K.M.E. Versio VL340 User manual

Operation Manual
VL340
VL350

Thank you for choosing K.M.E.! The VERSIO series has been consequently developed to meet
portable requirements.
With these compact and ergonomic loudspeaker systems you will be able to master your rein-
forcement situations in a very flexible manner (main PA, monitoring, fill system).
This manual provides helpful advice to guarantee a safe long-term operation. Please take the
time to get accustomed to the technical properties of your new PA system prior to putting it into
operation. For questions you may either contact your local dealer or the K.M.E. Support.
Within our extensive production processes we only use selected materials and components of
best quality. Share with us the enthusiasm for good sound. The K.M.E. team wishes you joy and
success using your new PA-system!
Table of contents
1 FEATURES......................................................................................................................................................3
2 INPUT PANEL AND CONTROLS...................................................................................................................4
3 QUICK SETUP................................................................................................................................................7
4 OPERATION....................................................................................................................................................9
4.1 Speaker placement.................................................................................................................................9
4.2 General Information..............................................................................................................................10
4.2.1 Handling the tiltable flange......................................................................................................................................................10
4.2.2 Button Lock..............................................................................................................................................................................11
4.2.3 Automatic operating state storage...........................................................................................................................................11
4.2.4 Avoidance of Ground-Loops....................................................................................................................................................12
4.2.5 Peak / limit indicator................................................................................................................................................................12
4.3 Connecting sources and setting the input sensitivity......................................................................13
4.4 Setting channel and master volume...................................................................................................16
4.5 Tone Control Operation........................................................................................................................17
5 USB player tone control................................................................................................................................................................17
5.0.1 Adaptive tone control of Channel 1 and 2...............................................................................................................................17
5.0.2 Advanced tone control matrix display ....................................................................................................................................20
5.1 USB audio playback.............................................................................................................................21
5.1.1 Controls...................................................................................................................................................................................21
5.1.2 USB-LED status information...................................................................................................................................................21
5.1.3 Supported audio file formats...................................................................................................................................................22
5.1.4 Playing audio files...................................................................................................................................................................22
5.1.5 Playback order........................................................................................................................................................................22
5.1.6 Folder change..........................................................................................................................................................................23
5.1.7 Usage of playlists....................................................................................................................................................................24
5.1.8 Folder change when using playlists........................................................................................................................................25
5.1.9 Creating playlists.....................................................................................................................................................................25
5.2 Selecting the Line Out signal..............................................................................................................25
6 FIRMWARE UPDATE...................................................................................................................................27
7 SAFETY PRECAUTIONS.............................................................................................................................27
8 TROUBLE SHOOTING.................................................................................................................................28
9 SPECIFICATIONS.........................................................................................................................................29
10 EC DECLARATION OF CONFORMITY.....................................................................................................30
11 WARRANTY................................................................................................................................................31
12 DISPOSAL OF OLD APPLIANCES............................................................................................................31
2

Note:
This Manual relates to both VL340 and VL350, whose electronics unit don't differ in their opera-
tion. For simplicity reasons the term „VL3x0“ is used to refer to both models.
1 Features
USB Player
• Playback of MP3 and WAV files requires an USB stick only
Channel 1
•1 XLR input with switchable Phantom Power. Suitable for use with microphones or line
outputs.
Channel 2
•1 XLR input (labeled „I“), suitable for use with microphones or line outputs.
•2 6,3mm jacks (labeled „II“ and „III“) provide connection for unbalanced sources such
as Keyboard stereo outputs.
•The High-Z instrument jack III is especially tailored to the amplification of pick-up
equipped instruments. Separate modes for Acoustic Guitar and Electric Guitar allow
an easy and effective tone control.
Line Out
• Selectable Line-Out signal. The routing matrix provides the following combinations:
- channel 1 only,
- sum of Channel 1 and Channel 2, and
- sum of USB Player output, Channel 1 and Channel 2.
Enclosure
• The enclosure design of the VL3x0 enables its application as floor monitor as well as a front
PA-system.
• When used as front PA-system the sound dispersion can be aligned to the audience area by
adjusting the angle of the flange.
• In floor monitor operation a convenient sound radiation is achieved through the 35° floor
stand angle.
3

2 Input panel and controls
To gain a quick overview the following section depicts the arrangement of the input connectors
and the controls' mode of operation.
Input Section
Channel 1
1. Balanced microphone / line input, switchable P48-supply, XLR connector
2. Input mode selector:
- sets Input sensitivity
- activates P48-supply
- automatically adapts tone control characteristics to intended input source)
Channel 2
3. Balanced microphone / line input, XLR connector
4. Balanced / unbalanced Line input, 6,3mm jack
5. Input mode selector:
- sets Input sensitivity
- activates P48-supply
- automatically adapts tone control characteristics to intended input source)
6. High-Z unbalanced Line / Instrument input, 6,3mm jack
Line-Out
7. Balanced Line Out, XLR connector
8. Line Out signal selector
4
Illustration 2.1: Input and Line Out connectors
CHANNEL 1 CHANNEL 2 LINE OUT
SPLIT L/R
-
INSTRUMENT/LINE
I
II
III
LINE
MIC/LINE MIC/LINE
G
Y
R
:
:
:
MIC
A-GUIT
E-GUIT
LINE / OTHER
-
G
Y
R
:
:
:
::
G
Y
R
:
:
:
LINKCH1
LINKCH1+CH2
MASTER POSTP48
MIC
LINE
1. 2. 3. 7.
4. 5. 6. 8.

Power socket and power switch
9. Mains power switch
10. IEC mains socket
11. Ground / Free switch – separates the input connectors' ground from the chassis to allow
ground loop avoidance
Front panel
5
Illustration 2.3: Front panel controls
Illustration 2.2: Mains power section
POWER
KLINGENTHALER
MUSIKELEKTRONIK
GmbH
MADE IN GERMANY
WARNING! THIS EQUIPMENT MUST BE EARTHED!
PULL POWER PLUG BEFORE OPENING!
230V ~ AC
50-60 Hz
P= 600W
FREE
GND
10. 11. 9.
VOL VOL VOL VOL
STATUS
AMP LIMIT
CH PEAK
USB
PLAY / II
SOUND LO LO
HI HI
LO MID
FREQUENCY
HI
CHANNEL 1
MIC / LINE INSTRUMENT / LINE / MIC
CHANNEL 2 ADVANCED
SOUND CONTROL
MASTER
12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 25.
24. 26.

USB Player
12. USB playback volume
13. Tone control
14. USB connector and USB status LED
USB status LED Information
continuous green USB media has been successfully detected
flickering green audio is being played
flashing orange search in progress
continuous orange no valid audio files have been found
continuous red failed to detect USB media / over current
15. Playback control: previous
16. Playback control: play / pause
17. Playback control: next
Channel 1
18. Channel volume
19. Tone control: bass
20. Tone control: treble
Channel 2
21. Channel volume
22. Tone control: bass
23. Tone control: treble
Advanced Sound Control
24. LED matrix signifying the areas affected by the tone controls
Master
25. Master volume
26. Operating status LED
Operating status LED Status
green normal operation
orange signal peak exceeded
red over-temperature / overload
6

3 Quick Setup
These few hints will help you setting up your new PA system in an instant:
Apply mains power
• Ensure that the power switch rests in its “OFF”-position (“0” is pressed down on the rocker)
• Apply mains power via the IEC connector (10)
Caution: observe the appropriate voltage range of 85 – 265V / 50-60 Hz!
• Power up the unit by turning on the mains switch (9). The operation status – LED (26) should
turn green.
USB player
To use the USB player insert an USB stick containing the media to be played.
USB Player operation:
• starting the playback: Press „Play / Pause“ (16).
• pausing the playback : again, press „Play / Pause“ (16).
• (12) sets the playback volume.
• Skip song: press →next (17) or ←previous (15).
• Change folder: long press on →next (17) or ←previous (15).
Connect audio sources
• See Illustration 2.2. for connection possibilities.
• Set input sensitivity / mode to meet the requirements of the connected sources. Pressing
the input mode buttons (2), (5) toggles the input modes.
The labels near the input mode buttons show the association of the selected mode with the
displayed color (see Illustration 2.1). All modes and their fitting application are summarized by
the table below:
7
LTo avoid pop noise when connecting the sources low down the Master (25) or Chan-
nel-Volume (18), (21) in advance.
LIf playback is impossible the USB-LED will light red.
Either no valid media could be found or the USB stick could not be detected. See Chapter 5.1.3
Supported audio file formats for further information.

Channel 1
Button color Mode Application
G = green MIC Microphones
Y = yellow LINE Line-level signals, e.g. Mixing Console Outputs, CD-Players
R = red P48 (MIC) Microphones requiring Phantom Power
Channel 2
Button color Mode Application Associated Input
G = green MIC Microphones XLR I
Y = yellow A-GUIT Acoustic Guitars 6,3mm Jack II
R = red E-GUIT Electric Guitars 6,3mm Jack II
off LINE / OTHER Line-level signals, e.g. Mixing Con-
sole Outputs, CD-Players
6,3mm Jack I
• If necessary, you may switch on Phantom Power by keeping the input mode button for Chan-
nel 1 pressed until it lights up red (as seen in Illustration 3.1). Similarly, switching off requires
another long press.
• Start by increasing Master Volume (26) to approximately 13 'O clock and subsequently set the
Channel Volume (19), (22).
A good starting point can be found between 12-14 'O clock position.
While the setting in 12 'O clock position corresponds to a gain of roughly 0 dB in LINE-Modes,
the modes MIC and Instrument mode offer about 10-30 dB gain.
• Increase the gain should you not be able to hear the signal at high Master Volume setting.
Follow the guidelines in Chapter 4.3 , if no reasonable output signal is made audible.
8
Illustration 3.1: Selecting the input mode
CHANNEL 1
MIC / LINE
G
Y
R
:
:
:P48
MIC
LINE
L Enabling / disabling the button lock
In case all buttons (2), (5), (8) are flashing red when being pressed they need to be unlocked first
in order to be operable. Hold Channel 2 mode button (5) and the Line-Out selector (8) buttons
simultaneously until Channel 1 button (2) is flashing. To lock the buttons again repeat this last
described step. Further explanation follows in Chapter 4.2.2 .

• The Line-Out signal can be selected by pressing (8). See chapter 5.2 for complete descrip-
tion.
Now the VL3x0 is ready for operation!
4 Operation
4.1 Speaker placement
• A few hints on feedback prevention:
• When placing the microphone make sure its sonically least sensitive side points in the direc-
tion of the speakers highest sound pressure. In the case of the commonly used cardoid
microphones this will be given if the microphones' diaphragm is opposing the loudspeakers'
front side in 90° of angle
In other cases such as microphones exhibiting bidirectional characteristics whose backward
sensitivity is not sufficiently low a slightly sidewards turned placement of the speakers is
recommendable.
• Keep the microphones' speaking distance low to minimise the needed gain. Maximise the dis-
tance between microphone and loudspeakers. Also, avoid using dramatic tone control boosts.
Regard these points as a guideline only – other circumstances may require different approach.
9
L Note:
If you leave one of the channels unused we recommend to minimise its volume to avoid unneces-
sary noise contribution.

4.2 General Information
4.2.1 Handling the tiltable flange
Caution! Wrong handling may result in contusion of your fingers. Please observe the following
advice.
Slightly raise the speaker as shown in Illustration 4.1, this will enable you to align the angle.
Take care: if lifted to high, the speaker will be taken out of the flange and thus be loosened!
After lowering the speaker down ensure the flange locks in place. The angle is adjustable to + / -
20 degrees in 4°- steps.
10
correct wrong
Illustration 4.1: Speaker stand insertion

4.2.2 Button Lock
All mode buttons (labeled (2), (5), (8) in Illustration 2.2) can be locked to prevent undesired opera-
tion. To enable or disable the lock hold buttons (5) and (8) pressed until Channel 1 mode button
will light up again. By flashing following status information is displayed:
• Locked
all buttons will flash red
• Unlocking
all buttons will flash green
4.2.3 Automatic operating state storage
The VL3x0 will store the currently set input modes and the playback position of the USB Player
which makes setting these modes again after a power on / off cycle or power loss superfluous.
11
LPrecaution is demanded in case of enabled Phantom Power!
As the Phantom Power state is also affected by the operating state storage, you should always
ensure - before switching on - there is no equipment connected to Channel 1 XLR that might be
damaged by applying Phantom Power! Please consult the manufacturers documentation as to
whether your equipment will tolerate Phantom Power.
Illustration 4.2: Locking / unlocking the buttons
CHANNEL 2 LINE OUT
SPLIT L/R
-
INSTRUMENT/LINE
I
ICONNECTION HELP
II
II
III
III
MIC
LINE
MIC/LINE
arr
MIC
A-GIT
E-GIT
LINE / OTHER
-
G
Y
R
:
:
:
::
G
Y
R
:
:
:
LINKCH1
LINKCH1+CH2
MASTER POST

4.2.4 Avoidance of Ground-Loops
If for instance two audio components bearing a different grounding potential are connected, low-
frequency interference currents may superimpose a voltage drop on the audio signal. These dif-
fering ground potentials may stem from the individual earthing of each component. The interfer-
ence signal will appear with the magnitude of the difference between the grounding potentials.
While its typical frequency is located at the mains power frequency of 50 Hz the interference can
particularly occur in conjunction with the use of unbalanced input connections (such as Keyboard
6.3mm output jacks). Here, the interference signal is amplified together with the audio signal res-
ulting in disturbing audible hum. In general, balanced inputs have the ability to suppress interfer-
ence signals to a reasonable degree.
As a remedy, the ground-free switch (11) isolates the inputs grounding from chassis ground to
avoid ground loops.
If this measure should not bring relief it is advisable to insert DI-Boxes before the Inputs. In this
manner balanced interference signals should be cancelled to a reasonable extent.
4.2.5 Peak / limit indicator
The peak / limit indicator (labeled (26), located beneath the master volume control) displays the
status of the integrated protection circuits. The operating status is indicated by these displayed
colors:
Peak / Limit Indicator Status
green normal operation
orange channel or / and amplifier peak exceeded
red over temperature / protection
Status information meanings
• Channel or / and amplifier peak (state indication: orange)
If orange color is displayed nearly constantly reduce the signal level or the volume settings
respectively. By this you prevent distorted amplification that may (under extreme circumstances)
cause damage to the unit. For loudspeaker protection the internal limiter will reduce the signal
level if the peak value is exceeded.
• Over temperature / protection (state indication: red)
Being too strong driven the unit will mute the amplifier outputs until the power section (supply and
amplifier) have sufficiently cooled down to allow operation. Then, normal operation is resumed
automatically.
12

4.3 Connecting sources and setting the input sensitivity
The VL3x0 features universally usable inputs. Depending on the intended application, e.g. micro-
phones or Keyboards the individual channel sensitivity is set by the illuminated mode buttons (2)
and (5) (→see Illustration 2.2). At the same time this setting also tailors the sound control impact
to the connected source (e.g. tone controls adapted for Acoustic Guitar or Electric Guitar).
Additionally, Channel 1 can provide Phantom Power (P48).
For application possibilities and properties of the inputs consider the following table:
Channel 1Channel2
Input connector
XLR XLR I 6,3mm jack II 6,3mm
jack III
Maximum gain of
selected mode
MIC LINE MIC LINE INSTRUMENT LINE LINE
50 10 20 10 30 10 10
Input impedance ~ 5,6 kΩ~ 18 kΩ~ 1 MΩ~ 18/9 kΩ
(bal. / unbal.)
Phantom Power yes no no no
Application Microphones (P48)
Line-Sources, such as:
- Keyboards
- CD-Players
- Mixer outputs
Microphones
Line-Sources, such as:
- Keyboards
- CD-Players
- Mixer outputs
Instruments, e.g.
- Acoustic and Electric-Guitar
- Accordion
- Keyboard
- other instruments bearing a
pickup
Line-Sources, such as:
- Keyboards
- CD-Players
- Mixer outputs
Microphones
Line-Sources,
such as:
- Keyboards
- CD-Players
- Mixer out-
puts
Microphones
13
LOperating state storage
the last set input modes are being stored. Concerning the 6,3mm jacks of Channel 2 this means
in particular that each connection configuration is stored. For example, if a guitar was connected
to jack II and mode “A-GUIT” was set, this setting will be restored as soon as you connect a guitar
to jack II again.
LTone control properties
Details on the different tone control modes are described in chapter 4.6, page 18 ff.

Connection possibilities and input modes
This section explains the modes and properties of the individual channels.
Channel 1
• Mode „MIC“
→Suitable for microphones and low level sources
This mode offers a maximum gain of 50 dB which can be set via the channel volume control.
• Mode „P48“ (Phantom Power)
→For use with microphones and components that require Phantom Power, e. g.
condenser microphones and active DI-Boxes.
Similarly, the maximum gain is 50 dB.
• To switch on P48: Hold down the mode button (2) of channel 1 until it lights up red.
• To switch off P48: repeat the last described action.
• Mode „LINE“
→Suitable for Line sources
This will set the input sensitivity to the typical line-level of 0 dBu (0,775V
rms
respectively). Max-
imum possible gain is 10 dB.
14
L Phantom Power
To avoid unintended activation of the phantom supply it can only be enabled and disabled by long
button press.

Channel 2 – Instrument / Line / Mic
Though Channel 2 offers universally usable inputs its key function is instrument and line-level
amplification. For this purpose it is equipped with two 6,3mm jacks. As the gain of XLR I ranges
up to 20 dB the amplification of most standard microphones is also feasible.
As a guideline the possible input connections with their corresponding modes are listed on the
input panel:
The 6,3mm jacks II and III accommodate a variety of functions:
• The summation of unbalanced stereo signals such as Keyboard outputs. For this purpose,
connect left and right channel to one 6,3mm jack each. The combined connection of both
6,3mm jacks is automatically detected as a line level signal input.
• The amplification of mono signals with Line-level. Here, jack III should be used.
• High-Z sources such as Guitars equipped with passive pick-up electronics can be connected
to jack II.
This high impedance input is especially suitable for this purpose since it will preserve the sig-
nal integrity. If High-Z pick-ups are shown low impedances they may suffer from high cut and
general level attenuation. This input will preserve the tonal characteristics of your instrument.
• Mode „INSTRUMENT A-GUIT“ / „INSTRUMENT E-GUIT“
→For use with electric or acoustic guitars with jack II
Applying this mode will adapt the input sensitivity and tone control characteristics to the needs of
guitars.
15
LSimultaneous connection of both XLR and 6,3mm jacks is not beneficial
Since all inputs of channel 2 are affected by the same volume control you should either use the
XLR or 6,3mm jack exclusively.
Illustration 4.3: Connection guidelines
CHANNEL 2
ICONNECTION HELP II III
MIC
LINE
LINE
STEREO IN (KEYB)
INSTRUMENT (A-GUIT / E-GUIT / OTHER)
arr
arr
a
rr
a
rr
aa
r

• Mode „LINE / OTHER“:
→this mode enables line level sources to be amplified via
• jack II with a maximum gain of 30 dB
• jack III with a maximum gain of 10 dB
• XLR I with a maximum gain of 10 dB.
If both jack II and III are connected their sensitivity will be automatically set to line-level providing
10 dB gain.
• Mode „MIC“
Suitable for microphones using XLR I. If only one microphone is in operation we recommend the
connection to Channel 1 since it offers more gain and P48 if desired.
4.4
16

4.5 Setting channel and master volume
Advice on setting the channel volume
Depending on which mode is set (LINE, INSTRUMENT, MIC) the channel will have a adapted
control range. Following illustration clarifies the specific operation:
17
Illustration 4.4 Different control ranges of the
channel volume
VOL
-
¥
.
.
.
0
d
B
0
d
B
.
.
.
2
0
d
B
0dB
VOL
-
¥
.
.
.
1
0
d
B
1
0
d
B
.
.
.
5
0
d
B
10 dB
VOL
-
¥
.
.
.
6
d
B
6
d
B
.
.
.
3
0
d
B
6dB
LINE Mode
INSTRUMENT
Mode
MIC / P48 Mode

Setting the master volume
The master volume's control range covers - ∞ to 0 dB, whereas in 14 O' Clock position about -3
dB gain will be reached.
4.6 Tone Control Operation
5 USB player tone control
As usual for many 1-knob tone controls the USB player features shelving characteristics. Illustra-
tion 4.6 exhibits this behaviour.
5.0.1 Adaptive tone control of Channel 1 and 2
The key function of the adaptive tone control is its ability to show specialised control characterist-
ics tailored to the requirements of different signal sources. For effective control an instrument
demands for different center frequencies for equalisation than a line source. To meet these indi-
vidual needs the adaptive tone control will alter the boost and cut frequencies and also set an
appropriate gain margin (range: + / - 15 dB max.). This mode of operation very much resembles a
parametric equaliser, whereas here several parameters are altered simultaneously (center fre-
quency, Q, gain). Illustration 4.7 portrays this principle:
18
Illustration 4.5: Master
Volume control range
VOL
-
¥
.
.
.
.
.
.
0
d
B
-
3d
B
Illustration 4.6: Frequency response curves for several control positions
USB Tone Control
SOUND
linear
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH

Description of the individual modes
• Modes „LINE“ / „MIC“ / „OTHER“
These modes incorporate a shelving tone control. In both rightmost and leftmost position the
width of the boost / cut is increased to its maximum (see illustration 4.8).
• Mode „INSTRUMENT, A-GUIT“
This mode sets the input sensitivity and tone control characteristics to fit acoustic guitars. It will
affect the bass fundamentals between 100 and 200 Hz and the highs at 8 kHz. Turning the con-
trols towards their right / left stop will broaden the cut / boost effect (see illustration 4.9).
• Mode „INSTRUMENT, E-GUIT“
To adapt for electric guitars the bass is shaped at 120 Hz while the mid high center frequency will
be shifted in the region of 5-7 kHz. This takes into account for the distinctive midrange of electric
guitars. Similar to other modes, in the leftmost and rightmost positions the cut or boost is
broadened successively (see illustration 4.10).
19
Illustration 4.7: Principle of the adaptive tone control
LO
linear
LOW MID HIGH
0
1
2
3
Reglerstellung
0
1
2
3

20
Illustration 4.9: Frequency response curves in "A-GUIT" mode
LO
linear
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
Bass Control
HI
linear
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
Treble Control
Illustration 4.10: Frequency response curves in "E-GUIT" mode
LO
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
Bass Control
LOW MID HIGH
LO
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
Treble Control
LOW MID HIGH
Illustration 4.8: Frequency response curves in "A-GUIT" mode
HI
linear
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
LO
linear
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
LOW MID HIGH
Bass Control
Treble Control