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Major differences between the larger (Model 19 and smaller (Model 15 systems are sensitivity, acoustic output and enclosure size. For applications where sensitivity and acoustic output are of major importance, the larger Model 19 should be used. Where space is at a premium and slight reduction in sensitivity and acoustic output is not detrimental, the smaller Model 15 becomes the logical selection. Wall or Ceiling Mounting For many professional applications the Studio Monitor Speaker System is hung or suspended from a wall or ceiling. A recommended type of installation utilizes four 1/t "-20 eyebolts which are secured in the sides of the cabinet with flat washers and nuts. The low-frequency loudspeaker must be removed to install the eyebolts. The Studio Monitor Speaker System is then suspended by the four eyebolts with a lightweight chain (200-pound pull) from anchor points in the wall Figure 1. Suspended Studio Monitor Speaker System ALTEC Specifications and components subject to change without notice. Overall performance iei!l he maintained or improved. 42-02-033968-02 1515 S. Manchester Ave., Anaheim, Calif. 92803 LITHO IN U.S.A. 278-6M SOUND PRODUCTS DIVISION Electrical Connections Two terminals at the underside of the cabinet connect leads from the amplifier. If more than one Studio Monitor Speaker System is connected to the amplifier(s), be sure to observe polarity so that proper acoustic phasing is achieved. Removal of Grilles ‘Push-and-lock’ fasteners secure each grille to the cabinet. To remove a grille, simply grasp the upper corners and pull firmly outward. To put the grille back on, align it with the cabinet and press each corner until firmly seated. For the Model 15, also press the center of the grille, just below the horn area, to engage the central fastener. Frequency Controls Two frequency controls are located on the network/equalizer assembly, behind the grille (lower grille for the Model 19. When the controls are positioned in the OPTIMUM area of adjustment, a ‘flat’ frequency response is obtained for most acoustic environments. Figure 2 shows a typically ‘flat’ response of the Model 19 when both frequency controls are set in the OPTIMUM area of operation. When the HF LEVEL control is turned counterclockwise from the OPTIMUM area, the higher frequencies are ‘rolled off’ or reduced in volume. This enhances the bass and mid-range frequencies. When the MF LEVEL control is turned counterclockwise from the OPTIMUM area, the mid-range frequencies are attenuated, producing a ‘dip’ in the mid-range portion of the audio spectrum. This enhances the bass and treble frequencies. Turning the control clockwise from the OPTIMUM area enhances the mid-range frequencies. Figure 3 shows effects to the audio spectrum when the two controls are turned fully ‘up’ or ‘down’. With both controls ‘up’ (solid line), both mid-range and treble frequencies are enhanced. With both controls fully ‘down’ (broken line), the same frequencies are ...

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