Owner’s Manual
Synchrony Series
CONTENTS
Synchrony Design Background 3
Warranty Registration/Unpacking 5
Adjusting Rubber Levelers, Spikes and Feet 6
Wall Mounting Synchrony S Surrounds 7
Speaker Placement - Maximizing Your Enjoyment 8
The Speakers in Relation to Room Boundaries
You in Relation to the Speakers
You in Relation to Room Boundaries
Positioning Surround Speakers
Connections 13
Selecting Speaker Wire
Conventional Wiring
Bi-Wiring or B9Amping Options
Speaker Connection Options (For Synchrony S Surrounds) 15
Synchrony Port Cover 20
Recommended Power 21
Cabinet Care 21
In Case of Problems 22
Specifications 23
2
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 new Synchrony loudspeaker. We recommend you read it
thoroughly and it should answer all of your product related questions. If
not, feel free to contact us through our website: www.psbspeakers.com
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 over 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.
3
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. 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 Dome Tweeter/Neodymium Motor/Aluminum Heat Sink.
Low mass for required stiffness needed for wide bandwidth response.
High efficiency and high power handling.
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.
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.
Woofer suspensions (spiders) are ventilated to allow air to flow freely,
creating a cooling effect for the voice coil
Woofers utilize a progressive (gradually tightening) suspension to
achieve soft clipping and low distortion even under extreme excursion.
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 www.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 and packaging, 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 to the protection of our environment.
Your local administrative office can advise you of the responsible waste disposal point.
5
English
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 Centre Channel Models)
The Synchrony One C and Two C
centre channel speakers come supplied
with a multi-position foot that allows
them to be placed at a variety of angles.
Notice that the support has four different
angled sides. All of these sides 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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All distances
are equal
All distances are equal
5.1 surround speaker placement 6.1/7.1 surround speaker placement
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 theatre 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.
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. I imaging and other spatial qualities will generally be best 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 the listening position. 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 the main speaker enclosures
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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 centre 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. To go
beyond these basics, experiment with positioning for optimum
performance. Please read the placement guidelines that follow.
They are about the speakers, the room, and your listening position.
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.
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.
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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Bipole 5.1 System
Null Zone
Dipole 5.1 System
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
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
BD-Audio, 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
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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
stands at ear height as shown in the
diagram at right and, experiment with
speaker positioning in 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 centre channel for 6.1 and 7.1 systems, the
Synchrony S offers several rear centre 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.
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Amplifier Output
Right
+
-
Left
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
specified; if you prefer,
you can use thicker
(lower-gauge) wire.
You may wish to audition and compare the performance of some of the
specialty audio interconnects and speaker cables 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
Under 25 ft (<7.5 m): 18-gauge or 1.0 mm dia (lamp cord)
25-50 ft (7.5 - 15 m): 16-gauge or 1.3 mm dia (heater cord)
50-100 ft (15-30m): 14-gauge or 1.6 mm dia
Over 50 ft (>15 m): 12-gauge or 2.0 mm dia
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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.
distinguishable from each other. (The jacket of one wire may be ribbed or
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.
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Bi-Amp Connections
First
remove
jumper
Front
Right
+
-
Left
Right
+
-
Left
Pre-amp
Left Amplifier Right Amplifier
First
remove
jumper
First
remove
jumper
Amplifier
Right
Left
Pre-amp
+
-
Bi-Wire Connections
Speaker Connection Options (For Synchrony S
Surrounds)
The captioned illustrations below show the following multi-channeled
configurations:
1. Bipole or direct radiating surround mode
2. Dipole surround mode
3. 6.1/7.1 system utilizing two (2) Synchrony S surrounds
4. 6.1/7.1 system utilizing three (3) Synchrony S surrounds
5. 6.1/7.1 system utilizing four (4) Synchrony S surrounds
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Bipole or direct radiating surround mode
Red
From amp
left SURROUND
channel
Black
From amp
left SURROUND
channel
Red
From amp
right SURROUND
channel
Black
From amp
right SURROUND
channel
Front
Dipole surround mode
Null Zone
Replace gold-plated jumpers with supplied wire jumpers and connect crisscrossed as shown.
Red
From amp
left SURROUND
channel
Black
From amp
left SURROUND
channel
First
remove
jumpers
First
remove
jumpers
Red
From amp
right SURROUND
channel
Black
From amp
right SURROUND
channel
First
remove
jumpers
First
remove
jumpers
Front
Wire Jumpers
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6.1/7.1 System Utilizing Two (2) Synchrony S Surrounds
Surround Rear
Red
From amp
left REAR
channel
Black
From amp
left REAR
channel
First
remove
jumpers
First
remove
jumpers
Black
From amp
right REAR
channel
First
remove
jumpers
Front
Red
From amp
left SURROUND
channel
Black
From amp
left SURROUND
channel
Black
From amp
right SURROUND
channel
Red
From amp
right REAR
channel
First
remove
jumpers
Red
From amp
right SURROUND
channel
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Black
From amp
right REAR
channel
Red
From amp
right REAR
channel
6.1/7.1 System Utilizing Three (3) Synchrony S Surrounds
Surround Rear
Front
Red
From amp
left SURROUND
channel
Black
From amp
left SURROUND
channel
Black
From amp
right SURROUND
channel
Red
From amp
right SURROUND
channel
First
remove
jumpers
Black
From amp
right SURROUND
channel
First
remove
jumpers
Red
From amp
right SURROUND
channel
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6.1/7.1 System Utilizing Four (4) Synchrony S Surrounds
Surround Rear
Red
From amp
left SURROUND
channel
Black
From amp
left SURROUND
channel
Red
From amp
right SURROUND
channel
Black
From amp
right SURROUND
channel
Front
Red
From amp
right REAR
channel
Black
From amp
right REAR
channel
Red
From amp
left REAR
channel
Black
From amp
left REAR
channel
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Synchrony Port Cover
A Port Cover accessory is
supplied with each tower
(Synchrony One and Two) and
centre 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-
line at www.psbspeakers.com. If the problem is not resolved,
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
Specifications
FREQUENCY RANGE
Response
On Axis @ 0°±3dB
On Axis @ 0°±1 1/2dB
Off Axis @ 30°±1 1/2dB
LF Cutoff -10dB
45-23,000Hz
47-20,000Hz
47-10,000Hz
38Hz
Synchrony
One B
Bookshelf
Loudspeaker
SENSITIVITY
Anechoic Chamber
Typical Listening Room
86dB
88dB
IMPEDANCE
Nominal
Minimum
INPUT POWER
Recommended
Program
15-150 Watts
150 Watts
ACOUSTIC DESIGN
Tweeter (Nominal)
1" (25mm)
Titanium Dome
with Ferrofuild
Woofer (Nominal)
6 1/2" (165mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
Crossover
Internal Volume
Design Type
2,200HZ, LR4
0.75 cu ft (21 liter)
Bass Reflex
SIZE (W x H x D)
Net
Gross
8 3/4" x 14 3/8” x 12 7/8"
220 x 364 x 326mm
WEIGHT
Net
Shipping
22 lb (10 kg) each
49 lb (22 kg)/pair
FINISH Black Ash or Dark Cherry
Midrange (Nominal)
30-23,000Hz
33-20,000Hz
33-10,000Hz
24Hz
Synchrony
One
Tower
Loudspeaker
Synchrony
Two
Tower
Loudspeaker
88dB
90dB
20-300 Watts
300 Watts
1" (25mm)
Titanium Dome
with Ferrofuild
3 x 6 1/2" (165mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
2,200HZ, LR4, 500Hz
2.4 cu ft (67 liter)
Bass Reflex
9" x 43" x 13"
228 x 1092 x 328mm
61 lb (28 kg) each
77 lb (35kg) each
Black Ash or Dark Cherry
34-23,000Hz
36-20,000Hz
36-10,000Hz
29Hz
88dB
90dB
20-300Watts
300 Watts
1" (25mm)
Titanium Dome
with Ferrofuild
3 x 5 1/4" (135mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
2,200HZ, LR4
1.8 cu ft (51 liter)
Bass Reflex
7 5/8" x 39 1/4” x 11"
192 x 994 x 279mm
46 lb (21 kg) each
56 lb (25 kg) each
Black Ash or Dark Cherry
4" (102mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
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.
23
4 Ohms
4 Ohms
4 Ohms
4 Ohms
6 Ohms
4 Ohms
Synchrony
Two B
Bookshelf
Loudspeaker
50-23,000Hz
53-20,000Hz
53-10,000Hz
40Hz
86dB
88dB
15-150 Watts
150 Watts
1" (25mm)
Titanium Dome
with Ferrofuild
5 1/4" (135mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
2,200HZ, LR4
0.6 cu ft (17 liter)
Bass Reflex
7 1/4" x 13 3/8” x 10 7/8"
184 x 338 x 275mm
16 lb (7 kg) each
36 lb (16kg)/pair
Black Ash or Dark Cherry
48-23,000Hz
50-20,000Hz
50-10,000Hz
40Hz
Synchrony
One C
Centre Channel
Loudspeaker
Synchrony
Two C
Centre Channel
Loudspeaker
88dB
90dB
15-200 Watts
200 Watts
1" (25mm)
Titanium Dome
with Ferrofuild
2 x 6 1/2" (165mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
2,200HZ, LR4, 500Hz
1.25 cu ft (35 liter)
Bass Reflex
24 1/4" x 8 3/4" x 12 7/8"
614 x 220 x 326mm
37 lb (17 kg) each
43 lb (20 kg) each
Black Ash or Dark Cherry
45-23,000Hz
47-20,000Hz
47-10,000Hz
42Hz
87dB
89dB
15-200 Watts
200 Watts
1" (25mm)
Titanium Dome
with Ferrofuild
2 x 5 1/4" (135mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
2,200HZ, LR4
0.9 cu ft (26 liter)
Bass Reflex
18 1/8" x 7 1/4” x 10 7/8"
458 x 184 x 275mm
22 lb (10 kg) each
29 lb (13kg) each
Black Ash or Dark Cherry
4" (102mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
62-23,000Hz
65-20,000Hz
65-10,000Hz
55Hz
Synchrony
S
Tri-mode Surround
Loudspeaker
86dB
88dB
15-150 Watts
150 Watts
2 x 1" (25mm)
Titanium Dome
with Ferrofuild
2 x 5 1/4" (135mm)
Fine Weave Fibreglass/
Natural Fibre Cone
Rubber Surround
2,200HZ, LR4
0.8 cu ft (23 liter)
Sealed
11 1/8" x 13 1/4" x 7 3/4"
280 x 334 x 196mm
20 lb (9 kg) each
46 lb (21kg)/pair
Black Ash or Dark Cherry
24
6 Ohms
4 Ohms
6 Ohms
4 Ohms
6 Ohms
4 Ohms
(2 x 8 Ohms - 2 Channel Mode)
6 Ohms
4 Ohms
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 G, 1124
