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Page 6
of 11
 
5 EUROLIVE VS1520/VS1220F/VS1220 User Manual
1. Before You Get Started
1.1 Shipment
Your VS series loudspeaker was carefully packed at the assembly plant to assure
secure transport. Should the condition of the cardboard box suggest that damage
may have taken place, please inspect the unit immediately and look for physical
indications of damage.
Damaged equipment should NEVER be sent directly to us. Please inform
the dealer from whom you acquired the unit immediately as well
as the transportation company from which you took delivery.
Otherwise, all claims for replacement/repair may be rendered invalid.
Please always use the original packaging to avoid damage due to
storage or shipping.
Never let unsupervised children play with the loudspeaker or
with its packaging.
Please dispose of all packaging materials in an environmentally
friendly fashion.
1.2 Online registration
Please register your new BEHRINGER equipment right after your purchase
by visiting http://behringer.com and read the terms and conditions of our
warranty carefully.
Should your BEHRINGER product malfunction, it is our intention to
have it repaired as quickly as possible. To arrange for warranty service,
please contact the BEHRINGER retailer from whom the equipment was
purchased. Should your BEHRINGER dealer not be located in your vicinity,
you may directly contact one of our subsidiaries. Corresponding contact
information is included in the original equipment packaging (Global Contact
Information/European Contact Information). Should your country not be listed,
please contact the distributor nearest you. A list of distributors can be found in
the support area of our website (http://behringer.com).
Registering your purchase and equipment with us helps us process your repair
claims more quickly and eciently.
Thank you for your cooperation!
1.3 Basic operation
Using the VS series loudspeakers is easy and intuitive. Simply follow these steps
to achieve the best possible sound:
1. Plug the line-level outputs from a sound source such as a mixer or stereo
system into a power amp of appropriate size (see 4.2 Power amp rating).
Make sure the sound source and amplier are turned o.
2. Using ¼" TS speaker cables, plug the power amp output into the ¼" input on
the back of the speaker. DO NOT use instrument cables (i.e., guitar cords) for
this connection!
3. If using a pair of VS loudspeakers, run the amp in stereo operation.
If using just one loudspeaker, mono operation is preferable.
4. If using four or more loudspeakers, there are a few ways to make the
connections. The rst is to use two power amps, one for each pair. Another is
to connect the rst pair of loudspeakers in normal stereo operation, then use
the ¼" output jacks on the back of the loudspeakers to link the second pair
of loudspeakers. This way each channel on the power amp is driving two
loudspeakers. Make sure that the wattage and ohm rating are appropriate
for this situation.
Caution
Never connect multiple power amps to one loudspeaker. Doing so could cause
the very fabric of reality to unravel, sending the entire universe into oblivion.
Worse yet, it could destroy your ampliers and loudspeaker.
5. Turn the sound source on (mixer, stereo, etc.).
6. Make sure the volume/gain control on the power amp is turned all the way
down, and then turn the power on.
7. Activate the sound source, whether it is playing music from a CD player or
speaking into a microphone, and adjust the levels. Gradually raise the power
amp volume level to desirable level. If distortion occurs, turn the power
amp volume down. Should the problem persist, make sure distortion is not
occurring at the sound source. If you reach the desired volume level by barely
turning up the power amp level/gain, turn the sound source output down to
allow the power amp to push the speakers more.
8. Rock ‘n Roll!
2. Connections
(1)
Fig. 2.1: Connector panel
(1) The VS series features two parallel ¼" TS loudspeaker inputs. You can
connect one of the connectors to the output on your power amp and tap
into the signal from the amp on the second connector, in order, for example,
to feed this signal into an additional loudspeaker.
strain relief clamp
sleeve
tip
sleeve
(ground/shield)
Unbalanced ¼" TS connector
tip
(signal)
Fig. 2.2: ¼" TS loudspeaker connector
ATTENTION: Never connect the output signals of different power
amps to both parallel inputs at the same time. This may permanently
damage your equipment.
When several loudspeakers are wired in parallel, the overall impedance
ZT to be handled by the power amp can be calculated, as shown here,
from the individual impedance values of the connected speakers:
Z
T
1
⁄Z
⁄Z
++

=
6 EUROLIVE VS1520/VS1220F/VS1220 User Manual
For the VS series, here are typical connection scenarios:
• Two 8 Ohm speakers in parallel = 4 Ohms
• Four 8 Ohm speakers in parallel = 2 Ohms
• Two 4 Ohm speakers in parallel = 2 Ohms
• Four 4 Ohm speakers in parallel = 1 Ohm
Your amplifier may be damaged if the actual impedance drops below
its input impedance. Please make sure that the calculated total
impedance ZT is not smaller than the minimum impedance specified
for your amplifier.
3. Optimal Operation
We have developed the VS series for use in a wide range of possible applications.
Of course, the sound of your loudspeakers depends on the acoustic characteristics
of the room/space in which they are being used. The following chapters of
this manual will give you information about getting the most out of your
EUROLIVE loudspeakers.
3.1 Loudspeaker placement
Here are some tips to get optimal sound and performance from
your loudspeaker(s):
• Elevate the loudspeaker at or above head level. High frequencies are
the segment of the audio spectrum responsible for clarity and speech
intelligibility. They can get mued by the front row of the audience,
so we recommend positioning your loudspeakers so the high-frequency
drivers are slightly above the height of the audience. The more you can get
everyone in direct earshot, the better. Imagine the loudspeaker is a giant
ashlight, and you want to illuminate everyone in the room
• Avoid placing full-range loudspeakers in a corner or right next to a wall.
This enhances the low frequencies and can cause the sound to get muddy.
Subwoofers may be placed almost anywhere since low frequencies are not
highly directional
• Make sure that the loudspeakers are not in a place where they could
be knocked over by dancing audience members, overly eccentric stage
performers, sudden earthquakes, etc.
• Some rooms, such as gymnasiums and auditoriums, create a large amount
of natural reverb, making it dicult to maintain intelligible sound.
Laying carpet or rugs on the ground and curtains across windows or
brick walls will help dampen the reections and improve the overall sound
3.2 How to prevent feedback
Always place the “front of house” speakers ahead of the microphones
(from the audience’s perspective), and never behind. Use professional oor
monitors or an in-ear monitoring system to allow the stage performers to hear.
3.3 How to avoid feedback when working with
record players (DJ Applications)
In applications with record players, bass feedback can occur. Bass feedback
occurs when low frequencies get back to the pickup and are reproduced on the
loudspeakers. The most common causes for this are: speakers located too closely
to the record player, a room with a wooden oor, or presence of a podium or a
platform. In such cases, it is best to move the loudspeakers away from the record
player and remove them from the stage, so that they are located on rm ground.
Another option is to use raised stands, which prevent the loudspeakers from
having a direct contact with the ground.
3.4 Loudspeaker protection by using a
low-cut lter
Try to prevent damage to your loudspeakers caused by extreme oscillation
of the low-frequency driver due to subsonic noise and extremely deep
frequencies. Use an equalizer to cut o those frequencies that fall below
your loudspeakers’ frequency range, or use a low-cut/high-pass lter.
Most equalizers and sound-improvement systems oer a low-cut function,
like the BEHRINGER ULTRAGRAPH DIGITAL DEQ1024, for example. Using a low-cut
lter in your signal path is particularly recommended if you use record players
or CD players as your signal source. CD players often produce extremely deep
frequencies, which can lead to extreme excursions of the low-frequency driver.
4. Additional Considerations
4.1 Length and diameter of loudspeaker cables
Loudspeaker cables whose diameter is too small can considerably limit the
power amp performance. The longer the cable, the more pronounced the
problem. As a result, musicians often simply “turn up” the amp, which can lead
to loudspeaker damage. Therefore, don’t use cables longer than 15 m (45 ft.).
For most applications, this will not be necessary. Cable diameter should be at
least 14 - 12 gauge.
4.2 Power amp rating
Selecting the right amp can turn out to be rather dicult. Therefore, stick to
the following rule of thumb: the power rating of your amp should be roughly
twice the loudspeaker load capacity. A loudspeaker rated at 200 Watts
continuous performance can easily be powered by an amp rated at 400 Watts
output power. An optimal addition to your speaker system would be the
BEHRINGER EUROPOWER EP2000 power amp, for example.
4.3 Fuses
We do not recommend the use of fuses with loudspeaker applications. Damage to
loudspeakers can be the result of high peak signals and high output power.
However, fuses can only oer protection from one of these two factors, and never
from both. Additionally, fuse resistances are sometimes nonlinear, leading to
distortion and unpredictable overdriving.
4.4 Protecting your equipment
• Always try to nd the optimal signal level. Avoid overdriving your amp
• Keep in mind the physical limitations of your PA system
• Use a limiter to restrict the output signal level. Place the limiter
between the mixing console and the power amp. For this purpose,
our proven AUTOCOM PRO-XL MDX1600, COMPOSER PRO-XL MDX2600 and
MULTICOM PRO-XL MDX4600 compressors oer an outstanding solution.
All models can be used as a limiter: the audio signal doesn’t overdrive any
more, and unpleasant “peaks” are eectively avoided
Our ULTRADRIVE PRO DCX2496 and SUPER-X CX3400/CX2310 crossovers
are particularly well-suited for protecting your equipment: for each
output, they have independent limiters.
7 EUROLIVE VS1520/VS1220F/VS1220 User Manual
5. Application Examples
5.1 Full-range stereo operation
In this example, the main output signal of a mixing console is connected
to a power amplier. Both the outputs and inputs are stereo. A full-range
VS series loudspeaker is connected to each of the amplier outputs,
and these loudspeakers reproduce the entire frequency range.
EP2000
VS1520
XENYX 1202FXVS1520
L R
Fig. 5.1: Full-range stereo operation
5.2 Full-range stereo operation with
oormonitors
This example is a variation of the example above, with the addition of several
VS1220F oor monitors. Two separate monitor outputs from the mixing console
are connected to the inputs of a stereo power amplier. A VS1220F is connected
to each amplier output, and a second VS1220F is connected to the parallel
outputs of the rst set of VS1220F monitors.
L
AUX 1
SEND
AUX 2
SEND
R
EP2000
VS1220
VP1220F
X2442USB
Fig. 5.2 Full-range stereo operation with oor monitors
5.3 Two-way stereo operation with a crossover,
full-range loudspeakers and subwoofers
Using an external active crossover, the main output signal of a mixing console is
split into two signals. One signal covers the lower frequency range and the other
signal covers the mid and high frequency range. The recommended crossover
frequency is 150 Hz. Then, the mid-high frequency signal is connected to a stereo
power amplier. A VS series loudspeaker is connected to each of the amplier
outputs. The low-frequency signal is connected to an additional power amplier,
which powers two subwoofers.
EP2000
L L
L R
RR
SUPER-X PRO
CX2310
XENYX 1202FX
VP1800S
VS1220
Fig. 5.3 Two-way stereo operation with subwoofers
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