed behind the performer and thus act as a monitor as well.
4.8 Differences between the UT 1_1 and 2_1
Active Stack systems
As explained in paragraph 3.2, the Active Stack 2_1 system has a longer
range as compared to “half-length systems” (Active Stack 1_1).
This is due to the greater extension of the array (and therefore greater indepth penetration of the array eect at lower frequencies) as well as to the
higher position of the topmost loudspeakers.
The 2_1 system has more loudspeakers angled at 20 ° and 30 ° and thus the
horizontal dispersion is greater in the near-eld. Furthermore, the sound
beam generated by this system in the near eld is wider vertically and
allows a greater homogeneity of sound at dierent heights (e.g. between
sitting and standing audience).
The 1_1 system, on the other hand, is best for an audience that is not sitting
very close to the systems, for standing audiences that are not crowded over
very large areas or do not need high peaks of the medium-low frequencies.
1_1 systems are suitable for creating a small portable dance oor, for example,
since the required punch for dance music is supplied by the subwoofer and
the PSUT8TE column element is more than adequate for the rest of the signal
spectrum.
For a larger system, we recommend doubling this installation, rather, i.e. using
the Active Stack 1_1_stereo system.
For a small stage with monitors and P.A.s for “acoustic” music and where the
size of the audience stall is not excessive, a 1_1 system is just as performing (all
the technical details are explained in the table on the right).
For this reason, we recommend the use of Active Stack2_1 systems
when the audience sits near the sound systems, when the stalls are
sloping, when the audience is partly seated and partly standing as
well as when there is a crowded standing audience and a need for a
deep penetration of the high frequencies.
The 2_1 system additionally reaches a higher peak pressure (greater
“dynamic”) on the medium-low frequencies (150 Hz - 300 Hz) due to the
coupling of twice the number of transducers (+ 4-5 dB), which is always
useful but especially in cases of music with a strong element of percussion.
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4.9 Summary table
The following table refers to the use of active stacks.
SYSTEM APPLICATION AND USE
A) Placed at the back of the stage
(works as both a monitor and a P.A.)
Jazz/Unplugged music/Jam session
UT Active Stack
1_1_mono
UT Active Stack
1_1 stereo
Rock/Blues indoor
(only voice amplication)
B) Placed at the front of the stage
(main P.A.)
C) Portable system for deejays
and entertainers
A) Placed at the back of the stage
(works as both a monitor and a P.A.)
Jazz/Unplugged music/Jam session
B) Placed at the front of the stage
(main P.A.)
Jazz/Unplugged music
Rock/Blues indoor
COVERAGE
AND DISTANCE
Stage width:
4-5 m
Maximum distance of
the furthest listener:
16 m
/ Strictly not recommended
40 sqm Position in a corner of a square dance oor and direct at 45°
Stage width:
7-8 m
Maximum distance of
the furthest listener:
24 m
Maximum distance of
the furthest listener:
24 m
REMARKS
A slightly angled and o-centred position can optimize the stage
coverage.
Dedicated ampliers for acoustic bass/contrabass are not required
Join up the tracking directions, possibly cross them in the middle of
the room until a correct coverage of the stage is obtained.
Dedicated ampliers for acoustic bass/double bass are not required
Evaluate the tracking directions based on the width of the audience
stall. Lower front-ll requirement as compared to standard systems
UT Active Stack
2_1_mono
UT Active Stack
2_1_stereo
C) Portable system for deejays
and entertainers
A) Placed at the back of the stage
(works as both a monitor and a P.A.)
Jazz/Unplugged music /Jam session
Rock/Blues indoor
(only voice amplication)
B) Placed at the front of the stage
(main P.A.)
A) Placed at the back of the stage
(works as both a monitor and a P.A.)
Jazz/Unplugged music/Jam session
B) Placed at the front of the stage
(main P.A.)
Jazz/Unplugged music
Rock/Blues indoor
80 sqm Position in a corner of a square dance oor and direct at 45°
A slightly angled and o-centred position can optimize coverage of
Stage width:
5-6 m
Maximum distance of
the furthest listener:
24 m
/ Strictly not recommended
Stage width:
8-10 m
Maximum distance of
the furthest listener:
32 m
Stage width:
9-12 m
Maximum distance of
the furthest listener:
32 m
the stage.
Dedicated ampliers for acoustic bass/double bass are not required.
As compared to the Active Stack 1_1_mono:
- increased range, especially with a large standing audience;
- better listening for musicians in near and lateral positions (i.e. drums);
- vertically more extended sound eld (musicians sitting
and/or sloping audience stalls);
- increased medium-low frequency dynamics.
Join up the tracking directions, possibly cross them in the middle of
the room until a correct coverage of the stage is obtained.
Advantages as compared to the Active Stack 1_1_stereo:
- increased range, especially with a large standing audience;
- better listening for musicians in near and lateral positions (i.e. drums);
- vertically more extended sound eld (musicians sitting
and/or sloping audience stalls);
- increased medium-low frequencies dynamics.
Evaluate the tracking direction based on the width of the audience
stall. Lower front-ll requirement as compared to standard systems.
Advantages as compared to Active Stack 1_1_stereo:
- increased range, especially with a large standing audience;
- vertically more extended sound eld (public sitting and sloping
audience stalls);
- increased medium-low frequencies dynamics.
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5. USER’S GUIDE FOR UT PASSIVE SPEAKERS
The PSUT8TE, PSUT8AE, PSUT1 and PSUTS passive loudspeaker
systems are designed to perform properly even in the absence of external
processors. However, the use of a processor is useful in all cases where
there is a need to protect the loudspeaker systems and boost their
performance to the full as well as provide high sound quality. Managing
the amplier inlet voltage is very important to avoid damaging the passive
components with excessively powerful signals or signals that are not
suitable for acoustic transducers. How and why this is done, is explained in
the following paragraph.
On the other hand, it is impossible to protect the speakers from harmful
phenomena originating from within the amplier by acting on the
incoming audio signal to the amplier. If a malfunction of the amplier
generates DC or very low frequency voltage current, this could be harmful
to the transducer regardless of the input signal. Similarly, the transducers
can be damaged by high voltage peaks due to switching ON or OFF
devices located upstream of the ampliers, with the amplication ON. In
fact, when powering an electro acoustic system, it is important to switch
on the ampliers only after the mixer and the control electronics have been
turned on and power supply has stabilized. When turning o the system,
the reverse sequence should be carried out by rst turning o the power
ampliers.
Therefore, we recommend that you protect the inlet signal, control and
maintain the audio system and comply with the correct on/o sequence
of all devices in the audio chain.
5.1 Amplication and limitations
Please note that with standard music signals, where the crest factor (dierence
between the peak power and RMS) usually averages around 9 dB, the use of
over-sized ampliers (even twice the nominal power handling supported by
the speakers) duly piloted without “clip” and without heavy anti-clip limitations
is sucient to protect the transducers, ensuring safe use and enhancing their
dynamic qualities to the full.
Please Note: this approach does not protect the transducers from general
audio signals and signals with low crest factors such as pure tones (e.g.
prolonged Larsen eects) that can cause excessive RMS voltage and burn out
the transducers.
For congurations involving the use of Peecker Sound external processors and
ampliers, the specic presettings with the required limitations are provided
(see System conguration section of the Upturned T series). For congurations
with the PS1000 amplier, the anti-clip limiter onboard the amplier must be
activated and a number of basic instructions must be followed at all times.
If dierent ampliers are used, users are responsible for complying with the
foregoing provisions and may contact Sound Corporation service sta for
assistance at any time.
5.2 PSUT1 and PSUTS systems with PS1000 ampliers.
Operating instructions
The full-range congurations formed by PSUT1 and PSUTS speakers can
be correctly driven by using a PS1000 amplier (see paragraph 6: “System
congurations”). Use of a processor is not normally required for this type of
conguration. Therefore, no specic protections are available against failures/
damages to the transducers. The PS1000 model provides 450 W per channel
on 4 Ohm, and 280 W per channel on 8 Ohm, which is duly over-sized for
piloting all the congurations in the table below (see paragraph 5.6).
In most cases, too much power can damage the transducer coil by
generating excessive temperatures (high RMS power over an extended
period), and/or, more rarely, break the mechanical part of the loudspeaker
(diaphragms, suspensions). Furthermore, frequencies below the reex
tuning frequency – for speakers built with this kind of design – could
cause excessive and unnecessary excursions in the loudspeaker cone
and damage it as a result. So, external processors capable of cutting and
limiting the frequency are always recommended to protect the woofers
and optimize their eciency.
It is the user’s responsibility not to feed into a passive speaker signals likely
to damage the transducers. For this purpose, we recommend the use of
Peecker Sound PS266 digital processor or PSDSP series ampliers with
DSP on board.
The purpose of using ampliers and limiters of the correct size is so that
passive speakers can achieve the maximum performance without the risk
of damage. For maximum performance, or for maximum transducers’ yield
at the peak of the signal, a good rule of thumb is to use a double-power
amplier channel (so-called “oversized”) as compared to the admissible
RMS power for transducers. To protect the coil of the transducer, a limiter
is required to prevent exceeding RMS power for long periods of time.
In general, an amplier with lower power than that one accepted by
loudspeakers (“undersized” amplier) will not provide protection to the
transducers unless there is electronic limitation. Even an undersized
amplier can in fact reach the clip or the “squared” (or “shearing”) of the
output signal, if the input signals are excessively high - consequently,
the power delivered is higher compared to the nominal rating of the
amplier and undesirable time intervals characterized by direct voltage
occur; these eects are particularly harmful to acoustic transducers. These
fatal conditions for transducers are paradoxically more likely to happen
with small ampliers, since a user who prefers quantity over quality will
unconsciously try to drive them beyond their capacity, because of the
reduced power output in normal conditions, causing the clip and the
above-mentioned conditions. The problem becomes less signicant
with the presence of anti-clip internal ampliers, such as Peecker Sound
PS1000 (see paragraph 5.2). To get the most dynamic performance, as
explained above, we recommend using over-sized ampliers with limited
input by means of the limiting functions of the external processor.
The anti-clip function available on PS1000 ampliers will protect the system
against any distorted signals. However, it is important to maintain the signal
so that the red light of the clip will only turn on once in awhile. Note that the
clip signal is a precautionary device designed to activate as soon as the signal
falls slightly below the real clip - so it will activate even if an anti-clip limiter is
installed. Any incorrect use with excessively high input signals will repeatedly
and continuously activate the anti-clip, generating low quality sound, weak
dynamics, as well as causing overly strong RMS on the PSUT1 loudspeaker or
excessive excursion of the PSUTS, with potential breakdown.
We recommend using PS1000 ampliers with the limiting function activated
at all times but within its linear range so as to keep good music quality and
protect the transducers at the same time.
Furthermore, PSUT1 and PSUTS loudspeakers, when combined with PS1000,
are not protected from stationary audio signals and at a low peak values such
as pure tones arising from prolonged Larsen eect.
5.3 “Exterenal” presets
For congurations involving the use of Peecker Sound external processors
and ampliers, the specic presettings are provided by the factory together
with their reference limits. These default settings can be downloaded from
www.peeckersound.com and are also found in the sections dealing with
System congurations of the Upturned T series.
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5.4 Connections
• PSUT8xx
PSUT8TE and PSUT8AE sound columns have a direct-contact plug on the bottom
– the PSUT8AE also has a socket at the top – for use in stacked system installations.
The passive versions of these columns (that is without the active subwoofer
PSUTBASE/A) can be connected to an amplier through a 4-pole SpeakOn
connector (full-range signal on pins 1+ and 1-) using the PSUT8-AC accessory. The
PSUT8-AC accessory consists of a wooden base equipped with buttery hooks
and output socket for direct connection to the bottom face of the lowest PSUT8xx
element in the stack; it can be also installed on a oor stand and acts as an adapter
thanks to a SpeakOn “female” socket on the rear side (see gures 17 and 18)
.
Figure 19. Connections between PSUT1 and PSUTS.
2 PSUT1 in series (left), 2 PSUT1 in parallel (right)
5.5 PSUT1 and PSUTS full-range connection
As an amplier designed for operating loads of no less than 4 Ohm is highly
likely to be used, we list below the possible connections for using PSUT1
and PSUTS in full-range (a single amplier channel for sub and satellite) to
obtain a good frequency response (depending on the geometry of the
installation) without creating nominal loads below 4 Ohm.
Figure 17. PSUT8-AC accessory, base for PSUT8xx models,
with SpeakOn female connector
Due to the presence of passive lters, it would be incorrect to calculate
the parallel impedance of PSUTS and PSUT1 simply as in the case of two
parallel resistors (because we would underestimate it).
Figure 18. PSUT8TE positioning on stand holder
using PSUT8-AC accessory
• PSUT1 and PSUTS
The PSUT1 micro-speakers and the PSUTS subwoofer can be connected
- through a set of two standard red/black spring clamps - by inserting the
speaker cable without use of any connector. The PSUTS subwoofer has two
sets of clamps internally wired together to allow for easy parallel connection
of another sub and/or a system made up of several PSUT1 micro-speakers.
The PSUT1 satellite has only one set of spring connectors to be also used for
multiple connections (as shown in gure 19).
The following list of connections is therefore based on the real impedance
measured for the systems assembled as stated. Here, we refer to a single
- left, right or mono - amplier channel (with a stereo amplier the related
stereo congurations can be obtained by using double the number of
speakers).
Number of PSUTS
and type of connection
0 UP TO 4 IN PARALLEL
1 1
1 2 IN SERIES
1 2 IN PARALLEL
2 IN PARALLEL
Please Note: all the PSUTSs and PSUT1s are always connected in parallel
using the dual connectors supplied with PSUTS subwoofer.
As shown by the table, congurations with a concurrent presence of (even
just) one subwoofer and more than 2 satellites - connected in parallel - on
the same amplier channel are not admissible.
When using bi-amplication, on the other hand, it is possible to connect
up to 4 PSUT1 satellites in parallel to one amplier channel (single load
= 16 Ohm) and up to 2 PSUTS subwoofers on the other channel (single
load = 8 Ohm). Bi-amplication requires the use of a processor in order
to separate the frequencies (crossover), limiting the signal and providing
sound optimization.
For stereo congurations, Peecker Sound PS650-F 4-channel amplier
with PS266 processor or a set of two Peecker Sound PSDSP series
ampliers can be used (see paragraph 6: “System congurations”).
Number of PSUT1
and type of connection
4 WITH A MIXED PARALLEL AND
SERIES CONNECTION
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5.6 Installation of passive systems from a functional and
acoustic point of view
• PSUT8TE e PSUT8AE
Besides forming active stack congurations together with the active
PSUTBASE/A subwoofer, the PSUT8TE and PSUT8AE column speakers can
be installed, single or in a stack, without any subwoofer and powered by
external ampliers. For this passive application, please revert to the general
description of the PSUT8TE and PSUT8AE speakers under paragraph 3.1.
Passive applications require use of a PSUT8-AC unit and dedicated wallmounting accessories if needed (as shown in paragraph 5.4).
Up to 4 column elements (3 PSUT8AE + 1 PSUT8TE) can be stacked (direct
connection, total impedance of 4 Ohm) and powered with a single amplier
channel of suitable capacity (see paragraph 6: “System congurations”).
The UT series passive column speakers are perfect for speech or
background music reproduction in conference rooms, exhibition halls or
places of worship. Thanks to the strong vertical connement of the sound,
a single cluster conguration (max. 4 elements) is perfect for creating
sound texture in acoustically dicult environments or places where the
audience layout is on dierent levels.
For wall-mounted stacks a dedicated C-shaped support is required for
joining two PSUT8xx elements, which is included in all STD-WUT8 wall
bracket packages. In this conguration, the PSUT8-AC converter must be
hooked to the lowest element for SpeakOn connection (see paragraph
5.4). The system can be vertically tilted up to a certain angle depending on
the length of the stack (gure 20).
Sound applications in larger venues with the audience layout on a at
surface may require the use of several sound points made up of individual
PSUT8TE elements. In this case, each point must be equipped with one
PSUT8-AC unit for SpeakOn connection and one STD-WUT8 unit for wall
mounting (see paragraph 5.7 for a description of all rigging accessories).
• PSUT1 e PSUTS
The following list of concepts represents the basic guideline as far as choice,
positioning and connection of PSUT1 and PSUTS systems are concerned.
The following text is always referred to a single amplier channel: left, right
or mono (if a stereo amplier is available, stereo congurations can be
obtained by doubling the number of the speakers).
All the congurations listed below are designed with the sub on the
oor or suspended near the ceiling. The installation of a subwoofer at
mid-height of a room is strongly discouraged since it would involve a
loss of quantity and quality at low frequencies which would be hard to
compensate.
a) A system made up of 1 PSUTS + 1 PSUT1 per channel creates a
tonally balanced system. If the two speakers are in contact (e.g. the
PSUTS suspended from the ceiling and the PSUT1 screwed under or
beside it), the phase relation in the crossover zone will be correct and
optimized, ensuring adequate acoustic energy around the crossover
frequency;
b) A system consisting of 1 PSUTS + 2 PSUT1 per channel with the two
PSUT1s screwed together and connected in series forms a system
with optimized timbre as compared to the previous one, thanks to the
acoustic coupling between the two PSUT1s. In this case, all the power
is distributed over two PSUT1s, improving linearity and protecting the
transducers against borderline acoustic pressure of the system. The
horizontal coverage will be broader and adjustable through single
orientation of each PSUT1. Parallel connection of the 2 PSUT1s is
possible with this geometric solution, but we do not recommend it.
Figure 20. “Wall stack” system (with one and two sound columns)
installed using the STD-WUT8 bracket
c) A system made up of 1 PSUTS + 2 PSUT1 per channel with PSUT1
elements not physically in contact may be a better solution than the
latter for larger areas where various sound emission points are required.
In this case, timbre of PSUT1s in parallel connection may possibly be
better balanced than the series one, in relation to the geometry of the
environment and the installation;
d) The assembly of PSUT1 4-element clusters allows for more varied and
versatile orientation of the single elements and crates a partial array
eect (in other words: it emphasizes vertical directivity) increasing sound
intelligibility in reverberant environments. Furthermore, the cluster made
of 4 units, without subwoofer, will produce a deeper sound texture,
thanks to a better medium-low frequency coupling. The use of clusters
without a subwoofer is perfectly suited to speech and background music
reproduction.
Below is the same table as the one appearing in paragraph 5.5 with some
additional guidelines on installation from an acoustic point of view.
The recommended maximum physical angle between the 2 stacked
PSUT1s is 40°-45°: this angle will produce good horizontal dispersion
without creating excessive high frequency shortfalls on the bisector.
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NUMBER OF PSUTS NUMBER OF PSUT1 INSTALLATION REMARKS
0 UP TO 4 IN PARALLEL Single, in sets of 2 or clusters of 4 PSUT1
1 1
1 2 IN SERIES
1 2 IN PARALLEL
Sub and satellite combined (sub on the
ceiling) or sub on the oor
All combined (sub on ceiling), or sub
on the oor and the two satellites
combined. The satellites are individually
adjustable
Same as above, but with separate
satellites spread across the listening
environment
Speech or background music. Various elements in a
cluster produce bass reinforcement and hence deeper
sound and better clarity at distance
Basic sound reinforcement system
Basic sound reinforcement system with improved
timbre and better performance at maximum power; also
wider coverage on high frequencies thanks to the two
individually adjustable PSUT1 modules
Recommended when several sound points are required
to cover a large area. The choice between series or parallel
connection will depend on the frequency response
obtained in the specic listening environment
Increase of 4-5 dB sound pressure as compared to the
2
4 IN MIXED PARALLEL
AND SERIES
CONNECTION
2 subs on the oor, side-to-side, and
clusters of 4 satellites in sets of 2 by 2
previous congurations by the same amplication.
The choice of the geometric conguration will depend
on the room. Angles must be adjusted to the desired
timbre/coverage
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5.7 Rigging Instructions
Listed below are the dedicated UT series accessories for the fastening of passive systems.
PHOTO CODE DESCRIPTION
STD-WUT8 Wall brackets for vertical hanging of PSUT8TE or PSUT8AE loudspeakers
STD-WUT1
PSUT8-AC
STD-PSUT124
Wall bracket for vertical hanging of 1 or 2 PSUT1 loudspeaker systems
(H and V rotation of 180°)
Wooden base for PSUT8xx with buttery hooks.
Direct-contact output socket and SpeakOn input connector
Bracket for hanging 2 or 4 PSUT1 loudspeaker systems
(stacked or set horizontally, side-to-side)
STD-PSUTS Bracket for hanging one PSUTS subwoofer
PS-ST125
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Adjustable tripod stand for one PSUT8TE sound column
(requiring the additional PSUT8-AC accessory)
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5.8 Power cables - section/length table
It is very important to use power cables of appropriate section. The length of
the cable causes a signicant impedance that can deplete the audio signal
and change the dumping factor of the amplier-speaker couple.
The following table shows the recommended section based on power cable
lengths for dierent transducer impedances.
Maximum Length
CSA section 4 Ohm 8 Ohm
1.0 mm
1.5 mm
2.0 mm
2.5 mm
4.0 mm
6.0 mm
2
2
2
2
2
2
11 m 22 m
17 m 34 m
22 m 44 m
29 m 58 m
44 m 88 m
66 m 132 m
5.9 High-volt lines (100 Volt)
The denition of high-volt line stands for conductors in which the audio power
signal is transported at high volt and low current ratings (obtained through
the high impedance of the transformers available in each loudspeaker), in
order to limit power dissipation down the line when small section cables can
be used (1.5 - 2.5 mm).
The value of 100 V is referred to RMS voltage of the audio power signal that is
delivered by the amplier. This high voltage signal is then processed by each
speaker and translated into its suitable voltage.
6. SYSTEM CONFIGURATIONS
6.1 UT Active Stack congurations
Figure 21. UT Active Stack 1_1_mono system configuration (left),
UT Active Stack 2_1_mono system configuration (right)
6.2 UT Passive conguration
PSUT1 and PSUTS speakers can be installed on 100 Volt network lines (with
100-Volt ampliers) if equipped with the optional TRA-PSUT1 and TRA-PSUTS
transformers. On request, these transformers are installed inside each speaker
by the factory, during production process. Alternatively they can be tted by
the installer by carefully removing the transducer as instructed in the user’s
manual of the manufacturer.
Several speakers can be connected to the same line up to reaching the
electric power supplied by the amplier, without aecting the maximum
power delivered by the amplier or jeopardizing its performance.
Figure 22. System configuration 2_0_stereo (with PSDSP2600)
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6.3 PSUT1 + PSUTS congurations
Figure 23. System configuration 2_1_stereo
(Series and Parallel connections, with PS1000)
6.4 Surround congurations
The conguration Surround 1 is designed for sound reinforcing outdoor
cinemas with a portable system, without the need of hanging speakers
and with the ability to enjoy the surround sound eect and the L.F.E. (Low
Frequency Eect) channel present on video supports.
We oer a system that provides a sound quality and coverage denitely better
than standard audio solutions on the market for this type of applications,
whilst ensuring the comfort of a temporary installation thanks to active stack
systems: no oor stand holder, no height adjustments, no heavy weights to
carry around and no power cables throughout the front.
In addition, the speaker in the middle is perfectly arranged to deliver a full and
rich voice to the whole audience, as explained under paragraph 3.2.
The conguration Surround 2 is designed for hi-end home theaters, i.e. real
halls hosting up to 20-25 people where high and accurate sound pressure
levels are required. As compared to Surround 1, the middle speaker should
be a little lower in this conguration, as it must t right above or below the
screen, if the latter is assumed to lack acoustical transparency.
The solution we propose is a cluster of PSUT1 micro-speakers radially arranged,
so as to create the right opening of the sound beam and cover the entire
audience. Two cluster of 4 PSUT1 elements are proposed as surround speakers.
Figure 24. System configuration 4_2_ stereo
Figure 25. System configuration 4_2_BiAmp_stereo
(with PS1000)
(with PS650F and PS266)
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Figure 26. Surround 1
configuration
with PSUT8TE, PSUT8AE
and PSUTBASE/A
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Figure 27. Surround 2
configuration with PSUT8TE,
PSUTBASE/A and PSUT1
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