User manual DALI EUPHONIA

[. . . ] The aim of this manual is to ensure that you have the information you need for setting up, connecting and positioning your Euphonia speakers. DALI® is renowned among music lovers throughout the world for its unique speakers and cables, all constructed and build for uncompromising design and sound requirements. Our ultra-modern factory in Denmark is fully equipped with facilities for development and production of quality speakers. DALI's principal competence is development and optimisation of known and new technology in the field of audio and acoustics. [. . . ] The red terminal (+) on the amplifier must be connected to the red terminal (+) on the speaker, and the black terminal (-) on the amplifier must be connected to the black terminal (-) on the speaker. dALI® recommends connection with DALI® connect plugs or spade plugs to ensure a perfect electrical connection and mechanical stability. In the following pages, we will describe the special conditions that occur when connecting with tri-wiring or bi-wiring, and connecting the AS2 subwoofer. Tri-wiring means that the bass, midrange and treble tone ranges are each fed through their own separate speaker cable. In the ultimate set-up, there is an amplifier to handle each range (tri-amping). tri-amping is the sophisticated consequence of multi-wiring in a multipath speaker , which allows the maximum benefit of the EUPHONIA MS5. All other EUPHONIA models are connected by bi-wiring. Bi-amping - when separate amplifiers are used for the bass/midrange tone and treble ranges - provides even greater openness in the acoustic image and adds increased dynamics. For bi-wiring on the MS5, we recommend that the treble and midrange terminals are combined and the bass terminals are supplied separately. DALI® EUPHONIA speakers can, of course, be used with single-wiring. In this case, the enclosed cables should be used with three stripped parts that are fed down through the terminals, thus connecting the bass, midrange and tweeter terminals. DALI® recommends that EUPHONIA speakers are connected with bi-wiring as a minimum to ensure the best possible conditions for acoustic imaging. This keeps powerful currents from the bass signals away from the cables that carry the treble/midrange tone signals. Thanks to its active crossover network and numerous connection options, the AS2 provides further advantages such as stepless variable phase. The AS2 is connected to a line signal either via 'Left/Right Input', 'Mono Input' or 'LFE Input'. It is important that the level of the connected line signal is controlled together with the equipment's volume control. Connection to stereo signal with full frequency content If the subwoofer is connected to a pre-amplifier without a built-in crossover network of the same high quality as the AS2, we recommend that the subwoofer's 'Left/Right Inputs' are connected to a signal with full frequency content from a normal pre-amplifier output. The subwoofer's built-in crossover network takes care of the necessary filtering. Once the subwoofer's 'Left/Right Inputs' are connected to a stereo signal with full frequency content, there is access to a highpass filtered signal (without the deep tones) on the 'Left/Right Output' sockets. This signal is connected to the power amplifier for the main speakers, which thus does not need to handle the demanding deep tones. This will always result in the main speakers playing more cleanly and un-stressed. Connection to mono signal with full frequency content If the subwoofer is only to be connected to a single channel, e. [. . . ] We recommend the use of the procedure below to achieve the best results. Use a piece of music you know well and preferably containing rhythmic base tones such as bass drum, electric bass or similar. Level Adjust the volume on the AS2 - or on the connected equipment when using the LFE input - so that the low frequency level match the level from the front speakers. You must make adjustments so that you can notice the contribution to the sound from the AS2 - but without the bass becoming too dominant. [. . . ]