Yamaha HS50M - HS 50M Speaker Owner's Manual

OWNER’S MANUAL BEDIENUNGSANLEITUNG MODE D’EMPLOI MANUAL DE INSTRUCCIONES 取扱説明書

Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. IMPORTANT SAFETY INSTRUCTIONS 1 Read these instructions. 2 Keep these instructions. 3 Heed all warnings. 4 Follow all instructions. 5 Do not use this apparatus near water. 6 Clean only with dry cloth. 7 Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8 Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9 Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10 Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11 Only use attachments/accessories specified by the manufacturer. 12 Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13 Unplug this apparatus during lightning storms or when unused for long periods of time. 14 Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. (98-6500) • This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.(3 wires) CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. IMPORTANT Please record the serial number of this unit in the space below. Model: Serial No.: The serial number is located on the bottom or rear of the unit. Retain this Owner's Manual in a safe place for future reference. IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN- and-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

In order to take maximum advantage of the speaker’s features and ensure maximum performance and longevity, please read this manual carefully before using powered monitor speaker or powered subwoofer. Keep the manual in a safe place for future reference. Vielen Dank dass Sie sich für einen aktiven Monitorlautsprecher oder Subwoofer von YAMAHA entschieden haben. Um die Eigenschaften des Lautsprechers optimal zu nutzen und für höchste Leistung und Lebensdauer lesen Sie diese Anleitung bitte genau durch, bevor Sie den aktiven Monitorlautsprecher oder Subwoofer verwenden. Bitte bewahren Sie diese Bedienungsanleitung zum späteren Nachschlagen an einem sicheren Ort auf. Nous vous remercions d’avoir choisi un haut-parleur de contrôle ou un caisson de basses amplifié YAMAHA. Pour obtenir les performances optimales de vos haut-parleurs et garantir une longévité maximale, lisez attentivement ce mode d’emploi avant d’utiliser le haut-parleur de contrôle ou le caisson de basses amplifié. Conservez-le en lieu sûr pour pouvoir vous y référer ultérieurement. Gracias por elegir los monitores o el subwoofer autoamplificados de Yamaha. A fin de aprovechar al máximo las características de los altavoces y obtener un rendimiento y durabilidad óptimos, lea atentamente este manual antes de utilizar el sistema. Guarde este manual en un lugar seguro para futuras consultas. このたびは、ヤマハ製品をお買い求めいただきまして、まことにありがとうございます。 製品の優れた性能を十分に生かして、末永くご愛用いただくために、この取扱説明書をご使用の前に必ずお読みください。 お読みになったあとは保証書とともに保管してください。 Contents 4 Precautions 5 Setting Up for Superior Monitor Sound Rear Panel 12 HS50M/ HS80M 13 HS10W 66 Specifications 66 Dimensions 67 Performance graph 67 Block Diagram Table des matières 24 Précautions 25 Configuration du son de con- trôle supérieur Panneau arrière 32 HS50M/ HS80M 33 HS10W 66 Spécifications 66 Dimensions 67 Graphique des performances 67 Schéma d’ensemble Inhalt 14 Vorsichts- maßnahmen 15 Aufstellung für den besten Klang Rückseite 22 HS50M/ HS80M 23 HS10W 66 Technische Daten 66 Abmessungen 67 Leistungs diagramm 67 Blockschaltbild Contenido 34 Precauciones 35 Configuración para obtener una monitorización de sonido excelente Panel posterior 42 HS50M/ HS80M 43 HS10W 66 Especificaciones 66 Dimensiones 67 Gráfico de rendimiento 67 Diagrama de bloques 目次 54 安全上のご注意 56 優れたモニター 環境の構築 リアパネル 63 HS50M/ HS80M 64 HS10W 65 サービスについて 66 仕様 67 寸法図 67 特性図 67 ブロック図

* Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short- circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: •Only use the voltage specified as correct for the device. The required voltage is printed on the name plate of the device. •Use only the included power cord. •Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. •Be sure to connect to an appropriate outlet with a protective grounding connection. Improper grounding can result in electrical shock. •Do not open the device or attempt to disassemble the internal parts or modify them in any way. The device contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel. •Do not expose the device to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. •Never insert or remove an electric plug with wet hands. •If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the device, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualified Yamaha service personnel. •If this device should be dropped or damaged, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualified Yamaha service personnel. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the device or other property. These precautions include, but are not limited to, the following: •Remove the electric plug from the outlet when the device is not to be used for extended periods of time, or during electrical storms. •When removing the electric plug from the device or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. •Before moving the device, remove all connected cables. •When setting up the device, make sure that the AC outlet you are using is easily accessible. If some trouble or malfunction occurs, immediately turn off the power switch and disconnect the plug from the outlet. •Do not use the device in a confined, poorly-ventilated location. Make sure that there is adequate space between the device and surrounding walls or other devices: at least 20cm at the sides, 20cm behind and 20cm above. Inadequate ventilation can result in overheating, possibly causing damage to the device(s), or even fire. •Do not expose the device to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components. •Do not place the device in an unstable position where it might accidentally fall over. •Before connecting the device to other devices, turn off the power for all devices. Before turning the power on or off for all devices, set all volume levels to minimum. •When turning on the AC power in your audio system, always turn on the device LAST, to avoid speaker damage. When turning the power off, the device should be turned off FIRST for the same reason. •Do not insert your fingers or hands in any gaps or openings on the device (ports, etc.). •Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any gaps or openings on the device (ports, etc.) If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the device inspected by qualified Yamaha service personnel. •Do not use the device for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. •Do not operate the device if the sound is distorting. Prolonged use in this condition could cause overheating and result in fire. •Do not rest your weight on the device or place heavy objects on it, and avoid use excessive force on the buttons, switches or connectors. Even though this speaker system (HS50M, HS80M only) is magnetically shielded, you may need to move the speaker further away from the video monitor, if a nearby video monitor exhibits any distortion or unnatural color shift. Interference From Cell Phones Using a cell phone near the speaker system can induce noise. If this occurs, move the cell phone further away from the speaker system. Always turn the power off when the device is not in use. The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualified Yamaha service personnel about replacing defective components. • Illustrations in this manual are for explanatory purposes only, and may not match the actual appearance of the product during operation. • Company names and product names used in this Owner’s Manual are trademarks or registered trademarks of their respective owners. • Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. Power supply/Power cord Do not open Water warning If you notice any abnormality Power supply/Power cord Location Connections Handling caution XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-). Yamaha cannot be held responsible for damage caused by improper use or modifications to the device.

5 Setting Up for Superior Monitor Sound Setting Up for Superior Monitor Sound Unlike most other audio and production gear, the way speakers are set up in a room has a dramatic effect on the final sound. This short tutorial provides a basic guide to help you maximize the performance of your Yamaha HS-series monitor speakers. Listening vs. Monitoring You’d think that the requirements for “listening” and “monitoring” would be the same, but that is not always the case. A great listening system can be a great monitoring system, and vice-versa, but in most cases you’ll miss details that are essential to producing the best possible mix on a system that’s set up purely for musical enjoyment. The difference is somewhat similar to the difference between a retouched glamour portrait and the original in which every blemish is clearly visible. The model looks a lot better in the retouched photo, but the reality is in the original un-enhanced version. As mixing engineer, or producer, or sonic artist, you’ll want to hear the details so that you can create a perfectly balanced mix that will sound good on the widest possible range of audio systems — and that can mean anything from high-ticket boutique audio components in a properly-designed listening room right down to the boom box on top of the fridge in the kitchen. You don’t want problems hidden by poor monitor performance to sabotage your sound on other systems. The legendary Yamaha NS10M became a standard monitor in the music and sound industry (and is still in use in many studios throughout the world) for precisely that reason: it offered flat response and excellent resolution that allowed engineers and producers to hear subtle details that make the difference between good and great sound. The HS-series monitors carry on the tradition with accuracy and detail that can help you make great mixes, while letting you monitor for long stretches with minimum fatigue. Getting Connected Powered monitors offer many sonic and practical advantages over passive types, but since they’re driven by line-level signals you need to exercise the same care in choosing cables and connectors as for the other line-level connections in your studio. Always use high quality cables and connectors, and keep cable runs as short as possible. Unbalanced lines are fine for relatively short cables runs unless you happen to be in a location that is plagued by high levels of electrical and radio-frequency noise. Of course if you’re using equipment that only has unbalanced outputs you have no choice, and will need to set up your system so that everything can be connected with the shortest possible unbalanced cables. If your mixer and monitors are located on the same desktop or tabletop, for example, there should be no problem. But if you need to run line-level cables longer than about three meters (longer than about 10 feet), you might be better off using balanced connections for maximum noise resistance. The HS-series studio monitors provide two types of connectors for input, so you can choose the type that best matches your system requirements.

XLR-type Connector (Balanced) This is the type of connector most commonly used in professional equipment and installations. 3-pin XLR-type connectors like the ones provided on the HS-series monitors are primarily intended for use with balanced signals, and their solid design and construction ensures maximum electrical and mechanical reliability. Phone Jack (TRS, Balanced or Unbalanced) RCA Pin Jack The HS-series studio monitors also feature 1/4-inch phone jack connectors that can be used for either balanced or unbalanced connections. For balanced connection via these jacks you’ll need to use balanced cables fitted with TRS phone plugs — three- contact phone plugs that are basically the same as standard stereo phone plugs with tip, ring, and sleeve contacts (thus the “TRS” designation — see the illustration on the left.) The phone jacks will also accept unbalanced signals —simply plug in a standard mono phone plug. But what if you want to connect equipment that only provides RCA- type pin connector outputs? The solution is simple enough: use either RCA-to-phone plug adaptors or RCA- to-phone cables, and plug into the speaker’s phone-jack inputs. If you’re connecting your HS speakers directly to a mixer such as one of the Yamaha MG-series mixers, they should usually be connected to the mixer’s “C-R” (Control Room) outputs so that you can control the monitor level without affecting the level of the signal sent to the mixer’s main bus, which will usually be feeding your recorder or DAW (Digital Audio Workstation) in a production type setup. Pin 2: Signal + or “Hot” Pin 3: Signal - or “Cold” Pin 1: Ground Pin 1: Ground Pin 3: Signal - or “Cold” Pin 2: Signal + or “Hot” Ring: Signal - or “Cold” Tip: Signal + or “Hot” Sleeve: Ground Tip: Signal + or “Hot” Sleeve: Ground input input L R C-R OUT L R ST OUT MG Series

7 The HS-series speakers are also an excellent choice for direct connection to your electronic keyboard or other electronic musical instrument. Speaker Placement Speaker placement is one of the most important considerations when setting up a monitor system, but it is all too often overlooked with the result that performance is seriously compromised. Admittedly the obstacles to perfect speaker positioning in the small studio are formidable. Having the space available to place your speaker system so that it can provide optimum performance is a luxury, but it is definitely worth the time spent doing a little experimentation and measuring to make the most of limited resources. The difference can be astounding. The basics are the same whether you’re setting up a stereo or 5.1 surround system. Proximity to Walls and Corners For the most accurate response your speakers should be positioned away from walls and especially corners, which can play havoc with a speaker’s frequency characteristics. A minimum of about 1.5 meters (about 5 feet) away from walls would be ideal, but in reality they’ll probably end up being placed on a desktop and pushed up against a wall. Just keep in mind that fact that the closer you get to walls and corners the more exaggerated the speaker’s bass response is likely to become, and some compensation — whether you compensate mentally or use some equalization — will probably be required. The HS50M and HS80M speakers make this easy by providing a ROOM CONTROL switch that modifies the speaker’s bass characteristics to compensate for the exaggeration caused by nearby walls. As your speakers get closer to the walls you might find that setting the ROOM CONTROL switch to the “-2” or “-4” setting gives you more natural response in the bass range. As a reference, remember that you’re trying to approach the way the speakers sound when they’re located more than 1.5 meters (5 feet) away from the nearest walls. Symmetry As we’ve just learned, the response of a speaker can change drastically according to where it is placed in relation to surfaces. So what happens if one of your speakers is up against a wall and the other is out in the open? Rest assured that the results will not be good, and will definitely not be conducive to producing good mixes. You’ll have totally different response from your left and right speakers, making it next to impossible to create a well-balanced mix, or even position tracks accurately in the stereo sound field. So whatever you do, if you’re serious about your sound make sure that your speakers are located as symmetrically within your listening environment as possible. Use a tape measure to ensure that your speakers are the same distance from the side and rear walls. Large objects can throw the acoustic symmetry of a room off balance, too. It’s also important to be aware of the location of doors and windows. It is not always possible to achieve ideal symmetry, but it’s worth getting as close as possible.

The “Sweet Spot” For both stereo and surround mixing your position in relation to the main front speakers — the “sweet spot” as it’s often called — should be one apex of an equilateral triangle. In other words your distance from either speaker should be the same as the distance between the two speakers. The speakers should also be “toed in” to the corresponding 60° angle so that the drivers are aimed directly at the listening position. The height of the speakers should be such that the tweeters are roughly aligned with your ears (this is because high frequencies are the most directional). Fine-tuning for Stereo ●The speaker LEVEL controls should be set to the same level. A setting of about 12 o’clock corresponds to a nominal input level of about +4 dB. ●Since no subwoofer is being used in this setup, set the LOW CUT switch to “FLAT”. ●When set to “-2 dB” the EQ MID switch attenuates the midrange frequencies slightly to produce a somewhat “softer” sound that may be better for listening or long monitoring sessions. For accurate monitoring, however, set the MID switch to “0”. ●Set the ROOM CONTROL switch according to the distance your speakers are placed from the nearest wall (refer to “Proximity to Walls and Corners”, above). ●For accurate monitoring set the HIGH TRIM switch to “0”. This switch can be set to “-2 dB” to attenuate the highs slightly if you find the sound too bright. 60˚

9 R C LFE RS LS L 30˚ 30˚ 100 120˚ 100 120˚ Adding a Subwoofer Even if you don’t plan to set up a surround system, adding a subwoofer can be a real advantage for stereo mixing. If you can’t hear the extreme low end there’s not much you can do to make it sound great. The extended bass response provided by a good subwoofer can indeed help you to improve the overall quality of your mixes. The location of your subwoofer is not as critical as the main speakers, because frequencies below around 200 Hz — the region your subwoofer will be working in — aren’t directional. To say it another way, the ear can’t locate the source of such low frequencies, so in theory the subwoofer can be placed anywhere in the room. In reality it’s a good idea to place the subwoofer on the floor somewhere between the main front speakers at the same distance from the listening position as the main speakers, but it doesn’t have to be dead center. Fine-tuning for Stereo + Subwoofer ●Set the HS50M or HS80M LEVEL control to about 12 o’clock to set the nominal input level to approximately +4dB. If you’re using the HS50M set the HS10W LEVEL control to about 10 o’clock, and if you’re using the HS80M set it to about 11 o’clock. You can then fine-adjust the HS10W LEVEL control as required. Another approach would be to adjust the HS50M/HS80M output level to achieve the desired relativebalance with the subwoofer. ●Start with the HIGH CUT control set at its center click position, which corresponds to a HPF frequency of about 100 Hz. The HIGH CUT frequency can be adjusted later to achieve the smoothest integration with the HS50M or HS80M speakers. ●Turn the HS10W LOW CUT switch ON. Adjust the LOW CUT control to achieve the desired degree of bass extension. ●Set the HS50M/HS80M LOW CUT switch to “FLAT”. ●When set to “-2 dB” the HS50M/HS80M EQ MID switch attenuates the midrange frequencies slightly to produce a somewhat “softer” sound that may be better for listening or long monitoring sessions. For accurate monitoring, however, set the MID switch to “0”. ●Set the HS50M/HS80M ROOM CONTROL switch according to the distance your speakers are placed from the nearest wall (refer to “Proximity to Walls and Corners”, above). ●For accurate monitoring set the HS50M/HS80M HIGH TRIM switch to “0”. This switch can be set to “-2 dB” to attenuate the highs slightly if you find the sound too bright. Setting Up for Surround If you’re going to be mixing for surround, obviously you’ll need a surround monitoring system. For a 5.1 surround system, for example, you only need to add a center speaker and two rear speakers to the stereo + subwoofer system described in the previous section. Let’s see … two main speakers plus one center speaker plus two rear speakers is a total of five speakers, and “.1” refers to the subwoofer. All present and accounted for! According to the ITU (International Telecommunications Union) specifications for 5.1 surround setup, the main front speakers are positioned in the 60° equilateral triangle relationship to the listening position described earlier, and the rear speakers should be located at the same distance from the listening position, but at an angle of between

100° and 120°, as shown in the diagram above. The center speaker should be placed precisely midway between the main front speakers, at the same distance from the listening position as the other speakers (which means that ideally it will be a bit behind the main left and right speakers. As you may have deduced by now, the main left and right, center, and rear speakers are all located on the circumference of a circle with its center at the listening position. An easy way to get all the distances right is to use a piece of string cut or marked to the exact distance between the main left and right speakers. Attach the string to a mic stand or other convenient object at the listening position and use it to measure the distance from the listening position to each of the speakers. Stretched from the listening position to the speaker position the string will also provide a convenient guide for aligning the speakers so that they point directly at the listening position. MG-series Mixer Setup If you’re connecting to a standard mixer that is not specifically designed for surround production, your main L and R speakers can be connected to any convenient stereo output pair via the HS10W subwoofer, while the center and rear speakers will be connected to individual output channels. Example: MG16/6FX Digital Mixer Setup If you’re connecting your HS-series speakers to a mixing console that features built-in surround handling capability — such as the Yamaha DM2000, DM1000, or 02R96 — each speaker will be connected directly to the console output dedicated to handling that particular surround channel. In this type of setup you can take full advantage of the console’s advanced surround mixing and bass management facilities. DVD Player Input Channel Output Connector Speaker L ➔ Ch1 (ST=ON, PAN ➔ L) ➔ ST OUT (L) ➔ L R ➔ Ch2 (ST=ON, PAN ➔ R) ➔ ST OUT (R) ➔ R LS ➔ Ch3 (GRP1-2, PAN ➔ L) ➔ GROUP OUT 1(L) ➔ LS RS ➔ Ch4 (GRP1-2, PAN ➔ R) ➔ GROUP OUT 2(R) ➔ RS C ➔ Ch5 (GRP3-4, PAN ➔ L) ➔ GROUP OUT 3 ➔ C LFE ➔ Ch6 (ST=ON, PAN➔Center, Fader➔+10 dB Boost) ➔ ST OUT ➔ LFE DVD Player 6 Channel Line LS RS LFE R L C OMNI Out LS RS R LFE C L

11 Fine-tuning for Surround ●Set the HS50M or HS80M LEVEL control to about 12 o’clock to set the nominal input level to approximately +4dB. If you’re using the HS50M set the HS10W LEVEL control to about 10 o’clock, and if you’re using the HS80M set it to about 11 o’clock. You can then fine-adjust the HS10W LEVEL control as required. Another approach would be to adjust the HS50M/HS80M output level to achieve the desired relative balance with the subwoofer. * If you’re using the HS50M with a digital mixer, set the HS10W LEVEL control to about 9 o’clock. If you’re using the HS80M with a digital mixer set the HS10W LEVEL control to about 10 o’clock. ●Start with the HIGH CUT control set at its center click position, which corresponds to a HPF frequency of about 100 Hz*. The HIGH CUT frequency can be adjusted later to achieve the smoothest integration with the HS50M or HS80M speakers. * Set to 80 Hz if you’re using a digital mixer. ●Turn the HS10W LOW CUT switch ON. Adjust the LOW CUT control to achieve the desired degree of bass extension. ●Set the HS50M/HS80M LOW CUT switch to “100 Hz”*. * Set to 80 Hz if you’re using a digital mixer. ●When set to “-2 dB” the HS50M/HS80M EQ MID switch attenuates the midrange frequencies slightly to produce a somewhat “softer” sound that may be better for listening or long monitoring sessions. For accurate monitoring, however, set the MID switch to “0”. ●Set the HS50M/HS80M ROOM CONTROL switch according to the distance your speakers are placed from the nearest wall (refer to “Proximity to Walls and Corners”, above). ●For accurate monitoring set the HS50M/HS80M HIGH TRIM switch to “0”. This switch can be set to “-2 dB” to attenuate the highs slightly if you find the sound too bright. Maintain a Consistent Monitoring Level Another difference between listening and monitoring is that when you’re listening for enjoyment you probably listen at significantly different levels at different times: from soft and unobtrusive for background music, right though room-shaking for involved listening or dancing. This is definitely not the case for serious monitoring. The response of your ears changes so drastically according to level, especially in the soft to medium-loud region, that is essential to maintain a consistent monitoring level otherwise you simply won’t get consistent mixing results. You’ll undoubtedly need to turn up or down a bit at certain points during the production process when listening for specific problems or effects — in fact it is important to listen to your mix at different levels as a final checking process, bringing the levels down very low to check if any elements of the mix disappear and make sure that the vocal continues to maintain its balance in the mix at very low levels — but in general you should stay within a fairly small range. Just what is the best level to monitor at? Although there is a “standard” monitoring level specification,* the answer for most small studios is “whatever is most comfortable for you.” You need to monitor at a level that’s loud enough so that you don’t miss any soft details, but not so loud that your ears become fatigued (or your neighbors complain). If you find yourself turning up the volume after monitoring for a short while, your ears are probably starting to get tired and losing sensitivity. This is obviously bad for your music as well as your ears. So find that “comfort zone” and prepare to make some great music. *For you techies, the SMPTE RP 200 standard monitoring level is 83 dB SPL (RMS average) at the listening position, or if you’re mixing for film you’ll need to know that the standard Dolby monitoring level for surround is 85 dB SPL.

Rear Panel HS80M, HS50M 1 POWER switch Turns power to the speaker on or off. When the power is turned on the tuning fork mark on the front panel will light. " LEVEL control Adjusts the overall output level. # INPUT 1/2 connector These are balanced XLR-type and phone type input connectors. Do NOT use both the XLR and Phone type connector at the same time. Please connect to only one of these connectors. $ MID EQ switch Adjusts the level of the mid-frequency range. Setting the switch to the “0” position produces a flat frequency response. With the “+2 dB” setting, the mid range is boosted by 2 dB. With the “-2 dB” setting, the mid range is cut by -2 dB. (Center frequency is 2 kHz.) % ROOM CONTROL switch Corrects the low frequency exaggeration caused by reflecting off ceilings, walls and floors. Setting the switch to the “0” position produces a flat frequency response. With the “-2 dB” setting, the range below 500 Hz is cut by 2 dB. With the “-4 dB” setting, the range below 500 Hz is cut by -4 dB. & HIGH TRIM switch Adjusts the level of high-frequency range. HS50M: Setting the switch to the “0” position produces a flat frequency response. With the “+2 dB” setting, the range above 3 kHz is boosted by 2 dB. With the “-2 dB” setting, the range above 3 kHz is cut by -2 dB. HS80M: Setting the switch to the “0” position produces a flat frequency response. With the “+2 dB” setting, the range above 2 kHz is boosted by 2 dB. With the “-2 dB” setting, the range above 2 kHz is cut by -2 dB. ' LOW CUT switch Cuts the low-frequency range. With the “80 Hz” setting the range below 80 Hz is cut. With the “100 Hz” setting the range below 100 Hz is cut. ( AC IN Connector Connect the supplied power cable here. First connect the power cord to the speaker, then insert the power cord plug into the AC outlet. ROOM CONTROL HIGH TRIM +2dB +2dB 0dB 0dB -2dB -2dB 0dB -2dB -4dB +2dB 0 -2dB 0 -2dB -4dB +2dB 0 -2dB -10dB +4dB 1 2 MID EQ ROOM CONTROL HIGH TRIM LOW CUT FLAT 80Hz 100Hz MID EQ LOW CUT OFF INPUT LEVEL POWER ON AC IN 2kHz 3kHz 500Hz 100Hz 80Hz FLAT MIN +2dB +2dB 0dB 0dB -2dB -2dB 0dB -2dB -4dB 2kHz 2kHz 500Hz 100Hz FLAT 80Hz ROOM CONTROL HIGH TRIM MID EQ LOW CUT HS50M HS80M ! " # $ % & ' (

13 HS10W ! POWER switch Turns power to the speaker on or off. When the power is turned on the tuning fork mark on the front panel will light. " INPUT L/R connector These are balanced XLR-type and phone type input connectors. Two different signals can be input at these INPUT connectors. If two signals are input at the same time, they are mixed before being sent to the subwoofer. Do NOT use both the XLR and Phone type connector at the same time. Please connect to only one of these connectors. # EXT SUB OUT connector This is an XLR-type balanced output connector which outputs the mixed signal received by the INPUT L/R connectors. Use the EXT SUB OUT connector if you wish to add a second subwoofer. n The LOW CUT switch/control and HIGH CUT control do not affect the output level of the signal sent from the EXT SUB OUT connector. $ OUTPUT L/R jack These XLR-type balanced output connectors output the signals received at the INPUT L/R connectors, respectively. If the LOW CUT switch is on, the low frequency is cut. Use the LOW CUT control to set the cutoff frequency from 80 Hz to 120 Hz. % LOW CUT switch If the LOW CUT switch is on, the low frequencies of the signal from the OUTPUT connector is cut. Use the LOW CUT control to set the cutoff frequency from 80 Hz to 120 Hz. & LOW CUT control Use the LOW CUT control to set the cutoff frequency from 80 Hz to 120 Hz when the LOW CUT switch is on. ' HIGH CUT control Use the HIGH CUT control to set the cutoff frequency of the signal output from the HS10W from 80 Hz to 120 Hz. ( LEVEL control Adjusts the overall output level. ) PHASE switch Selects a phase of output sound from the HS10W. You will usually set this switch to “NORM”. However, the “REV.” setting may improve low-range response, depending on the type and location of the entire speaker system. Try both settings and select the one that produces the best low- end sound. * AC IN Connector Connect the supplied power cable here. First connect the power cord to the subwoofer, then insert the power cord plug into the AC outlet. L R L R L R OFF OFF L R 0 10 80 120 100 100 80 120 INPUT EXT SUB OUT OUTPUT HIGH CUT LEVEL (Hz) (Hz) NORM. REV. INPUT OUTPUT EXT SUB OUT SUBWOOFER HIGH CUT PHASE LOW CUT LOW CUT POWER ON AC IN LOW CUT PHASE ON ! * " # $ & ' ( ) %

HS80M 250 (9-13/16") 332 (13-1/16") 390 (15-3/8") Unit : mm(inch) Specifications Model HS50M HS80M HS10W General Specifications Type Biamp 2-way Powered speaker Biamp 2-way Powered speaker Powered Subwoofer Crossover Frequency 3 kHz 2 kHz – Overall Frequency Response 55 Hz—20 kHz (-10 dB) 42 Hz—20 kHz (-10 dB) 30 Hz—180 Hz (-10 dB) Dimensions (W x H x D) 165 x 268 x 222 mm (6-1/2 x 10-9/16 x 8-3/4") 250 x 390 x 332 mm (9-13/16 x 15-3/8 x 13-1/16") 300 x 350 x 386 mm (11-13/16 x 13-3/4 x 15-3/16") Weight 5.8 kg 11.3 kg 12.5 kg Speaker Components Speaker Components LF : 5" cone (Magnetic shielding Type) LF: 8" cone (Magnetic shielding Type) 8" cone HF : 0.75" Dome (Magnetic shielding Type) HF : 1" Dome (Magnetic shielding Type) Enclosure Type Bass-reflex Type Bass-reflex Type Bass-reflex Type Material MDF MDF MDF Amp. Unit Output Power Total : 70 W (dynamic power) (LF : 45 W, 4 ohms) (HF : 25 W, 8 ohms) Total : 120 W(dynamic power) (LF : 75 W, 4 ohms) (HF : 45 W, 8 ohms) 150 W 4 ohms (dynamic power) Input Sensitivity / Impedance -10 dBu/10 k ohms -10 dBu/10 k ohms -10 dBu/10 k ohms Output Sensitivity/ Impedance – – -10 dBu/600 ohms Input Connectors(parallel) 1 : XLR-3-31 type (balanced) 2 : PHONE (balanced) 1 : XLR-3-31 type (balanced) 2 : PHONE (balanced) 1 : XLR-3-31 type (balanced) 2 : PHONE (balanced) Output Connectors – – 1 : XLR-3-32 type (balanced) x 1 (EXT SUB) 2 : XLR-3-32 type (balanced) x 2 (L&R) Controls LEVEL control (+4dB/center click) LOW CUT switch (FLAT/80/100 Hz, 12 dB/octave) EQ : MID (+/- 2dB at 2kHz) : HIGH (+/- 2dB at HF) : ROOM CONTROL (0/-2/-4 dB under 500Hz) LEVEL control (+4dB/center click) LOW CUT switch (FLAT/80/100Hz, 12 dB/octave) EQ : MID (+/- 2dB at 2kHz) : HIGH (+/- 2dB at HF) : ROOM CONTROL (0/-2/-4 dB under 500Hz) LEVEL control PHASE switch : NORM./REV. HIGH CUT control : 80–120Hz (center click) LOW CUT control : 80–120Hz (center click) LOW CUT switch : ON/OFF Indicator Power ON : White LED Power ON : White LED Power ON : White LED Power Consumption 45W 60W 70W Dimensions

MID EQ INPUT 1 HIGH CUT LIMITER HIGH TRIM INPUT 2 LF HF LEVEL LOW CUT ROOM CONTROL LOW BOOST LOW CUT STEP FILTER P.AMP STEP FILTER LOWCUT P.AMP INPUT OUTPUT LOW CUT OUTPUT R ch L ch EXTSUB OUT LOW CUT ON/OFF SUM SPEAKER PHASE NORMAL REVERSE LEVEL P.AMP INPUT INPUT INPUT LOW CUT HIGH CUT LIMITTER HS10W HS10W 386 (15-3/16") 300 (11-13/16") 350 (13-3/4") Unit : mm(inch) Block Diagram Performance graph

135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 MEXICO Yamaha de México S.A. de C.V. Calz. Javier Rojo Gómez #1149, Col. Guadalupe del Moral C.P. 09300, México, D.F., México Tel: 55-5804-0600 BRAZIL Yamaha Musical do Brasil Ltda. Av. Reboucas 2636-Pinheiros CEP: 05402-400 Sao Paulo-SP. Brasil Tel: 011-3085-1377 ARGENTINA Yamaha Music Latin America, S.A. Sucursal de Argentina Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-4371-7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha Music Latin America, S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, Panamá Tel: +507-269-5311 THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 GERMANY Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 SWITZERLAND/LIECHTENSTEIN Yamaha Music Central Europe GmbH, Branch Switzerland Seefeldstrasse 94, 8008 Zürich, Switzerland Tel: 01-383 3990 AUSTRIA Yamaha Music Central Europe GmbH, Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900 CZECH REPUBLIC/SLOVAKIA/ HUNGARY/SLOVENIA Yamaha Music Central Europe GmbH, Branch Austria, CEE Department Schleiergasse 20, A-1100 Wien, Austria Tel: 01-602039025 POLAND Yamaha Music Central Europe GmbH Sp.z. o.o. Oddzial w Polsce ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland Tel: 022-868-07-57 THE NETHERLANDS/ BELGIUM/LUXEMBOURG Yamaha Music Central Europe GmbH, Branch Benelux Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040 FRANCE Yamaha Musique France BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 ITALY Yamaha Musica Italia S.P.A. Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN/PORTUGAL Yamaha-Hazen Música, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888 SWEDEN Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 DENMARK YS Copenhagen Liaison Office Generatorvej 6A DK-2730 Herlev, Denmark Tel: 44 92 49 00 NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 OTHER EUROPEAN COUNTRIES Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030 Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313 TURKEY/CYPRUS Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: +971-4-881-5868 THE PEOPLE’S REPUBLIC OF CHINA Yamaha Music & Electronics (China) Co.,Ltd. 25/F., United Plaza, 1468 Nanjing Road (West), Jingan, Shanghai, China Tel: 021-6247-2211 INDONESIA PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Yamaha Music Korea Ltd. Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong, Youngdungpo-ku, Seoul, Korea Tel: 02-3770-0660 MALAYSIA Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-78030900 SINGAPORE Yamaha Music Asia Pte., Ltd. #03-11 A-Z Building 140 Paya Lebor Road, Singapore 409015 Tel: 747-4374 TAIWAN Yamaha KHS Music Co., Ltd. 3F, #6, Sec.2, Nan Jing E. Rd. Taipei. Taiwan 104, R.O.C. Tel: 02-2511-8688 THAILAND Siam Music Yamaha Co., Ltd. 891/1 Siam Motors Building, 15-16 floor Rama 1 road, Wangmai, Pathumwan Bangkok 10330, Thailand Tel: 02-215-2626 OTHER ASIAN COUNTRIES Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2317 AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313 NORTH AMERICA CENTRAL & SOUTH AMERICA EUROPE AFRICA MIDDLE EAST ASIA OCEANIA For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. HEAD OFFICEYamaha Corporation, Pro Audio & Digital Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441 PA13 Yamaha Pro Audio global web site http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2005 Yamaha Corporation 508MW-01A0 Printed in China