Manual
Phonitor 2
Models 1280/1281
120 Volt Amplifier for Headphones, Active Speakers and Power Amps
Manual Phonitor 2
Version 1.5 – 3 /2014
Developer: Bastian Neu
This manual contains a description of the product SPL Phonitor 2,
Model 1280. In no way it represents a guarantee of particular characteristics or results of use. The information in this document has been
carefully compiled and verified and, unless other wise stated or agreed
upon, correctly describes the product at the time of packaging with
this document.
Sound Performance Lab (SPL) continuously strives to improve its products and reserves the right to modify the product described in this
manual at any time without prior notice. This document is the property
of SPL and may not be copied or reproduced in any manner, in part or
fully, without prior authorization by SPL.
Declaration of CE Conformity
The construction of this unit is in compliance with the standards and regulations of the European Community.
Notes on Environmental Protection
At the end of its operating life, this product must not be disposed of with regular household waste but must be returned to a collection point for the recycling of electrical and
electronic equipment. The wheelie bin symbol on the product, user‘s
manual and packaging indicates that. The materials can be reused in
accordance with their markings. Through reuse, recycling of raw materials, or other forms of recycling of old products, you are making an
important contribution to the protection of our environment. Your local
administrative office can advise you of the responsible waste disposal
point.
WEEE Registration: 973 349 88
Models 1280 (black) & 1281 (silver)
Contact
SPL electronics GmbH
Sohlweg 80, 41372 Niederkruechten, Germany
Phone +49 (0)2163 983 40
Fax +49 (0)2163 983 420
E-Mail: info@spl.info
Internet: spl.info
2
Phonitor 2
Symbols and Notes, Scope of Delivery 4
Important Security Advices 5
Hook Up 7
Introduction 8
Phonitor, The New Heart Of Music Playback: Phonitor 2 8
Remote Control 9
Home Listening, Sound Engineers, 120 Volt Technology 10
Special Features, Applications 11
Phonitoring: With And Without Magnifiers, The End Of Ear Fatigue 12
Tech Talk 14
120 Volt operating voltage and its ef fects 14
Rear Panel: Power 15
Voltage Select, Power Connection, On/Off Switch 15
Rear Panel: Wiring 16
Rear Panel: Signals & Remote Control 17
Signal Connections, XLR Sockets 17
Connecting XLR to other socket formats 17
Learn Button: Learn a remote control 17
Bottom: DIP Switches 18
Output level adjustment, Phonitor 2 Insert Loop 18
Front Panel: Connection 19
Headphone Connection, Recommendations, Warning 19
Control Elements 20
Crossfeed, Angle 20
Interaural Level and Time Differences as Related to Crossfeed 21
Interaural Level and Time Differences as Related to Angle 22
Crossfeed and Angle Parameters 23
Source, Output, CRr/A, Off, All; Center 24
VU Meter, VU Cal., Solo 25
Phase ø, Stereo and Mono 26
Laterality, Volume 27
Operation 28
Adjust Headphone Reproduction To Loudspeaker Monitoring 28
Specifications 30
Measurements 31
Copy Master: Recall Sheet 33
Content
Phonitor 2
3
Symbols and Notes
IN THIS MANUAL A LIGHTNING SYMBOL WITHIN A TRIANGLE WARNS
YOU ABOUT THE POTENTIAL FOR DANGEROUS ELECTRICAL SHOCKS
– WHICH C AN ALSO OCCUR EVEN AFTER THE DEVICE HA S BEEN
DISCONNECTED FROM A POWER SOURCE.
AN EXCLAMATION MARK (!) WITHIN A TRIANGLE IS INTENDED TO M AKE
YOU AWARE OF IMPORTAN T OPERATIONAL ADVICE AND/OR WARNINGS
THAT MUST BE FOLLOWED. BE ESPECIALLY ATTENTIVE TO THESE AND
ALWAYS FOLLOW THE ADVICE THE Y GIVE.
The symbol of a lamp directs your attention to explanations of important functions or applications.
Attention: Do not attempt any alterations to this device without the
approval or super vision of SPL electronics GmbH. Doing so could
void completely any and all of your warranty rights and claims to user
support.
Scope of Delivery
• Phonitor 2, Model 1280
• This manual and the guarantee card
• Power cord
4
Phonitor 2
Important Security Advices
Please read and keep this manual. You should caref ully follow all of the
safety and operating instructions before you use the device. Please
also note all warnings and special safety instructions noted in this manual and on the unit.
Connections: Only use the connections as described. Other connections can lead to health risks and damage the equipment.
Water and humidity: Do not use this device anywhere near water (for
example in a bath room, a damp cellar, near swimming pools, or similar
environments). Otherwise your are dealing with an extremely high risk
of fatal electrical shock s!
Insertion of objects or fluids: Be careful to not insert any object into
any of the chassis openings. You can otherwise easily come into contact with dangerous voltage or cause a damaging short circuit. Never
allow any f luids to be spilled or sprayed on the device. Such act ions can
lead to dangerous electrical shocks or fire!
Opening the unit: Simply put: DON‘T, if you are not a cer tified SPL technician or engineer.Really: Do not open the device housing, as there is
great risk you will damage the device, or – even after being disconnected – you may receive a dangerous electrical shock!
Electrical power: Operate the device only from power sources that can
provide proper power. When in doubt about a source, contac t your dealer or a professional electrician. To be certain you have isolated the device, disconnect all power and signal connections. Make sure that the
power supply plug is always accessible. When not using the device for
a longer period, make sure to unplug it from your wall power socket.
Cord protection: Make sure that your power and audio signal cords are
arranged to avoid being stepped on or any kind of crimping and damage related to such event. Do not allow any equipment or furniture to
crimp the cords.
Power connection overloads: Avoid any kind of overload in connections to wall sockets, extension or splitter power cords, or signal inputs. Always keep manufacturer warnings and instructions in mind.
Overloads create fire hazards and risk of dangerous shock s! >
Phonitor 2
5
Important Security Advices
Lightning: Before thunderstorms or other severe weather, disconnect
the device from wall power; do not do this during a storm in order to
avoid life threatening lightning strikes. Similarly, before any severe
weather, disconnect all the power connections of other devices and
antenna and phone/network cables which may be interconnected so
that no lightning damage or overload results from such secondar y
connections.
Air ventilation: Chassis openings offer ventilation and serve to protect the device from overheating. Never cover or otherwise close off
these openings. Never place the device on a soft surface (carpet, sofa,
etc.). Make sure to provide for a mounting space of 4-5 cm/2 inches
to the sides and top of the unit when mounting the unit in racks or on
cabinets.
Controls and switches: Operate the controls and switches only as described in the manual. Incorrect adjustments outside safe parameters
can lead to damage and unnecessary repair costs. Never use the switches or level controls to ef fect excessive or extreme changes.
Repairs: Unplug the unit from all power and signal connections and
immediately contact a qualified technician when you think repairs are
needed – or when moisture or foreign objects may accidentally have
reached inside the housing, or in cases when the device may have fallen and shows any sign of having been damaged. This also applies to
any situation in which the unit has not been subjected to any of these
unusual circumstances but still is not functioning normally or its performance is subs tantially altered. In ca ses of damage to the p ower supply and cord, first consider turning of f the main circuit breaker before
unplugging the power cord.
Replacement/substitute parts: Be sure that any service technician
uses original replacement par ts or those with identical specif ications
as the or iginals. Incorrec tly substituted par ts can lead to f ire, electr ical
shock or other dangers, including further equipment damage.
Safety inspection: Be sure always to ask a service technician to conduct
a thorough safety check and ensure that the state of the repaired device
is in all respect s up to factory standards.
Cleaning: Do not use any solvents, as these can damage the chassis finish. Use a clean, dr y cloth (if necessar y, with an acid-f ree cleaning oil ).
Disconnect the device from your power source before cleaning.
6
Phonitor 2
Be very careful to check that the rear chassis power selection is set
correctly before using the unit (230 V position: 220-240 V/50 Hz, 115 V
position: 110-120 V/60 Hz)! When in doubt about a source, contact your
dealer or a professional electrician.
Read page 15 for instructions on how to set the correct voltage.
Before connecting any equipment make sure that any machine to be
connected is turned off. Follow all safety instructions from page 5.
Place th e unit on a level and s table surface. The u nit’s enclosure is E MCsafe and effecti vely shielded ag ainst HF inter ference. Nonetheles s, you
should carefully consider where you place the unit to avoid electrical
disturbances. It should be positioned so that you can easily reach it,
but there are other considerations. Try not to place it near heat sources
or in direct sunlight, and avoid exposure to vibrations, dust, heat, cold
or moisture. It should also be kept away from transformers, motors,
power amplifiers and digital processors. Always ensure suf ficient air
circulation by keeping a distance of 4-5 cm/2 inches to other units and
to the sides of the unit.
Before You Begin
Make sure the Volume control is turned hard left before you power up
the unit. Now control Volume. Note that too high levels can damage
headphones and hearing!
Hook Up
Phonitor 2
7
Introduction
Phonitor
When we brought out the first Phonitor — the first ever headphone
amp with 120 Volt technology — back in 2008, the professional audio
world seemed to have been eagerly awaiting it. The success of this
unique headphone preamp was overwhelming. In hindsight, we also
had to wonder how none of us had come to the idea of combining basic
monitoring options, speaker simulation capabilities and a headphone
preamp. Ever since we call this new species a „Headphone Monitoring
Amp,“ which inspired the product name itself: Phonitor.
Interestingly enough, the Phonitor not only became best friends with
thousand of professional users, it also won a lot of fans in the Hi-Fi
market segment. But that was by no means a coincidence — ultimately, the Phonitor can be counted among the best headphone preamps
in the world thanks to our unique 120-volt technology. With its exceptional technical specif ications and a huge power margin, it can reproduce any musical material without the slightest modification, since
signal processing is not limited and, thus, signals are not altered at all.
Music sounds more natural and hearing fatigue is drastically reduced.
Given all that, it was easy to understand the enthusiasm with which
musicians, sound engineers and music lovers received the Phonitor
worldwide.
The New Heart Of Music Playback: Phonitor 2
Many Phonitor users told us they wished they could also use the unmatched signal quality that the Phonitor provides to feed their speakers. And so began to take form the idea of making its successor a fullfledged stereo preamp that could become the heart of modern professional and home systems alike where headphones have a preeminent
importance. Moreover, we have achieved enormous advances with our
120-volt circuits, making the technical specifications of the Phonitor 2
a new standard in all respects: 141dB dynamic range, 107dB signal-tonoise ratio (A-weighted in both cases), -112/-114 dB THD (headphone/
speaker output with +30dBu output level). Mind you, the THD measurements define the limits of the measuring equipment but not those
of the Phonitor 2.
Other improvements concern specially the operation of virtually all
headphone types and impedances: the Phonitor 2 works seamlessly
with low-impedance headphones with load impedances as low as 10
Ohm (40 Ohm with balanced headphones).
8
Phonitor 2
The Two Sides Of The 120 Volt Amp
As always, the Phonitor 2 remains first and foremost a headphone preamp, which is easy to identif y given the elaborate loudspeaker simulation for headphones. Considering that the 120-volt amp provides
everything needed to preamplify, manage and control the volume of
line level signals, the latter are now also available at the output on the
rear panel.
Besides headphones, it is now possible to connect active loudspeakers
and powe r amps directly at the out put. If there is t he need for more t han
one stere o speaker set, it is recommended to us e a passive dist ribution
module. It is impor tant to know that all controls can be used for both
outputs with headphones and loudspeakers. Obviously, loudspeaker
simulation makes no sense when using real loudspeakers. However,
owners of electrostatic headphones could connect their headphones
to the output and use the simulation feature as well. Likewise, all monitoring options (phase reverse, solo, mono, mute) can be selected for
both outputs, so that the Phonitor 2 can be used as Monitor Controller
for up to three different sources.
Remote Control
The volume can be controlled remotely. Naturally, the audio signal is
controlled via a high-quality motor potentiometer in that case. In comparison, electronic adjusting with or without AD/DA converter – very
common these days – would have a significant influence on the signal
qualit y.
To control it you can use any IR remote control: the remote must not
learn the Phonitor 2, but rather the Phonitor 2 learns to understand
your remote’s signal (see page 16).
Introduction
Phonitor 2
9
Introduction
Home Listening
Home users can enjoy a central control unit for modern music playback
of stereo signals that supports all known format s – and that with an un heard-of price/performance ratio. As such, the Phonitor 2 does justice
to its central position. It is comforting to know that there is no need to
fear a sound bottleneck limiting your system in such a critical spot in
the chain.
The Phonitor 2 matches per fectly modern playback concepts: minimalist chains with active speakers and almost any pair of headphones
can be centrally fed via three different paths, thanks to an integrated
high-quality amplifying and signal-managing concept.
Sound Engineers
Besides being a reference-quality Monitor Controller, the Phonitor 2,
together with a carefully matched pair of headphones, of fers professional users an excellent monitoring alter native to their main speakers.
The audio qualit y and features of the Phonitor 2 provide the best conditions to work effectively without hearing fatigue.
120 Volt Technology
The foundations of this high-end-development is our 120 Volt reference technology: specially developed and manufactured op-amps
that run on an operating voltage of 120 volts, which corresponds to
approximately t wice that of most modern analog audio semiconductor
technologies. Thanks to our 120-volt circuitry and processing we reach
outstanding performance levels, especially in terms of dynamic range
and headroom. As such, the technical specifications of the Phonitor 2
exceed all known analog and digital standards (please refer to the
“End Of Ear Fatigue” chapter on page 12).
10
Phonitor 2
Special Features
• The Reference – the Phonitor 2 sets new technical and sound
standards.
• For loudspeakers and headphones – two-channel 120 Volt amp for
headphones and active loudspeakers or power amps
• For all types of headphones – dynamic, balanced, electrostatic
• Optimally suited for low-impedance headphones starting from 10
Ohm (40 Ohm for balanced headphones)
• Remote volume control with motor potentiometer
• High-resolution laterality correction compensates right/left volume
differences.
• Switchable level adjustment (consumer to professional level, 1:1,
+6dB, +12 dB)
Applications
• Stereo preamplification and headphone amplification for three
sources
• High-quality music playback at home
• Central monitoring unit in professional environments with all classic
features like phase reverse, solo, mono
• Re-Amp ing (for exampl e, level boost a fter analog ma ster processi ng)
• Headphone amplifier for all headphone systems and impedances
• Loudspeaker simulation with headphones
• Monitoring alternative in studios and mobile units
• Adjustment of headphone playback to match familiar monitor
speakers
• Mobile reproduction of usual monitoring conditions
Introduction
Phonitor 2
11
Tech Talk
Phonitoring: With And Without Magnifiers
Already for the headphone monitoring – or phonitoring – part alone,
the Phonitor 2 encompasses advantages of both kinds of traditional
monitoring methods: On one hand the analytical headphone monitoring is like working with an acoustic magnifier but without external
room inf luences; on the other hand, loudspeaker simulation allows
for monitoring which forgoes the microscopic ef fect, but provides for
room ambiance.
Working with the magnifier effect of headphones has the advantage of
safely hearing clicks or similar defects and helps in f ine tuning crossfades or to judge tonal problems in individual tracks. On loudspeakers
such analyses are much more diff icult, as such problems just are not as
apparent when one is working without being able to “zoom in” aurally.
Conversely, loudspeakers provide monitoring with the advantage of
spatial balance in a (definable through placement) stereo width, which
in turn provides the illusion of an acoustic stage.
Traditional headphone reproduction produces one 180-degree stereo
width in the middle of the head, and it is exactly this which creates the
very problematic-to-impossibl e headphone mixing environment . An essential reason for such unnatural ambiance is the complete separation
of the channels, which does not exist either in natural hearing or in stereo loudspeaker reproduc tion. This makes it nearly impossible to judg e
tonal balance, a stereo image and the phantom center level. Panorama
adjustments as well as related EQ settings that one attempts with
headphones, typically just do not function on loudspeakers.
Moreover, what is often called the “super stereo effect” with headphones usually creates a great deal of ear fatigue in the long run. Over
loudspeakers the sound stage is felt in front, while in contrast, when
monitoring through headphones, the stage is present on the left and
on the right – but frontal and rear information is lost.
The End Of Ear Fatigue
Aside from these unnatural headphone ambiance there are further disadvantages with fatigue when mixing or listening with headphones.
First, some cans themselves may not be that comfortable to wear ...
Moreover, a standard headphone amplifier is often an additional important reason for premature ear fatigue. Almost without exception,
present-day headphone amplifiers employ comparatively undemanding IC’s. In the best cases they might wor k with symmet rical voltages of
+/-15 V to +/-18 V, and in less favorable cases, with only a simple supply
of 9 or 12 V from cheaper external “wall-wart“ power supplies. >
12
Phonitor 2
But the voltage level acts in circuitry much like the cubic inch capacity
to the productive power of a combustion engine: Cubic inch capacit y is
replaceable with nothing but more cubic inch capacity – and in the productive power of electronics, voltage level functions similarly.
For some years, now, SPL has addressed this issue in all of its mastering product series through its own specifically develop ed 120 volt technology. Consoles and signal processors of the SPL Mastering Series
appear as central elements in installations of today’s most renowned
mastering houses (for example Bob Ludwig’s Gateway Mastering &
DVD in the USA, Simon Heyworth’s Super Audio Mastering in Great
Britain, the Galaxy Studios in Belgium and the legendary Wisseloord
in the Netherlands). This 120 volt technolog y is based on discrete operation amplifiers from SPL’s own production, developed and perfected
over many years by SPL’s co-founder and chief developer, Wolfgang
Neumann. These OPs work with high-performance semiconductors in
Class A technology at a symmetrical voltage of +/-60 V.
The Phonitor 2 is the first unit to employ the 2nd generation of our 120
Volt OPs with improved specifications once again. They have Signal To
Noise Ratio of 116 dB and offer a nearly 34 dB headroom – that yields an
unequalled 150 dB dynamic range.
The musical result is not to be mistaken: Regardless of the monitoring means, regardless of how loud you monitor – the Phonitor 2 always
remains a distant, impar tial factor unaffected when used to capacit y
and beyond being overloaded. The phas e stability is always perf ect, its
THD nex t to immeasurable.
The Phonitor 2’s OPs cannot be stressed in the most stressful circumstances, and for precisely this reason its musical sound is always relaxed and spacious. All frequencies are reproduced in balance, basses
are stable and tig ht, mids are clear and differentiated and highs remain
transparent and soft. Par ticularly striking is the fact that you can easily
listen to every detail. Hearing fatigue makes it usually harder to carefully listen to and understand complex signals over a long period of
time. The Phonitor 2 reverses this situation turning it into a pleasant
listening experience that leaves you longing for more.
Such supreme and heretofore unreachable neutrality in audio reproduction is the direct consequence of our technical approach and basis
in 120 volt technology: Possible disturbances from such as noise or distortion are so slight that we even arrive at the boundaries of the best
measuring equipment, and what remains is quite simply unaltered musical sound.
Tech Talk
Phonitor 2
13
Tech Talk
Volt
120
100
80
60
40
20
0
+/- 15 Volt +/- 18 Volt +/- 60 Volt
dBu
35
30
25
20
15
10
5
0
OPA 134@30V OPA 134@36V SPL-OP@120V
Comparison Operational Voltages
30 V
21,5
120 Volt operating voltage and its effects
These diagrams clearly show how our 120-volt technology compares
to other circuits with a lower operating voltage. The direct relation between operating level and maximum level is fundamental for the classification: the higher the operating level, the higher the ma ximum level a
circuit can handle. And since virtually all essential
acoustic and musical parameters depend on this
120 V
36 V
Comparison Maximum Levels
33,2
22,5
relation, a higher operating voltage also has a positive impact on the dynamic range, distortion limit
and signal-to-noise ratio.
Do bear in mind that dB scales do not represent linear but rather exponential increases. A 3dB increase corresponds to doubling the acoustic power,
+6dB correspond to twice the sound pressure
level, and +10dB correspond to t wice the perceived
loudness.
When it comes to volume, the 120-volt technology exhibits a performance, in regard to maximum
level and dynamic range, that is twice that of common components and circuits given that its values
are approximately 10dB higher.
THD measurements of the SPL op-amp show a difference of more than 3dB compared to the OPA134
at 36V — in terms of sound pressure level, that
corresponds to an improvement of more than 50%.
The operating level most commonly used for audio
equipment is 30 volt s.
Diagrams
dBu Comparison Dynamic Range
145
140
135
130
125
120
124,2
OPA 134@30V OPA 134@36V SPL-OP@120 V
129,1
141,4
14
dBu
-105
-107
-109
-111
-113
-115
TL 071@30V OPA 134@36 V SPL-OP@120V
106
111,7
114,2
Comparison THD&N
Phonitor 2
Power
Rear Panel: Power
Voltage Select
Before connecting the Phonitor 2 to the mains, make sure that the voltage selection corresponds to the values of your local power grid (230
or 115 volts).
The mains connector on the rear panel integrates a fuse box that includes fuses for both voltage ranges. To select the voltage take out the
fuse box, turn it around and place it back again. Inside the power connector, to the right, next to the on/off switch, there is an opening that
displays the voltage selected. If the voltage indicated does not correspond to the one required, change it by following this procedure:
Open the power connector lid with a small screwdriver (use the tiny
slots on the right hand side). Use the screwdriver to lever the red
fuse box from above until you can grab it. Take the fuse box out, turn
it around 180 degrees and place it back again. When you close the lid
again, you should see the correct voltage displayed in the opening.
Power Connection
Connect the included power cord to the rear, 3 pin power input.
transformer, power cord and inlet of the appliance conform to VDE, UL
and CSA requirements.
The
On/Off Switch
Use the rear on/off switch to activate and deactivate the unit. The operational status is indicated by the illuminated VU meters on the front
panel. We deliberately chose to place the switch on the rear panel in
order to avoid interferences from power wiring through the unit to the
front panel. When switching on and off, you do not need to follow any
particular sequence with connected devices in the periphery of the
unit. There is, however, a general rule for audio devices connected together: always turn on power amplifiers last and turn them off f irst. If
suff iciently specified, you can also switch the unit on and off through a
multiway connector or other main switches.
Caution: Before connecting any other equipment – and in all other
cases where you are connecting cables with or f rom other sources –
you should be sure to switch of f the Phonitor 2 and all other devices
you want to connect it to. Otherwise you risk damaging the unit, other
connected gear and/or your ears.
Phonitor 2
15
Rear Panel: Wiring
forward the XLR pin wiring of the Phonitor 2 (refer to page 16).
Wiring
1
3
2
Make sure that the voltage
switch setting reflects the
correct local power line voltage.
Voltage
Selector
Power
Switch
1
3
2
1
3
2
1
33
2
1 2
3
1 2
Source 1
D/A Converter, Player
Source 2
D/A Converter, Player
Players
Source 3
NOTE ON XLR SOCKETS: You can establish unbalanced connections
easily and without adaptors e. g. from and to RCA sockets. In any case we
recommend readily configured cables from XLR to RCA or TS/TRS connector
to dispense with adaptors. Ask your dealer for configured cables and
Output
Balanced Headphones,
Amps for Electrostatic HP
Aktive Speakers, Power Amps,
Power
Connection
16
Refer to page 16
Learn Mode for
Remote Controls
Phonitor 2
Rear Panel: Signals & Remote Control
Signal Connections
Inputs are always female and accept male connectors; outputs are
always male. All in all, a ver y comprehensible principle. Turn off the
unit before connecting or disconnecting any cable or equipment to it.
Other wise you risk the possibilit y of damaging your ears or equipment.
XLR Sockets
The diagram shows the pin wiring of all XLR
sockets (3 pin, balanced).
The diagram also shows how to wire the balanced XLR connections if unbalanced connections are required, for example to RCA
or TS inputs and outputs (see next section).
Input
balanced
2
3
1
unbalanced
2
1
3
1= GND
2= hot (+)
3= cold (-)
Connecting XLR to other socket formats
Unbalanced connections from and to RCA or 1/4" TS sockets, for example from CD players or to power amps, are no problem and can be
made without adaptors. We recommend to use individually configured
cables from XLR to RCA or TS sockets instead of adaptors. The correct
wiring is important. The diagram shows the pin configuration of the
XLR sockets and how to correctly conf igure them for unbalanced connections. You can get cables in any needed configuration from audio
dealers. With the diagram above, the dealer can ensure to provide the
appropriate cable for your application.
Learn Button: Learn a remote control
The volume potentiometer of the Phonitor 2 is motorized and can be
controlled with any remote control. But you must first activate the Learn
Mode in the Phonitor 2. Afterwards you must choose any two buttons on
the remote that will be used to increase or decrease the volume. Then
you simply have to save them on the Phonitor 2.
1. Press the LE ARN BUTTON on the rear panel . The VU-meters light up red.
2. Point your remote towards the VU-meters and press the button you
want to use to decrease the volume. The VU-meters will light up once
every time you press a button. Press the same button repeatedly until
the VU-meters flash three times consecutively, which means the button
has been programmed.
3. Now follow the same procedure once again to program the button to
increase the volume.
balanced
1
3
2
Output
unbalanced
1
3
2
Phonitor 2
17
Bottom: DIP Switches
Output level adjustment
The DIP switches on the bottom of the unit give you the possibility
to increase the output level in multiple steps. This is something that
ought to be considered basically in two cases: when the input level is
very low and when using high-impedance and especially power-hung ry
headphones.
By default, the normal setting is active, all switches point down towards the numbers 1-4. The output level can be increased for all outputs in t wo steps: +6dB and +12dB. Additionally, the RCA input offers
the possibilit y to bring the level from consumer level (-10 dBV, for CD
players, for example) to professional level (0 dBu). IMP ORTANT: If the
level has been increased by +6dB or +12dB, this increment and the conversion of the RCA input to professional level will be summed (see 4.).
1. Increase of +12dB for all outputs: Switch 1 set to ON.
2. Increase of +6dB for all outputs: Switch 2 set to ON.
3. RCA input level conversion to professional level (-10dBV
to 0dBu): Switch 3 set to ON.
4. Example Summed Levels: +12dB increase for all input
PLUS RCA input level conversion to professional level
(-10dBV to 0dBu): Switch 1 and 3 set to ON.
Phonitor 2 Insert Loop
The Insert Loop mode for the line input is a particularity of the
Phonitor 2. Switch 4 allows you to route the input signal directly to the
line output without it being processed by the level or any other settings of the Phonitor 2. This mode is particularly interesting when the
Phonitor 2 is not used as a preamp or monitor controller and the source
signal ought to pass through unaltered.
5. Direct signal loop-through at the line output. This circuit of the XLR output corresponds to that of the Phonitor 1
(Model 2730, 2730B).
18
Phonitor 2
Front Panel: Connection
Headphone Connection
Connect headphones to the standard 1/4" (TRS) stereo plug on the
lower right front panel. The layout is: Tip =lef t channel, Ring = right
Channel, Sleeve = ground.
Make sure that the plug firmly seated for a solid connection.
Recommendations
Reduce volume level before you remove or plug in the headphone (or
when switching headphones). This excludes louder clicks and pops
reaching the ear. In addition, this can avoid unpleasant surprise that
follows when a headphone’s lower impedance suddenly reproduces an
other wise acceptable Phonitor 2 volume setting of a first headphone at
a much higher – even painful – level.
Warning
NEVER plug in a mono 1/4" (TS) connector to the stereo headphone
output. The use of a mono connector produces a short-circuit and destroys the final amplifier stage! Standard headphone connectors always have stereo plugs, and thus a correct connection will be assured
when you only connect headphones directly.
Phonitor 2
19
Control Elements
Crossfeed
The Crossfeed switch allows you to adjust the frequency-dependent
crossfeed simulation of both channels by adjustments of interaural
level dif ference – as if this characteristic would be heard from monitors when in their own room ambiance. One can compare variations
in crossfeed values as approximating the influence of different room
sizes and characteristics on a given loudspeaker setup.
This adjustment can be made in six steps ranging from “minimum” to
“maximum”. Crossfeed interacts with the Angle value to simulate the
width of a stereo image (please refer to the next section).
For fur ther information regarding simulation of a specific loudspeaker
playback setup, please refer to “Adjust Headphone Reproduction To
Loudspeaker Monitoring“ on page 26.
Angle
The Angle switch provides for frequency-dependent simulation of your
stereo image width by adjustments of interaural time dif ference. This
influences the moment in time at which a signal‘s wave form arrives
at the ear and corresponds to a particular variation in the angle of an
actual loudspeaker pair.
The time constants of the interaural time differences between the left
and right channels occur within a range of 90 to 635 microseconds.
Compare the table “Crossfeed and Angle Parameters” on page 21. We
recommend to start with the figures of the accentuated lines from this
mathematically-ba sed table for a given monitoring setup. A s you might
expect, however, the best results can only occur when you follow the
recommendations and then as needed, carefully engage in your own
additional fine tuning, especially between Angle and the Crossfeed
value.
For fur ther information on the simulation of a specif ic loudspeaker playback, please refer to “Adjust Headphone Reproduction To
Loudspeaker Monitoring“ on page 26.
.
20
Phonitor 2
Control Elements
Interaural Level and Time Differences as Related to Crossfeed Setup
The following two diagrams show, respectively (on the left), the frequency response of interaural level differences and (on the right) the
interaural time difference at maximum Crossfeed value and at an Angle
of 30 degrees.
The following two diagrams show, respectively (on the left), the frequency response of the interaural level difference and (on the right)
the inter aural time difference, at minimal Crossfeed value and an Angle
of 30 degrees.
The black curves stand for the side of the direct sound wave front,
while the gray curves stand for the opposite side. It is clearly recognizable that corrections are usually done for frequencies below 1 kHz.
You should also note that the Crossfeed control functions mainly level
dependent. Effects with respect to time differences are comparatively
slight. However, that they, too, may be altered is an indicator of interaction bet ween Crossfeed and Angle control.
Phonitor 2
21
Control Elements
Interaural Level and Time Differences as Related to Angle Setup
The following two diagrams show (on the left) the frequency response
of interaural level difference with respect to the interaural time difference (on the right) at maximum Crossfeed value and an Angle of 75
degrees.
The following two diagrams show, respectively (on the left), the frequency response of the interaural level difference and the interaural
time dif ference (on the right) at a maximum Crossfeed value and an
Angle of 15 degrees.
The black curves stand for the side of the direct sound wave front,
while the gray curves stand for the opposite side.
The larger the Angle value (and/or angle of an actual loudspeaker
placement), the greater the effect will be of shifting the opposite side
toward more deeply lying frequencies, since with an increased spatial
arc around the head only lower f requencies will undergo proportionate
modification.
It should also become apparent that the Angle control is primarily depending on interaural time differences. Its influences on level differences are in contrast, comparatively slight.
22
Phonitor 2
Crossfeed and Angle Parameters
Angle
Switch
Crossfeed
Switch
Level
Difference
Time Diff.
(µs)
Control Elements
Speaker Angle
(Result)
The accentuated lines show at which Crossfeed values the Speaker
Angle most precisely matches the theoretically determined time difference values. These, of course, are mainly a starting point to reproduce a
real monitoring setup.
Formulae for calculations from http://www.sengpielaudio.com/
LaufzeitdifferenzenBeimNatuerlichenHoeren.pdf
Phonitor 2
23
Control Elements
Source
The Phonitor 2 provides three different source connections. Use the
Source switch to select one. All three switches are named after the inputs on the rear. The RCA input is usually used to connect consumer
products. Do note, however, that the XLR inputs can also be used to
connect any unbalanced outputs. For more information on this topic,
please refer to page 16, „Connecting XLR to other socket formats.“
Output
This switch merges the output selection and mute options. You can
choose directly on the Phonitor 2 whether you want to listen to the output signal on your headphones or speakers. There is no need to unplug
the headphones when you listen through your speakers, nor to turn off
the power amp when you use headphones.
Cr/A, Off, All
With Cr/A, Of f, All you switch on or off Crossfeed and Angle functions
globally. “Cr/A“ switches Crossfeed and Angle in, “All“ activates
Crossf eed, Angle and Center, “Of f” deact ivates all three func tions. This
provides for direct A/B comparisons.
Your impression may at first be that the results are not so spectacular
as expected – until you consider that the Phonitor 2 is not an ef fects
machine. Instead, reevaluate your aural impression by thinking about
this: normal headphone monitoring confronts you with a 180-degree
sound stage – the “super stereo width” has so little to do with loudspeaker playback. Now you can gradually reduce this in 15 degree
steps with the Angle switch. Subsequently, using the Crossfeed function, you can simulate the acoustic effect of room size and ambient
characteristics on a given listening device.
Center
With the Center control you may regulate the intensity of center signals
to compensate for the stereo signal processing with Crossfeed and
Angle. This Center signal is produced as a mono sum of the left and right
channels. Changes in these values are regulated through a finely graduated, six steps switch (0.3, 0.6, 0.9, 1.2, 1.6 and 2 dB).
In a normal headphone listening experience, the center signal is typically quieter than the stereo signals, which appear louder due to the
super stereo effect. If the sound stage width is narrowed through
changes in Crossfeed and Angle (so as to correspond to your actual
loudspeaker setup), the headphone center may likely sound too intense now. Lowering the center level will again return the center signal
to the correct volume in relation to th e L/R stereo image. >
24
Phonitor 2
Control Elements
If you are an audiophile listener you may f ind that you will not need the
Center function as you are mainly listening to finished recordings that
were mixed to sound well on loudspeakers. As a mix engineer you will
appreciate the center function as an essential tool for successful mxing
on headphones. The Center function helps to mix the phantom center
signals such as lead vocals, bass, kick and snare with the correct level
to sound great on loud-speakers.
VU Meter
The VU meter displays the input level for each channel. Calibration is
set to +4dBU at 0 VU. The gauge indicates levels from -20 dB to +5 dB. If
necessary you can lower the sensitivity by 6 dB so that the gauge goes
up to +11 dB output level (see “VU Cal.“ below).
The VU meter is custom made to meet SPL specif ications and assures
a balanced optical perception thanks to it’s optimized ballistics. The
integration time of the display complies with BBC requirements, rise
time up to 0 dB is approximately 300 ms.
VU Cal.
With this switch you can change the sensitivit y of the VU display. If you
choose the +6 dB position, the range of the display is extended by 6 dB.
With the +6 dB switch activated and the needle at 0 dB, a value of +6 dB
input level is displayed.
Solo
You can engage the Solo switch to monitor only the left or right channel
of the stereo signal.
The Solo switch has three positions: L, R and OFF. The middle or OFF
position allows monitoring the stereo signal. Switch to L or R, and you
will hear only the left or right channels, respectively.
A selected solo channel defaults to retain in its respective left or right
position, and we call this function “Solo-in-Place”. However, should
you prefer to hear a chosen solo channel in both ears (“Solo-toCenter”), you can additionally activate the Mono switch. This Solo-toCenter variant also allows some interesting possibilities for comparison between two channels. You can, for instance, recognize immediately whether the sound of both channels contains comparably equal
highs and mids. Likewise you may ascertain quickly whether a signal
such as a voice, snare, kick or bass track (that you wished to locate in
the middle of the stereo field) has been placed properly – if not, this
setting will reveal dif ferent levels in the lef t and right channels.
Phonitor 2
25
Control Elements
Phase ø
The phase reversal control is another important monitoring function. As with the solo function, you can choose between L, R and OFF.
Choose the middle position, OFF, to hear the stereo signal. Switching
to L reverses the left channel phase (thus inver ts by 180°). The same
effect occurs in the right channel when switching to R.
With phase reversal and a simultaneous activation of the Mono
switch, you can generate the dif ference between both audio channels.
Depending on which channel’s phase reversion you have activated,
what remains will be the channel’s available stereo information. In this
differentiated signal you can, for instance, now judge whether signals
to be placed in the middle “sit” properly or not. If not, a remainder
of the center signal will not be cancelled out by the phase reversal –
something which should happen with a true mono signal. Before you
undertake this test, you should eliminate any stereo effects on the
channel you wish to test, as such reverb processing will tend to be retained and invalidate the results.
However, even more important for precision testing of the center signal
can be to discern the intrusion of artifacts. For example through this
process you can easily detect distortion which may be introduced digitally (via conver ters or internal DAW mixing).
Stereo and Mono
Usually this toggle switch is set to Stereo for regular
monitoring of stereo signals. The Mono switch creates a sum of the stereo channels.
If, per the above description, you employ this Mono
switch along with the Solo, the overall signal level will
be approximately 6 dB below a stereo signal and mono-switch only. This is normal, since in Solo mode only a single mono
channel is active.
Aside from the above scenario, the Mono switch also offers important
and useful functi ons in combination with Ph ase and Solo sw itches in its
abilit y to examine the mono comp atibility of a mix. While such compatibility tests are essentially the same as in earlier eras, they nonetheless
remain an important standard in radio mixing or vinyl production.
26
Phonitor 2
Control Elements
Laterality
In acoustics, laterality refers to the deviation of sound
perception to either of our ears. With the Laterality
control you can compensate perceived volume differences between channels that may be due to hearing
loss.
In contrast to conventional balance controls, in this
case the control values are lower and the arrester does not correspond
to zero. Its resolution is very high, which means it can be finely adjusted. Further, Laterality work s like a scale with values ranging from
+3dB to -3dB. This means that, when hard lef t, the level of the right
channel is reduced 3dB while that of the left channel increases 3dB.
The maximum difference amounts to 6dB, which is more than enough
to compensate for significant differences: +6dB equates to doubling
the sound pressure level (to achieve a doubling of the perceived loudness, the overall level ought to increase 10dB).
Volume
The Volume level control allows you to decrease the
signal level from between 0 and -97 dB.
To this end we employ a high-grade ALPS RK27
motorized potentiometer. It distinguishes
itself through a high headroom, very low tolerance and excellent handling that on the one
hand offers suff icient resistance while, on the
other, avoids stickiness.
The Volume control is calibrated in a relative
dB scale that references the input level. The
fully clockwise position represents 0 dB, where
the input signal is led to the output with an unaltered
level (unity gain).
Phonitor 2
27
Operation
Adjust Headphone Reproduction To Loudspeaker Monitoring
The Phonitor 2 offers foremost a complete set of options required for
professional monitoring: Solo L/R, Phase Reverse L/R, Mono, Volume,
VU Metering.
In addition, new functions such as Crossfeed, Angle and Center Level
transform the Phonitor 2 from a traditional headphone amplif ier into
a headphone monitoring amplifier, with which it is possible to achieve
reproduction equivalent to studio monitors, if essential factors of
music production are considered.
We recommend proceeding with the following five steps:
1. Initially choose your audio material from sources you know well, and
in a first production, that which is similar to what you wish to mix. It
is not sensible to listen to classic music while planning a Phonitor 2
setup to mix a pop production. Classic music stereophony recording involves a much more restricted stereo width than pop or rock
music, where ar tificial “panorama stereophony “ often provides for a
much broader imaging. Compare and match the volume of speakers
and headphones.
2. Note that you should be able to switch quickly and smoothly be-
tween speaker and headphones when making comparison tests. It
is also important that you can switch off the loudspeakers quickly
to avoid crosstalk into the headphone. The degree of loudspeaker
crosstalk into the headphones will of course depend on whether you
have open, half -open or closed headphones.
3. As starting points, first choose the following adjustments:
Crossfeed: 3, Angle: 30°, Center Level: -1,2dB.
4. Activate Crossfeed, Anlge and Center. The audio channels will now
be mixed with time, level and frequency corrections calculated precisely to match what you hear when monitoring over loudspeakers.
You should now compare what you hear with headphones and loudspeakers. First, whether or not you have the correct width in your
stereo image. If this appears too narrow or too broad with the headphone, you have always two ways for fur ther adjustments.
Increase Crossfeed. With this approach more of each channel is
mixed to the opposing side, but the Angle remains unaf fected.
Technically speaking, this process changes the interaural level difference. However, the interaural time difference on the contrary
changes only minimally.
28
Phonitor 2
Alternatively you can keep the Crossfeed adjustment identical (thus
keeping the interaural level difference), but for ex ample increase the
Speaker Angle. This way the interaural time difference is increased,
which in turn has the effect of a broader image. The interaural level
difference is only slightly altered. Do not be misled by the scaled
Speaker Angle degree numbers so that you think you need to follow
only those exact values given for your loudspeakers. These values
are to be considered as approximations for the determination of interaural time differences. In an individual installation, a loudspeaker
pair set up at a 30° angle may in fact be perfectly represented with a
40° Speaker Angle switch adjustment at the Phonitor 2.
If you are uncertain about the angle your loudspeakers are set up,
you can calculate this as follows: You‘ll need a pocket calculator
with pi functions (in this case ‚arctan‘ = arc tangens) and a measuring tape. Measure the distance between both loudspeakers, that is,
between the cone midpoints, and divide the distance by 2. We call
this result A. Now measure the distance between the loudspeaker
centers and the location of your ears at the listening position. This
result we call B. The angle W, in which the loudspeakers are set up is
calculated according to the formula: W = arctan A:B.
5. After you have set up Crossfeed and Angle you can then determine
your Center Level setting. Although at normal hearing levels over
headphones the center signal generally seems too quiet, af ter
Crossfeed and Speaker Angle processing it then can seem too loud.
Therefore the center level can be lowered to avoid this effect.
After finishing these adjustment you should have achieved a
very good initial headphone equivalent of your loudspeaker
reproduction.
But as a final bit of advice we‘d like to emphasize that monitoring
over loudspeakers remains important. Every studio offers alternative monitoring with distinctive sounds (near field, mid field and full
range). Experienced engineers hear a mix on the portable radios and
through car and home stereos. And everywhere a mix will sound different – ju st as it will over headphon es. But for mixing, the P honitor 2
gives results with headphones that are as close to (near field) monitoring as possible.
Operation
Phonitor 2
29
Specifications
Inputs
XLR connectors, electronically balanced
Impedance: bal. ca. 20 kOhm, unbal. ca. 10 kOhm
Max. Input Level: +32,5 dBu
Outputs
Monitor/Line Outputs: XLR connectors, electronically balanced
Frequency Range: 4 Hz to 480 kHz ( -3 dB)
CMR: -82 dBu
At 1 kHz, 0dBu input level and unity gain
Cross talk at 1 k Hz: -10 6 dB
THD&N at 1 kHz: 0,00 085 %
At 0dBu input l evel and unity ga in, 1 kHz, 100 kOhm load
Noise: Unweighted -101,87 dB
A-weighted - 104,76 dB
CCIR: -96,1 dB
Dynam ic Ran ge: 134,37 dB
Headphone Output
6,3-mm TRS connector
Pin wir ing: Tip = Left, Ring = Right, Sleeve = GND
Impedance: 0,18 Ohm
Attenuation Factor: 180 @ 40Ohm
Frequency Range: ‹10 Hz to ›480 kHz ( -3 dB)
CMR: -82 dBu
At 1 kHz, 0dBu input level and unity gain
Cross talk at 1 k Hz: -10 6 dB
THD&N at 1 kHz: 0,00 091 %
At 0dBu input l evel and unity ga in, 1 kHz, 100 kOhm load
Noise: Unweighted -101,12 dBu
A-weighted - 103,98 dBu
CCIR -95,02 dBu
Dynam ic Ran ge: 133,62 dB
Power Amplifier
Max. Output Power:
65m W (+20 dBm) at 1 kHz and 600 Ohm connected impedance
560 mW (+20 dBm) at 1 kHz and 40 Ohm connected impedance
Power Supply
Voltages: 230 V AC, 50 Hz / 120 V AC, 60 Hz
Power Consumption: max 23,7 VA
Fuses: 100-120 V AC: T 1 A/200-240 V AC: T 500 mA
Measurement & Weight
Height x W idth x Depth (mm):
Weight: 4,3 kg
0 dBu = 0,775 V. Specifications subject to change without notice.
99 x 277 x 305
30
Phonitor 2
Frequency Response Input/Headphone Output, Left and Right Channel
Measuring output and input 600 Ohm, Volume control Phonitor 2 0 dB:
‹10 Hz to ›200 kHz (-0.2dB; ‹1 0 Hz to ›480 k Hz @-3dB).
The large frequency response range excludes that the frequency spectrum is limited at any point. Formants and octaves of an instrument’s
sounds cannot be narrowed.
Phase Response Input vs. Output, Left and Right Channel
Measuring output and input 600 Ohm, Volume control Phonitor 2 0 dB.
This measurement shows the minimum deviation of phase in the upper
frequency range. Phase response describes the time difference between input and output signal – the less, the bet ter. The extremely
tight phase response up to 50 kHz excludes any audible effects.
Measurements
Phonitor 2
31
Measurements
THD vs. Output Level (W)
Measuring output and input 600 Ohm, Volume control at 0 dB. This
measurement represents an analysis of THD values over the complete
output level range. High THD values can be perceived as rough sounds
and overemphasized highs. In usual operating ranges around 0 dBu,
the Phonitor‘s THD values are extremely low. Volumes that would result from 10 dBu are already f ar above healthy levels.
THD vs. Frequency
Measuring output and input 600 Ohm, Volume control at 0 dB. THD vs.
frequency range from 10 to 20 kHz at 0 dB over both channels. Values
are extremely low below 0.001% throughout the whole range; even in
long sessions this ensures listening without ear fatigue.
32
Phonitor 2
Headphones
Speakers
Copy Master: Recall Sheet
Studio/Listening Room
Date
Manual Phonitor 2
Model 1280
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