X-Treme Audio Monitor Line User Manual
MONITOR LINE
Monitor Line
User’s manual
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MONITOR LINE
MONITOR LINE
User’s manual
TABLE OF CONTENTS
1.
Safety
2.
General information
3.
Directivity
4. Guidelines for using passive monitors
4.1
Amplification and constraints
4.2
Connections between amplifiers and speakers
4.3
Power cables
5.
Guidelines for using active monitors
6. XT-NET
6.1
XT-NET management functions
6.2
Sensitivity
6.3
Limiters
6.4
Presets
1. SAFETY
It is very important to comply with safety standards when using electric loudspeakers. Professional electroacoustic systems are capable
of producing very high levels of sound pressure and for this reason
they must be used with proper care and attention. Hearing loss is a
gradual process and can be triggered by long periods of exposure
to levels of sound pressure in excess of 90 dB. Never remain next to
loudspeakers operating at high volumes. Always check the floor is flat
and stable before placing speakers on the floor. Do not stack multiple speakers too high outdoors, as they are a potential safety hazard
since the wind may compromise the stability of the stack. Suspended
systems must be assembled by qualified personnel who have proper
experience and are assisted by professional riggers.
2. GENERAL INFORMATION
A good stage monitor has to feature several basic, essential requisites:
uniform frequency directivity, good angular coverage, control of feedback,
stage presence, stability and low weight. When the engineers at X-Treme
were designing the new Monitor Line (the 450W and 500W XTMON12
and XTMON15, plus the very demanded XTMON12/A, XTMON15/A
amplified versions), they treasured tips and suggestions from professional
musicians. These products are the result: an attractive design, cutting
edge components, on board amplifiers with the latest generation DSP
and a level of detail and finish that reflects the almost fanatical attention
to specific aspects that has always been a distinctive feature of X-Treme’s
business unit (just think of the raised X-Treme logo).
The new X-Treme monitors are not only fine looking, but the are also
extremely steady, always literally “fastened down to the stage”. They
are also totally free of any vibration, even when operating at high power, guaranteed by the special design of the chassis in Canadian birch
plywood and its 18 mm thickness. Their ergonomic handle and light
weight make the speakers very easy to handle, whilst the shape of the
cabinet, the control of the internal stationary waves and high transparency grid guarantee utter precision, even at the furthest extremes of
the sound band played.
The decision to use components that guarantee absolute reliability
and sound quality, without compromise or budget constraints, has
resulted in products whose efficiency is at the top of their category:
this is also possible thanks to the coaxial loudspeaker with a neodymium magnet and titanium tweeter, 3’’ coil and 80° scattering angle.
Furthermore, the crossover network of passive speakers minimises
phase rotations, and consists of air coils, high insulation capacitors
and armoured resistors with aluminium heat sinks.
This new generation of stage monitors will fully satisfy the most demanding musician and convince the most punctilious audiophile!
XTMON12
XTMON12/A
XTMON15
XTMON15/A
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LF
transducer
1 X 12”
Neodimium
1 X 15”
Neodimium
HF, MF
and HF
transducers
1 X 3”
(Voice coil)
(Titanium)
1 X 3”
(Voice coil)
(Titanium)
Passive
version
input config.
Full Range,
8 Ohm
Full Range,
8 Ohm
Active (/A)
version
amplifier
Bi Amp
800+800 W
(@8Ohm)
Class D
Bi Amp
800+800 W
(@8Ohm)
Class D
User’s manual
3. DIRECTIVITY
The chart above shows the amplitude of the output sound beam in relation to the frequency of the XTMON12 (passive), measured at Sound
Corporation’s R&D laboratory in virtually anechoic conditions (calculation of the impulse response and rejection of reflections). The illustration shows the angle at whose boundaries the sound pressure drops
by 6 dB from the on-axis value in relation to the frequency. The width
of the vertical beam is actually quite similar to the horizontal beam
shown because of the coaxial system of transducers. The entire band
covered by the tweeter (that is above 1800 Hz - the crossover frequency) has a uniform beam of 80° (conversely, some lobing is inevitable in the range covered by the woofer and is quite generalised, given
by the ratio between the diameter of the cone and the wavelength of
the frequency in question). This can be heard quite clearly while listening: the continuation of the timbre and the clarity of the sound within
the entire established emission angle are striking.
The angle of the transducer surface (31°) makes for excellent listening quality at a distance of about one metre for a person of average
height, aligned with the transducer. Due to the 80° angle of dispersion,
the sound will remain clear and intelligible up to a distance of 4.5 m.
4.
GUIDELINES FOR USING PASSIVE MONITORS:
STANDARDS AND PRECAUTIONS
The Monitor Line is a series of passive and amplified products. The
passive versions have passive crossover filters with equalisation and
fader cells, designed so the transducer channels can provide a uniform frequency response. This makes it possible to achieve excellent
sound quality with the XTMON12 and XTMON15 speakers without the
need for an external processor: simply plug and go! In particular, the
passive crossovers of the XTMON12 and XTMON15 have frequency
fading on very tight bands (notch) on the critical frequencies due to the
Larsen effect when microphones are being used. Using processors,
however, can be practical when it is vital to safeguard the quality of the
sound as well as to protect the speakers and to exploit their maximum
potential: a crucial issue for sound professionals. The amplifiers’ input
voltage has to be controlled to ensure there will be no damage to the
speaker’s passive components with signals that are too powerful or
generally unsuitable for an acoustic transducer: the following paragraph explains how and why.
It is not possible to protect the speakers a priori from harmful phenomena that originate within the amplifier itself by adjusting the amplifier
input signal: if an amplifier malfunction leads to the supply of direct current or ultra low frequency, this can be harmful for the transducers regardless of the input signal. Similarly, severe voltage peaks caused by
switching the equipment (ON or OFF) upstream to the amplifiers, when
the amplifiers are already ON, may cause damage to the transducers:
when you supply a Sound Reinforcement system, it is crucial to switch
on the amplifiers only once the mixer and the control electronics are
up and running (and have stabilised). Follow the sequence in reverse
order when shutting down the system, switching off the power amplifiers first.
Proper control and maintenance of a sound system are as important as following the correct sequence when switching devices in the
sound network on and off.
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