amadeus PHILARMONIA User manual

Getting Started with
PRELIMINARY V.1.1

3
SUMMARY
Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Unpacking....................................................................................................4
Features ......................................................................................................5
Elementary precautions .......................................................................................7
Speaker placement and positioning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Front panel ..................................................................................................10
Rear panel ...................................................................................................10
Network connection and configuration (optional) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Amadeus DSPControl software installation and network configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Amadeus DSPControl overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Set-up and DSP configuration ................................................................................18
Customer service.............................................................................................21

4
FOREWORD
Thank you for buying this Amadeus speaker.
This system is the natural outcome of almost 30
years dedicated to design and manufacture sound
reinforcement systems combining high technology,
elegant styling and emotion. It was developed to oer
unique acoustical properties, an excellent sound image,
a very high timbral precision and an extended frequency
response.
Designed by Amadeus and Jean Nouvel, Philharmonia
is a very high denition monitoring system combining
innovation and technology, with timeless beauty and a
pristine sonic character, initially created specically for the
Philharmonie de Paris recording and mastering studios.
Philharmonia was built to capture performances by the
most prestigious symphonic orchestras.
Installation directives mentioned in this guide are given
as general advice. They do not present all criteria and
precautions to follow. So any person using this document
takes charge, alone, of the installation safety aspects of all
systems.
Keep this document in a safe place, for further reference.
If you resell this product, be sure to pass this guide to the
new owner. If necessary, you can order supplementary
‘Getting Started’ guides from Amadeus.
As technologies and regulations evolve constantly,
Amadeus reserves the right to modify specications cited
in this document without prior notice.
We recommend you read all the warnings given in this
manual, and to observe all safety instructions given
thereafter.
We are continually evaluating and developing our
products. Please visit www.amadeusaudio.fr for the most
recent information.
Unpack your Amadeus system carefully and make sure it
is not damaged.
Each Amadeus system is tested and controlled before
shipment, and should reach its destination in perfect
condition.
We advise you strongly to keep the cardboard, packaging
and shipping accessories, even if the speakers are not
damaged, if you need to ship the speakers in the future.
UNPACKING

5
Amplitude linearity (±2dB) : 43 Hz - 22 kHz
Cut-ofrequencies (-6dB) : 35 Hz
Peak SPL 1-meter (Pair, IEC Short Term) : 124 dB peak
FEATURES
ACOUSTICAL SPECIFICATIONS
Crossover frequency (HF, LMF) : 2170 Hz and 2170 Hz (DSP generated)
Crossover slope (HF, LMF) : 24 dB/Oct and 24 dB/Oct
Transducer (HF) : Ø 28 mm soft dome
Transducer (LMF) : Ø 230 mm bass driver
RMS capacity (HF) : 700 W @ 8 Ω, Class-D
RMS capacity (LMF) : 700 W @ 8 Ω, Class-D
Dimensions (H x W x D) : 1613 x 320 x 465 (mm)
TECHNICAL SPECIFICATIONS
Mains voltage : 100 to 240 VAC, 50 to 60 Hz (select)
Power consumption : 45 W @ 1/8 max power (IEC 60065)
Input connectors (Analog) : 1 x Male XLR (Pin 2+, Pin 3-)
Input connectors (AES/EBU) : 1 x Male XLR (Pin 2+, Pin 3-), 1 x Female XLR (Pin 2+, Pin 3-)
Input impedance : Balanced > 10kΩ
Dynamic range : > 118 dB(A)
A to D Conversion : 64 bit
Internal sample rate : 96 kHz
Formats (AES/EBU) : 24 bit
ELECTRICAL SPECIFICATIONS

6
Crossover : Multiple lter types (Butterworth, Linkwitz-
Riley, Bell, High Shelf, Low Shelf, Notch, All Pass, Band Pass,
High Pass, Low Pass) up to 24 dB / Oct.
Delay : 1 second
Control and monitoring interface : Full conguration and
real-time monitoring via PC and Mac.
LOUDSPEAKER PROCESSING

7
ELEMENTARY PRECAUTIONS
DO NOT OPEN
PLEASE READ ATTENTIVELY THESE INSTRUCTIONS
BEFORE USING THE AMADEUS SYSTEM IN ANY WAY !
Never open the system, and avoid pulling apart internal
elements or modifying them in any way.
No internal component of the system has been designed
to allow user intervention.
If the system seems not to work well, disconnect it
immediately from any source of power and bring it to
your authorized reseller for maintenance.
WATER AND HUMIDITY
Avoid leaving the system under the rain, avoid using it
near water or in a place where humidity is too high.
This warning applies to all Amadeus systems without
special ‘tropicalized’ nish enabling it to work in areas
submitted to severe weather conditions.
SOUND PRESSURE LEVEL
This system is capable of generating high sound pressure
levels, harmful to human health.
Do not use the system at a high or uncomfortable sound
pressure level, sucient to cause permanent hearing
damage. If you experience such a hearing loss, consult at
once a specialist doctor.
CAUTION !
WARNING !

8
SPEAKER PLACEMENT AND POSITIONING
INTRODUCTION
Having acoustics and electro-acoustics match up is a
basic premise of our design philosophy when designing
and outtting spaces dedicated to creation, mixing,
mastering, postproduction or dubbing, or just high-level
listening, among other tasks.
Our transversal approach and dual expertise have made
us able to create perfectly imagined spaces where the
acoustical response has been perfected, ready to house
the monitoring systems we design in parallel.
We have many successes in the eld of acoustical and/or
electro-acoustical custom design.
RELATION TO BACK AND SIDE WALLS
The Philharmonia loudspeakers are precision monitoring
systems for music reproduction.
Loudspeaker placement within the listening room will
have a great impact upon the total performance of
Philharmonialoudspeakers intermsofbassperformance,
tonal accuracy, and imaging. All rooms are dierent and
so this section is intended as a guide only.
Experimentation in your room will yield optimum results.
Begin by placing the sides of the loudspeakers not
less than 50 centimeters in from the side walls of your
listening room.Your listening position should be roughly
equal to the distance between the two loudspeakers.
Also, turn the loudspeakers inward so each axis points
toward the listening position.
Caution ! To minimize the modal coupling eect it is very
important to never place the electroacoustic transducers
equidistant from the oor and two surrounding walls.
ADJUSTING THE LEVELING FEETS
Be sure to use two people when adjusting the leveling
feets. Be careful to not pinch your ngers under the
loudspeaker and make sure the loudspeaker does not
fall on its side.
The installation of leveling feets on the bottom of the
unit allows you to establish a rm connection between
the ground and the loudspeaker when placing the
loudspeaker on uneven surfaces.
The bottom of the cabinet features four leveling feets.
The use of four leveling feets for support eliminates the
need for ne adjustments, allowing you to keep the
loudspeaker rmly in place.
There are screw holes on the aluminum plates located
on the bottom of the cabinets.

9
IMPROVING IMAGING
If the image is unclear and spreads wide, the side walls
are probably creating strong reections. Try moving the
loudspeakers closer together to reduce this eect.
If this brings them too close, try instead toeing in the
loudspeakers so that the axis crosses in front of the
listening position. Because of the fast exponential
waveguide machined in wood, which yields exceptional
control over spatial dispersion, the strength of the side-
wall reections will be reduced, and at the same time,
the image will be stabilized and focused.
Limited depth suggests that the speakers are placed too
close to the front wall. Try moving them forward.
IMPROVING BASS PERFORMANCE
Typically, moving the Philharmonia loudspeakers
towards the walls will increase low bass output, but can
result in more unevenness higher up the musical scale.
Moving them closer to the side walls will not produce
the same eect as moving closer to the back wall, so try
experimenting moving both ways for the most pleasing
sound.
Changes in loudspeaker position of as little as a few
inches can have a large eect upon bass performance,
so take time and try many positions.

10
FRONT PANEL
POWER SWITCH AND POWER INDICATOR
The power switch is located on the front panel of your
loudspeaker, just under the Philharmonia letters. Turn
the system on by briey touching the sensor area. The
underline will light up white indicating that the system is
turned on.
Turn the system oby briey touching the sensor area
again. The underline will light up red indicating that the
system is turned o.
The touch sensor can be operated easily with your ngers.
REARPANEL
AC POWER INPUT
Your self-powered loudspeaker is congured at the
factory for the proper AC voltage in the country where
you purchased it, either 120 V/60Hz or 230V/50Hz.
The operating voltage of the system is user selectable
between 120V and 230V via a slide switch located
underneath of the AC inlet. This switch should be set to
match the AC voltage of your country.
Should you move your system to another country, it may
be possible to recongure it for use on a dierent line
voltage.
Because of its high power rating, the system can draw
considerable current. Therefore, it should be plugged
directly into a wall outlet. The Philharmonia must be
plugged into a 3-pin polarized outlet. Do not use an
extension cord. A heavy duty multi-tap power outlet strip
may be used if it (and the wall outlet) is rated to handle
the current demanded by the amplier and all the other
components connected to it.
If you are going to be away from home for an extended
period of time such as a month-long vacation, it is a
sensible precaution to turn oyour system (as well as
other audio and video components) while you are away.

11
ANALOG INPUT
An Analog input is available on a standard XLR-F latching
connector.
The input is electronically balanced. The impedance is 20
kohms, and the input can accept a maximum input level
of +26 dBu.
Polarity is as follows:
Pin 1 = Screen (shield)
Pin 2 = Positive (+)
Pin 3 = Negative (-)
AES3 INPUTS
A latching XLR-F connector accepts an AES3 digital
audio signal. Input impedance is 110 ohms. Ensure that
110 ohm digital audio cables are used. Standard XLR
microphone cables are rarely suitable for reliable digital
audio transmission.
AES3 is a stereo digital format, and therefore both inputs
are fed via a single connector. Selection of the analog
or digital inputs is made via the Amadeus DSPControl
software.
A latching XLR-M connector is tted adjacent to the
AES3 input connector. This is an active link which sends
an unprocessed AES3 loop-thru to feed additional
Philharmonia units. The design requires no termination
load when the unit is the last connected.
NETWORK
Philharmonia features an RJ-45 network input allowing
remote control of its processor for an optimal adjustment
via dedicated software to the acoustical properties of the
listening space.
The RJ45 jack is supplied for connection to an Ethernet
network for external control and monitoring, either by a
direct wired connection or via an external WiFi router.
LEDs below the connector indicate valid network
connection (LINK) and network activity (ACT).

12
NETWORK CONNECTIONAND CONFIGURATION(OPTIONAL)
INTRODUCTION
Connect the host computer for Amadeus DSPControl
software to one or more Philharmonia speakers.
No manual conguration of the network is required.
Amadeus DSPControl automatically detects all
Philharmonia speakers on the network.
Direct connection from the computer to a Philharmonia
system may require a crossed cable or an MDI/X-capable
network interface card.
However, most newer laptop computers will work with
a standard network cable and the built-in interface card.
Wireless control using a WiFi-equipped computer may be
enabled by connecting the Philharmonia system(s) to a
WiFi-enabled router.
Should the network connection be interrupted
between the host computer and any loudspeakers,
the loudspeakers will continue to function with no
interruption of audio. However, no adjustments of
levels or parameters will be possible using Amadeus
DSPControl until the network connection is restored.
DIRECT CONNECTION OF ONE PHILHARMONIA TO A HOST COMPUTER
A Philharmonia system may be connected directly to
a computer using a straight cable. Because no DHCP
server is present, the Philharmonia system will assign
itself an address in the ZeroCong range.
When the Philharmonia speaker has a self-assigned IP
address, it will continue searching for a DHCP server.
If the unit is later connected to a network and a DHCP
server is detected, it will take its IP address from it.
If the user assigns a xed IP address by entering it
manually, this address will have the highest priority, and
DHCP will not be used.

13
CONNECTING MULTIPLE PHILHARMONIA SYSTEMS TO A NETWORK
Connection of multiple Philharmonia systems on a
network requires use of a network router, which also
functions as a DHCP server. Nearly all-new routers oer
this function.
The router will automatically assign an IP address to
each Philharmonia system on the network, unless an IP
address has been assigned manually.
A Philharmonia system will continuously broadcast
its presence on the network, irrespective of its current
IP address. Therefore, even if the current IP address is
invalid on the network, the broadcast will continue. As a
consequence, units that have a changed IP address may
appear as duplicates in Global View, but will not connect.
Re-starting Amadeus DSPControl normally will make the
duplicate unit disappear.
AMADEUS DSPCONTROL SOFTWARE INSTALLATION AND NETWORK CONFIGURATION
DOWNLOADING THE INSTALLATION FOLDER
The installation les for Amadeus DSPControl may be
downloaded free of charge.
Version 3.8.10.110659 is available for download. You can
download it from:
www.amadeusaudio.fr/downloads/DSPControl/
Amadeus_DSPControl_32_bit_v_3_8_10_110659.msi
www.amadeusaudio.fr/downloads/DSPControl/
Amadeus_DSPControl_64_bit_v_3_8_10_110659.msi
www.amadeusaudio.fr/downloads/DSPControl/
Amadeus_DSPControl_v_3_8_10_110659.iso
www.amadeusaudio.fr/downloads/DSPControl/
Amadeus_DSPControl_v_3_8_10_110659.mpkg.zip
For Windows 32 bit systems: Use _32_bit.msi
For Windows 64 bit systems: Use _64_bit.msi
For MAC OS X: Use .mpkg.zip
The .iso CD image contains all versions, as well as
supporting documentation and an autostart feature with
automatic 32/64 bit system detection.
Click on the appropriate link and follow the on-screen
instructions. Note the destination location of the
downloaded installation folder in case you need to nd
it when the download is completed.
If nothing happens when you click the link, please copy
and paste it into the address bar of your Web browser
and press the ENTER key on your keyboard.

14
DISABLE DRIVER SIGNATURE ENFORCEMENT IN WINDOWS 8 AND 10
Windows 8 and 10 enforce driver signatures by default.
This can be disabled to install drivers that are not digitally
signed. Use the following steps to disable driver signature
enforcement :
1. Click the Start Start menu and select Settings.
2. Click Update and Security.
3. Click on Recovery.
4. Click Restart now under Advanced Startup.
5. Click Troubleshoot.
6. Click Advanced options.
7. Click Startup Settings.
8. Click on Restart.
9. On the Startup Settings screen press 7 or F7 to disable
driver signature enforcement.
Your computer will restart and you will be able to install
non-digitally signed drivers. If you restart your computer
again the driver signature enforcement will be re-
enabled.
WINDOWS SOFTWARE INSTALLATION
System requirements :
Operating system : Windows XP or later
Available hard disk : 70 MB
Available RAM : 256 MB
To install Amadeus DSPControl :
1. Locate the compressed (zipped) downloaded folder.
2. Click/tap on Extract all les.
3. Open the uncompressed folder.
4. Double click/tap on the Windows Installer le
appropriate for your operating system type (32-bit or 64-
bit). If you are not sure which operating system type you
have, you will nd it listed on the System Properties page
(Control Panel > System and Security > System).
5. Follow the prompts given by the Installation Wizard.
In order for Amadeus DSPControl to function, it must be
given permission to pass through the Windows Firewall
(or third-party rewall if Windows Firewall is replaced).
During installation, you will be prompted to allow
access. Be certain that access is allowed to any networks
to which loudspeakers may be connected. By default,
access may be allowed only to private networks. Click
the Public Networks if loudspeakers may be connected
to this network.

15
MAC SOFTWARE INSTALLATION
To install Amadeus DSPControl :
1. Locate the compressed (zipped) downloaded folder.
2. Click/tap on Extract all les.
3. Open the uncompressed folder.
4. Double click/tap on the ‘Amadeus_DSPControl.mpkg’
installation package.
5. Follow the prompts given by the Installation Wizard.

16
GLOBAL VIEW
The Global (or System) View presents a graphical
representation of all loudspeakers connected to the
network, identied by IP address or user dened name.
The Global View gives an at-a-glance overview of system
groups and system status, including Mute status and
output level meters.
The Global view accesses the following functions :
Naming devices (loudspeakers) and groups.
Forming groups of devices.
Creating and deleting groups.
Muting loudspeakers individually or in groups.
Power On/Oindividually or in groups.
Monitoring of output levels.
AMADEUS DSPCONTROL OVERVIEW
INTRODUCTION
Amadeus DSPControl oers fast, intuitive and
comprehensive access to the many DSP features oered
by Philharmonia systems.
For close to twenty-ve years, we have been providing
support to opera houses, theaters, venues and studios
during the implementation stage of the playback
systems we design and supply.
The acoustical complexity of private, non-optimized
spaces is often inversely proportional to their size. The
powerful DSP integrated in every Philharmonia has
the ability to compensate for any frequency, tonal,
timbral or impulse-related problem induced by the
architectural constraints of the space where they are
set. Acoustical engineers trained in electro-acoustical
monitoring systems calibration, and authorized and
selected by Amadeus, are the ideal solution for tuning of
a Philharmonia system.
This manual assumes the user is familiar with the basic
principles of loudspeaker system DSP conguration,
including multi-way loudspeaker system alignment,
room tuning, and delay setting. If you are not familiar
with these procedures, we recommend you consult
a reference book or online source presenting a
comprehensive treatment of the topic.

17
OUTPUT EQ VIEW
Output EQ view is selectable per channel. The Output EQ
view accesses the following functions :
Parametric equalizer (up to 10 bands)
High-pass lter
Low-pass lter
Output level and limiting status
Output delay (up to 1 sec)
CROSSOVER (X-OVER)VIEW
The X-Over View accesses the following functions for
each output :
High pass lter
High pass lter type
High pass lter cutofrequency
Low pass lter
Low pass lter type
Low pass lter cutofrequency
Output level and limiter status
INPUT EQ VIEW
Input EQView is selectable per channel. Input EQ accesses
the following functions :
Parametric equalizer (up to 10 bands)
High-pass lter
Low-pass lter
Output level and limiting status
Input delay (up to 1 sec)
MAIN VIEW
The Main View accesses the following functions :
Input mixing
Input mute (per channel)
Output mute (per channel)
Output levels
Input levels
Linking of inputs and outputs
Device name
Temperature reading
Current preset
Preset store and recall (device or computer)

18
SET-UP AND DSP CONFIGURATION
SETTING UP AND MODIFYING LOUDSPEAKER GROUPS
Loudspeakers on the network may be set up in groups
to allow easier monitoring of status and simultaneous
conguration grouped loudspeakers.
There is no group master control panel.
When a group is formed, any change in any loudspeaker’s
Maincontrolpanelwillaectallloudspeakersin thegroup,
with resulting changes in functions and parameters
determined by the specic group conguration.
Creating a new group. From Global View, in the top
Menu, click/tap Tools > New Group. Enter a name for the
group and click/tap Okay. The new group will appear in
Global View.
Setting up and modifying an existing group. In Global
View, click/tap the SET-UP (Wrench) button for the group.
This opens the Congure Group window.
1. Select desired Group Status
a. When Group is Enabled, any changes will aect units in
the Group as determined by Group Type. When Disabled,
any changes aect only the individual loudspeaker unit
selected.
2. Description
Enter description of Group. This text is for reference only
and does not aect operation in any way
3. Members
Click on Select to add or remove units from the Group.
Loudspeaker units may be assigned to more than one
group.
4. Setup Links
Click on Setup Links. Active Links in the Group will be
displayed. No parameters will be linked by default. Use
the drop-down tabs to select any parameters to be linked
within the Group. Drop-down tab functions are (top to
bottom):
i. Loudspeaker/DSP functions
ii. Function dependent : lter number if PEQ or
All selected; Input number if Mixer selected
iii. Inputs and outputs
iv. Function dependent: parameters if lter selected;
On and Gain if Mixer selected
Caution ! We strongly recommend to link All parameters
to avoid any asymmetrical setup, by clicking/taping
Category > All. Then Click/Tap on the Add > Okay
buttons.

19
INPUT EQ AND DELAY SETTING
1. Equalizer setting
Click/tap on the Input EQ 1 or Input EQ 2 tabs to bring
up the parametric equalizer and delay setting windows.
Equalizer setting may be accomplished using any of
three modes :
a. Curve handles. Click/tap on any of the ten colored
lter handles. Drag the handle by left clicking the mouse
to create the desired equalization curve. For PC and Mac
users, right click and move the mouse right and left to
adjust the Q/Bandwidth. Note: Default lter type is Bell.
b. Slider setting. Click/tap the Edit button under the
number of the EQ band to be modied. Use the Sliders to
set the frequency, Q/Bandwidth, and Gain.
c. Keyboard entry. Click/tap the parameter window and
enter the desired value.
2. Filter type
Use the drop down menu to select the desired lter type :
Bell, Notch, Low Shelf, High Shelf, Band Pass, High Pass or
Low Pass.
3. Filter tools
The following lter tools are available on the left side of
the EQ display :
a. Full screen. Expands EQ window to full screen.
b. Camera. Saves image of the EQ screen as a PNG le.
c. Micro-adjustment mode. Enables very ne adjustment
of curve parameters when using the ‘drag handles’ mode
of setting. Parameter values are displayed.
d. Text tool. Displays the parameter values for all inserted
lters.
4. Output Level metering for both outputs is displayed to
monitor the eects of inserting the lters.
5. Delay
Use the slider to set the channel input delay, or use
keyboard entry to enter the desired delay value in the
window. Both input and output delays are provided for
each channel. The Input delay may be used for longer
delays for aligning remote delay loudspeaker systems
with the main front system while the output delay may be
used for aligning drivers within the loudspeaker cabinet.

20
PRESET STORE AND RECALL
Presets may be stored to the device and the host
computer, and recalled from either the device or the host
computer.
1. Device Store
Once a preset has been created, it may be stored to the
device. It is recommended to rst give the preset a name
by entering it into the current preset name window.
Click/tap on the STORE ON DEVICE button.
2. Device Recall
Select the desired preset from the drop-down list in
the Preset Selection window. Click/tap the RECALL ON
DEVICE button.
3. Computer Store
Click/tap the STORE ON COMPUTER button. Store the
preset le in the desired location. (Default is to Documents
folder.) It is recommended that the preset rst be given a
name by entering it into the current preset name window
and clicking Enter/Return. Then Click/Tap on the STORE
ON COMPUTER button.
4. Computer Recall
Click/tap the RECALL ON COMPUTER button. Select the
desired preset from the list of available preset les and
click/tap Open.
Caution ! Recalling a preset while listening music
playback can cause drastic and potentially damaging
changes in output level.
To avoid this potential damage, turn speaker and/or
system volume down all the way before implementing or
recalling a prior preset value.