la48a manual

la48a manual

If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 9. Connect only to AC power outlets rated 230-240 V, 50-60 Hz.This manual contains important information on operating your power amplifier correctly and safely. Please take time to read this manual in order to familiarize yourself with the many advanced features of this amplifier. A full description is found in Section 6.2. Essentially, the LA48a amplifier is a power converter and by selecting MLS positions you are allocating a portion of the available 5800 watts power. Four mount points are provided on the front panel of the amplifier for rack mounting.Since the LA48a uses an internal primary mains fuse of 15A, the LA48a must be equipped with an industrial mains connector rated for 16 A or, alternatively, be installed to a fixed 16A circuit. Please see Section 8.5 for more detail concerning the AFS-limiter. This corresponds to an input sensitivity of 2.4 Vrms or 9.9 dBu. The Speakon connector is designed for high power speaker connections and assures correct polarity, locks securely in place and prevents from shock hazard. The LA48a power amplifier Speakon connectors are wired in the following manner: Channel A Channel B. For this reason, be sure to use balanced inputs on all measurement equipment (also oscilloscope probes) if you are bench testing.The limiter can be turned On or Off by depressing or pressing the relevant rear panel clip limit switch. L-ACOUSTICS recommends leaving the clip limiters switched ON at all times (Channel A, B rear panel clip limiter buttons depressed in the “IN” position). Effectively, this is the same as an LA48a being reduced to the power of an LA24a (but again, not a single user has reported that the AFS has been activated). In. L-ACOUSTICS cannot be held responsible for damage or injury as a result of the top or bottom covers being removed.

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Four mount points Amplifiers may be stacked directly If it is the intention to fill a rack It is also The optional accessory MC-RKSUP is designed for Alternatively, the amplifier support kit APSUP is a The kit integrates the amplifier support bracket with the Depth is adjustable and amplifiers can be APSUP is suitable for use with There are several reasons for this, one If the power If the amplifier is rack-mounted, do not Standard applied emc emission en55103-1, e3 emc. Protect the power cord from being walked upon or pinched - particularly at the plugs and the point where the power cord exits from the apparatus. 11. Only use accessories specified by th. This manual contains important information on operating your power amplifier correctly and safely. Please take time to read this manual in order to familiarize yourself with the. Please refer to table 1 to dete. Under normal operation, clip limiting circuitry is inaudible. Note: if the signal is distorted or clipped before it reaches the amplifier, the clip li. Under this condition the power amplifier will trip the mains breaker within 30 seconds and the ampli. Note: if you leave pin 3 disconnected, you will lose 6 db. The“clip”led indicates when the amplifier output is clipping or limiting. The only user maintenance required is to vacuum the front grill periodically. During the warranty pe. Not experiencing any issues, just want to have a better handle on the system design. As you may know, the KF730 is a 3-way box with a passive x-over between the MF and HF sections, requiring two amp channels per box. It all makes sense to me except for one bit--each amp is wired as if it were bridged, even though the DIP switches are all set to stereo. I guess the real point of my question is are these amps being run bridged or not. They are wired as such according to the manual and the pinout on the back of the amp, but what happens when wired this way with the DIP switch set to stereo.

We've read through the amplifier's manual many times and cannot find any mention of this scenario. I have called the Lab.Gruppen support line, which now directs you to a Music Group number, but have yet to get a response. Thanks in advance for your help. It can not be so that they used all pins on the NL4 output on CH1, just to save Connectors. A very common solution. I belive that Output 1 is wired like this: Pin 1 CH1 and Pin 2 CH2. A very common solution. I belive that Output 1 is wired like this: Pin 1 CH1 and Pin 2 CH2. No, they are actually using NL2 heads on the cable end so no way to use pin 2 in that scenario. To clarify the answer to your question, they are using each individual amplifier output connector, not sending both channels out the channel A output. Their answer was that without flipping the DIP switch the amps aren't actually bridged and therefore not putting out their bridged power rating.Bridge mono is simply making the amp run as a balanced signal source. All thats needed is to drive the amp channels with opposing polarity signals. Quote from: Steven Eudaly on September 27, 2016, 09:14:32 am No, they are actually using NL2 heads on the cable end so no way to use pin 2 in that scenario. To clarify the answer to your question, they are using each individual amplifier output connector, not sending both channels out the channel A output. Unless, as Riley says, the processor is feeding inverted signal to channel B. In that case, the amp is running bridged. Its just two ways of doing the same task. I'd use the DIP switches to set for bridge mono and save on processor outputs, but both work and achieve exactly the same thing. Chris The Channel B live -1 Pin on its Speakon connector is internally wired to Channel A -2 Speakon connector, so the user needs just one Speakon NL4 connector to run the amp in Bridge mode.

The amp is designed that way so, the real Power Output live terminal in the Channel B is inverted and the output wires from Power Module to Neutrik's NL4 post are reversed to match Channel A phase, in Stereo operation. The Channel B live -1 Pin on its Speakon connector is internally wired to Channel A -2 Speakon connector, so the user needs just one Speakon NL4 connector to run the amp in Bridge mode. Danny, This is exactly what I needed to hear. The amps are all running in bridge mode, as Riley suggested, even without the DIPs being set as such. Channels A and B of all the amps are in fact being fed the same signal via a Y splitter, so we're essentially achieving the same thing as using the DIP switches, just using more cable and connectors to do so. Choices of the previous system designer, for whatever reason. Thanks to all who contributed to this conversation. We pride ourselves on providing a tailor-made service for each individual customer. Please use the form below or give us a call to ask for any items or extra quantities you may need, and a member of our devoted sales team will do their best to find what you can’t find. Please verify that you are not a robot Thank you for your interest. Your message has been successfully sent. One of our sales executive will contact you soon! NEW IN MOST VIEWED Used, but usedful AV equipment. SUBSCRIBE Thanks for your subscription. Usedful Limited We use them in order to make this site run smoothly, as by using them the site 'remembers' your former actions and preferences for a short period of time, eliminating the need for you to reset them in your next visit. A cookie is also a bundle of information that is transmitted by the site to your computer's browser and is then stored in your computer as an anonymous trace by which your computer - but not you - can be identified. Our pages use cookies, or other technologies to better serve you when you return to the Web site.

You can set your browser to notify you before you receive a cookie, giving you the chance to decide whether to accept it. You can also set your browser to turn off cookies. If you do so, however, some Web sites may not work properly. Functional cookies Performance cookies Advertising cookies Activated Cookies: Remember your choices (username, region or social media usage) Remember information about your navigation, for example which pages you visit more often Used to provide ads more relevant to you and your interests Used to send targeted advertising or bids They help measure the effectiveness of advertising campaigns Disabled Cookies: Rearn more Accept Settings. Sold as complete rack. Read More 1 in stock The model is specially designed for high performance touring and fixed installation purposes.Primarily intended for powering V-DOSC and SB218 subwoofers, the LA48a is capable of providing up to 2900 watts per channel into 2 ohms. The LA48a can also be configured to match the power delivered to a wide range of impedance loads using Minimum Load Select (MLS) switches, allowing the amplifier to be customized to suit a variety of L-ACOUSTICS loudspeaker models and applications. Send us an inquiry Learn how your comment data is processed. To find out more, including how to control cookies, see here:For example, if there is stock of 50 items and you want to offer an amount for just 10 of them, ensure this is recorded using the form below. LA48A Amplifier pdf manual download. The LA48a is a compact, light-weight power amplifier (2 rack units high,. 10 kg) designed for high performance touring and fixed installation. Primarily intended Gruppen fp6400 (L'Acoustics LA 48a) Output Wiring.We've read through the amplifier's manual many times and cannot find any mention of this scenario. Used, Second hand L-Acoustics LA48a 2ch Amplifier of the best quality on the units high, 10 kg) designed for high performance touring and fixed installation.

Oct 22, 2018 - L-acoustics LA48A Pdf User Manuals. View online or download L-acoustics LA48A User Manual. This manual contains important. Select (MLS) switches, allowing the amplifier to be customized to suit a variety of L-ACOUSTICS loudspeaker models and applications. The switch-mode power. This alert has been successfully added and will be sent to: You will be notified whenever a record that you have chosen has been cited. To manage your alert preferences, click on the button below. Manage my Alerts New Citation Alert. Please log in to your account In particular, we study the synchronization of periodic routing messages. We give examples of the harmful effect of these synchronized updates on other network traffic, and offer guidelines on how to avoid inadvertent synchronization. Using simulations and analysis, we study the process of synchronization and show that the transition from unsynchronized to synchronized traffic is not one of gradual degradation but is instead a very abrupt 'phase transition': in general, the addition of a single router will convert a completely unsynchronized traffic stream into a completely synchronized one. We show that synchronization can be avoided by the addition of randomization to the traffic sources and quantify how much randomization is necessary. In addition, we argue that the inadvertent synchronization of periodic processes is likely to become an increasing problem in computer networks. Sign in Full Access Get this Publication Request Permissions View Digital Edition Figures Other Share this Publication link Copy Link Share on Social Media. This manual is intended to provide you with the information you require to install and operate your MTD loudspeaker enclosure in a wide variety of professional sound reinforcement applications. Specific information and recommendations are included regarding system design, sound design and installation.

We are confident that the information provided in this manual will be sufficient for most applications, however, should you require further assistance your distributor or L-ACOUSTICS are available to provide additional technical support. MANUAL ORGANIZATION The Introduction gives a brief presentation of coaxial technology and the MTD line. Things become more complex when larger audience area coverage is required and there are two possible approaches: 1) Multiplying the number of sound sources by dividing the audience into areas which are covered by individual sources. In this case, the Haas effect is exploited and the goal is to reduce audible interference effects by dissociating or decoupling the individual sound sources (delay lines can also be introduced to provide proper localization). This is the distributed sound reinforcement, or multiple sound source approach, and the MTD line of enclosures is highly suited for this type of sound design. 2) Coupling a number of individual sound sources to form a loudspeaker array, with the objective that each array becomes the equivalent of a single sound source. Additional conditions were published in the AES preprint ''Wavefront Sculpture Technology'' (WST) that was presented at the 111 th Convention, NYC, 2001 (preprint 5488). The theory that was developed defines the acoustic coupling conditions required for effectively arraying individual sound sources. These conditions are satisfied by the ARCS, dv-dosc and V-DOSC products which are intended for medium- to large-scale sound reinforcement applications. However, in most cases, it is not feasible to meet WST criteria while at the same time having a sufficient level of versatility for small- to medium-scale applications. In other words, if a product is to be arrayable, it typically leads to an enclosure design that cannot be used in single or very small configurations.

A different set of loudspeaker enclosure design specifications apply that are more suited to the multiple source sound design approach. The L-ACOUSTICS approach to distributed sound reinforcement using multiple sound sources starts with the specification that each individual loudspeaker enclosure should behave as a totally coherent source. This criterion can be achieved using coaxial components which are well-suited to the design of highly versatile, small format systems. The use of coaxial components has been popularized over the years by a famous British manufacturer for studio monitoring applications to the best of our knowledge, L-ACOUSTICS was the first manufacturer to use coaxial technology in professional sound reinforcement applications and the current MTD line is a continuation of the heritage that was introduced in Coaxial, dual concentric components provide a smooth transition between the LF and HF sections since, by definition, the directivity of the two transducers is matched at the crossover frequency. In addition, the directivity is horizontally, vertically and diagonally symmetric (axi-symmetric). This results in true, single source behavior and the performance obtained is superior in terms of coherence when compared with any combination of two independent sound sources (separate woofer plus hornloaded compression driver, for example). This is the case even if the independent sources are designed to provide the same directivity behavior (which is rarely the case) since the acoustic centers of the two sources are not located at the same physical location. Other benefits obtained using the coaxial, axi-symmetric configuration are smooth acoustical impedance loading for the compression driver and a short time window of reflections which is far more acceptable than the longer reflection sequences that are produced by traditional horn designs.

In addition, the wavefront radiated by an axi-symmetric sound source has directivity that is smoothly increasing with frequency which helps to match the acoustical environment of a typical auditorium. Normally, the reverberation time in auditoria decreases smoothly above 1 khz and at greater distances in the venue, the low frequency energy is fairly constant due to the reverberant field. At closer listening positions, the off-axis attenuation at higher frequencies provides a similar tonal balance and the attenuation with distance is less. The coaxial configuration therefore provides the optimum directivity required in order to obtain even coverage and constant tonal balance in a typical semi-reverberant auditorium. Extensive sound design and installation experience acquired by L-ACOUSTICS over the years confirms this and we are confident that coaxial, axi-symmetric loudspeaker enclosures are the best tools for multiple source, distributed sound design. MTD108a, MTD112b and MTD115b loudspeaker enclosures provide the basic starting tools for distributed sound reinforcement and, in fact, that s what MTD stands for: Mul-Ti-Distributed. 1. THE MTD SYSTEM The MTD line consists of: MTD108a, MTD112b, MTD115b loudspeaker enclosures with their respective analog line level controllers (MTD108 LLC, LLC112b-st, LLC115b-st or LLC115b-2w), MTD rigging accessories and SB115, SB118 or SB218 subwoofers. SUBWOOFER ENCLOSURES (4) SB115 Front-loaded, bass-reflex design, single 15 subwoofer for low frequency extension (5) SB118 Dual bandpass-loaded, single 18 subwoofer for high level, extended bandwidth applications. (6) SB218 Front-loaded, bass-reflex design, dual 18 subwoofer for high level, extended bandwidth applications. Intended for medium-scale touring, sub-hire or fixed installation, the MTD line of enclosures benefit from the economy, packaging and plug and play ease of use afforded by their companion LLC analog line level controllers.

The MTD108a is a passive 2-way loudspeaker containing a 1 neodymium compression driver that is directly loaded by the 8 loudspeaker in a coaxial configuration. As discussed in the introduction, advantages of the coaxial approach include: single point source radiation and excellent phase response, total wavefront coherency at all frequencies and axi-symmetrical directivity that produces identical horizontal and vertical coverage. The end result is natural, studio monitor level sound quality, ideal for proximity use and perfectly matching semi-reverberant environments. The MTD108a, MTD112b or MTD115b are ideal for distributed sound reinforcement and can also be used in medium power front-of-house (FOH) applications for theatres, clubs, multi-purpose venues or corporate events. Examples of distributed systems include delay rings for large-scale installations, surround effects channels for theatre or multimedia, distributed reinforcement for sports venues, and delays for speech reinforcement in convention centre ballrooms. Due to their compact, wedgeshaped format, axi-symmetrical directivity and full range passive design, MTD enclosures also provide a cost-effective, high performance floor monitor solution for live sound reinforcement. When used with additional subwoofers such as the SB115, SB118 or SB218, the MTD line of enclosures can also be used for side fill or drum monitoring applications. The L-ACOUSTICS MTD108LLCa, LLC112b-st, LLC115b-st and LLC115b-2w are dedicated analog controllers that provide optimum signal processing and protection for the MTD108a, MTD112b, MTD115b (passive mode) and MTD115b (active mode), respectively. Active sense return monitoring guarantees safe system operation with LLC controllers providing both thermal protection and cone excursion limiting. LLC controllers also generate a subwoofer feed with switchable high pass filtering and equalization for use with SB115, SB118 or SB218 subwoofers.

Front panel design also allows LLC controllers to function as a patch panel, providing an ergonomic, cost-effective solution for amplifier rack packaging. Pole mount sockets are included as standard and all MTD enclosures are Omnimount-ready. Adjustable U-brackets are available as optional rigging accessories, allowing MTD enclosures to be ceiling-, wall- or scaffold-mounted. As standard on the MTD112b and MTD115b, single stud anchor plates are included for installation of a safety steel using the optional PION1 (single stud Aeroquip flytrack fitting-to-ring) accessory. Sonic quality and the ratio of performance-to-size were the chief design criteria for the MTD108a and its frequency response is exceptionally flat, providing excellent fidelity and optimum speech intelligibility. The ultra-compact format of the MTD108a allows for visually discrete installation in all of these applications. The MTD108a is equally useful as a compact, high-efficiency floor monitor for concert, theatre, dance, corporate or television applications. Given its superb fidelity and dynamic response, the MTD108a is effective in situations that are typically unaccustomed to sound reinforcement, in particular, for classical music and opera where high quality sound reinforcement is essential. Long term power handling capacity is 250 Wrms at a nominal 8 ohm impedance and connection to the loudspeaker is made via two parallel 4-pin Neutrik Speakon connectors. For floor monitoring, the MTD108a has either 22.5 or 45 listening angles with respect to vertical for short throw or long throw applications, respectively. Dimensions are 42.1 cm (16.6 in) high, 25.0 cm (9.8 in) wide by 24.2 cm (9.5 in) deep and the weight is 10.5 kg (23.1 lbs). Cabinet construction consists of 15 mm (0.6 in) and 18 mm (0.7 in) Baltic birch plywood with joints that are sealed, screwed and rabbeted. The finish is maroon gray, high resiliency paint and the front of the loudspeaker is protected by a black powder-coated 1.

5 mm (0.06 in) thick steel grill that is covered with 5 mm (0.2 in) thick acoustically transparent open cell foam. The MTD108a has 4 integral rear attachment points for wall mounting using an optional Omnimount rigging accessory along with a 36 mm (1.42 in) diameter pole mount socket for tripod mounting. An integral top plate and the bottom pole mount socket also allows for rigging the MTD108a using the optional ETR8 adjustable U bracket. The L-ACOUSTICS MTD108LLCa is a stereo analog controller that provides optimum equalization and band limiting for the MTD108a along with system protection and processing for use with subwoofers. Active sense return monitoring guarantees safe operation and the controller provides both thermal protection and cone excursion limiting. The 2 nd and 3 rd order passive filters employed in the MTD112b provide a 1.2 khz crossover point between low and high frequency components. Long term power handling is 450 Wrms at a nominal 8 ohm impedance and connection to the loudspeaker is made via two parallel 4-pin Neutrik Speakon connectors. The MTD112b has a truncated wedge shape with a curved front profile. When used on its rear side, the front baffle of the enclosure is oriented at a 45 degree angle with respect to vertical, allowing the enclosure to be used as a floor monitor. Dimensions are 54 cm (21.3 in) high, 41 cm (16.1 in) wide at the front of the enclosure, 16.5 cm (6.5 in) wide at the rear of the enclosure and 37.5 cm (14.8 in) deep. Enclosure weight is 26.5 kg (58.4 lbs) and cabinet construction consists of 18 mm (0.70 in) and 30 mm (1.18 in) Baltic birch plywood with internal steel bracing and joints that are sealed, screwed and rabbeted. The finish is maroon-gray high resilient paint and the front of the enclosure is protected by a black powder-coated, 1.5 mm (0.06 in) thick steel grill that is covered with 10 mm (0.4 in) thick acoustically transparent open cell foam. The MTD112b has a 36 mm (1.

42 in) diameter pole mount socket mounted on the bottom side and a single stud anchor plate mounted on the rear side along with four threaded inserts for attachment of an optional Omnimount bracket. Four recessed attachment locations are available (two on each top and bottom side) for rigging the enclosure with the optional ETR1 adjustable U-bracket accessory. The MTD112b is used with the LLC112b-st stereo analog controller that monitors power amplifier outputs and employs sense return processing to provide thermal protection and cone excursion limiting for the loudspeaker components. The analog controller provides band limiting and corrective component equalization with three settings that are designed for front-of-house, floor monitor or two-way operation with subwoofers. The LLC112b-st controller also performs signal summation of the two input signal channels and provides a line level output signal with selectable band limiting and equalization for use of the MTD112b in conjunction with SB115, SB118 or SB218 subwoofers. The 2 nd and 3 rd order passive filters employed in the MTD115b provide a 1.2 khz crossover point between low and high frequency components. In passive mode, long term power handling is 265 Wrms at a nominal 8 ohm impedance. In active mode, the crossover point between low and high frequency components is 1.2 khz with 24 db per octave Linkwitz-Riley characteristics and long term power handling is 265 Wrms for the low section and 150 Wrms for the high section at a nominal 8 ohm impedance. Connection to the loudspeaker is made via two parallel 4-pin Neutrik Speakon connectors. The MTD115b has a truncated wedge shape with a curved front profile. When used on its rear side, the front baffle of the MTD115b is oriented at a 41 degree angle with respect to vertical, allowing the enclosure to be used as a floor monitor. Dimensions are 58 cm (22.8 in) high, 44 cm (17.3 in) wide at the front of the enclosure, 16.7 cm (6.6 in) wide at the rear and 47.5 cm (18.

7 in) deep. Enclosure weight is 32.5 kg (71.6 lbs) and cabinet construction consists of 18 mm (0.70 in) and 30 mm (1.18 in) Baltic birch plywood with internal steel bracing and joints that are sealed, screwed and rabbeted. The finish is maroon-gray high resilient paint and the front of the enclosure is protected by a black powder-coated, 1.5 mm (0.06 in) thick steel grill that is covered with 10 mm (0.39 in) thick acoustically transparent open cell foam. The MTD115b has a 36 mm (1.42 in) diameter pole mount socket mounted on the bottom side and a single stud anchor plate mounted on the rear side along with four threaded inserts for attachment of an optional Omnimount bracket. Four recessed attachment locations are provided (two on each top and bottom side) for rigging the enclosure with the optional ETR2 adjustable U-bracket accessory. When operated in passive mode, the MTD115b is used with the LLC115b-st stereo analog controller, and in active mode, the LLC115b-2w mono two-way analog controller is specified. Both analog controllers monitor power amplifier outputs and employ sense return processing to provide thermal protection and cone excursion limiting for the loudspeaker components. Analog controllers also provide band limiting and corrective component equalization with three settings that are designed for front-of-house, floor monitor or two-way operation with subwoofers. The LLC115b-st stereo controller performs signal summation of the two input signal channels and both controllers provide a line level output signal with selectable band limiting and equalization for use of the MTD115b in conjunction with SB115, SB118 or SB218 subwoofers.

Apart from normal standards regarding construction, protection, cooling and damping factor that are expected of any professional sound reinforcement amplifier, MTD loudspeakers and LLC controllers are intended to be used with amplifiers with the following specifications: GAIN STRUCTURE Protection circuitry employed in all LLC Controllers is calibrated and optimized for 32 db amplifier gain. LLC controllers can be safely used with amplifiers having less than 32 db gain, however, the maximum SPL output obtainable from your loudspeaker system will be less than optimum. In addition, due to the higher input sensitivity of lower gain amplifiers (i.e., less input signal level is required in order to drive the amplifier to clip) it is also possible that LLC controller limiting circuitry will not operate correctly. This could allow amplifiers to be operated under continuous clipping conditions and may result in damage to your loudspeaker. For amplifiers with greater than 32 db gain, please contact your amplifier supplier for technical support regarding how to calibrate the amplifier for 32 db gain. LIMITERS Peak limiters on all amplifier outputs with soft clipping characteristics; attack time less than 3msec COOLING Temperature speed-controlled fan recommended In practice, L-ACOUSTICS specifies power amplifiers with output power equivalent to twice the RMS power handling for the low section and equivalent to the peak power handling for the high section. These requirements typically allow the same amplifier to be used for both sections since the drive level for the HF section is attenuated relative to the LF section to account for efficiency differences (i.e., full continuous power will never be delivered to the HF section due to this attenuation). When the same amplifier is used for the HF section, the extra available power then translates into headroom for improved high frequency transient response. Sections 2.1, 2.2, 2.3 and 2.