PSB Speakers DJ Equipment 6919217 User Manual

Owner’s Manual  
Synchrony Series  
Guide d’utilisation  
Manual de Propietario  
 
Congratulations on purchasing your new PSB Synchrony loudspeaker.  
We hope that you enjoy our product for many years to come. This  
owner's manual will give you many useful tips about connecting, placing  
and using your loudspeaker. We recommend you read it thoroughly and  
it should answer all of your product related questions. If not, feel free to  
Synchrony design background  
A little technical background might give you an appreciation of the  
technology that went into the design of your Synchrony product.  
Our intention in designing the PSB Synchrony range of products was to  
bring to bear all that we have learned in 35 years of crafting fine  
loudspeakers to create a line of high performance systems of truly  
elegant design.  
The Synchrony models use advances in three core technologies, the  
cabinet, the drivers, and crossover design.  
THE CABINET  
Cabinets for a high performance loudspeaker must be heavy, rigid and  
vibration free. Sound must come from the drivers only, never from the  
cabinet itself.  
Cabinets for Synchrony models are unlike any other. They are a blend of  
two very different materials: aluminum and wood. Front and back  
surfaces are from very solid double wall aluminum extrusions. The  
strength and stiffness of aluminum allows a very rigid structure that can  
be precisely machined to accept drivers and other components. Special  
contours can be achieved in aluminum that preserve the sonic  
characteristics of the drivers.  
The curved side panels are made from multiple layers of wood. Wood is  
stiff relative to its weight and has inherently high damping properties to  
absorb sonic energy that might otherwise color the sound. The sides of  
the Synchrony models are made from seven layers of 3mm MDF  
individually laminated/formed onto a curved surface which improves the  
panel's stiffness. Additionally, the sides are clad in finely finished  
veneers to enhance the beauty of the systems.  
DRIVERS  
Drivers (woofers and tweeters) are a key component to the performance  
of the new Synchrony models. A number of enhancements elevate them  
over previous components.  
Distortion Reduced Motor  
The field generated by a signal driving the voice coil reacts with the field  
in the magnetic structure's air gap. A long four layer voice coil normally  
results in high self induction and impedance that varies with excursion.  
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These two factors causing distortion in bass drivers are practically  
eliminated by the combination of an aluminum shorting ring within the  
magnet structure, the aluminum phase plug on the pole piece, and a  
shorted copper turn on top of the pole piece. The aluminum phase plug  
smoothes response and also contributes as a heat sink for the voice coil,  
reducing power compression. Long voice coils for all woofers (in a  
narrow gap) ensure high and uniform BL vs. excursion, to maintain  
dynamic linearity. The result is unbelievable clean bass/midrange  
reproduction.  
Laminated Sandwich Cone  
The cones are constructed from a fine weave fiberglass cone material  
along with a laminate of compressed, felted fiber laminate. This creates a  
stiff but still dampened cone that will remain stable even under very large  
sound pressures. In addition, a central dustcap gives a second  
connection between the cone and voice coil. This triangulation provides  
an incredibly rigid assembly for clean response to high level inputs.  
CROSSOVER DESIGN  
Great components and construction alone will not guarantee a good  
sounding system. More than anything, the crossover is what defines the  
sound of a speaker. The crossover determines the band of operation of  
each driver and determines how seamlessly the units transition from one  
range to the next. It sets the octave-to-octave balance that defines the  
personality of the system. At PSB, years of design experience, highly  
tuned sets of ears, and the unsurpassed facilities of the National  
Research Council in Ottawa, lead to superior crossover design.  
With the Synchrony One and Two Towers a unique driver/crossover  
arrangement minimizes the unwanted effects of floor bounce induced  
early reflections. These reflections interfere with the direct sound and  
contribute peaks and dips to the response.  
For the entire Synchrony series the crossover slopes are acoustical  
fourth order Linkwitz-Riley type with attention paid to the direction of the  
“in phase lobe”. The lobe, an inevitable effect of transitioning from driver  
to driver, is optimally aimed. Whether seated or standing, the frequency  
response of the system does not vary.  
Crossover components are chosen to be the best quality possible.  
Heavy multi-lamination iron cores are used for large value inductors.  
High gauge wire air cored inductors are used medium and small value  
inductors. All capacitors are especially low loss. Film capacitors are  
used for mid and treble sections. Tight component tolerances and  
exhaustive testing in manufacturing ensure that each system is a match  
to the engineering references, giving you the sound quality that PSB  
designed in.  
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Additional features of the Synchrony models:  
1" Titanium Tweeter/Neodymium Motor/Aluminum Heat Sink. Low  
mass for required stiffness needed for wide bandwidth response.  
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High efficiency and high power handling.  
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Three chamber individually ported cabinet design (tower models)  
gives greater control over the system tuning, resulting in deeper bass.  
Doesn't suffer from the standing wave problems found in a typical  
tower.  
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Perforated Hex Acoustically transparent Metal Grill covered in cloth.  
Heavy duty gold plated five way binding posts (bi-wireable).  
Rigid Cast Aluminum Baskets with high flow design.  
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Woofer suspensions (spiders) are ventilated to allow air to flow freely,  
creating a cooling effect for the voice coil  
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Woofers utilize a progressive (gradually tightening) suspension to  
achieve soft clipping and low distortion even under extreme  
excursion.  
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Woofer surrounds are made from SBR rubber for wide operating  
temperature range, low creep and long term reliability.  
?Woofer magnets are 20mm thick, 5mm higher than the normal 15mm  
magnets. This prevents bottoming of the coil to the pole piece for  
widest dynamic range.  
Warranty Registration  
We recommend you take a few moments now to register your warranty  
on-line at psbspeakers.com so that we will be able to serve you better in  
the future.  
Unpacking  
The packing materials of your PSB Synchrony speakers are designed to  
protect them from damage during shipping. Retain the packaging in case  
the need arises to transport the speakers in the future.  
Notes on environmental protection  
At the end of its useful life, this product must not be disposed of with regular household  
waste but must be returned to a collection point for the recycling of electrical and electronic  
equipment.The symbol on the product, user's manual andpackaging, point this out.  
The materials can be reused in accordance with their markings. Through re-use, recycling  
of raw materials, or other forms of recycling of old products, you are making an important  
contribution totheprotection ofour environment.  
Your local administrative office can advise you of theresponsible wastedisposal point.  
5
 
Adjusting Rubber Levelers  
and Spikes  
(Tower Speakers)  
Attach the supplied spikes or rubber  
levelers to the bottom of the speaker  
as shown in the diagram at right. On  
carpets, position the speakers and  
adjust spikes to the desired height  
(higher for thicker carpet) and hand  
tighten the locknuts against the bottom  
of the cabinet.  
Adjusting Rubber Foot  
(For Center Channel Models)  
The Synchrony One C and Two C  
center channel speakers come supplied  
with a multi-position foot that allows  
them to be placed at a variety of  
angles.  
Notice that the foot has a long edge and a  
short edge. Either surface may be  
attached to the system depending on the  
angle of tilt required. An adhesive strip is  
provided to permanently attach the foot to  
the cabinet.  
When placed below your viewing screen  
you can tilt the system upwards by placing  
the foot under the front edge of the  
system. To aim the system straight  
outward, place the foot under the rear  
edge with the longer side in contact with  
the system. It will be raised by the shorter  
dimension. If the system is well above  
your viewing screen and a downward tilt is  
required, then attach the shorter  
dimension to the back of the cabinet. This  
will give the maximum rise for the greatest  
downward tilt.  
Apply the provided felt discs to the corners  
of the opposite edge (front or back) to  
prevent marring your system or equipment  
cabinet.  
6
 
Wall Mounting Synchrony S Surrounds  
Select and install wall-mounting brackets and hardware sufficient to hold  
the weight of the speakers on the walls safely.  
1. Use the “3 finger” style flush mount bracket (provided in Owner's  
Manual Kit).  
2. The speaker should be mounted at a minimum height of five feet  
measured from the bottom of the speaker to the ground. The speaker  
can be mounted on the wall beside or behind the listener. Screws  
with sufficient length and located to solidly enter wood are preferred.  
Metal anchors, which partially collapse inside the wall, provide greater  
holding power than individual screws. Screws into plastic (or metal)  
shield anchors in wallboard, tile, masonry, or concrete can provide  
great holding power. Do not use the simple expanding type anchors  
in wallboard. These are intended for use in masonry only. If a  
fastener does not tighten securely, install another, larger fastener.  
3. One of the brackets has already been installed on the cabinet. Install  
the other matching bracket, with the interlocking finger facing up, on  
the wall. Ensure the bracket is level and aligned to the desired  
position and secure in place. Use the appropriate screws/fasteners  
for the type and construction of the surface, taking into consideration  
the weight of the speaker.  
4. Wire the speaker before mounting on the wall. Maintain electrical  
polarity throughout the system. Use the following polarity indicators  
as applicable: red connects to: rib/+/print/copper wire and black to  
smooth/-/blank/silver wire.  
5. Place the speaker against the mounting surface and slide down,  
interlocking the fingers of the brackets.  
6. Carefully load test the installed speaker to ensure that it is secure and  
safe.  
7. THE INSTALLER IS RESPONSIBLE FOR A SAFE AND SECURE  
INSTALLATION.  
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Speaker Placement — Maximizing Your Enjoyment  
Proper loudspeaker placement is an essential ingredient to getting the  
best sound from your high performance stereo, multi-channel audio or  
home theater system. The goal is to reproduce faithfully the audio  
soundtrack the movie director or music producer created without calling  
any attention to the speakers themselves.  
All distances are equal  
All distances  
are equal  
5.1 surround speaker placement  
6.1/7.1 surround speaker placement  
Fortunately, it is a straightforward process that just takes some care and  
patience. Should you have a large room and the possibility to arrange  
the room as you wish or if you are designing a room for home  
entertainment refer to the diagrams shown here for ideal speaker  
placement. In this arrangement all speakers (except the subwoofer) are  
placed the same distance from the listener. In most cases, you’ll need to  
adapt your speaker placement to a given room that’s less than ideal.  
Here are a few speaker placement basics to keep in mind as you get  
started:  
A. You will generally get the best imaging and other spatial qualities if  
your front left/right speakers and your usual seating position form  
an almost equilateral triangle, with the speakers not quite as far  
apart from each other as they are from you. If you must sit closer  
to one speaker than the other, use the Balance control on your  
electronics (or the individual level controls on home theater  
channels) to give the more distant speaker a balancing boost in  
volume.  
B. Our tower speakers are designed for optimal listening from the  
seated to standing position. For our monitors, we offer accessory  
speaker stands to achieve the right height if you are not using  
existing shelves or furniture.  
C. The best high-frequency dispersion, producing the widest “sweet  
spot” in which you and others can sit and enjoy optimum high-  
frequency definition, will result when your main speaker  
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enclosures are positioned vertically rather than horizontally. If you  
are placing your monitors horizontally, the speakers will still  
perform very well, but the seating area where you will enjoy  
optimum sound will become narrower. We suggest you position  
the tweeters to the outside away from the center line. You may  
prefer to tilt the speakers towards ear level.  
D. If you sit equally distant from both speakers, angling the speakers  
inward (“toeing them in’) about 5 to 10 degrees usually produces  
the best convergence of high frequencies where you listen.  
Different listening positions may require different toe-in.  
E. Surround speaker placement is covered in Section 4. Beyond  
these basics, experiment with positioning for optimum  
performance. Please read the placement guidelines that follow.  
They are about the speakers, the room, and you.  
1. The Speakers in Relation to Room Boundaries  
The position of your speakers with respect to the walls, floor, and  
ceiling of your listening room will often affect their sound in major  
ways.  
A. The closer you place speakers to the boundary surfaces of your  
room, the greater the proportion of bass in their overall sound.  
This is due to the enclosing, “focusing” effects of nearby surfaces  
on longer-wavelength (lower) frequencies. Positioning the  
speakers near the intersection of two surfaces (wall and wall, wall  
and floor, or wall and ceiling) will produce more apparent bass  
than placement near a single surface. The greatest proportion of  
bass is delivered by placement near three intersecting  
surfaces—in a room corner near the floor or ceiling, where the  
convergence of the two walls and the floor/ceiling produces an  
amplifying effect that is a bit like that of a megaphone. And the  
least bass comes from placing a speaker away from all  
boundaries. Your own tastes should decide what proportion of  
bass response seems right in your room.  
B. The combination of the three dimensions of your room generally  
will produce at least three points in the room where the frequency  
response you experience related to a given position (of either the  
speaker or you) will either greatly increase or almost disappear.  
The most obvious effects are on low frequencies, but mid-  
frequency effects, while usually subtler, are also often present.  
Keep in mind, then, that very small changes in positioning (of the  
speakers or you) may produce major or subtle changes.  
C. Distances of speakers from the walls can make great differences  
in the number, strength, and particular frequencies of secondary  
reflections—changing frequency-balance, sonic spaciousness,  
and definition. Most listeners prefer their speakers at least a few  
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inches from all walls, but the choice is yours to determine by  
listening.  
2. You in Relation to the Speakers  
Where you sit in relation to your speakers obviously makes a  
difference too. The proportions of the particular triangle formed by  
your speakers and you matter. (You may need to send more power to  
the more distant speaker to compensate if you get much further from  
one speaker than the other.) The overall distances involved also  
matter. As you get further from the speakers, more sound reflected  
from your room’s surfaces (in contrast to the sound coming directly  
from the speakers) reaches your ears, and the original spatial  
relationships in a recording are changed as your room “takes over.”  
Sometimes the result is a mellower, more “integrated” sound. Other  
times, it’s a more strident or annoyingly “echoey”—or other—quality.  
Once again, the particular dimensions of your room play a part. And  
depending on what seems more realistic and/or enjoyable to your  
ears, you may choose to sit at a great distance or have close-up,  
“near-field” sound. Keep in mind that the right “toe-in,” the right  
speaker height, and a reasonably symmetrical distance from the  
speakers all tend to work together to deliver the best high-frequency  
definition and imaging.  
3. You in Relation to Room Boundaries  
Changing your own position with respect to a room’s boundaries may  
also bring a big effect, sometimes for a small change. Getting further  
from the wall behind you may make sound more precise and  
localized. Getting closer may make sound more “mellow” and  
integrated. Coming too close—to back wall, side wall, or (especially)  
a corner— you may experience a major peak or cancellation of a  
certain band of frequencies. It depends on factors we can’t cover  
fully here but do get into on our web site.  
Remember too, with respect to your own positioning, that it may—or  
may not—be easier to change your own seating location than to  
move your speakers. As with so much else in life, the one certain rule  
is that you shouldn’t fix, or worry about, what isn’t broken (audibly in  
this case), especially if it means moving heavy furniture.  
As you consider the three relationships we have outlined, the idea is  
to manipulate whatever variable is easiest and most productive for  
improving your listening experience. Be sure to base your judgements  
on listening to a good variety of recordings of vocals, and acoustic  
instruments, soloists, different movies and musical instruments to  
most easily recognize tonal balance shifts.  
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4. Positioning Surround Speakers  
We are often asked about what kind of surround speakers are best:  
dipole, bipole, or monopole (direct-radiator). Placement, room  
acoustics, and other factors affect the sonic realism of movies and  
Null Zone  
Bipole 5.1 System  
Dipole 5.1 System  
multi-channel audio at least as much as the radiating characteristics  
of a speaker. Therefore, we do not make specific recommendations  
but rather suggest you discuss the best solution for your particular  
needs with your authorized PSB audio/video specialty retailer or visit  
our Web site. Bipole (speakers in-phase) or direct radiating surrounds  
placed slightly BEHIND the listening position can offer an  
exceptionally convincing diffuse soundfield without calling any  
attention to the surround speakers themselves. It should be noted  
that in the alternative dipole surround configuration the two baffles of  
each surround speaker are out-of-phase with each other creating a  
“null” or dead zone of sound in the area along the 90-degree axis of  
the speaker. DIPOLE SURROUNDS MUST BE PLACED ON THE  
SIDE WALLS DIRECTLY BESIDE THE LISTENING POSITION. The  
effect is lost as soon as you move outside the “null”. All PSB  
Synchrony Series speakers are timbre matched (have similar tonal  
characteristics) for easy mix and match home theater system  
flexibility and ultimate performance. Most surround sound is meant  
more to create greater depth and overall ambience than to localize  
effects as coming from a particular spot. How much you prefer these  
localized effects vs. overall sonic depth and diffusion is up to your  
listening preferences. If you are listening to multi-channel music from  
DVD-Audio or SACD, you may want the maximum localization of  
instruments. However, for most home theater applications a diffuse  
soundfield might be preferred. You can locate and aim your surround  
speakers to produce the effects you prefer, whether precisely  
pinpointed or pleasantly diffused. For example, you may choose to  
position monitors behind your listening position on stands at ear  
height as shown in the diagram at right and, experiment with speaker  
11  
 
positioning relation to the listener to obtain the level of direct versus  
diffuse sound that you prefer.  
Most people find it best to mount  
dedicated surround speakers like our  
Synchrony S Surrounds on the side  
walls slightly behind the prime  
listening position and two feet above  
ear height when seated (this typically  
places the bottom of the speaker  
about 5 feet (1.5 m) above the floor.)  
The surround speakers can also be  
mounted at ceiling level or on floor  
stands if this is preferred but  
remember to follow the wiring  
requirements outlined in Surround Speaker Connections below. Also,  
for those adding a rear center channel for 6.1 and 7.1 systems, the  
Synchrony S offers several rear center surround solutions. The  
Synchrony S Surround with both dual crossovers and speaker inputs,  
provides exceptional wiring and placement possibilities for achieving  
a diffuse soundstage. For example, the Synchrony S’s Tri-mode  
Surround Speaker Placement™ (TSSP) design allows for easy  
bipole or dipole wiring. In addition, it offers the possibility of using one  
pair of Synchrony S for 6.1/7.1 systems by wiring the forward firing  
baffles for the side surround channels and the rear firing baffles for  
the rear center surrounds. The illustrations below show several  
6.1/7.1 speaker placement options utilizing two, three or four  
Synchrony S surrounds. Your PSB audio/video specialist will be able  
to recommend the best placement options for your particular needs  
and budget.  
Note that when you move from Figure 1 through to Figure 3 power  
handling improves, therefore the ability to produce wider dynamic  
range increases. Also positioning additional Synchrony S Surrounds  
allows for a more convincing, enveloping surround soundfield.  
Surround Rear  
— Surround Rear  
— Surround Rear  
Figure 1  
6.1/7.1 System using  
two Synchrony S Surrounds  
Figure 2  
6.1/7.1 System using  
three Synchrony S Surrounds  
Figure 3  
6.1/7.1 System using  
four Synchrony S Surrounds  
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Connections  
Important: Always turn off your electronic equipment before connecting  
speakers.  
Selecting Speaker Wire  
We recommend the  
following gauge of  
standard two-conductor  
speaker wire for the  
wiring distances  
Under 25 ft (7.5 m):  
25-50 ft (15 m):  
16-gauge – (1.3 mm2)  
14-gauge – (2.1 mm2)  
12-gauge – (3.3 mm2)  
Over 50 ft (30 m):  
specified; if you prefer,  
you can use heavier (lower-gauge) wire.  
You may wish to audition and compare the performance of some of the  
specialty audio interconnects and speaker cable available from your  
dealer.  
Conventional Wiring  
Connect speakers identically to your amplifier or receiver on each panel  
channel Red amp/receiver terminal to Red speaker terminal, Black to  
Black. This will ensure that the diaphragms of the speakers on both  
channels move forward and backward together (”in-phase”), rather than  
in opposition (”out-of-phase”). In-phase connection provides maximum  
clarity and bass, while out-of-phase connection results in frequency  
cancellations and produces thinner and less distinct sound—with less  
bass, vague vocal quality and no solid center image. To help ensure the  
proper connection, the two separate conducting wires in a standard two-  
conductor speaker cable are coded in one way or another to be  
distinguishable from each other. (The jacket of one wire may be ribbed or  
Amplifier Output  
Right  
Left  
+
-
13  
 
Bare Wire Connection  
Banana Plug Connection  
Spade Plug Connection  
Loosen 1/2" (13mm)  
wingnut. Insert wire  
through hole and tighten  
nut. Takes wire sizes up  
to 8 gauge.  
Insert banana plug into  
the top of the wingnut.  
Ensure the wingnuts are  
tightened.  
Loosen wingnut to expose  
the top of the jumper strap.  
A 1/4"(6mm) or 5/16"(8mm)  
spade will fit on the  
narrower section of the  
post. Tighten the wingnut.  
marked with ‘+’ plus signs, or one wire under the insulation may be  
different from the other.) Use this wire coding, together with amp/receiver  
and speaker colour-coding, to be sure you are connecting the same wire  
of a given pair to a like-coded terminal at both ends of your connection.  
Assure all wiring terminals are tightened firmly but be careful not to over  
tighten and damage the connectors.  
Bi-Wiring or Bi-Amping Options  
PSB Synchrony speakers can be bi-wired (separate cables to the  
separated woofers and midrange/tweeters from the same amplifier  
(except on the Synchrony S Surround)) or bi-amped (separate  
amplifiers). With single cable inputs, the jumper straps must be in place  
and both sets of terminals tightened firmly. Before bi-wiring or bi-amping,  
ALWAYS remove the metal jumper straps that connect the two sets of  
binding posts on the speaker. Loosen ½” (13mm) wingnuts to remove the  
jumper strap.With bi-amp hookup you must use either identical amplifiers  
or amplifiers adjusted to have the same voltage gain. Consult your PSB  
dealer or our Web site for further information.  
14  
 
Bi-Wire Connections  
First  
remove  
jumper  
Right  
Left  
Amplifier  
+
-
Pre-amp  
Bi-Amp Connections  
First  
remove  
jumper  
First  
remove  
jumper  
Front  
Left Amplifier  
Right  
Left  
Right Amplifier  
Right  
Left  
+
-
+
-
Pre-amp  
Speaker Connection Options (For Synchrony S  
Surrounds)  
The captioned illustrations below show the following multi-channeled  
configurations:  
1.  
2.  
3.  
4.  
5.  
Bipole or direct radiating surround mode  
Dipole surround mode  
6.1/7.1 system utilizing two (2) Synchrony S surrounds  
6.1/7.1 system utilizing three (3) Synchrony S surrounds  
6.1/7.1 system utilizing four (4) Synchrony S surrounds  
15  
 
Bipole or direct radiating surround mode  
Black  
From amp  
Red  
From amp  
Black  
From amp  
Red  
From amp  
left SURROUND  
channel  
left SURROUND  
channel  
right SURROUND  
channel  
right SURROUND  
channel  
Front  
Dipole surround mode  
Black  
From amp  
Red  
From amp  
Null Zone  
right SURROUND  
channel  
right SURROUND  
channel  
Front  
First  
remove  
jumpers  
First  
remove  
jumpers  
First  
remove  
jumpers  
First  
remove  
jumpers  
Wire Jumpers  
Black  
From amp  
left SURROUND  
channel  
Red  
From amp  
left SURROUND  
channel  
Replace gold-plated jumpers with supplied wire jumpers and connect crisscrossed as shown.  
16  
 
6.1/7.1 System Utilizing Two (2) Synchrony S Surrounds  
— Surround Rear  
Black  
Red  
Black  
From amp  
right SURROUND  
channel  
Red  
From amp  
right SURROUND  
channel  
From amp  
left REAR  
channel  
From amp  
left REAR  
channel  
Front  
First  
remove  
jumpers  
First  
remove  
jumpers  
First  
remove  
jumpers  
First  
remove  
jumpers  
Black  
Red  
Black  
Red  
From amp  
left SURROUND  
channel  
From amp  
left SURROUND  
channel  
From amp  
right REAR  
channel  
From amp  
right REAR  
channel  
17  
 
6.1/7.1 System Utilizing Three (3) Synchrony S Surrounds  
— Surround Rear  
Black  
From amp  
Red  
From amp  
Black  
From amp  
Red  
From amp  
left SURROUND left SURROUND  
channel channel  
right SURROUND right SURROUND  
channel channel  
Front  
Red  
From amp  
Black  
From amp  
right SURROUND  
channel  
right SURROUND  
channel  
First  
remove  
jumpers  
First  
remove  
jumpers  
Black  
Red  
From amp  
right REAR  
channel  
From amp  
right REAR  
channel  
18  
 
6.1/7.1 System Utilizing Four (4) Synchrony S Surrounds  
— Surround Rear  
Black  
From amp  
Red  
From amp  
Black  
From amp  
Red  
From amp  
left SURROUND  
channel  
left SURROUND  
channel  
right SURROUND  
channel  
right SURROUND  
channel  
Front  
Black  
Red  
Black  
Red  
From amp  
left REAR  
channel  
From amp From amp From amp  
left REAR right REAR right REAR  
channel  
channel  
channel  
19  
 
Synchrony Port Cover  
A Port Cover accessory is  
supplied with each tower  
(Synchrony One and Two) and  
center channel speaker  
(Synchrony One C and Two C).  
The port covers can be used to  
adjust the bass tuning of the  
Synchrony models where room  
problems at low frequencies (in  
the 100Hz region) occur. It is well  
known that the room can  
dominate the performance of the  
low frequencies below 200Hz and  
the added flexibility of a port cover  
can tweak/improve the  
performance in problem room  
setups. For example, by covering  
the top port on the Synchrony  
Two the output in the 75Hz to  
125Hz region will be reduced by  
2dB.  
The use of the port cover is not  
limited to only closing one of the  
ports in the case of the towers  
(Synchrony One and Two). We  
invite the listener to try plugging  
any one or multiple ports to better  
integrate the system in their room  
because any adjustment of the  
bass balance could be a welcome  
improvement in a given system  
setup. Please experiment; it will  
be worth the effort in many cases.  
It's impossible to predict what type  
of room or what the system setup  
will be, therefore we think the flexibility of multiple chambers and ports  
allows the speaker to be integrated better in a wider variety of situations.  
Sometimes tweaking like this can be used to really help “dial in” the best  
possible sound in your room.  
Additional Port Covers can be acquired for a nominal fee in cases where  
multiple ports need to be covered to achieve the proper bass balance in  
a given setup. One can also experiment with the Port Cover on the  
bookshelf models (Synchrony One B and Two B) to tame the bass in  
some setups.  
20  
 
Recommended Power  
We recommend amplifiers and receivers rated from a range of 50-300  
watts. For playing at consistently room-filling volume, a minimum of 100  
watts is usually a good idea. Be wary of driving low-powered amplifiers to  
their limits as under-powering can cause permanent speaker damage.  
Protecting Your Investment  
A. For full, year-after-year enjoyment from your speakers, you should  
respect their limits. Excessive volume levels can damage even the  
most “bullet-proof” speakers, especially over extended time  
periods.  
B. When listening to music or movies at very loud volume, you  
shouldn’t turn up bass or treble all the way or close thereto. This  
sends tremendously increased, disproportionate power into the  
speakers, and may well damage them. Some loudness  
compensation (“Loudness”) controls, which boost both bass and  
treble, can also be troublesome at high volume. They are  
intended only for low-volume listening.  
C. Finally, you should be aware that when amplifiers and receivers  
are pushed to their limits to produce excessive volume levels, they  
are driven into “clipping” and can do severe damage—especially  
to tweeters. Often, the damage is done by underpowered  
amplifiers, which may reach their limits very soon. When such  
units begin to “clip” the audio waveform, they may generate high-  
frequency “spikes” of tremendous power. More tweeters have  
probably been destroyed by this phenomenon than any other. If  
using your speakers at loud levels, listen carefully for any sign of  
harsh, garbled midrange and diminishing intelligibility—and turn  
the volume down right away if you detect it.  
NEVER TURN UP THE VOLUME ALL THE WAY TO SEE HOW  
LOUD YOUR SYSTEM WILL PLAY!  
Cabinet Care  
Cabinets have varying materials and finishes, including wood veneers  
and painted cast anodized aluminum parts. They should be treated as  
you would any fine furniture with similar finishes. Dust lightly with a soft  
cloth; avoiding abrasives. If necessary, wipe carefully with a cloth slightly  
dampened with glass cleaner to remove heavy soil.  
Grilles and Ports  
A lint brush does a good job of cleaning grilles. Grilles can be taken off  
and vacuumed if you prefer. If need be, you can use a lint brush to clean  
ports. Avoid touching speaker diaphragms. Particularly, pushing in the  
aluminum dome of the tweeter will cause permanent damage.  
21  
 
In Case of Problems  
A. Lower volume if a speaker begins to sound distorted or seems to  
be missing certain frequencies, to check first to see whether  
playing at somewhat lower volume seems to clear up the problem.  
As we noted under “Recommended Power,” it can be especially  
important to turn down the volume right away if you have pushed a  
low-powered amplifier or receiver past its comfortable limits.  
B. Isolate the problem to the electronics or the speakers and, if the  
speakers, to specific speakers. Interchange the speaker wire  
connections on your amplifier or receiver between channels, so  
that the left speaker is connected to the right channel, or vice  
versa. If the problem shifts to the other speaker, the problem is  
not in the speaker but in the electronics.  
C. Another component—or, very often, a cable or connection problem  
between components—may be at fault. If the problem stays in the  
same speaker, irrespective of the channel to which it’s  
connected—and after changing the connecting wire—the speaker  
itself probably needs service.  
D. See your dealer if you require service. PSB dealers are equipped  
to handle almost all problems. If you have moved since your  
purchase, the nearest authorized PSB dealer should be able to  
help you. You may locate your nearest PSB authorized dealer on-  
please contact us, providing the Model name, Serial Number, date  
of purchase, dealer name, and a full description of the problem.  
We appreciate your purchase, and hope this owner’s guide helps you  
enjoy the exceptional satisfaction that PSB speaker systems have to  
offer. We wish you many years of enjoyable listening!  
22  
 
23  
 
Specifications  
Synchrony  
One  
Tower  
Synchrony  
Two  
Tower  
Synchrony  
One B  
Bookshelf  
Loudspeaker  
Loudspeaker  
Loudspeaker  
FREQUENCY RANGE  
Response  
On Axis @ 0°±3dB  
On Axis @ 0°±1 1/2dB 33-20,000Hz  
Off Axis @ 30°±1 1/2dB 33-10,000Hz  
LF Cutoff -10dB  
SENSITIVITY  
Anechoic Chamber  
30-23,000Hz  
36-23,000Hz  
36-20,000Hz  
36-10,000Hz  
29Hz  
47-23,000Hz  
47-20,000Hz  
47-10,000Hz  
38Hz  
24Hz  
88dB  
90dB  
88dB  
90dB  
86dB  
88dB  
Typical Listening Room  
IMPEDANCE  
Nominal  
Minimum  
4 Ohms  
4 Ohms  
4 Ohms  
4 Ohms  
4 Ohms  
4 Ohms  
INPUT POWER  
Recommended  
Program  
20-300 Watts  
300 Watts  
20-300Watts  
300 Watts  
15-150 Watts  
150 Watts  
ACOUSTIC DESIGN  
Tweeter (Nominal)  
1" (25mm)  
Titanium Dome  
with Ferrofuild  
1" (25mm)  
Titanium Dome  
with Ferrofuild  
1" (25mm)  
Titanium Dome  
with Ferrofuild  
Midrange (Nominal)  
4" (102mm)  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
6 1/2" (165mm)  
3 x 6 1/2" (165mm)  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
3 x 5 1/4" (135mm)  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
Woofer (Nominal)  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
Crossover  
2,200HZ, LR4  
2,200HZ, LR4, 500Hz  
2,200HZ, LR4  
Internal Volume  
Design Type  
0.75 cu ft (21 liter)  
Bass Reflex  
2.4 cu ft (67 liter)  
Bass Reflex  
1.8 cu ft (51 liter)  
Bass Reflex  
SIZE (W x H x D)  
Net  
Gross  
8 3/4" x 14 1/2” x 12 3/4"  
221mm x 364mm x 325mm  
8 3/4" x 43" x 12 3/4"  
221mm x 1092mm x 325mm  
7 1/2" x 39 1/2” x 10 3/4"  
187mm x 1000mm x 273mm  
WEIGHT  
Net  
Shipping  
Volume  
22 lb (10 kg) each  
48 lb (22 kg)/pair  
61 lb (28 kg) each  
71 lb (32kg) each  
46 lb (21 kg) each  
52 lb (24 kg) each  
FINISH  
Black Ash or Dark Cherry  
Black Ash or Dark Cherry  
Black Ash or Dark Cherry  
All specifications are subject to change without notice. PSB, PSB Speakers and Synchrony are trademarks of, or used under  
license by, PSB Speaksers, a division of Lenbrook Industries Limited.  
© 2007 PSB All other trademarks used herein are trademarks of their respective owners. All rights reserved.  
24  
 
Synchrony  
Two B  
Bookshelf  
Synchrony  
One C  
Center Channel  
Synchrony  
Two C  
Center Channel  
Synchrony  
S
Surround  
Loudspeaker  
Loudspeaker  
Loudspeaker  
Loudspeaker  
50-23,000Hz  
50-20,000Hz  
50-10,000Hz  
40Hz  
50-23,000Hz  
50-20,000Hz  
50-10,000Hz  
40Hz  
55-23,000Hz  
55-20,000Hz  
55-10,000Hz  
49Hz  
75-23,000Hz  
75-20,000Hz  
75-10,000Hz  
70Hz  
86dB  
88dB  
88dB  
90dB  
87dB  
89dB  
86dB  
88dB  
4 Ohms  
4 Ohms  
4 Ohms  
4 Ohms  
4 Ohms  
4 Ohms  
4 Ohms  
4 Ohms  
15-150 Watts  
150 Watts  
15-200 Watts  
200 Watts  
15-200 Watts  
200 Watts  
15-150 Watts  
150 Watts  
1" (25mm)  
Titanium Dome  
with Ferrofuild  
1" (25mm)  
Titanium Dome  
with Ferrofuild  
1" (25mm)  
Titanium Dome  
with Ferrofuild  
2 x 1" (25mm)  
Titanium Dome  
with Ferrofuild  
4" (102mm)  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
5 1/4" (135mm)  
2 x 6 1/2" (165mm)  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
2 x 5 1/4" (135mm)  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
2 x 5 1/4" (135mm)  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
Fine Weave Fibreglass/  
Natural Fiber Cone  
Rubber Surround  
2,200HZ, LR4  
2,200HZ, LR4, 500Hz  
2,200HZ, LR4  
2,200HZ, LR4  
0.6 cu ft (17 liter)  
Bass Reflex  
1.25 cu ft (35 liter)  
Bass Reflex  
0.9 cu ft (26 liter)  
Bass Reflex  
0.8 cu ft (23 liter)  
Sealed  
7 1/2" x 13 1/2” x 10 3/4"  
187mm x 343mm x 273mm  
24 1/4" x 8 3/4" x 12 3/4"  
614mm x 221mm x 325mm  
18" x 7 1/2” x 10 3/4"  
458mm x 187mm x 273mm  
11" x 13 1/4" x 8"  
275mm x 334mm x 203mm  
16 lb (7 kg) each  
36 lb (16kg)/pair  
37 lb (17 kg) each  
42 lb (19 kg) each  
22 lb (10 kg) each  
24 lb (11kg) each  
20 lb (9 kg) each  
44 lb (20kg)/pair  
Black Ash or Dark Cherry  
Black Ash or Dark Cherry  
Black Ash or Dark Cherry  
Black Ash or Dark Cherry  
25  
 
26  
 
PSB Speakers  
633 Granite Court  
Pickering, Ontario L1W 3K1  
CANADA  
www.psbspeakers.com  
888-772-0000 (North America)  
905-831-6555 (International)  
Fax: 905-837-6357  
OM-S, Rev F, 0108  
 

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