PLM 12K44
THE PLM 12K44 COMBINES A 4-IN, 4-OUT CONFIGURATION WITH INDUSTRY-STANDARD DANTE NETWORKING, SETTING THE BENCHMARK FOR POWERED LOUDSPEAKER MANAGEMENT SYSTEMS.
Overview
The PLM 12K44 is the natural successor of the proven, road tested, and trusted Lab.gruppen touring foundation exemplified by the iconic PLM series, but with an additional new powerful feature set: the ability to rationalize power allocation between channels to optimize performance. Now packaged in an extended 4-in, 4-out configuration together with twice the processing power via the latest version 6.3 Lake Controller release, plus industry-standard Dante? networking, the PLM 12K44 sets the benchmark for Powered Loudspeaker Management Systems.
The PLM 12K44 combines four channels of extremely powerful amplification with unrivalled signal processing and audio management. At the core of the system concept is the total integration of all devices ? including networking, audio I/O, signal processing, amplifiers, power supply and connected mains supply ? allowing complete control and monitoring of the entire platform, resulting in unique operational benefits.
Rational Power Management (RPM)
On top of the outstanding performance users have come to expect from a PLM, the 12K44 also features Rational Power Management (RPM), a proprietary Lab.gruppen technology that provides designers and systems techs with unprecedented freedom to allocate the available output power of each amplifier channel for optimum performance with specific load conditions. For the first time, RPM provides true flexibility in allocating available power across the four output channels. Each channel of the PLM 12K44 may be tailored to meet the requirements of the connected load, and any power not used for that channel may be allocated for use on other channels.
RPM helps to avoid amplifier over-specification, or bridging of adjacent channels in order to meet minimum demands on one power-hungry load, which would otherwise result in a loss of channel count. RPM technology also enables the user to minimize equipment costs, reduce rack space and improve long-term energy efficiency ? all achievable without compromising sonic performance. Rational Power Management incorporates features that safeguard the defined power output of one or more specified channels. From within the CAF? software, it allows the desired power demand to be calculated for the different loads in several different ways. RPM then analyses the desired power in relation to the channel and device constraints and guides the system designer towards the most effective way of powering the PA.
Rational Power Management results in real-world savings, both immediate and long-term. In many cases, fewer amplifiers ? or lower cost models ? may be specified while still fulfilling all power requirements. It also allows better mains management, avoiding over-specification of mains distribution, cooling, and UPS (where required). Finally, the overall gains in efficiency in larger systems will minimize current consumption and reduce operation costs ? a ?green bonus? for the system owner.
The Power of Lake Processing
The PLM 12K44 features the legendary power of exclusive Lake Processing algorithms, incorporating four full-featured Lake modules with four discrete channels of audio throughput input to output. Audio signals are selectable from four channels of analog (with Iso-Float ground isolation), four channels via AES3 digital inputs and eight dual redundant Dante networked digital inputs. Input signals are individually selectable for each channel, with programmable failover to a lower prioritized input.
The full-featured, on-board Lake Processor includes group control with Raised Cosine MESA EQ asymmetric filters to match the responses of any loudspeaker system. LimiterMax peak and RMS limiters set the industry standard for loudspeaker protection and sonic transparency.
The included Lake Controller software provides a unified interface for control of Lake functions and for comprehensive monitoring of both amplifier status and connected loudspeaker loads. Optimized for a wireless tablet PC, Lake Controller is easy and intuitive to operate, with the ?feel? of real-time analog faders and controls. Lake Controller also features seamless integration with third party, real-time sound system measurement, optimization, and control software packages. Users can measure spectrum and transfer function and adjust system EQ at the same time, using the same user interface.
Lake Processing offers classical crossovers (selectable up to 48 dB per octave) as well as linear-phase crossovers capable of slopes exceeding 180 dB per octave for greater control to limit lobing and off-axis cancellation.
CAFE for Green Credentials
CAF? (Configuring Amplifiers For the Environment) is a software suite that allows the PLM 12K44 to be easily configured and monitored in the most efficient manner possible.
In addition to providing comprehensive system surveillance and configuration of RPM and other amplifier features such as ISVPL and Breaker Emulation Limiter (BEL), CAF? also includes valuable help to save the environment. In combination with the RPM configuration CAF? can accurately predict estimations of average mains current draw and generated heat, and utilizing the PLM+ Series? innovative power supply technologies in combination with BEL the mains draw can be safeguarded to a predicted level. The end result is precise mains management and thermal control, which allows more accurate (rather than over-specified) provision of mains distribution, cabling and cooling. This technology suite reduces lifetime running costs and minimizes environmental impact. It also reduces demands on UPS systems.
TECH SPEC OVERVIEW
- 3000 W per channel @ 2.67 ohms
- 3000 W per channel @ 4 ohms
- 2U chassis weighing only 16.5 kg (36 lbs)
- Class TD output stage
- Universal (70 - 265 V) Regulated Switch Mode Power Supply (R.SMPS) works anywhere in the world
- Power factor correction (PFC) helps maintain full output during extended power bursts
- Copper-finned Intercooler with transverse-mounted output devices
- Comprehensive loudspeaker preset database
- LoadSmart load verification
- Dante low-latency digital network included as standard
- Compatible with Lake LM Series, and Lab.gruppen PLM and D Series
- Primary and secondary network connections
- Digitally controlled and recallable ?amplifier gain? adjustable in 0.1 dB steps
- Digital output attenuation in 0.25 dB steps from -inf to 0 dB
- Binding post or Neutrik speakON output connectors
- Digitally implemented, zero-overshoot Inter-Sample
- Voltage Peak Limiting (ISVPL) adjustable in 0.1 V steps from 17.8 to 194 V
- Breaker Emulation Limiter (BEL) prevents mains tripping
- Under-Voltage Limiting (UVL) enables continued operation with mains voltage sags as low as 65 V
- High-Resolution daylight viewable LCD display
- Moisture resistant silicone touchpad
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Used LAB.Gruppen
LAB.Gruppen is a Swedish sound equipment company, based in Kungsbacka, Sweden, dedicated to building mainly public address power amplifiers. It is owned by Music Group which also holds Midas, Behringer, Turbosound, TC Electronics and others. As of 2007 the company had 130 employees.
Kenneth Andersson and Dan Bävholm founded Lab.gruppen in 1979. They first met as schoolboys when they shared an interest in electronics.Andersson and Bävholm's first project was a hand-made mixing console. It was used as part of the Front of House equipment for a concert by Eartha Kitt. They created other mixers and a series of guitar heads and combos. Their intermittent manufacture of mixers and guitar amplifiers continued through the formal establishment of Lab.gruppen in 1979.
The company was located inside a local hi-fi store, where the duo serviced consumer equipment for additional income. It was here that the company's first professional audio power amplifier was created.
Between the LAB 4000 and FP Series 6400, Lab.gruppen engineers continued to advance and refine their products. The LAB Series was overhauled and augmented and subsequently became the FP range. FP designs were upgraded to meet the stringent new EMC standards in Europe, and adoption of UL safety standards allowed them to be sold in the United States. Standardization of internal components between models increased manufacturing efficiency to keep pricing competitive in all new markets.
In the late 1990s, the founders brought in new ownership and a managing director. In July 2000, Lab.gruppen was acquired by the TGI Group of the United Kingdom, and a few months later Tomas Lilja was chosen as managing director.
In early 2002, the TGI Group was acquired by TC Group of Denmark, the current corporate owner. In 2004, the company moved to its new location at Faktorvägen. Both Andersson and Bävholm remained with the company following the acquisitions.
In 1998, Lab.gruppen engineers undertook the long-term development of a new amplifier platform. The complete range would have four bridgeable amplifier channels and an integrated monitoring and control network. The basic technology of both the power supply and output stages was taken from the proven FP range, but with significant upgrades to reduce the number of components required.
Designated the C Series and targeted at the installation market, the first amplifiers of this design were shipped in the summer of 2005. This was followed up by the release of FP+ in 2006 and PLM Series in 2007.
The PLM Series was the first Lake processor with integrated amplification and it as it was embraced by the market Lab.gruppen acquired the exclusive rights to the Lake brand and the Lake processing for professional applications in touring and fixed installations late 2008.
The E Series was the first amplifier range with more than 200 W per channel that got the Energy Star approval when it was launched in 2011. More amplifiers with Energy Star were added with the LUCIA models in 2013.
In 2014, Lab.gruppen launched D Series for installations with audio over the network and PLM+, a successor to PLM Series.
In 2015, Lab.gruppen and the other brands of TC Group were acquired by Music Group.
In 2016, Lab.gruppen expanded the E and LUCIA product lines so that there are now 15 models with Energy Star.
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Active: Powered. An active crossover is electrically powered and divides the line-level signal prior to amplification. An active speaker includes an active crossover and built-in amplifier.
Actuality: Audio from an announcer speaking.
Amplifier: A component that increases the gain or level of an audio signal.
Balanced Input: A connection with three conductors: two identical signal conductors that are 180 degrees out of phase with each other, and one ground. This type of connection is very resistant to line noise.
Bandpass: A two-part filter that cuts both higher and lower frequencies around a center band. A bandpass enclosure cuts high frequencies by acoustic cancellation and low frequencies by natural physical limitations on bass response.
Bandwidth: In audio, the range of frequencies a device operates within. In video, the range of frequencies passed from the input to the output. Bandwidth can also refer to the transmission capacity of an electronic communications device or system the speed of data transfer,is very important when planning a meeting for the attendees to stay connected.
Bass: Low frequencies; those below approximately 200 Hz.
Bi-Wiring: A method of connecting an amplifier or receiver to a speaker in which separate wires are run between the amp and the woofer and the amp and the tweeter.
Boost: To increase, make louder or brighter; opposite of attenuate.
Bridging: Combining two channels of an amplifier to make one channel that more powerful. One channel amplifies the positive portion of an audio signal and the other channel amplifies the negative portion, which are then combined at the output.
CD: Compact Disc. Ubiquitous digital audio format. Uses 16-bit/44.1-kHz sampling rate PCM digital signal to encode roughly 74 or 80 minutes of two- channel, full-range audio onto a 5-inch disc.
CD-R: Recordable Compact Disc.
CD-RW: Rewritable Compact Disc.
Channel: In components and systems, a channel is a separate signal path. A four-channel amplifier has at least four separate inputs and four separate outputs.
Coloration: Any change in the character of sound (such as an overemphasis on certain tones) that reduces naturalness.
Crossover: A component that divides an audio signal into two or more ranges by frequency, sending, for example, low frequencies to one output and high frequencies to another. An active crossover is powered and divides the line-level audio signal prior to amplification. A passive crossover uses no external power supply and may be used either at line level or, more commonly, at speaker level to divide the signal after amplification and send the low frequencies to the woofer and the high frequencies to the tweeter.
Crossover Frequency: The frequency at which an audio signal is divided. 80 Hz is a typical subwoofer crossover point and is the recommended crossover point in theatrical and home THX systems. Frequencies below 80 Hz are sent to the subwoofer signals above 80 Hz are sent to the main speakers.
Cut: To reduce, lower; opposite of boost.
Decibel (dB): A logarithmic measurement unit that describes a sound`s relative loudness, though it can also be used to describe the relative difference between two power levels. A decibel is one tenth of a Bel. In sound, decibels generally measure a scale from 0 (the threshold of hearing) to 120-140 dB (the threshold of pain). A 3dB difference equates to a doubling of power. A 10dB difference is required to double the subjective volume. A 1dB difference over a broad frequency range is noticeable to most people, while a 0.2dB difference can affect the subjective impression of a sound.
Delay: The time difference between a sonic event and its perception at the listening position (sound traveling through space is delayed according to the distance it travels). People perceive spaciousness by the delay between the arrival of direct and reflected sound (larger spaces cause longer delays.
Diaphragm: The part of a dynamic loudspeaker attached to the voice coil that produces sound. It usually has the shape of a cone or dome.
Diffusion: In audio, the scattering of sound waves, reducing the sense of localization. In video, the scattering of light waves, reducing hot spotting, as in a diffusion screen.
Digital Audio Server: Essentially a hard drive, a digital audio server stores compressed audio files (like MP3 or WMA). Most include the processing to make the files, and all have the ability to play them back.
Direct-Stream Digital: A format for encoding high-resolution audio signals. It uses a 1-bit encoder with a sampling rate of 2,822,400 samples per second (verses 44,100 for CD). Used to encode six high-resolution channels on SACD.
Dispersion: The spread of sound over a wide area.
Distortion: Any undesired change in an audio signal between input and the output.
DNR: Dynamic Noise Reduction. A signal-processing circuit that attempts to reduce the level of high-frequency noise. Unlike Dolby NR, DNR doesn’t require preprocessing during recording.
Dolby B: A noise-reduction system that increases the level of high frequencies during recording and decreases them during playback.
Dolby C: An improvement on Dolby B that provides about twice as much noise reduction.
Dolby Digital: An encoding system that digitally compresses up to 5.1 discrete channels of audio (left front, center, right front, left surround, right surround, and LFE) into a single bitstream, which can be recorded onto a DVD, HDTV broadcast, or other form of digital media. When RF-modulated, it was included on some laser discs, which requires an RF-demodulator before the signal can be decoded. Five channels are full-range; the .1 channel is a band-limited LFE track. A Dolby Digital processor (found in most new receivers, preamps, and some DVD players) can decode this signal back into the 5.1 separate channels. Most films since 1992`s Batman Returns have been recorded in a 5.1 digital format, though a number of films before that had 6-channel analog tracks that have been remastered into 5.1.
Dolby EX: An enhancement to Dolby Digital that adds a surround back channel to 5.1 soundtracks. The sixth channel is matrixed from the left and right surround channels. Often referred to as 6.1. Sometimes referred to as 7.1 if the system uses two surround back speakers, even though both speakers reproduce the same signal. Software is backwards-compatible with 5.1 systems, but requires an EX or 6.1 processor to obtain additional benefit.
Dolby Pro Logic: An enhancement of the Dolby Surround decoding process. Pro Logic decoders derive left, center, right, and a mono surround channel from two-channel Dolby Surround encoded material via matrix techniques.
Dolby Pro Logic II: An enhanced version of Pro Logic. Adds improved decoding for two-channel, non-encoded soundtracks and music.
Driver: A speaker without an enclosure; also refers to the active element of a speaker system that creates compressions and rarefactions in the air.
DSP: Digital Signal Processing. Manipulating an audio signal digitally to create various possible effects at the output. Often refers to artificially generated surround effects derived from and applied to two-channel sources.
DTS: Digital Theater Systems. A digital sound recording format, originally developed for theatrical film soundtracks, starting with Jurassic Park. Records 5.1 discrete channels of audio onto a handful of laser discs, CDs, and DVDs. Requires a player with DTS output connected to a DTS processor.
DTS ES: An enhanced version of the 5.1 DTS system. Like Dolby’s Surround EX, a sixth channel is added. In some cases (DTS ES Discrete), the sixth channel is discrete. Software is backwards-compatible with 5.1 systems, but requires an ES or 6.1 processor to obtain additional benefit. Neo: 6 is a subset of DTS ES that creates 6.1 from material with fewer original channels.
Dynamic Range: The difference between the lowest and the highest levels; in audio, it’s often expressed in decibels. In video, it’s listed as the contrast ratio.
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