SM6/P
SM6/P
SM6/PSM6/P
Dual Channel Preamplifier
Owners Manual
Perreaux Industries Limited makes no warranty for the use of its products, other than those
expressly contained in the warranty detailed herein. The Company assumes no responsibility for
any errors which may appear in this document, reserves the right to change products or
specifications detailed herein at any time without notice, and does not make any commitment to
update the information contained herein. No licenses to patents or other intellectual property of
Perreaux are granted by the Company in connection with the sale of Perreaux products, expressly or
by implication.
PERREAUX® is a registered trademark of Perreaux Industries Ltd.
Terms and product names in this document may be trademarks of others.
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Introducing the Perreaux
SM6 Preamplifier
Congratulations on your Perreaux SM6 purchase. To realise the full potential o
your unit you need to appreciate all aspects of its operation.
Before installing the SM6 into your system, read the entire manual carefully.
Endeavor to understand every detail by familiarising yourself with the controls
and features as you read. You will find it easier to install using the relevan
sections of this manual as a reference.
Features at a
Glance
We have attempted to explain every feature and operation facet clearly an
concisely. Your Perreaux dealer will be happy to assist if you encounter an
unforeseen problems.
Read this manual, install your unit correctly and realise the sonic significance o
your investment in Perreaux.
Perreaux products are designed to provide the utmost in sonic realism an
electronic reliability with a functional yet elegant appearance that reflects th
care and craftsmanship applied during all stages of construction.
àRugged build quality
àTruly balanced circuit design
àDiscrete Class A amplification throughout
àMultiple regulated power supplies
àWireless full function remote control
àPrecision volume control
àDual preamplifier outputs
àAdvanced PCB design and earthing techniques
To maintain the consistently high quality that you expect from us, and we expec
from ourselves, Perreaux products are essentially handcrafted.
We maintain the human-link throughout, from design and construction, throug
to the ultimate test, your music, your system, your ears.
Because we too listen to our products, we know that with your Perreaux you wil
discover many more of the musical secrets we strive to reveal.
Note:
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All references to the SM6 Classic series are also applicable to the SM6
P-Series product.
From all of us at Perreaux Industries Limited, thank you for choosing th
Perreaux Reference Series SM6 preamplifier.
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Important Safety Instructions
Note:
àThe SM6 should not be used near water, for example near a bathtub,
All safety and operation instructions should be read carefully before th
SM6 is operated. Keep the Owners Manual in a safe place for futur
reference.
kitchen sink, in a wet basement, near a swimming pool, etc.
àThe SM6 should be rack mounted only in a heavy-duty rack or stand
that is recommended for audio equipment use.
àMounting to a wall or ceiling should be via a heavy-duty bracket or shelf
designed for audio equipment use.
àThe SM6 should be situated away from heat sources such as radiators,
stoves, or other appliances that produce excessive amounts of heat.
àDO NOT place the SM6 directly onto carpeted surfaces.
àAvoid exposing the SM6 to extremely high or low temperatures.
àThe SM6 should be connected to a mains power supply only of the type
described in the operating instructions, or as marked on the rear of the
unit.
àDO NOT disconnect the mains earth from the system.
àThe mains power supply cord should be routed so that it is not likely to
be walked on or pinched by items placed on or against it.
àThe power cord of the SM6 should be unplugged from the mains outlet
when the unit is to be left unused for long periods or when attempting to
connect or disconnect cables and before cleaning your unit.
àCare should be taken so that objects and/or liquids do not accidentally
fall inside the SM6.
àPlease keep electrical equipment out of reach of children.
àPlease unplug sensitive electronic equipment during electrical storms.
àPlease replace any fuse with the value and type specified.
àAvoid operating the SM6 with the cover removed.
àDO NOT bypass any fuse.
àDO NOT attempt to repair the SM6. In the event of a problem, please
contact your Perreaux dealer.
àDO NOT operate this product in an explosive atmosphere.
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Introducing the Perreaux SM6 Preamplifier ........................................................... 4
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Important Safety Instructions.................................................................................... 5
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Table of Contents......................................................................................................... 6
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Unpacking and Placement......................................................................................... 7
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Instant Install................................................................................................................8
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Front Panel Functions............................................................................................... 10
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Rear Panel Functions ................................................................................................11
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Remote Control Functions ....................................................................................... 15
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Special Design Philosophies .................................................................................... 17
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Special Design Features............................................................................................ 19
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Maximising System Potential................................................................................... 20
Table of Contents
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Care and Maintainance ............................................................................................ 22
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Warranty Information and Obtaining Service ..................................................... 23
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Extended Warranty Registration Form ................................................................. 24
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Faultfinding Your System......................................................................................... 25
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Specifications.............................................................................................................. 30
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Physical Dimensions.................................................................................................. 33
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Contact Details........................................................................................................... 34
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Unpacking and Placement
The SM6 is packaged for maximum protection. Please carefully read th
instructions below before proceeding to unpack the unit. Be extremely careful.
Unpacking
Procedure
Note:
à Remove the two white polystyrene protectors off either side of the unit,
à Inspect both ends of the cardboard box and open at the end without the
central staple by slitting the reinforced tape at either side.
à Fold back the flaps and tip the package on end and the inner box will
slide out.
à Lay the inner box down flat and upright, open it conventionally by
separating the top tray from the bottom.
à The product can now be removed from the bottom packaging. This will
be easier if you have someone to help you by holding the base of the
box.
à Alternately, the bottom tray and preamplifier could be tipped upside
down and the bottom packaging removed. If opened in this manner,
please ensure that you turn the contents over again.
Be very careful to secure the unit if you are planning to flip the packag
upside down.
leaving the black material covering.
Note:
Box
Contents
Placing
Your SM6
à Pull back the material and remove the protective black tissue from the
front panel.
The preamplifier is now unpacked and ready for further installation.
Please retain all packaging material for future transport.
1 x SM6 Preamplifier
1 x SM6 Product manual
1 x Perreaux remote control
2 x AAA batteries
1 x Detachable AC power cord
The SM6 should generally be placed close to your amplifier, keeping th
interconnect cabling short. Position all the separate components of your syste
close enough to your SM6 to avoid having to stretch or extend any of th
interconnect cables.
As a “rule of thumb”, allow 80-100mm (3-4 inches) around all sides of th
product and mount the SM6 on a flat surface, ensuring that the unit has adequat
access to free flowing air.
Do not place auxiliary equipment directly on top of the SM6.
Please do not cover the product with a cloth or similar.
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Instant Install
If you are like us, the first thing you will want to do is to play your favourit
piece of music through your new SM6. The following instructions are written to
enable you to achieve this as quickly as possible. These are not comprehensiv
instructions, but are designed to enable you to play music now!
Note:
Note:
Please take the time to read the SM6 manual thoroughly as i
incorporates many features, which will enhance its operation.
Placement
The SM6 is a reference preamplifier and best results will be achieved whe
placed on a solid surface with adequate ventilation. DO NOT place on
carpeted floor or cover the preamplifier!
Turn off associated components
This minimises the potential to damage any other components when connectin
your SM6 into the system.
Connect SM6 to power amplifier
Connect the balanced (XLR) or unbalanced (RCA) outputs of your SM6 to th
appropriate inputs at the rear of your power amplifier.
Try to keep all interconnect cables as far from loudspeaker cables as
possible and well away from all AC mains leads.
Note:
Connect source component to SM6
Connect the relevant output of your source component to either the balance
(XLR) or unbalanced (RCA) inputs of your SM6.
Be sure to set the balanced CD input switch to the appropriate position,
ON if using the balanced (XLR) inputs and OFF if using the unbalanced
(RCA) inputs.
Switch on source component
Turn on the source component and make sure you have some program materia
ready to play.
Switch on SM6
After checking the supply voltage compatibility with the voltage rating on th
SM6 rear panel, insert the power cord-set supplied into the rear of the unit an
into the wall. Switch on the socket at the wall and power up the SM6 using th
switch on the rear panel.
Switch on power amplifier
Turn on your power amplifier.
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Test for undesirable noises
Without any program source material, slowly increase the SM6 volume listenin
for any undesirable noises. After establishing that there are no problems, retur
the SM6 volume level back to zero.
Play your source material
Start your source material playing.
Increase the volume
Slowly increase the volume on the SM6 to achieve a comfortable listening level.
CONGRATULATIONS!
Now that you have achieved your first objective, sit back, relax and please rea
the rest of the manual at your own pace, in your favourite armchair, whils
sipping a hot cup of coffee. You’ll find the whole experience much mor
pleasurable whilst listening to music.
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Front Panel Functions
Volume Control
When depressed, these buttons will alter the volume setting. The volum
adjustment range is 00 – 59.
Alphanumeric Display
The display will illuminate when the power is turned on at the mains powe
switch or when various remote or front panel adjustments are made. At turn-on,
the display will illuminate with 00 and default to the CD input. If no commands
are selected within two minutes, the display will revert to the standby mod
displaying a red dot only to indicate power is still on.
Source Select
When depressed, these buttons select the desired source input.
The order of source inputs and display indication is as follows:
Source Input Display
Compact Disc Cd
Tuner TU
Auxiliary AX
Laser Disc Ld
VCR VR
Tape TA
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Note:
The source selector has six positions and supplies the chosen source to
the Main/Balanced outputs and VCR/Tape outputs. If the VCR or Tap
source is selected no signal is supplied to its applicable output to avoid
the potentially damaging feed back loop which can occur if inadvertentl
attempting to record and playback the same source simultaneously.
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Rear Panel Functions
Caution!
Note:
Observe precautions regarding volume control settings. Please make all
changes at minimum volume setting. Only increase the volume after the
connections have been made.
Balanced CD Inputs
Accepts a signal from a CD player with balanced outputs via high quality XL
connectors. The use of good quality balanced line cable into the balanced inpu
cause the input signal to be relatively immune to noise and external effects
caused by the use of long interconnect cables, helps reduce hum loop noise an
aids in the cancellation of distortion products.
The pin assignments of the balanced XLR input connectors are as follows:
Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
Pin 3: Signal – (inverting)
Shield ground: Chassis ground
Please refer to the operating manuals of your balanced output line level
source to verify that the pin assignments of the output connectors
correspond to the SM6 balanced inputs. In the event that they are no
compatible, the interconnecting cable will need to be altered to suit.
Balanced CD Input Switch
This switch selects which input to use for the CD source input. Set to ON i
using the balanced (XLR) inputs and OFF if using the unbalanced (RCA) inputs.
Note:
Do not connect source equipment to both the balanced and unbalanced
CD inputs at any one time.
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Note:
The position of the Balanced CD Input switch has no bearing on the
balanced output, it only selects which CD input to use. Set the balanced
CD input switch to ON only when using the balanced CD input....
Refer to Chapter 13 “Specifications”, for detail on input sensitivity an
impedance.
Unbalanced Source Inputs
Accepts a standard single-ended input (RCA) from source components wit
single-ended analogue outputs. These high quality gold plated sockets are
highly conductive, corrosion resistant, and provide less potential for corrosio
induced distortion.
Refer to Chapter 13 “Specifications”, for detail on input sensitivity an
impedance.
VCR Line Outputs
This single-ended (RCA) output will provide a line level audio signal, suitable
for recording, from the selected source input. This output is disconnected whe
the VCR source input is selected; to prevent any potentially damaging feedbac
loops.
Tape Line Outputs
This single-ended (RCA) output will provide a line level audio signal, suitable
for recording, from the selected source input. This output is disconnected whe
the Tape source input is selected; to prevent any potentially damaging feedbac
loops.
Main Output 1
This single-ended (RCA) output is commonly referred to as “Preamp Out”. I
will provide the audio signal required to drive virtually any amplifier to full
power.
Main Output 2
This single-ended (RCA) output is wired in parallel with Main Output 1 and is
useful for supplying signal to another amplifier if bi-amping.
Balanced Outputs
This balanced (XLR) preamplifier output provides the signal required to drive
virtually any power amplifier equipped with a balanced input. Connectio
should be made with high quality cables fitted with XLR connectors.
Note:
The position of the balanced CD input switch has no bearing on the
balanced output; it only selects which CD input to use. It is not necessar
to set this switch to ON when using the balanced outputs.
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The pin assignments of the balanced XLR output connectors are as follows:
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Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
Pin 3: Signal – (inverting)
Shield ground: Chassis ground
Caution!
Please refer to the operating manual of your amplifier to verify that the
pin assignments of the input connectors correspond to the SM6 balanced
outputs. In the event that they are not compatible, the interconnecting
cable will need to be altered to suit.
Input Voltage and Fuse Rating
Input Voltage
It is important that the SM6 be operated from the correct AC mains voltage.
This unit is factory set for the voltage applicable to the original country o
destination.
The SM6 will operate satisfactorily within a voltage variation of up to ±5% o
that voltage at which the unit has been set.
If you require the voltage setting to be altered, e.g. relocation to another area,
city or country, or extraordinarily high or low voltages, please contact you
Perreaux dealer. Qualified service personnel can only perform this modification.
Caution!
Never attempt to connect the unit to the incorrect voltage. Severe
damage can result from applying incorrect voltage to the unit.
Fuse Rating
The fuse rating displayed here, refers to the rating of the mains inlet fuse.
For more information on fuse ratings, please refer to Chapter 13
“Specifications”.
Caution!
Never replace the fuse with any other ratings other than the one
specified.
Serial Number
The serial number is unique to your SM6. Please record this number and store i
in a safe place. For any service related enquiry, please be prepared to quote the
product serial number to Perreaux personnel or their service representative.
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AC Mains Input
An IEC-standard mains input is provided at the rear of the unit. The AC cord se
is removable, allowing you to upgrade to a cord set of your preference.
Caution!
Prior to connection to the AC mains, please check the voltage label on
the rear panel to ensure that your unit conforms to the power supply in
your area. Never attempt to connect the unit to the incorrect voltage.
Severe damage can result from applying incorrect voltage to the unit.
Power Switch
Depress this switch to the right (I) to turn power ON. Mute relay circuitry is
employed in the SM6 and output is muted for 1 to 2 second after the powe
switch is actuated. Depress this switch to the left (O) to turn the SM6 off a
which time the outputs will be disconnected.
The SM6 resets the volume to minimum and balance to centre at turn-on.
AC Mains Fuse
The SM6 is equipped with a user serviceable AC mains fuse. In the event o
fuse failure, always replace with the same type and value fuse. Remember, fuses
do not usually blow without a reason. Any doubts about fuse failure should be
conveyed directly to your Perreaux dealer.
Caution!
For more information on fuse ratings, please refer to Chapter 13
“Specifications”.
This is the ONLY user accessible fuse.
Never replace the fuses with any other ratings other than the one
specified on the rear panel.
Always ensure your SM6 is disconnected from the mains supply before
attempting to change the mains fuse.
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Remote Control Functions
The SM6 comes supplied with a 29 button Perreaux Universal infrared remot
control.
Note:
Note:
The remote control uses 2 x AAA batteries and may be changed by slidin
forward the plastic cover located on the bottom of the remote.
Press the red button on the remote to select the code-set required to
control the SM6.
The SM6 uses the following functions:
Mute
Depressing this control causes minimum volume to be selected. The displa
will indicate "MU" until any front panel or remote control button is actuated, o
the mute button is depressed again at which stage volume will be returned to th
previous setting.
After one minute, the SM6 will enter standby mode and volume will b
set to zero. The display will revert to a red dot, indicating standby.
The mute control has a ‘punch through’ function and will operat
regardless of the code-set selected i.e. you can be operating the CD
player remote functions and still use the mute control without selecting
the button first.
Display
Pressing this button will cause the display to revert to the standby indicatio
(one red dot) and is intended for use if the light of the display is distracting (fo
instance in a darkened room). Depressing any key will cause the display to
revert to its normal operation.
Balance Left / Balance Right
The balance controls allow you to vary the level of either the Left or Righ
channel to obtain the correct stereo balance for your listening position. Pushin
the Balance Left button will cause the level of the right channel to be attenuate
(decreased in volume). Pushing the Balance Right button will cause the level o
the left channel to be attenuated.
During any balance adjustment the display will indicate the direction o
adjustment, left or right, with an "L" or an "R" followed by a number indicatin
the level of adjustment. The range is L1-L9 and R1-R9. "LR" on the displa
indicates the balance is centred. Pushing either button will initially cause th
display to indicate the current balance position.
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Note:
Balance settings are not stored, should the SM6 be turned off at th
mains power switch.
Tuner Source Select
Depressing this control selects the Tuner source input and the relevant code-set.
The Tuner input is indicated by “TU” on the display of the SM6.
Compact Disc Source Select
Depressing this control selects the Compact Disc source input and the relevan
code-set. The Compact Disc input is indicated by “Cd” on the display of th
SM6.
Tape Source Select
Depressing this control selects the Tape source input. The Tape input is
indicated by “TA” on the display of the SM6.
VCR Source Select
Depressing this control selects the VCR source input. The VCR input is
indicated by “VR” on the display of the SM6.
Laser Disc Source Select
Note:
Depressing this control selects the Laser Disc source input. The Laser Dis
input is indicated by “Ld” on the display of the SM6.
Auxiliary Source Select
Depressing this control selects the Auxiliary source input. The Auxiliary inpu
is indicated by “AX” on the display of the SM6.
Volume Up
Depressing this button increases the volume.
Volume Down
Depressing this button decreases the volume.
The Volume control has a ‘punch through’ function and will operat
regardless of the code-set selected i.e. You can be operating the CD
player remote functions and still use the volume controls withou
selecting the button first.
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Special Design Philosophies
Perreaux has been designing and manufacturing only the highest quality audio
componentry for more than a quarter of a century. Technology has continued to
evolve rapidly over that time and our knowledge and application of design,
materials and manufacturing techniques has advanced in tandem with this.
Today’s Perreaux range comes closer to fulfilling our shared vision than at an
other time in the past.
Minimalist
Design
To follow is a discussion on some of Perreaux design philosophies that hav
been incorporated into the entire range.
Leading British architect, John Pawson, writes:
“The Minimum can be defined as the perfection that an object
achieves when it is no longer possible to improve it by subtraction.
This is the quality that an object has when every component, every
detail, and every junction has been reduced or condensed to the
essentials. It is the result of the omission of the inessentials”.
Perreaux has historically embraced the minimalist ethic from an audio desig
perspective only. The concept of “less equating to more” has been at the hear
of all Perreaux audio designs for more than a quarter of a century.
Minimalist Electronics
We wish to maximise the quality of your listening pleasure by keeping th
componentry and signal path as uncluttered, short and clean possible. Al
components in the signal path, even those of the highest quality have an effec
on the signal, thereby altering the quality of the reproduction in some way. Ou
aim is to recreate in its entirety, the original performance by not adding o
subtracting anything, irrespective of the source.
Minimalist User Interface
We carefully study the user interface and par down the number of buttons an
associated clutter leaving just the essential and no more. How tempting it has
been over the years to loose sight of our core values as technology or trends
have made it possible. That is one of the reasons why our older products stil
have such a high resale value today. The user interface has and always wil
remain simple, free from adornments, clean and uncluttered.
Minimalist Aesthetics
Our products appeal to those who seek the ultimate in audio exclusivity, namel
the perfect blend of “form and function”.
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“Form and function” are both tough masters. That is why our amplifier hea
sinks are not hidden, but instead feature prominently in all our designs. W
make no excuses for producing some of the most distinctive high-end audio
products on the planet. We let “form and function” blend together in perfec
harmony. This surely is the essence of true minimalist utilisation.
Minimalism in a Wider Context
John Pawson writes:
“Clearly simplicity has dimensions to it that go beyond the purely
aesthetic: it can be seen as the reflection of some innate, inner
quality, or the pursuit of philosophical or literary insight into the
nature of harmony, reason, and truth”.
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Special Design
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Features
Rugged Build
Quality
Balanced
Design
Class A
Output
Multiple
Power
Supplies
Mechanical strength has been a hallmark of Perreaux products since th
company first started production back in 1974. The concept behind the physica
design and construction is that each structural member should contribute to bot
rigidity and performance.
The SM6 is a truly balanced preamplifier, from input to output. The positiv
and negative halves of the signal never touch, remaining balanced throughout al
stages. This circuit topology offers the ultimate in performance, providin
increased noise rejection and lower levels of distortion.
Four discrete output stages operating in Class A provide output buffering. This
enables low impedance loads to be driven, over long cable lengths using an
cable.
There is a separate power supply for each section of the preamplifier. One fo
each of the volume control chips (two chips are used to keep the system full
balanced and therefore, to maintain separation, each chip is supplied with it’s
own separate power supply), another one for each of the output buffering stages
(once again because the SM6 utilises a fully balanced circuit topology), anothe
for the digital logic and the final power supply looks after the input relays. Th
advantage of this is that there is complete isolation from stage to stage. Th
digital noise is kept completely out. This is further evidence of a thoroughl
designed product offering.
Wireless
Remote
Control
Earthing
Precision
Volume
Control
Dual Outputs
Many audiophile grade components are still provided with analogue controls
that are adjusted on the faceplate of the unit. While total control from th
remote is common practice in standard products, and so it should be on al
products, it is not yet widely utilised on many high-end systems. Obvious
advantage is that you don’t have to get out of your chair to make an adjustment.
Some of the functions available are: mute, volume up/down, display on/off,
input select and balance.
Perreaux engineers pay particular attention to designing the product to ensur
maximum separation between internal signal and power earths, only meeting at
central starred point.
The SM6 uses two digitally controlled resistor ladder volume controls. This is
because we treat the positive and negative parts of the signal separately (tru
balanced topology). The advantages of using a digitally controlled analogu
resistor ladder to adjust volume are precise control, no contacts to corrod
creating wiper noise and no analogue component drift.
You do not need to purchase an RCA style splitter if you want to drive two
separate power amps simultaneously, as there are dual parallel preamplifier
outputs.
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Maximising System Potential
Interconnects
and Speaker
Cables
Bi-amping
An often-ignored area in high fidelity systems is the cabling connecting th
various components. Interconnect leads should be high quality cable wit
substantial terminations. Gold plate is inherently resistant to corrosion, and a
excellent conductor. The presence of corrosion induces distortion and poo
conductivity will seriously interfere with sound quality. Terminations must plu
snugly into sockets to maintain maximum conductivity and to avoid annoyin
earthing problems.
Speaker cabling is equally critical. Use only solidly constructed cable of hig
purity copper or silver content. Again, gold plated terminations ar
recommended, of the spade or banana plug type. Use cables of equal length an
as short as possible to maintain uniform electrical resistance at the lowes
possible level. If your amplifier is closer to one of your speakers than the other,
avoid coiling the longer lead as this can create inductance, with the potential o
reduced high frequency performance. Keep all connections clean, firm and tight.
The traditional adage that a chain is only as strong as its weakest link mos
certainly applies to audio systems.
Bi-amping uses two similarly powered amplifiers, with exactly the same inpu
sensitivity so that, when the same input signal is provided to each of them, th
output level will be exactly the same. This can often be done with one powe
amplifier connected to the tweeters and another to the woofers, as it spreads th
power requirement between the two amplifiers. Bi-amping can achieve greate
control, dynamics and resolution than if you try to run everything from a singl
stereo amplifier.
Balanced
Interconnects
The use of the balanced signal inputs and outputs can have the effect of cleanin
up hums, buzzes, radio frequency interference (RFI) and general extraneous
rubbish that can enter an audio system. A balanced signal input system operates
on the principle of differential amplification. The positive and negative inputs
are contrasted against one another and the difference between them is amplified.
Noise entering the system is imposed equally on the positive and negativ
signals and therefore will not be amplified, as no differential voltage exists.
The term used to describe the quality of the effect is called Common Mod
Rejection Ratio (CMRR). CMRR is an equipment and system specification,
which describes how well unwanted common mode signals are counteracte
when used in conjunction with balanced connections. CMRR action prevents
the egress and build up of extraneous hum; buzzes and RFI when analogu
signals are conveyed down cables and between equipment powered fro
different locations and is widely used in professional audio applications.
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The rejection ratio achieved is described in minus dB. The CMRR of a syste
follows the formula 20Log(V
output/Vinput
). In other words a CMRR of –40dB
means that all garbage entering the unit will be made 100 times smaller. Th
piece of equipment with poorest CMRR will effectively determine the hum an
RFI level of the system. Effectively the weakest link in the chain. Highes
quality audio systems should quote a CMRR figure of –80dB or better.
Positioning
Ancillary
Equipment
Loudspeaker
Placement
Positioning of your source equipment (tuner, video, disc, tape, record, decks) is
important. To avoid airborne frequency peaks, place them well away from you
loudspeakers and not in the corners of your listening area.
Loudspeaker placement is a controversial issue; suffice to say that room corners
are generally the worst situation. Everything which constitutes your listenin
area, including the materials used in its construction, will affect the sound itsel
and the sound stage created. Equally, you have to live with your system an
therefore compromises will have to be made in line with your particula
priorities. The best advice we can give concerning the choice of loudspeakers is,
establish clearly in your mind your requirements; listen to many makes an
models, and if at all possible audition your preferred choice in your ow
listening area and trust your own ears.
Matching
Amplifier and
Speaker
Ratings
Note:
Perreaux equipment is designed with substantial headroom built in – that is, th
When matching speakers to amplifier wattage – ordinarily, the amplifier shoul
have a continuous RMS output power rating the same as or higher than th
speakers at the same impedance rating. For example, 100W
driven by a 100W
driven by a 160W
at 8Ω amplifier is not as ideal as 100W
RMS
at 8Ω amplifier.
RMS
, 8Ω speakers
RMS
, 8Ω speakers
RMS
100 Watts is twice as loud as 10 Watts, not ten times as loud.
reserve necessary to reproduce musical peaks without clipping.
Final
Thoughts
High fidelity systems are an investment deserving of careful thought an
personal time. Your preferences, priorities and constraints will dictate th
parameters of your purchase, your ears will tell you what is the right choice fo
you. Our experience tells us that the bitterness of dissatisfaction lingers lon
after the fragrance of cheap price is forgotten, hence our use of the term
investment.
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Care and Maintenance
The SM6 has been designed to provide many years of trouble free enjoyment. I
is important to keep the exterior of the unit clean.
Note:
Cover
Front Panel
Please switch the unit off and remove the cord-set from the rear of th
amplifier before attempting to clean your SM6 in the manner described
below.
Never apply liquid directly to the SM6.
Never use abrasives.
Never rub in a circular motion.
The cover features a durable, high quality powder-coat finish. To remove finge
marks and dirt, lightly rub the surface with a soft cloth.
If the dirt is not removed, dip your cloth in a mild solution of soap and water,
squeeze excess moisture from it and then gently reapply to the surface.
Stubborn dirt may be removed by the application of a small quantity o
methylated spirits, applied directly to the cleaning cloth only and reworking th
effected area.
The front panels differ between the Classic Series (SM6) and P Series (SM6P).
The Classic Series front panel is finished in chrome electroplate, where as th
P-Series is finished in the same durable powder coat as the cover.
They both can be cleaned in a similar manner to the cover, as described above.
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Warranty Information
and Obtaining Service
1 Year
Limited
Warranty
5 Year
Extended
Warranty
Warranty
Transfer
Information
on the SM6
Warranty
The Perreaux SM6 is warranted to be free from defects in material an
workmanship under normal use to the original purchaser for a period of 1-yea
(365) days from the date of purchase from an authorised dealer or distributor.
To extend the warranty on your Perreaux SM6 to five (5) years from date o
purchase, please return a fully completed warranty registration form along with
copy of the original receipt of purchase to:
Perreaux Industries Ltd
PO Box 47413
Ponsonby
Auckland
New Zealand
For the Extended Warranty Registration Form, please refer to Chapter 11.
Perreaux Industries Ltd may, at its discretion, allow the warranty on this produc
to be transferred. Please contact Perreaux on info@perreaux.com requesting
transfer.
If during the warranty period the Perreaux SM6 exhibits defects in materials
and/or workmanship, it will be repaired or replaced, at our option, withou
charge for either parts or labour. The warranty does not apply to any unit tha
has been misused, abused or altered.
Obtaining
Service
Any unit that is not performing satisfactorily may be returned to the factory i
Auckland, New Zealand for evaluation. Return authorisation must first b
obtained by either calling or writing to Perreaux prior to shipping the unit.
Perreaux Industries Ltd and it’s authorised distributors and dealers shall not b
held liable for any freight or insurance charges. Freight and insurance charges to
and from the Perreaux factory will be the sole responsibility of the owner of th
unit.
There is no other express warranty on the SM6. Neither this warranty nor an
other warranty, express or implied, including any implied warranties o
merchantability of fitness, shall extend beyond the warranty period. No
responsibility is assumed for any incidental or consequential damages.
In the event that you are experiencing difficulty with the SM6, please as a firs
step, follow the faultfinding procedures in Chapter 12. If after following this
procedure, you require further assistance, please contact your Perreaux dealer.
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1111
Extended Warranty
Registration Form
Please complete this form and either fax, mail or scan and e-mail it to Perreau
Industries Ltd.
Fax: +64 9 815 5981
Mail: Perreaux Industries Ltd
PO Box 47 413
Ponsonby
Auckland
New Zealand
E-mail: info@perreaux.com
Alternatively, complete the online Warranty Registration Form on our website
– www.perreaux.com.
5 Year Extended Warranty Form
Name:
Address:
Suburb:
City:
Country:
Telephone:
E-mail:
Website:
Product Purchased:
Serial Number:
Dealer:
Purchase Date:
d d m m y y y y
R E F E R E N C E S M 6
/ /
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Cause and
Elimination
of Hum
Faultfinding Your System
Hum is a particularly annoying form of noise in any high fidelity system and a
some time has been experienced by many of us.
Hum may result from a number of different situations and to make matters
worse maybe caused by a seemingly illogical combination of circumstances.
One or more of three specific causes creates hum in the system.
Induced Hum
Hum can be induced into the system from one or more sources and is generall
associated with the radiation of noise from one system into another.
Hum and noise can be radiated from any object or system involving AC voltag
and current such as power supplies in amplifiers, motors, switching equipmen
etc. All of these may be found in your hi-fi system or within your own home.
Hum may be induced into any part of the system, so there are no specifi
instructions that can be given which will offer a guaranteed cure. A goo
practice to adopt is to keep low-level signal equipment such as phono systems,
tuners etc. well away from high-level signal equipment such as powe
amplifiers. Alternatively, careful designs must be employed to negate thes
effects on low-level signal equipment. Another good practice to adopt is to keep
all signal leads away from power leads.
The practice of neatly tying excess leads together for a tidy looking installatio
should be resisted, as this could be the cause of induced hum in the system.
Earth Loops
Earth loops are a particularly annoying cause of hum in the system. Earth loops
are created by mains frequency current flowing in the screen of signal leads an
becomes apparent with the lack of adequate earthing between the various pieces
of equipment making up the hi-fi system. This is further compounded by th
fact that the equipment earthing considerations vary between differen
manufacturers and countries.
Perreaux products used with equipment manufactured by other manufacturers
may cause an earth loop situation, but Perreaux products used with othe
Perreaux products will not cause an earth loop situation provided the followin
precautions are observed:
à The entire hi-fi system must be connected to the same mains/line power
outlet. This will ensure that each piece of the system shares the same earth
or ground. This rule applies to all installations of all brands of equipment.
A preamplifier or power amplifier may be operated from an extension cord
plugged into the same mains/line outlet.
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lead all three pins must be connected in the correct fashion - see your
dealer if in doubt.
à Check all interconnecting signal leads for good connections, both internal
connections and firm contact with the sockets. While the centre pin may
make firm contact, it is very important that the outer contact is also firm.
à Never remove the earth/ground wire from the mains/line supply of any
piece of equipment. This could be hazardous.
Broken Earth Connections
This is a common cause of hum and noise in the system. In many instances, th
only way to eliminate the possibility of hum problems arising through a broke
earth connection somewhere in the system is to physically check ever
connection.
Identifying
and Isolating
Problems
When experiencing a problem, such as one channel not working, or a noise i
one channel, it is good practice to adopt a method of isolating the problem to
specific item or area. This practice will assist in diagnosing, curing, or at leas
advising your technician of the problem and result in a saving of time, mone
and perhaps frustration.
A logical approach to isolating the probable cause of the problem is to start a
the loudspeakers and work back to the music source, eliminating each piece o
equipment in turn.
Caution!
Observe precautions regarding volume control settings. Please make all
changes at minimum volume setting. Only increase the volume after th
connections have been made.
Check that the entire system is connected in the proper manner and that th
mains/line supply is connected and switched on.
For clarity during this section, we have labeled one loudspeaker ‘A’ and th
other loudspeaker ‘B’. In this example, loudspeaker ‘A’ appears faulty.
Initial system connections
A
PREAMPLIFIER
AMPLIFIER
B
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Step 1 – Loudspeakers
PREAMPLIFIER
AMPLIFIER
A
B
Change the loudspeaker leads from one loudspeaker to the other. If the faul
remains in loudspeaker ‘A’, then loudspeaker ‘A’ is at fault, go no further.
If the fault now appears in loudspeaker ‘B’ then the problem lies further up th
line. Move on to step 2.
Step 2 – Loudspeaker Leads
PREAMPLIFIER
AMPLIFIER
B
A
Change the loudspeaker leads completely from left channel to right and fro
right channel to left by now swapping them at the amplifier output. If the faul
now appears in loudspeaker ‘B’, then that loudspeaker lead is at fault, go no
further.
If the fault appears in loudspeaker ‘A’ then loudspeaker leads are OK. Move o
to step 3.
Caution!
Restore the loudspeaker leads to their original connections at both ends.
Step 3a – Inputs (Channels)
PREAMPLIFIER
AMPLIFIER
A
B
Change the input plugs on the rear of your amplifier, as follows: Change eac
input source in turn by swapping the plugs left to right and right to left. If th
fault changes to loudspeaker ‘B’ on any one of the selected inputs, then tha
particular input source is possibly at fault. Move on to step 3b.
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If the fault stays in loudspeaker ‘A’, then it is probable that the fault may exis
within the amplifier.
Caution:
Changing of any connectors must be carried out at a minimum volum
setting. Only increase the volume after the connections have been
changed.
Step 3b – Inputs (Interconnects)
A
PREAMPLIFIER
AMPLIFIER
B
Change the interconnect leads completely from left channel to right and fro
right channel to left by now swapping them at the source component’s output. I
the fault stays in loudspeaker ‘B’, then the interconnect lead is at fault, go no
further.
If the fault appears in loudspeaker ‘A’, then the interconnect lead is OK.
Caution!
Changing of any connectors must be carried out at a minimum volum
setting. Only increase the volume after the connections have been
changed.
Should the fault prove to be in the amplifier it will be necessary to determin
where the fault actually lies. Most of this has been done, for instance, you no
know what input/s and what channel is affected. This information will assis
your Perreaux dealer or service person when or if any service is required.
If the apparent fault is noise in one or both channels and has been localised to
the amplifier, it will be necessary to determine whether or not the noise increases
with the volume control; whether or not the noise exists when no input at all is
connected to the amplifier; and what type of sound the noise is. For example,
low frequency humming noise or high frequency hissing noise. This
information will also assist your service person in making repairs o
adjustments.
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Faultfinding
Flowchart
Fault in
loudspeaker A
Swap loudspeaker
connections
Fault in
loudspeaker
A?
O
Swap amplifie r
outputs
Fault in
loudspeaker
B?
O
Restore speaker
cable s to orig inal
connections
Swap amplifie r
source input
channels
YES
YES
Loudspeaker A
at fault
Loudspeaker
cable at fault
Fault in
loudspeaker
YES
Swap source
output channels
Fault in
loudspeaker
YES
Amplifier
at fault
NO
NO
Loudspeaker
cable at fault
Input source
at fault
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The SM6 specifications are detailed in brief and then subsequently in mor
Specifications
In Brief
Specifications
detail. In the detailed version, we attempt to explain the significance of eac
specification.
The correlation between published specifications and sonic quality can b
unreliable. A list of numbers reveals virtually nothing. All technica
measurements must be subject to qualitative as well as quantitativ
interpretation. Measurements of the SM6 reveal excellent results by an
standards. Tested at 115V and 230V after a 10 minute warm up period.
Rated Output
Unbalanced:............................................................................................ 1.5V
Balanced: ................................................................................................ 1.5V
Maximum Output
Unbalanced:............................................................................................ 3.0V
Balanced: ................................................................................................ 6.0V
Total Harmonic Distortion
Rated Output: ...............................................................<0.004%, 20Hz – 20kH
Frequency Response:..............................................10Hz – 60kHz, +0dB –0.15dB
Signal to Noise ratio
Unbalanced:............................................................................................... 100dB
Balanced: ................................................................................................... 100dB
Dynamic Range: ........................................................................................... 116dB
Input Impedance
Unbalanced:.................................................................................................10k
Balanced: .....................................................................................................20k
Input Sensitivity
Unbalanced:..............................................................................................215m
Balanced: ..................................................................................................215m
Input Overload
Unbalanced:............................................................................................ 3.8V
Balanced: ................................................................................................ 7.6V
Phase Accuracy: ....................................................................±0.5˚, 20Hz – 20kH
Power Consumption: ....................................................................................... 50
(THD+N)
(rated output)
RMS
RMS
RMS
RMS
RMS
RMS
Audio Connections
Audio Inputs
Unbalanced:................................................................... 6 pairs RCA connectors
Balanced: ......................................................................... 1 pair XLR connectors
Audio Outputs
Unbalanced:................................................................ 2 pairs RCA preamp leve
........................................................................................2 pairs RCA line leve
Balanced: ......................................................................1 pair XLR preamp leve
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Other Connections
1 x IEC AC mains input receptacle
Mains Input Voltage
100V, 110V, 120V, 220V, 230V or 240V AC at 50Hz or 60Hz
(Set within the SM6 at time of manufacture)
Dimensions
Width .............................................................................................. 482mm (19.0”)
Height ................................................................................................. 88mm (3.5”)
Depth ..............................................................................................315mm (12.4”)
(not including feet, terminals and handles)
Fuse Ratings
Mains input fuse
100 – 125V: ........................................................................ 2SB slow blow 0.5
200 – 250V: ........................................................................ 2SB slow blow 0.5
Internal DC rail fuses...................................................2 x 2AG normal blow 0.5
(user serviceable)
(NOT user serviceable)
Weight
Net: ................................................................................................... 7.7kg (17.0lb
Gross:.............................................................................................. 10.7kg (23.6lb
Specifications
Explained
Rated Output....................................................................................................1.5V
The SM6 has been designed to drive any amplifier to it’s full potential. Eve
RMS
with an input level from a source component with a low level output, the SM6
has enough gain to provide the amplifier with an optimum signal, utilising th
full dynamic range and signal to noise specifications of the amplifier.
Maximum Output............................................................................................3.0V
The maximum output level of the SM6 has been designed to provide substantia
headroom allowing greater dynamics without clipping, handling any musica
RMS
transients with finesse and ease.
Total Harmonic Distortion
(THD+N)
............................. <0.004%, 20Hz to 20kHz
Total Harmonic Distortion + Noise is the percentage of output signal which is
made up of frequencies added due to harmonics of the fundamental frequenc
and noise. By using a truly balanced circuit topology throughout the SM6 an
maintaining Class A operation at all stages, Perreaux engineers have kept this
figure to a minimum.
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Frequency Response.......................................... 10Hz to 60kHz, +0dB –0.15dB
This is the “standard” specification with which everyone is familiar. Actually,
“frequency response” is a misnomer: technically, it should be called “amplitud
response versus frequency” for it describes how uniform the amplitude o
strength of signals of various frequencies is maintained. It is generally though
that a difference of 1dB is the least that can be perceived by ear, the SM6 is
specified almost seven times higher, thus exceeding the audible range of th
human ear.
Signal to Noise Ratio
(unweighted)
....................................................................100dB
The ratio of desired signal to noise signals present in the output. The balanced
circuit topology of the SM6 provides the foundation for high noise rejection.
This figure is referenced to the rated output of the SM6, taking into full account
all potentially annoying hum components.
Dynamic Range .................................................................................................116dB
Dynamic Range is the difference between the loudest and quietest portions of
signal. Due to CD formats 96dB dynamic range limit, the SM6 provides mor
than enough dynamic range to cope with any musical transients the CD forma
can throw at it.
Input Impedance................................................................................................. 10k
The resistance “load” that is presented to the component that is driving it. Th
high value indicates that the preamplifier will not load down the output of mos
high quality source components.
Input Sensitivity................................................................................................ 215m
Indicates the amount of input voltage required to drive the unit to its rate
output. Due to the gain setup of the SM6, it is able to achieve its rated outpu
even from the lowest of input levels.
Input Overload.................................................................................................3.8V
Input Overload specifies the maximum signal level that each input circuit ca
RMS
handle without overloading the preamplifier circuitry and sending it into
clipping.
Phase Accuracy.......................................................................±0.5˚, 20Hz – 20kHz
Shows the maximum amount of phase difference at any point across th
frequency range 20Hz to 20kHz.
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Physical Dimensions
33
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For more information please contact your Perreaux dealer, or contact:
Contact Details
Perreaux Industries Ltd
PO Box 47 413
Ponsonby
Auckland
New Zealand
Ph: +64 9 815-5452
Fax: +64 9 815-5981
E-mail: info@perreaux.com
Internet: www.perreaux.com
34
Installation Notes
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