Bose Pace 6 Manual

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2.6 Installing a surface-mount loudspeaker
Wall construction and material must be sturdy enough to support the loudspeaker weight of 21/2 lb (1.2 kg). Bose® is
not responsible for loudspeakers mounted in or on unsuitable surfaces.
The type and length of fastener depends upon the mounting surface selected. To mount to hollow gypsum board or
plaster wall, use wall anchors with a load rating in shear of at least 25 pounds PER FASTENER. Direct attachment to
more substantial material also should meet this criteria.
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JN95540   PN180084
Uppteckna inställningarna och datumet med en blyertspenna. Use un lápiz para la posición fijada y la fecha. Usare una matita per annotare le regolazioni e la data.Mit einem Bleistift die Einstellungen und das Datum notieren.Utilisez un crayon à papier afin de noter les réglages et la date. Gebruik een potlood om de opstellingen en de datum te noteren.Nedskriv indstillingerne og datoen med en blyant.Use a pencil to record the settings and the date.
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FreeSpace
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POWER /AC MAINS ON
Opti-voice®
A B
BUSINESS MUSIC SYSTEMFreeSpace® 6
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REMOTE
VOLUMEL
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REMOTE
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WARNINGTO REDUCE THE RISK OF FIRE OR ELECTRICAL
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DO NOT EXPOSE THIS EQUIPMENT 
TO RAIN OR MOISTURE.
REFER TO YOUR INSTRUCTION MANUAL
 FOR PROPER
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759
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JN95540   PN180084
Uppteckna inställningarna och datumet med en blyertspenna. Use un lápiz para la posición fijada y la fecha. Usare una matita per annotare le regolazioni e la data. Mit einem Bleistift die Einstellungen und das Datum notieren. Utilisez un crayon à papier afin de noter les réglages et la date. Gebruik een potlood om de opstellingen en de datum te noteren. Nedskriv indstillingerne og datoen med en blyant. Use a pencil to record the settings and the date.
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2.7 Removing a surface-mount loudspeaker
2.8 Electronic system card
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8 1/2
217 mm 7 3/4
197 mm9 
1/2
241 mm  
10 5/8
(270 mm) 3 1/2
(89 mm)
13
(330 mm)
2.9.1 Wall mounting
WARNING
Do not use the system electronics as a drill guide; personal injury could result. Be sure to observe all other safety
precautions while drilling or installing the mounting hardware.
Attach the system electronics to a vertical surface using at least four of the ten mounting holes. In the U.S., #10 sheet
metal or machine screws, or 
3/16 inch diameter wood screws (or 4 mm diameter metric screws) will work with the
“keyhole” mounting holes.
The type and length of fastener depends upon the mounting surface selected. To mount to hollow gypsum board or
plaster wall, use wall anchors with a load rating in shear of at least 25 pounds PER FASTENER. Direct attachment to
more substantial material also should meet this criteria. The keyholes make it easy to pre-install the fasteners before
mounting. For security from accidental or rapid removal of the system electronics, use washers under the screw
heads. This prevents using the keyhole feature. The two additional round holes may be used for the same purpose.
Recommendation: Bose® recommends using at least one fastener at each of the four corners of the product. The
additional holes allow you to mount the system electronics securely.
2.9 Mounting system electronics
The system electronics can be shelf or wall mounted. If wall mounted, use proper attachment techniques for your
wall construction type.
2.9.2 Shelf mounting
1.If mounting in an audio equipment rack, use a shelf designed for rack systems. If the shelf is above other sources
of heat such as amplifiers, use a solid material shelf not a perforated material shelf.
Note:
 DO NOT attach a rack panel to the front of the system box to mount it in a rack.
2.Maintain the 2 inch (50 mm) clearance recommendations when stacking electronic equipment above or below
the system electronics.
3.To prevent accidental dislodging of the system box, use at least two mounting screws to attach the system to
the shelf surface.
4.Use cable ties or other forms of strain relief on the signal and loudspeaker cables to prevent excessive mechani-
cal stress on the wire connections.
5.Allow enough cable slack to move the system electronics forward if adjusting the controls is needed.
6.Dress the wiring so that no one can accidentally trip over it.
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2.9.3 Connections
Note: To prevent excessive mechanical stress on the wire connections, use cable ties or other strain relief for the
signal and loudspeaker cables.
If using a push-to-talk microphone, be sure the push-to-talk switch is properly wired so that it places a short circuit
across the microphone output except when the user presses the switch.
CAUTION
Improper connection can damage both the source equipment and the FreeSpace® 6 system. Be sure to review this
guide for information on nominal output voltage, output impedance, and balanced and unbalanced outputs.
Note:
 Sources are either balanced or unbalanced. Call 1-800-288-2673 (in the U.S. and Canada) or your local Bose®
office and request the “Balanced and Unbalanced Source Terminals” information packet (PN183072).
Input connections Instructions
Paging microphone1.  Connect the signal wires of the paging microphone to the quick connect
     terminal block.
2.  Insert the quick connect terminal block into the paging microphone input.
Telephone systems (PBX) and aFollow the connection diagram for a balanced or an unbalanced source found
central paging signal (such as inin the “Balanced and Unbalanced Source Terminals” information packet
malls)available from Bose. Call your local Bose office and request it.
Music sourceThe following two audio sources are available:
• Music Input A accommodates either balanced or unbalanced configurations.
– For balanced sources, use the quick connect terminal block.
– For unbalanced sources, use the RCA (phono) connectors.
• Music Input B accepts unbalanced RCA plugs only.
Remote controlThe cable should consist of two wire pairs (22-24 gauge or heavier), with an
overall jacket. Select the wire according to safety agency requirements for the
installation. No hazardous voltage is present on these wires. One twisted pair
might be two white wires, the other pair two black wires.
The remote volume control wires carry small DC voltages (less than 15V) derived from high impedance circuits and
do not constitute a safety hazard. Two of the conductors are at the chassis ground potential of the amplifier.
• Use the black pair to connect the potentiometer to the Remote Volume connector on the amplifier
• Use the white pair to connect the switch to the Remote Select switch on the amplifier
The bare wires connecting the remote control to the amplifier are not a hazard. Shorting any or all of them will not
damage the system. However, if the wires are not properly terminated, there may be unwanted source selection or
muting of the system.
Note:
  For convenience during setup, connect the remote control temporarily using a short cable.
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Output connections Instructions
PageThe Page Output provides a line-level signal consisting of the paging announcements
only. This can be fed to power amplifiers and loudspeakers (or a powered loudspeaker)
for a zone such as a valet parking station. The Page Output is muted until a paging
signal triggers it. It puts out about 2V. The Remote Control unit DOES NOT control this
output.
Line Out L and RComplex, extended systems can be created originating with the FreeSpace
® 6 system
electronics. The two Line Outputs provide a pair of signals useful for system expansion.
The signals available depend upon the setting of the Line Output Selector switch in
block 10.
•   Top position: stereo music without paging
•   Center position: stereo music with paging
•   Lower position: only mono music at left; mono music + paging at right
Loudspeaker outputsConnect a dedicated loudspeaker cable from each of the four loudspeakers to each
amplifier terminal pair. Each output channel on the amplifier connects directly to one
loudspeaker. The red terminal (+) of the loudspeaker connects to the positive (+)
terminal on the amplifier. If one or more loudspeaker is not connected properly, a loss in
bass output can result.
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Figure 1
0 dB+30 dB
0
1
9
3
LRL
R
5
L
R
L
R
L + R
678
B
A
PAGE ENABLE
ONON
OFFOFF
B AL
RA
–+–+–+–+
4PAGE
TRIGGER
LEVEL
+30 dB
B A
2
REMOTE
S ELECT1
67
4
5
8
9
3
2
POWER /AC MAINS ON
BUSINESS MUSIC SYSTEMFreeSpace® 6
11
REMOTE
VOLUME
LR
10
L
L
LR
R
–+–+
Bass Treble
13
-6  dB  0 dBL
R
–+–+–+–+
+
RL+R
1212
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Use the electronic system card (found in the documentation kit) to mark the settings of the zones used in this installa-
tion. See page 20. This card is to be stored inside the electronic system cover as an aid in troubleshooting problems.
3.1 Power on/off
The on/off switch is on the right side of the system electronics. If desired, the switch can stay in the ON position.
Power consumption without a signal input is typically less than 10 Watts.
3.2 Opti-voice® compressor
The Opti-voice compressor maintains a constant output level for inputs varying over a 30dB range. A LED in block 2
glows green when the compressor is active, but flashes red if the paging circuit is close to being overloaded. Use the
compressor when the microphone is used in one or more of the following ways:
• More than one person is using it
• Users vary in how loud they talk into it
• Users vary in how close they hold it to their mouth
Do not use the compressor in cases where:
• There is a tendency for feedback (howling sound, due to loudspeakers being picked up by the microphone)
• The source is a line level signal from a mixer or amplifier with similar signal processing
3.3 Music compressor
The music compressor solves the problem created as the audio industry improves the dynamic range of program
material. The music compressor takes about 25dB out of the 90dB or so dynamic range of modern digital program
material and is quiet and unobtrusive in operation. It boosts the quiet passages and leaves the loud passages alone.
It can even be used on highly compressed material, such as broadcast FM popular music, since it will not do much
additional compression on this already compressed material.
3.4 Setting levels
Make the gain adjustments after completing the connection of all source, loudspeakers, and auxiliary expansion
components. Refer to Figure 1 to locate the blocks referred to in this document.
3.4.1 Music sources
Before beginning adjustments, set the music controls as follows:
Control Name Block Set to...
Music Input Source A (or B) 6 Minimum gain (ccw)
Trim potentiometer
Music Compressor Enable A 7 Enable, unless you choose not to use the Music Compressor
(or B) switches
Remote control volume none 3:00 (about 5dB attenuation)
Remote control source selectionnone Source A (the A LED in block 8 should light)
switch
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3.4.1 Music sources (cont’d)
Play a test CD or tape. Choose a passage representing the loudest music to be played regularly.
If the... Then...
Music Input Source A has Use it. If not, set the variable level output to maximum.
a fixed level output
Music compressor is ON Adjust the Music Input Source A Trim so the music compressor LED glows green
for Music Input Source A during the loudest passages.
If the LED changes to red, the level is too high. Lower the trim control until the LED
stays green.
Music compressor is OFF Adjust the Music Input Source A Trim until the music compressor LED flashes red.
for Music Input Source A Then lower the trim control until the LED stays off.
Repeat for Music Input Source B using the Music Input Source B Trim.
3.4.2 Paging source
Before beginning adjustments, set the paging controls as follows:
Control Name Block Set to...
Remote control volume none 3:00 (about 5dB attenuation)
Page Enable L & R 5 Both L & R ON
Opti-voice® compressor switch 2 The right, if the compressor will be used (compressor enabled)
Page Source Gain Switch 1 30dB, if the page source is a microphone
0dB, if the page source is line level
Page Source Gain Trim 1 0dB
Page Trigger Level 3 Center
Page Mix Trim 4 Center
1.Have someone continuously speak into the microphone while adjusting the controls. If the microphone has a
push-to-talk switch, hold it ON during the adjustments. A music source should also be playing. For optimum
results, follow these tips:
•  Keep the microphone about 6 inches (15 cm) from the mouth
•  Speak at a normal vocal level
If the... Then...
Opti-voice compressor is ON Adjust the Page Source Trim until the Opti-voice compressor LED glows green
during the loudest passages.
LED switches to red The level is too high. Lower the Page Source Gain Trim control (block 1) until the
LED stays green.
Opti-voice compressor is OFF Adjust the Page Source Gain Trim until the Opti-voice compressor LED flashes red.
Lower the trim control until the LED stays OFF.
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3.4.2 Paging source (cont’d)
2.While speaking into the microphone, slowly turn down (to the left) the Page Trigger Level control (block 3) until
the amplifier disables paging and the LED in block 3 goes out.
Turn the control back to the right until the paging comes ON again.
3.Have the person stop speaking, but keep the push-to-talk button ON. The LED in block 3 should go out and the
music source should fade in.
4.Have the person resume speaking with the push-to-talk button ON. The paging source returns and the music
source fades out.
3.4.3 Page/music balance
Follow these steps to set the music and the paging levels.
1.Turn on Music Sources A and B.
2.Use the Remote Volume control to adjust the overall level.
3.Use the remote control to select Source A.
4.Have the person speak into the microphone. Adjust the Page Mix Trim (block 4) until the announcement is just
loud enough to be heard clearly. Be sure to set the paging level loud enough to be heard in noisy environments,
such as when a room is filled with loud patrons.
5.Have the person speak again, louder and closer to the microphone. If the Opti-voice
® compressor is used, it
should reduce the gain, maintaining a reasonable level, and preventing audible distortion.
6.Switch to Music Input Source B. If Music Input Sources A and B levels are imbalanced, readjusting the settings
following the instructions in Section 3.4.1, “Music sources” may be necessary. If readjusting the Music Source
trims in block 6, watch the Music Compressor LED in block 7 to be sure it is not flashing red.
3.5 Monaural installations
If the music
source is... Then...
Monaural Use a “Y” connector cable to connect the source to both the L and R inputs. Then set this switch
to stereo (up).
Another option is to connect the source to the L input only. Then set the mono/stereo switch to
mono (down). The mono source will play at both L and R loudspeaker outputs. However, system
sensitivity will be reduced by 6dB. In this case, use a 400mV source level to reach full power. Most
sources will deliver 400mV at full modulation without a problem.
Mixed (1 mono Use a “Y” connector to feed the mono source into both the L and R inputs. The stereo source is
and 1 stereo) connected to the other source input. Set the mono/stereo switch to stereo.
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3.6 Dual zone, single source system
The FreeSpace® 6 business music system can be used to create a two-zone single source installation using the same
monaural music source. Each zone can have different loudness levels and a choice of page overrides. There is no
provision for independent page sources for the two zones—there is only one page input on the system electronics.
3.6.1 L zone trim (block 13)
This trim adjusts the level of the “left” zone relative to the “right” zone in mono installations, where one group of
loudspeakers on the left amplifier output must be adjusted in level relative to a second group of loudspeakers on the
right amplifier output. The control has a range of 0dB to –6dB. Use the R loudspeaker outputs to drive the zone that
is supposed to be the louder of the two, and use the L loudspeaker outputs for the quieter zone.
3.7 Page enable (block 5)
Page Enable switches can be used to determine which, if either, zone receives paging.
One special issue attaches to the use of the Page Enable switches in this two-zone case. The phase of the loud-
speaker output is inverted when paging is enabled (180˚ phase reversal). If one zone has paging enabled and the
other zone has paging disabled, the loudspeakers in the L zone will be out of phase with the loudspeakers in the R
zone. Since the whole point of using the two zones is to provide a differentiated set of zone signals, there will usually
be enough separation between zones so that there is no overlap region where acoustic energy from both zones is
present. If, however, there is an overlap zone, sensitive listeners may sense “something funny” from the sound,
especially as they move around in the overlap region. There could also be a perception that the bass is diminished in
this region.
Avoid an overlap zone if using a FreeSpace
 business music system in this way.
3.8 Loudspeaker equalization switch and the bass and treble con-
trols (block 12)
The loudspeaker equalization switch is used to select the proper equalization for the loudspeaker type you have
installed. Selecting the incorrect equalization will produce undesireable results.
The bass and treble controls may be used to make a final “touch-up” of the frequency response in the installation.
These controls have a range of about ±6dB maximum, and will generally be left flat (turned to their center position).
Bose
® engineers have carefully adjusted fixed and dynamic equalization in the system electronics amplifier to yield an
acoustically correct frequency response. However, some environments with many cloth wall hangings might benefit
from a slight treble boost.
3.0 System Setup
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