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4 2.1 CONNECTIONS .................................................... 7 2.2 POWER AND PROTECTION .................................. 8 CHAPTER 3: SPECIFICATIONS AND SERVICE 3.0 SPECIFICATIONS................................................. 10 3.0A Architectural and Engineering Specifications........... 11 3.1 MAINTENANCE /REPAIR INFORMATION .............. 10 3.1A Cleaning........................................................................... 10 3.1B Service ............................................................................. 11 CHAPTER 1: ABOUT THE MONITOR ONE Your new Alesis Monitor One™ Studio Reference Monitors will deliver accurate mixes in near-field digital and analog studio monitoring applications. The Monitor Ones offer wide frequency response, accurate transient reproduction, clear imaging and high power handling capability and were designed by experts with decades of experience in professional loudspeaker design. This speaker system uses a proprietary 6.5" high-power low frequency driver with a special mineral-filled polypropylene cone, a highly damped linear rubber surround and a 1.5" diameter voice coil wound on a high-temperature Kapton former. The 1" high frequency driver employed has a soft natural silk dome and is ferrofluid cooled. The system's crossover network uses low dielectric loss non-polarized capacitors and an oversized low-loss low frequency inductor. Rear panel connections are made via 5way binding posts suited to large diameter wires as well as banana plugs. The cabinet design uses Alesis' exclusive SuperPort™ speaker venting technology. Most small speakers used for near-field monitoring give disappointing results in their lowest frequency range. They are either sealed (which limits the amount of air the driver can move) or have an undersized vent whose function at low frequencies and high acoustic output is nullified by the effect of turbulence in the restricted port tube. The Monitor One's large folded SuperPort overcomes this limitation by minimizing vent turbulence at high air velocities, thereby ensuring that the enclosure tuning remains stable, the acoustic output remains linear during heavy low frequency attack transients, and that the reactive load above and below box resonance seen by the driving amplifier does not dynamically shift in frequency. This all translates to tighter bass with higher definition. The Monitor One's 4 ohm load impedance takes advantage of today's modern professional amplifiers which are generally capable of a 1-3 dB increase in output power with 4 ohm loads over their 8 ohm ratings. The result is a similar increase in the Monitor One's acoustic output over conventional 8 ohm monitors. Reliable handling of this additional acoustic output is ensured by the Monitor One's substantial power handling capability. Typical near-field monitors are rated at 50-60 watts maximum whereas the Monitor One carries a 120 watt continuous power rating and has 1 been successfully tested to over 200 watts using the industry standard EIA-426A method. This a rugged speaker system designed for serious professional use. Covered with a non-slip rubber textured laminate for stable mounting, the Monitor Ones come in a mirror image left/right pair for symmetrical horizontal mounting. 1.0 A LITTLE HISTORY In the early days of recording, most recording studios used big monitor speakers almost exclusively. Unfortunately, they also required high powered amplifiers and expensive acoustic treatment (often poorly done) of the entire control room. Still, a well-constructed big monitoring system really was impressive to listen to, a fact not overlooked by the studio owners who wanted to impress the record company executives who paid for the big studio's time. These big systems had big level control knobs, and clients enjoyed "cranking-up" the volume. Fortunately, recording engineers and producers eventually learned that this was not the best way to accurately mix music because it wasn't the way people listened to their radios, cassettes and CD players (metalheads excepted). Also, big monitor systems and the costs for the required control room acoustic treatments were going through the roof (no pun intended), particularly beyond the budget limits of smaller project and home studios which were growing in numbers. A new way of accurate monitoring was needed: near-field monitoring. Near-field monitors, by their definition, are intended for mounting close to the listener. The idea here is to improve the direct acoustic path between the speaker and the listener by making it shorter, thereby giving less opportunity for the always present indirect (reflected) sounds to get back in and muddle things up. With near-field monitoring, the surrounding acoustic environment becomes a much less significant factor in establishing the monitor system's sound character. A good set of small monitors properly placed in a reasonably non-reverberant room and powered by a 100-watt amplifier will y...