Bluesky SAT 12 User manual
Big Blue | SAT 12
Blue Sky International
70 Sea Lane
Farmingdale, NY 11735
www.abluesky.com
Owner’s Manual
Version 2.6R | 05.10.2006
Contents
Important Safety Instructions _ __ __ __ __ __ __ __ __ __ _ Page 3
1 Big Blue | SAT 12 Introduction _ __ __ __ __ __ _ Page 4
2 Important notes about the SAT 12 and this
owner’s manual _ __ __ __ __ __ __ __ __ __ __ _ Page 4
3 What is included? _ __ __ __ __ __ __ __ __ __ _ Page 4
4 SAT 12 Features Overview _ __ __ __ __ __ __ _ Page 5
5 A Tour of the SAT 12 Amplier & Electronics Page 6 & 7
6 SAT 12 Mounting and Placement _ __ __ __ __ _ Page 8
7 System Signal Flow & Connections _ __ __ __ _ Page 9
8 Quick 2.1 System Setup Instructions _ __ __ _Page 10
9 Expanded Calibration Guide _ __ __ __ __ __ _Page 11
10 Subwoofer Placement Guide _ __ __ __ __ __ _Page 12
11 Technical Information _ __ __ __ __ __ __ __ __ _ Page 13
12 Measurement Data _ __ __ __ __ __ __ __ __ __ _Page 14
13 SAT 12 Cabinet Dimensions _ __ __ __ __ __ __ _Page 18
14 Factory Service Instructions _ __ __ __ __ __ __ _Page 19
15 General Contact Details _ __ __ __ __ __ __ __ _Page 19
Contents
1 READ INSTRUCTIONS - Read all safety and operating instructions
before operating this product.
2. RETAIN INSTRUCTIONS - Retain these safety and operating
instructions for future reference.
3. HEED WARNINGS - Follow all warnings on this product and in the
operating instructions.
4. FOLLOW INSTRUCTIONS - Follow all operating and use
instructions.
5. ATTACHMENTS - Do not use attachments not recommended by the
product manufacturer as they may cause hazards.
6. WATER AND MOISTURE - Do not use this product near water - for
example, near a bathtub, washbowl, kitchen sink, or laundry tub; in
a wet basement; or near a swimming pool; and the like.
7. ACCESSORIES - Do not place this product on an unstable cart,
stand, tripod, bracket, or table. The product may fall, causing serious
injury to a child or adult, and serious damage to the product. Use
only with accessories recommended by the manufacturer, or sold
with the product. Any mounting of the product should follow the
manufacturer’s instructions and should use a mounting accessory
recommended by the manufacturer.
8. POWER SOURCE - This product should be operated only from the
type of power source indicated on the marking label on the back of
the product. It is IMPORTANT to conrm that the voltage selector
switch on the back of the SAT 12 is set to the proper voltage
setting. If you are unsure of the type of power that is supplied to
your home, consult your product dealer or local power company.
9. LIGHTNING- For added protection for this product during a
lightning storm, or when it is left unattended and unused for long
periods of time, unplug it from the wall outlet. This will prevent
damage to the product due to lightning and power-line surges.
10. OVERLOADING - Do not overload wall outlets or extension cords
as this can result in a risk of re or electric shock.
11. LIQUID ENTRY - Never spill any liquid of any kind on the product.
12. SERVICING - Do not attempt to service this product yourself.
Opening or removing covers, including any over bottom or side
speaker drivers, may expose you to dangerous voltage or other
hazards. Refer all service to qualied service personnel.
13. DAMAGE REQUIRING SERVICE - Unplug this product from the
wall outlet and refer servicing to qualied personnel under the
following conditions:
a. When the power-supply cord or plug is damaged.
b. If liquid has been spilled, or objects have fallen into this
product.
c. If the product does not operate normally by following the
operating instructions. Adjust only controls that are covered
by the operating instructions as an improper adjustment of
other controls may result in damage and will often require
extensive work by a qualied technician to restore the prod-
uct to its normal operation.
d. If the product has been dropped or damaged in any way.
e. When the product exhibits a distinct change in performance
- this indicates a need for service.
14. REPLACEMENT PARTS - When replacement parts are required be
sure the service technician has used replacement parts specied
by the manufacturer or have the same characteristics as the original
part. Unauthorized substitutions may result in risk of re, electric
shock, or other hazard.
15. SAFETY CHECK - Upon completion of any service or repairs to this
product, ask the service technician to perform safety checks to
determine that the product is in proper operating condition.
16. HEAT - This product should be situated away from heat sources
such as radiators, heat registers, stoves, or other products that
produce heat.
17. MOUNTING: Unsafe mounting or overhead suspension of any heavy
load can result in serious injury and equipment damage. Mounting
a speaker should be done by qualied persons in accordance with
all applicable local safety and construction standards. Be certain to
follow the instructions provided by the manufacture the mounting
bracket, be certain that is capable supporting the weight of the
speakers to be mounted.
Safety Instructions
Page 3
Page 4
1. Big Blue | SAT 12
Introduction
Blue Sky is a philosophy. We design each product to represent the highest
ratio possible of performance to cost, providing the highest value added to
our customers.
We will continually seek out opportunities to utilize the talent of the Blue Sky
team to realize this philosophy. Our customer’s value requirements will always
be our prime focus, and only those products that achieve our performance
value ratio will earn the right to carry the Blue Sky logo.
To that end we are proud to introduce the Big Blue | SAT 12. Blue Sky’s SAT
12 is a three way, tri-ampli ed, 500-Watt, mid- eld monitor featuring a 12”
high excursion hemispherical woofer, an ultra low distortion 4” hemispherical
midrange driver, and a 1” dual concentric diaphragm tweeter with integral
wave guide, for superior off-axis response. To reduce destructive cabinet
diffraction re ections, Blue Sky has developed and incorporated into the
baf e, the proprietary “Multi-Aperture Acoustic Diffraction Absorber”, which
helps to maintain smooth on and off axis frequency response throughout the
critical MF and HF frequency range, without the need for a large wave guide
or horn.
The SAT 12 is powered by a dedicated low distortion 200-Watt ampli er for
the 12” woofer, a low distortion 200-Watt ampli er for the midrange, and a
low distortion 100-Watt ampli er for the tweeter. Big Blue effortlessly delivers
clean and accurate sound with a frequency response of 45Hz to 30kHz +/-
3.0dB (200Hz to 15kHz +/-1.5dB). For full compatibility with Blue Sky’s new
SUB 15, SUB 12 and BMC (Bass Management Controller), an 80Hz high-pass
network, with phase correction lter is also included. For the ultimate in
monitoring exibility, the rear panel of Big Blue incorporates two completely
independent balanced input stages with XLR connectors. The main input is for
standard 80Hz bass-managed operation and the second input is for traditional
monitoring, without the use of a sub. The rear panel also has controls for “full
space” (placement in a room) or “half space” (mounted in a baf e wall)
operation, along with individual HF, MF and LF level trims, as well as controls
for variable gain settings. Big Blue is designed to operate both vertically or
horizontally, thanks to the rotatable MF/HF plate.
The SAT 12 has been designed to integrate perfectly with Blue Sky’s new SUB
15, 1000-Watt subwoofer. The SUB 15 is a sealed box subwoofer, designed
around a 15” forward- ring driver with a massive cast aluminum frame, dual
2.5” voice coils - which has almost 2.36” of excursion (peak to peak) and
features an enormous 20+ Lbs. motor structure (total driver weight 36 Lbs.).
One of the SUB 15’s unique features is a switchable low frequency response
characteristic, of either 30Hz to 200Hz +/-3dB or, in “extended LF mode”,
20Hz to 200Hz +/-3dB (anechoic). The extended mode is ideal for large
rooms that don’t exhibit the room gain phenomenon of smaller sealed spaces.
In addition, the SUB 15 also has built-in 2.1 bass management electronics with
both a 4th order 80Hz Linkwitz-Riley low-pass lter and a 2nd order 80Hz
high-pass lter that is compatible with Big Blue’s bass-managed input (the SUB
15 is also compatible with the SAT 6.5 and SAT 5).
Thank you for choosing Blue Sky!
2. Important notes about
the SAT 12 and this
Owner’s Manual
Voltage Selector Switch:
Prior to powering this unit, please con rm that the voltage selector switch,
located on the back of the SAT 12, has been set to the correct voltage setting.
If you are unsure of the type of power that is supplied to your home, consult
your product dealer or local power company.
Subwoofer Requirements:
For true full-range monitoring, down to 20Hz or better, Blue Sky strongly
recommends using a subwoofer with the SAT 12. Because of the prodigious
output capabilities of SAT 12, as compared to the SAT 6.5 for example, Big
Blue System requires a minimum of two to four SUB 12s for a 2.1 operation
and minimum of four to eight SUB 12s for 5.1 operation. The SUB 15 has the
equivalent output of four SUB 12s and therefore only one SUB 15 is required
for 2.1 operation and two are recommended for 5.1 operation. Please note,
that these recommendations are not set in stone and will be dependent
on room size, room acoustics and will also be in uenced by the speci c
application / output requirements of the user.
Please note: For 5.1 applications, it is highly recommended that you only use
bass-management (along with a subwoofer) and the 80Hz input on Big blue.
This Owner’s Manual:
This manual addresses Big Blue | SAT 12 stereo / 2.1 applications. For
information about 5.1 (or beyond) setup please consult the manual that comes
with the BMC or visit the Blue Sky website (address listed below).
Please read this owner’s manual carefully and contact Blue Sky International if
you have any comments or questions. Contact information can be found on
page 19 or you can visit www.abluesky.com.
3. SAT 12, what is
included?
Each SAT 12 includes the items listed below.
Please carefully unpack each item and inspect the
components for damage. If any part of the system
has been damaged, please contact the dealer that
supplied the product or Blue Sky directly.
SAT 12 Inventory:
1 SAT 12
1 Power Cable
1 Owner’s Manual
1 Warranty Card
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FLAT POSITION IS ALL SWITCHES DOWN
Voltage
Selector Switch
Page 5
4. SAT 12 Feature
Overview
1. Multi-Aperture Acoustic Diffraction Absorber - To reduce
destructive cabinet diffraction re ections, Blue Sky has developed
and incorporated into the baf e, the proprietary “Multi-Aperture
Acoustic Diffraction Absorber”, which helps to maintain smooth on
and off axis frequency response throughout the critical MF and HF
frequency range, without the need for a large wave guide or horn.
2. Rotatable MF/HF plate - The mid frequency and high frequency
mounting plate can be rotated, so that the SAT 12 can operate
in both vertical and horizontal modes. To rotate the plate, the
twelve 4 mm hex head mounting screws around the plate need to
be removed. Please support the plate with your hand while you
do this. Once the screws are removed, the plate can easily be
removed by tilting the cabinet forward. After this has been done,
you can rotate the plate into the vertical or horizontal position.
Please ensure that the wires leading to the LED plate, MF and HF
drivers are not being pinched, or interfered with in anyway, then
re-instal the plate, making sure to properly install and tighten all
of the screws. Below are three illustrations showing vertical, left
horizontal and right horizontal con gurations.
3. Power and Protect (internal limiters) LED Indicator Panel - The
front LED panel features two indicator LEDs. The top BLUE “POWER”
LED will be lit when the unit is powered ON. This LED can be set
to only temporarily ash at power on, by setting the back panel dip
switches, marked “Front Panel LED Flash” / “ON” to the UP position.
Please see page 6 & 7 [A Tour of the SAT 12 Ampli er & Electronics]
for more information.
The RED “PROTECT” LED, when lit or ashing, indicates that one
of the three internal limiters is being activated. The limiters are
designed to stay completely out of circuit, unless certain short term
or long term levels are exceeded. Limiting should only occur under
the most extreme conditions and has been included in the SAT 12
to ensure long term, problem free operation.
4. 1/4 x 20 Mounting Inserts (located on the back and bottom
of the SAT 12) - Inserts / hole patterns, compatible with
OmniMount® Type 120 brackets are located on the back and on
the bottom of the SAT 12. These brackets are designed to support
up to 120 pounds of weight when properly installed. Please visit
www.omnimount.com for more information, including detailed
mounting instructions. Please see page 18 [Cabinet Dimension]
for more information on insert locations. Also see page 3 [Safety
Instructions] item 17 “MOUNTING”.
5. Dual independent input stages, via XLR connectors - The
rear panel of Big Blue incorporates two completely independent
balanced input stages with XLR connectors. The main input is for
standard 80Hz bass-managed operation and the second input is
for traditional monitoring, without the use of a SUB (-3dB @ 45Hz,
with a roll off of 12 per octave). For more information please see
page 6 & 7 [A Tour of the SAT 12 Ampli er & Electronics] and page
9 [System Signal Flow & Connections].
For true full-range monitoring we strongly recommend using either
the SUB 15 or multiple SUB 12s with Big Blue. For more information
please see page 4 [Important notes about the SAT 12 and this
owners manual].
6. Baf e Compensation - The SAT 12 includes four primary baf e
compensation settings, each of which reduces the MF to LF
“bump” that typically results from mounting a speaker in a baf e
wall. The amount of compensation needed is dependent on room
acoustics, along with the size and type of baf e wall. The only way
to accurately determine the amount of compensation needed is
to use a high resolution acoustic analyzer, such as MLSSA, TEF, etc.
For more information please see page 6 & 7 [A Tour of the SAT 12
Ampli er & Electronics] and page 15 [Measurement Data].
7. Individual Driver Level Controls - The SAT 12 includes +/- 3dB
of individual driver level adjustments, in 1dB increments. The
switches are additive, so in order to increase the level of a driver
by 3dB set both the 2 and 1dB switches to the UP position. We
highly recommend that you only change these settings, from the
“ at” position, as a last resort and only after doing proper acoustics
treatment of the room and ensuring proper placement of the SAT
12. For more information please see page 6 & 7 [A Tour of the SAT
12 Ampli er & Electronics] and page 15 & 16 [Measurement Data].
8. Input gain and level controls - The SAT 12 includes both a
continuously variable input gain control and individual 10dB input
pads. This allows the user to adjust the gain from REF (200mv of
500 to 2kHz pink noise = 90dB SPL @ 1M) to -22dB. For more
information please see page 6 & 7 [A Tour of the SAT 12 Ampli er
& Electronics].
POWER
PROTECT
Left Horizontal Right Horizontal
Page 6
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5. A Tour of SAT 12 Amplifier & Electronics
Page 7
5. A Tour of SAT 12
Amplifier & Electronics
1. FULL-RANGE INPUT 0dB / -10dB Dip-Switches - These dip-
switches control the 10dB input “pad” on the Full-Range Input.
With both dip-switches in the UP position, the -10dB pad is in
circuit. With both switches in the down position, it is out of circuit.
Max input in the 0dB position is +12 dBu, in the -10dB position it
is +24 dBu. Refer to page 5 for more information [SAT 12 Feature
Overview].
2. Full-Range XLR INPUT - This XLR input should be connected
to a full-range source. This input is electronically balanced. Do
not connect more than one source to this input. Refer to page
5 [SAT 12 Feature Overview] and page 9 [System Signal Flow &
Connections] for more information.
3. 80Hz INPUT 0dB / -10dB Dip-Switches - These dip-switches
control the 10dB input “pad” on the 80Hz Input. With both dip-
switches in the UP position, the -10dB pad is in circuit. With both
switches in the down position, it is out of circuit. Max input in the
0dB position is +12 dBu, in the -10dB position it is +24 dBu. Refer
to page 5 for more information [SAT 12 Feature Overview].
4. 80Hz XLR INPUT - This XLR input should be connected to a bass-
managed output with a 12 per octave 80Hz high-pass lter, such
as the bass-managed outputs on the SUB 15, SUB 12, or BMC. This
input is electronically balanced. Do not connect more than one
source to this input. Refer to page 5 [SAT 12 Feature Overview] and
page 9 [System Signal Flow & Connections] for more information.
5. GAIN - This trim pot is a continuously variable gain control, with a
range of -12 to REF (200mV of 500 to 2kHz pink noise = 90dB SPL
@ 1M). In combination with the -10dB input pad, this allows for a
range of -22dB to REF. Please refer to page 5 for more information
[SAT 12 Feature Overview].
6. Bafe Compensation Dip Switches - The SAT 12 includes four
primary bafe compensation settings, each of which reduces the
MF to LF “bump” that typically results from mounting a speaker in
a bafe wall. To select a specic setting, put the individual dip
switch into the “UP” position. For additional exibility, bafe
compensation switches can be used in combination.
The amount of compensation needed is dependent on room
acoustics, along with the size and type of bafe wall. The only way
to accurately determine the amount of compensation needed is to
use a high resolution acoustic analyzer, such as MLSSA, TEF, etc. For
more information see page 5 [SAT 12 Feature Overview] and page
15 [Measurement Data].
7. Individual Driver Level Controls - The SAT 12 includes +/- 3dB
of individual driver level adjustments, in 1dB increments. The
switches are additive, so in order to increase the level of a driver
by 3dB set both the 2 and 1dB switches to the UP position. We
highly recommend that you only change these settings, from the
“at” position, as a last resort and only after doing proper acoustics
treatment of the room and ensuring proper placement of the
SAT 12. For more information please see page 5 [SAT 12 Feature
Overview] and pages 14 to 16 [Measurement Data].
8. Power LED Indicator Control Dip Switches - The front panel blue
power LED can be set to temporarily ash at power on or be on
permanently. With both switches in the down position, the LED will
remain ON all the time. With both switches in the UP position, the
LED will ash at power up and then turn off, which may be useful
if the SAT 12 is mounted behind a screen. For more information
please see page 5 [SAT 12 Feature Overview] .
9. Rear Power LED - This power LED indicates the SAT 12 is powered
ON. This LED is not affected by the “Power LED Indicator Control
Dip Switches”, detailed in Item 8 on this page.
10. Amplier Heatsink - The heatsink provides essential cooling to
the ampliers inside the SAT 12. This heatsink is oversized and
designed to be effective in both vertical and horizontal orientation,
as long as proper air circulation is provided. Please ensure that
proper air circulation is available for cooling. This is especially
important when bafe mounting the SAT 12.
11. Voltage Selector Switch - This switch can be set to either 115
Volts or 230 volts. Prior to powering this unit, please conrm that
the Voltage selector switch has been set to the correct voltage
setting. If you are unsure of the type of power that is supplied to
your studio, consult your product dealer or local power company.
If your changing the Voltage, please also conrm the proper fuse is
installed [see number 11].
12. Power Switch - Controls the power to all the three ampliers and
all internal electronics.
13. FUSE - Replace with same rating and type for your local voltage
rating. For 115V applications use a 8 Amp T 250V and for 230 Volt
applications use a 4 Amp T 250V fuse (“T” = Time Delay or SloBlo
type fuse).
14. IEC RECEPTACLE - Check voltage selector switch before connecting
power. Connect to 115 Volt AC / 60Hz power source, rated for 360
WATTS or 230 Volt / 50Hz rated for 360 WATTS.
MONITORING HEIGHT
RECOMMENDATIONS
Center of the mid-range
Center of the tweeter
Mid-point of the
mid-range and tweeter
Page 8
Figure 1
Figure 2
6. SAT 12 Mounting &
Placement
Monitor mounting and placement is often an afterthought, but in order to get
the best imaging and overall performance from the SAT 12, it is important to
place the speakers correctly.
Monitoring Height:
Figure 1 shows the ideal monitoring height, with the SAT 12
located perfectly at seated ear height. If this is not possible,
tilting the cabinet at the listening area can improve high-frequency
coverage.
Monitoring Angle:
The recommended position for the monitors is based on an ITU
standard and sets the speakers at 60 degrees from the listener,
forming an equilateral triangle (a triangle with equal sides) - See
Figure 2. Fortunately, this setup eliminates most of the math and
is easily simplied to the following guidelines: If you want to sit 2
meters from the speakers, place the speakers 2 meters apart. If you
want to sit 9 ft. from the speakers, place the speakers 9 ft. apart
Etc.
Wall Mount Options:
The SAT 12 is compatible with OmiMount® 120 Series brackets,
via the 1/4 X 20 inserts located in the bottom and the back of the
cabinet. The OmniMount® 120 brackets are designed to support
up to 120 pounds of weight when properly installed. Please visit
www.omnimount.com for more information, including detailed
mounting instructions. Please see page 18 [Cabinet Dimensions]
for more information on insert locations. Also see page 3 [Safety
Instructions] item 17 “MOUNTING”.
Mounting the SAT 12 in a bafe wall / soft:
IMPORTANT: It is highly recommended that you check all of your
local electrical and safety codes, to make sure that all regulations
are going to be met before mounting the SAT 12 in a bafe wall.
Requirements and recommendations:
1) Important Requirement: Proper cooling and airow shall be
provided to the back of the SAT 12 / Heatsink.
2) Recommendation: In order to build an affective bafe wall,
it is best to use a design with considerable mass, that doesn’t
produce sympathetic resonances. Using three layers of 5/8” (50
mm) Gypsum, with overlapped joints, and the appropriate wood
framing has been found to be affective (again, consult local
building codes and an engineer or architect for specic design
guidelines).
3) Recommendation: To avoid sympathetic vibrations, it is best
to physically decouple the SAT 12 from the bafe wall structure.
An effective way to do this is to use Mason Super W neoprene or
natural rubber pads (durometer 40). One Super W pad should be
placed under each corner of the speaker.
4) Recommendation: Mount the SAT 12 ush with the front of the
bafe wall and seal all gaps around the SAT 12 and the bafe wall
using a rubber, foam or neoprene gasket material. This will improve
the HF frequency response, by reducing any cabinet or edge
diffraction related problems (again, check local building codes).
5) Recommendation: The SAT 12 includes four primary bafe
compensation settings, each of which reduces the MF to LF “bump”
that typically results from mounting a speaker in a bafe wall. The
amount of compensation needed is dependent on room acoustics
and the size and type of bafe wall. The only way to accurately
determine the amount of compensation needed is to use a high
resolution acoustic analyzer, such as MLSSA, TEF, etc. For more
information please see page 6 & 7 [A Tour of the SAT 12 Amplier
& Electronics] and page 15 [Measurement Data].
Mounting the SAT 12 behind an acoustical transparent screen:
If you intend to place the SAT 12 behind an acoustically transparent
screen, it is recommend that you use a screen that provides the
minimum amount of acoustic loss at high frequencies, such as the
Microperf screens offered by Stewart Filmscreen (www.stewart
lmscreen.com). Additionally, it is also recommended that you
add some acoustically absorptive material to the wall behind the
screen, to help absorb HF reection from the screen. Typically 2”
of black duct liner, or other berglass acoustical blanket can work
well (check local building and safety codes for possible restrictions
and guidelines).
2.1 & 2.0 SYSTEM SIGNAL FLOW & CONNECTIONS
Above is a simple diagram showing how a Big Blue system may be wired
for a stereo applications. The system show a full-range source (the console),
which has two monitoring outputs (A & B). Monitoring output A, is the main
bass-managed output and goes from the console, to the subwoofer and from
there to the 80Hz bass-managed input on the SAT 12. The system also shows
monitoring output B from the console being used as a full-range source for the
direct / “full-range” input on the SAT 12 (-3dB at 45Hz).
When a Big Blue system is congured as above, with two switchable
monitoring sources, the user can easily A/B between both a true full-range
system (20Hz LF response or better), using bass-managed and a subwoofer(s),
or the direct / full-range input (45Hz).
Multiple Subs:
The diagram above also shows the optional use of multiple subwoofers.
Multiple subwoofers can be used to increase SPL and improve the LF response
of the system, by placing the subwoofers, so as to smooth out the LF response
at the mix / monitoring position. Please note that we recommend that you
run the subs in MONO, by using the subwoofer out on the main sub and then
feeding the next sub in the chain.
We do not recommend running stereo subwoofers, because the LF response
in the room will not be as consistent using this method. This is because
electrical summation of the LF signals (as is done with bass-management using
a mono subwoofer / LF signal), is a very predictable and repeatable way to get
consistent LF response. LF phase issues between channels are resolved in the
most absolute and accurate way - electrically.
Cable and connector wiring
Use high-quality, shielded cables to connect your console, workstation or
other sources to your Big Blue system. Foil-shielded cables, such as Belden
8451, 8761, or 9501 should do quite well. Other high quality cables are
available and those that incorporate better shielding will yield an overall higher
noise rejection, lowering your systems susceptibility to external interference.
Another important tip to keep in mind when wiring your system is to route all
line level cables away from the AC and other power sources, this will reduce
the probability of having AC hum emanating from your monitoring system.
Page 9
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FLATPOSITION IS ALL SWITCHES DOWN
7. System Signal Flow & Connections
Page 10
8. Quick 2.1 System
Setup Instructions
1. Blue Sky monitoring systems leave the factory fully calibrated. With
the gain control on the SAT 12 set to the reference mark, a 200mV
(-11.7dBu) pink noise signal, with a bandwidth of 500 to 2kHz,
will yield 90dB SPL at 1 meter. With the gain on the SUB 12 set to
the reference mark, or -9dB on the SUB 15, 100mV (-13.7dBu) pink
noise signal, with a bandwidth of 40Hz to 80Hz, on one of the
inputs, will yield 90dB of output at 1 meter. Because most control
rooms have some gain at low frequencies a good starting point for
the subwoofer level is -3dB from the reference position. If you are
using multiple subs, the gain may need to be even lower than this
(depends on the acoustics of the studio and the placement of the
subs). For more information with regard to the controls, please see
the manual that came with the SUB 12 or SUB 15, and page 6 & 7 of
this manual [A Tour of the SAT 12 Amplier & Electronics].
2. The SAT 12, SUB 12 and SUB 15 are compatible with balanced
XLR connectors / cables. The total number of XLR cables needed
will depend on the system conguration. However for a basic 2.1
system, with one sub, you need a minimum of four XLR Cables.. For
more information on connecting your system, please see page 9
[System Signal Flow & Connections].
3. The rst step in the installation process is to position the active
subwoofer. Although you have great exibility with regard to
where an active subwoofer can be placed, a good starting point is
centered between the left and right satellite speakers. This could
be under a console / desk, behind the console / desk, etc. If you
are using multiple subwoofers, you have even more exibility. For
an expanded subwoofer placement guide, please see page 12
[Subwoofer Placement Guide].
4. Once the subwoofer is in position, connect the two input cables
from the left and right analog outputs from the mixing console,
digital workstation or other source, to the left and right inputs on
the subwoofer. For more information on connecting your system,
please see page 9 [System Signal Flow & Connections].
5. Next, place the SAT 12s into position. The recommended position
for the monitors is based on an ITU standard and sets the speakers
at 60 degrees from the listener, forming an equilateral triangle (a
triangle with equal sides) - See Figure 3. Fortunately, this setup
eliminates most of the math and is easily simplied to the following
guidelines: If you want to sit 2 meters from the speakers, place the
speakers 2 meters apart. If you want to sit 9 ft. from the speakers,
place the speakers 9 ft. apart Etc. Ideally the SAT 12 should be at
seated ear height. If this is not possible, tilting the cabinet at the
listening area can improve high-frequency coverage. For more
information about placement see page 8 [SAT 12 mounting and
placement].
6. Once all the SATs are properly placed, connect the XLR cables from
the left output on the back of the sub, to the 80Hz input on the left
SAT 12. Now do the same for the right channel, connecting the right
output to the right SAT 12. Lastly, please plug the power cords into
the IEC connectors on the SAT 12s and the subwoofer(s). Prior to
proceeding conrm that the system is wired correctly, as shown on
page 9 [System Signal Flow & Connections].
8. At this point the Blue Sky monitoring system is correctly congured,
and ready for the nal step in the installation. Prior to plugging the
system into the wall outlet, and powering up the system, do a nal
quick check of all connections and level settings.
9. If everything is correct, plug the power cords into an appropriate
outlet / circuit. Do not turn on the power switches, yet! Some
mixers and out-board equipment such as D-to-A converters and
equalizers generate loud rail-to-rail pops when they initially turn-
on. Depending on the level and the gain setting of the monitoring
system, these pops could damage the monitors. To avoid this,
always turn on equipment in the following sequence: All sources
and mixer rst, and then the monitoring system. Reverse this
procedure when shutting down your equipment.
10. At this point the Blue Sky monitoring system is fully operational, and
ready for use. Begin by playing familiar pieces of music (preferably
reference quality recordings, with dynamic and full-range sound)
which can assist you in the ne-tuning and exact positioning
of both the SATs and the active subwoofer. It is important to
remember that the positioning of the subwoofer in the room will
impact the subwoofer level. You may nd it necessary to increase
or decrease the level from the reference position. This is OK, and is
anticipated.
11. If a more exacting setup is required, using test signals and a SPL
meter, please see Page 11 [Expanded Calibration Guide].
12. Just remember - Use your ears, they are the best audio tool you
have and you will be amazed how accurate the setup can be if
you use familiar, high quality audio material during the setup of the
system.
13. Congratulations! You have now completed the setup of one of the
world’s nest monitoring systems. If you have any questions, please
do not hesitate to contact us directly with your questions: Call (516)
249-1399 (9:00am to 5:30pm EST), e-mail at support@abluesky.com
or visit the Blue Sky Forum at www.abluesky.com/forum.
Figure 3
Page 11
9. Expanded Calibration
Guide
Instructions for electroacoustic calibration of a 2.1 audio system using
a SPL meter and Blue Sky’s test les.
Before starting this procedure you will need to download BlueSkyTestFiles.zip
(an 18 MB zip le) by going to www.abluesky.com/calibration. To download
the test le, “Right Click” and select “Save Target As”. The le will begin
downloading once a location has been selected.
Once downloaded, either burn the test les to a CD or import them into your
DAW and follow the instructions below.
ADDITIONAL REQUIRED ITEMS
1. 2.1 Monitoring System
2. SPL Meter - such as the SPL meter sold by RadioShack
in the U.S.
BlueSkyTestFiles.zip Includes 4 les:
• 1000Hz SINEWAVE -20dBFS.wav – a 1kHz le recorded at -
20dBFS for electrical calibration
• 40-80Hz PINK NOISE -20dBFS.wav – a 40Hz to 80Hz bandwidth
limited pink-noise le recorded at -20dBFS
• 500-2.5kHz PINK NOISE -20dBFS.wav – a 500Hz to 2.5Hz
bandwidth limited pink-noise le recorded at 20dBFS
• Pink Noise full bw -20dBFS.wav – a full-bandwidth pink-noise le
recorded at - 20dBFS
These test les are all mono les. Please make sure you hard assign
them to the left and then the right, not both channels at the same time.
If you are using a CD player use only one channel of the CD player.
THEORY
The purpose of calibration is to adjust the overall electroacoustic system gain
so that 0dBVU of electrical signal level equals a certain acoustic level at the
listening position. Since most recording media is now digital, the reference
electrical signal level is usually –20dBFS with 20dB of headroom. The reference
SPL level however can vary based on the delivery media and speaker type.
Please note that the bandwidth limited signals that have been provided, limit
many of the room interaction affects often associated with measuring SPL and
broadband pink noise.
All test signals are recorded at –20dBFS including the 1 kHz sine wave tone.
The sine wave tone is used to set the electrical output level throughout the
signal path, right up to the point you get to the speakers, while the various pink
noise signals are used for acoustic measurements and calibration.
The following procedure assumes you are calibrating the system to 85dBc
SPL.
Step 1 TURN OFF THE MONITORING SYSTEM (until step 4)
Step 2 Remove all eq and dynamics from the signal path and set all
controls to zero / unity gain. Play the 1kHz Sine Wave, hard assign
it to the left channel only, and adjust the output fader so the output
meter reads -20dBFS. If you are using an analog console, set the
output level to 0 VU. Then hard pan the signal to the right channel
output and repeat for the right channel. Once calibrated do not
move the output faders.
Step 3 Mute everything and make sure the 1kHz tone is OFF .
Step 4 Now that the system has been electrically calibrated
turn ON the Big Blue 2.1 System.
Step 5 Assign the 500-2.5kHz pink noise signal to the left channel only.
Make sure there is nothing coming from the right channel (or any
other channels). Because this signal is bandwidth limited, you
don’t have to worry about turning the sub off.
There are two methods of setting the levels:
A. If you have a master monitor level control (console etc), you
can set the SAT 12 gain control at reference and then adjust the
monitor gain control for 85 dBc. Then mark the monitor level as your
reference position.
B. The other method is to set master monitor level (console etc.)
to the position you want reference level to be (such as unity gain
as determined by the electrical calibration process in beginning of
these instructions) and then use the volume control on the SAT 12
to set 85 dBc. If you use this method you should make a note of the
positing, so you can always go back to the new “reference level” if
the pot gets moved.
For either method:
SPL should be measured at the mix position, with the SPL meter
at arms length, with the microphone at seated ear height, angled
at approximately 45 degrees, and pointed at the center point
between the left and right speakers.
Once the left channel is set to 85dBc, repeat this step for the right
channel
Step 6 Feed 40-80Hz pink noise signal to the left channel only. Adjust the
subwoofer level control until the subwoofer reads 85dBc (slow)
at the mix position. The meter will bounce around a little, so you
will need to do a mental average (
I tend to lter out the peaks in
my mind, so I don’t set the sub too hot
). The right channel should
measure about the same and no additional adjustments need to be
made.
Step 7 You can play the full-bandwidth pink noise, assigning it to the left
and then the right channel (not at the same time). You should
measure about 85dBc. It may be a little higher, because below
30Hz the room may have a little extra gain. No adjustments should
be made with Full Bandwidth pink noise, unless you have an RTA
(real time analyzer) or other spectrum analyzer.
Step 8 The calibration process has now been completed. Congratulations!
If you have any questions, please do not hesitate to contact us
directly with your questions. (516) 249-1399 (9:00am to 5:30pm
EST) or visit our website / forum @ www.abluesky.com.
Page 12
10. Subwoofer Placement
Guide
So now that my system uses an integral subwoofer, how do I place it in
my studio for the best possible low frequency performance?
The low frequency response and efciency of a subwoofer are heavily
inuenced by the acoustics of the playback environment. More specically, the
response is inuenced by the room’s dimensional ratios, types of construction
and location of the subwoofer within that environment. You can signicantly
improve the subwoofer’s in-room response and efciency by experimenting
with various room placements until you nd an optimum location.
When placing the subwoofer there are several general guidelines that should
be kept in mind. These include:
• Every acoustic space is unique and experimentation is an important
key in nding the best possible location in your particular
environment.
• A subwoofer becomes more acoustically efcient (has greater
output) as you move it closer to a room surface (e.g. wall or oor).
• A subwoofer will give maximum output and maximum acoustic
excitement when it is located in a corner.
• Under certain acoustic conditions corner locations are optimum; in
others they can excite multiple “room modes”, producing “muddy”
or “boomy” sound.
The following methods have been found to work successfully under
most conditions:
The rst method described below doesn’t require any special test equipment.
It does require a pair of good ears and familiar broad-spectrum music material
– recordings with lots of energy across a wide frequency range (from low
to high). The recordings should be highly dynamic and be of relatively high
quality.
The second subwoofer placement method requires using a real time
analyzer – such as those made by Gold Line™ or The Audio Toolbox(TM) by
TerraSonde(TM). Although many home audio enthusiasts may not have access
to this equipment, if you are having a sound system or home theatre system
professionally installed, this information may be useful to the installer.
Method 1
Place the subwoofer at the main listening position and connect
and make sure it is properly connected to your receiver. Turn
on the CD or music source and make sure that the level of the
subwoofer has been raised high enough so that low frequencies
are not masked by the background noise in the room. Once you
have roughly balanced the level, between the sub and main
speakers, move around the room and pay careful attention to
where the spectral response is smoothest and has the greatest low
frequency extension, pay special attention to the corners and along
the walls. Also, make sure to pay attention to where the system has
its’ greatest impact and denition. You are not just listening for the
most boom, but rather where the bass is most accurate and natural
sounding. Remember, because the subwoofer is basically omni-
directional, the best spot for the subwoofer can be next to, or even
behind, the main monitoring area.
After nding the spot where the subwoofer has the best response
in the room, place the subwoofer in that location. Now, listen from
the main position and conrm that the subwoofers response is
similar to when the positions were reversed. If it is, then leave the
subwoofer in that location. If not, continue to experiment with the
subwoofer location until the most accurate and best response has
been achieved.
Method 2
Subwoofer placement using a real time analyzer – Such as those
made by Gold Line™ or The Audio Toolbox™ by TerraSonde™
etc.
Place the subwoofer at the main listening position and connect the
subwoofer to your pink noise generator. Turn on your pink noise
generator and make sure that the level of the subwoofer has been
raised high enough so that low frequencies are not masked by the
background noise in the room. Now set the analyzer to 1/12 octave
resolution (or whichever setting provides the highest resolution
on your particular analyzer), real time mode and begin to take
measurements around the room. If the analyzer you are using has
the ability to do real time averaging, then use this function to better
analyze the spectral response. Please note that as you are doing
measurements, it is best to keep the microphone at about 8 to 12
inches off of the ground, which is about the height of the center of
the subwoofer driver.
As you walk around the room, be sure to pay careful attention to
where the spectral response is smoothest and has the greatest low
frequency extension, pay special attention to the corners and along
the walls. Remember, because the subwoofer is basically omni-
directional, the best spot for the subwoofer can be next to, or even
behind, the main monitoring area.
After analyzing the data and nding the spot where the subwoofer
has the best response in the room, place the subwoofer in that
location. Now, take some additional measurements from the
listening position and conrm that the subwoofers response is
similar to when the positions were reversed. If it is, then leave the
subwoofer in that location. If not, continue to experiment with the
subwoofer location until the smoothest and best response has
been achieved.
Additional Notes:
It has been found that a subwoofers’ in-room response can sometimes be
improved by facing the drivers toward a wall. Again, experimentation is the
key to nding the best possible location.
Properly designed subwoofers generate tremendous energy, so
they may vibrate objects close to them. If you hear buzzing or
vibrating objects, make sure to try and dampen those objects.
Rattling, buzzing and other sympathetic resonances can make the
subwoofer localizable and therefore should be avoided. Using
a sine wave generator can be helpful in locating these acoustic
anomalies.
Page 13
11. Technical Information
SAT 12 Specications
Enclosure
.75” MDF with 1” front / rear bafe and internal bracing
.25” x 20 inserts for attachment of Omnimount type 120 brackets
Multi-Aperture Acoustic Diffraction Absorbers
Dimensions (H x W x L):
28” (711 mm) x 15” (381 mm) x 17” (432 mm)*
*
For complete dimensions see page 18
[SAT 12 Cabinet Dimensions].
Weight: 92 lbs. (41.73 kg)
1” Tweeter
Dual concentric diaphragm with integral wave-guide
High-power ferrite motor structure
Full video shielded
4” Hemispherical Midrange
2” voice coil
Cast aluminum frame
Neodymium vented motor structure
Copper shorting ring
Aluminum alloy cone
Fully video shielded
12” Hemispherical Woofer
12-inch high excursion woofer with vented motor
Cast aluminum frame
2” voice coil
Mica lled polypropylene cone w/ Rubber surround
Fully video shielded
Ampliers & Electronics
Dual 200-Watts into 4-Ohm (woofer and mid-range)
.01% THD + noise at rated power @ 1 kHz
100-Watts into 4-Ohm (Tweeter)
.01% THD + noise at rated power @ 1 kHz
Dual XLR balanced input (full-range / 80Hz)
Fixed and Adjustable gain controls
B00® optimized crossover
“full space” & “half space” compensation controls
Individual HF, MF and LF level trims
Input impedance: 10K balanced
Common Mode Rejection 40dB typical @ 60Hz
Voltage Sensitivity (high gain) 200mv=90dB SPL @ 1 meter
Maximum Input Level: +24dBu balanced
Frequency Response: +/- 3dB 45Hz to 30kHz
+/-1.5dB 200Hz to 15kHz
Low Frequency Cutoff
(full-range input) -3dB @ 45Hz
Internal High Pass Filter 80Hz / 2nd order
Internal Crossover Points 300Hz and 3kHz
Page 14
12. Measurement Data
Conditions:
All SAT 12 measurements were made outdoors on a 58 inch stand at a
distance of 1 meter. Since a 58 inch stand is not tall enough for accurate
low-frequency measurements, a 1 meter ground plane measurement was also
made and spliced in at 125 Hz on all measurements, to generate full frequency
response. The rst group of measurements were done with the speaker set in
the normal vertical conguration. The second set were done with the speaker
in the horizontal position, the tweeter and midrange located on the left side
and the plate rotated so the tweeter and midrange were vertical (as shown in
gure 4).
A Note about the off axis measurements:
When looking at a couple of the off axis measurements, such as “SAT 12
Vertical | On Axis +/- 15 Degrees Vertical” on page 15 and “SAT 12
Horizontal | On Axis, +/-15, +/-30 Horizontal” on page 17, you will
notice the low end varying by a couple of dB. Because the woofer is an
omnidirectional radiator in its operating frequency range, these level changes
are not due to directivity, but are due to the woofer in the SAT 12 moving
closer to, and further away, from the measurement microphone as the SAT 12
rotates through the various angles. At a normal listening distance of 2 meters
or more, this effect is negligible, especially when the SAT 12 is positioned as
recommend on page 8 [SAT 12 Mounting & Placement].
LEFT HorizontalVertical
Figure 4
SAT 12 Vertical | On Axis, Full
Range / 45Hz Vs. 80Hz Input
This is a standard on-axis measurement, with the SAT 12
in the vertical conguration, comparing the full-range /
45Hz input to the 80Hz input. As you can see from the
measurements, Big Blue has at frequency response with
no spectral tilt.
SAT 12 Vertical | On Axis Vs.
Listening Window
The listening window is a power average of on axis, +/-15
degrees vertical and +/-15 degrees horizontal and gives
an indication of how a speaker performs when you are not
directly on axis. Ideally the average should be very close
to the on axis response
Page 15
SAT 12 Vertical | Bafe
Compensation Measurements
These curves show the effects of the various settings of the
dip switches for bafe compensation.
SAT 12 Vertical | Tweeter
Adjustment Measurements
These curves show the effects of the various settings of the
dip switches for tweeter level adjustment. The scale has
been expanded to better detail these changes in tweeter
level.
SAT 12 Vertical | On Axis +/- 15
Degrees Vertical
The vertical off axis curves indicate a dip around the
midrange to tweeter crossover frequency and a slight
asymmetry in off axis vertical response. The dip at the 3
kHz crossover frequency is typical for this type of design.
Also, the asymmetry is typical for a three way speaker. The
low frequency variation is due to the relative distance of
the woofer and the microphone changing as the cabinet is
rotated, as was noted on page 14.
SAT 12 Vertical | On Axis, +/-15,
+/-30 Horizontal
These curves show that the SAT 12 has very good and
symmetrical horizontal dispersion, with a smooth roll-off
at high frequencies when off axis, +/-30 degrees.
Page 16
SAT 12 Horizontal | On Axis
Response
If you compare this measurement to the on axis response
in the vertical conguration (page 14), you will note that
they are nearly identical.
SAT 12 Horizontal | On Axis Vs.
Listening Window
The listening window is a power average of on axis, +/-15
degrees horizontal and +/-15 degrees vertical and gives
an indication of how a speaker performs when you are not
directly on axis. Ideally the average should be very close
to the on axis response
SAT 12 Vertical | Midrange
Adjustment Measurements
These curves show the effects of the various settings of the
dip switches for midrange level adjustment.
SAT 12 Vertical | Woofer
Adjustment Measurements
These curves show the effects of the various settings of the
dip switches for woofer level adjustment.
Page 17
SAT 12 Horizontal | On Axis +/- 15
Degrees Vertical
The vertical curves indicate a dip around the midrange
to tweeter crossover frequency and a slight asymmetry in
off axis vertical response. The dip at the 3 kHz crossover
frequency is typical for this type of design. Also, the
asymmetry is typical for a three way speaker.
Please note that when the cabinet is in the horizontal
position, with the tweeter and midrange oriented
vertically, the 12” woofer is on the axis of rotation and you
don’t see the change in low frequency level, as you did
with the in the same measurements of the cabinet in the
vertical conguration.
SAT 12 Horizontal | On Axis, +/-15,
+/-30 Horizontal
When this set of curves is compared against the same set of
curves on page 15 (SAT 12 Vertical | On Axis, +/-15, +/-30
Horizontal), where the SAT 12 was measured in the vertical
conguration, you will see the horizontal conguration
shows a small amount of horizontal asymmetry. The low
frequency variation is due to the relative distance of the
woofer and the microphone changing as the cabinet is
rotated, as was noted on page 14.
Page 18
13. SAT 12 Cabinet Dimensions
15.00 "
381 mm
28.00 "
711 mm
3.50 "
89 mm
6.875 "
175 mm
5.75 "
146 mm
4.06 "
103 mm
1/4 x 20 inserts
15.00 "
381 mm
17.00 "
432 mm
6.88 "
175 mm
3.50 "
89 mm
5.13 "
130 mm
5.75 "
146 mm
1/4 x 20 inserts
14. Factory Service
Instructions
Service for the U.S. versions of Blue Sky products is available only from our
authorized distributor, Group One Ltd., located in Farmingdale, New York.
(Service for Blue Sky products outside the United States can be obtained
through local dealers or distributors.) If your monitor needs service, follow
these instructions:
1. Review the manual and ensure that you have followed all setup and
operating instructions.
2. Call (516) 249-1399 9:00am to 5:30pm EST and ask for Customer
Service. Explain the problem and request an RA (Return
Authorization) number. It is important to have your product serial
number available when you call. You must have an RA number
before you can obtain service.
3. Pack the product in its original packing material and box (do not
return the power cord or the manual). If you don’t have the original
packing material and/or box, please let Customer Service know
when you call for the RA number. Blue Sky is not responsible for
any damage that occurs due to non-factory packaging.
4. Include a legible note stating your name, shipping address (no
P.O. boxes), daytime phone number, RA number, and a detailed
description of the problem, including how it can be duplicated
5. Write the RA number on the top of the carton.
6. Ship the product to the address below. We recommend United
Parcel Service (UPS). Please insure the product regardless of
shipping method.
Blue Sky International
ATTN: SERVICE DEPT / RA#
70 Sea Lane
Farmingdale, NY 11735
USA
7. Turnaround time is three to ve business days depending on the
problem. When calling for RA numbers, please ask Customer
Service what the turnaround time is. The serviced product will be
sent back to you via the same shipping method as received (i.e. if
you ship your monitor UPS Ground it will be returned UPS Ground,
UPS Red will be returned UPS Red etc...). This only applies to
products serviced under the warranty.
15. General Contact
Details
For sales and other enquiries, please contact Blue Sky at:
Blue Sky International
70 Sea Lane
Farmingdale, NY 11735
USA
tel: 516 249 1399
fax: 516 249 8870
email info@abluesky.com
To discover the very latest information check out our website at:
www.abluesky.com
Page 19
Blue Sky International
70 Sea Lane
Farmingdale, NY 11735
www.abluesky.com
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