Samson 6A User Manual
Setting up the Rubicon R5a and R6a
Background on the Rubicon R5a and R6a Studio Reference Monitor
The Rubicon R5a and R6a are self-powered near-field reference monitors, featuring robust power, advanced
electronics and custom designed drive units. For pristine high’s, the Rubicon 5a and 6a boast a 1-inch by 2-
inch velocity ribbon tweeter. The Rubicon ribbon tweeters are constructed using a Kapton diaphragm with
vaporized aluminum applied to the surface. The diaphragm is then set between an array of neodymium mag-
nets creating an opposing magnetic field. Since the ribbon is both the coil and the diaphragm, the diaphragm
can accelerate and decelerate quickly resulting in un-matched transient response. Unlike conventional dome
tweeters, the ribbon tweeter exhibits no coloration due to resonance, as well as, extremely low intermodula-
tion and FM distortion. The result is a wide linear response producing high frequencies that are sweet, while
clear and accurate. For the low frequency response, the R6a employees a 6.5-inch, copolymer low frequency
drive unit with butyl rubber surround, and for the R5a, a 5-inch, copolymer, low frequency butyl rubber sur-
round drive unit. Both woofers are well matched to the tuned enclosure and provide punchy and focused
bass frequency response.The monitor’s crossover has been carefully designed with high quality components
insuring a linear frequency and phase response. The Rubicon R5a and R6a enclosures are constructed from
MDF (Medium Density Fiberboard) and are finished in scuff resistant, textured paint. The monitor’s enclo-
sure also includes a tuned vent port that provides extended low-end response, and with a low turbulence
design, the low frequency driver can move freely with minimal effect on the overall impedance. On the rear
of the enclosure, you’ll find Rubicon R5a or R6a’s control panel, which features a variety of input connections
including both XLR balanced input, and a1/4-inch TRS balanced input plus an RCA unbalanced input on the
R5A . These inputs are connected to Rubicon R5a or R6a’s internal bi-amp power module providing 75 watts
of power for the low frequency woofer, an active crossover, and 25 watts of power for the high frequency
tweeter for the R6a, and 50 watts for the low end and 25 watts on the high end for the R5a. You will also find
the pre-amp controls, including VOLUME knob, used to adjust the overall level of the internal power amplifier,
as well as the innovative Ribbon Level control. This four-position switch allows the mix engineer to contour
the high frequency response of the monitor allowing you to adjust for room acoustics or listening preference.
The Rubicon R5a and R6a have been designed to provide flat, accurate monitoring, and at the same time, to
provide an adjustable response curve so that the sound of other popular near-field monitors can be easily
emulated.
electronics and custom designed drive units. For pristine high’s, the Rubicon 5a and 6a boast a 1-inch by 2-
inch velocity ribbon tweeter. The Rubicon ribbon tweeters are constructed using a Kapton diaphragm with
vaporized aluminum applied to the surface. The diaphragm is then set between an array of neodymium mag-
nets creating an opposing magnetic field. Since the ribbon is both the coil and the diaphragm, the diaphragm
can accelerate and decelerate quickly resulting in un-matched transient response. Unlike conventional dome
tweeters, the ribbon tweeter exhibits no coloration due to resonance, as well as, extremely low intermodula-
tion and FM distortion. The result is a wide linear response producing high frequencies that are sweet, while
clear and accurate. For the low frequency response, the R6a employees a 6.5-inch, copolymer low frequency
drive unit with butyl rubber surround, and for the R5a, a 5-inch, copolymer, low frequency butyl rubber sur-
round drive unit. Both woofers are well matched to the tuned enclosure and provide punchy and focused
bass frequency response.The monitor’s crossover has been carefully designed with high quality components
insuring a linear frequency and phase response. The Rubicon R5a and R6a enclosures are constructed from
MDF (Medium Density Fiberboard) and are finished in scuff resistant, textured paint. The monitor’s enclo-
sure also includes a tuned vent port that provides extended low-end response, and with a low turbulence
design, the low frequency driver can move freely with minimal effect on the overall impedance. On the rear
of the enclosure, you’ll find Rubicon R5a or R6a’s control panel, which features a variety of input connections
including both XLR balanced input, and a1/4-inch TRS balanced input plus an RCA unbalanced input on the
R5A . These inputs are connected to Rubicon R5a or R6a’s internal bi-amp power module providing 75 watts
of power for the low frequency woofer, an active crossover, and 25 watts of power for the high frequency
tweeter for the R6a, and 50 watts for the low end and 25 watts on the high end for the R5a. You will also find
the pre-amp controls, including VOLUME knob, used to adjust the overall level of the internal power amplifier,
as well as the innovative Ribbon Level control. This four-position switch allows the mix engineer to contour
the high frequency response of the monitor allowing you to adjust for room acoustics or listening preference.
The Rubicon R5a and R6a have been designed to provide flat, accurate monitoring, and at the same time, to
provide an adjustable response curve so that the sound of other popular near-field monitors can be easily
emulated.
Positioning the Rubicon R5a and R6a
Near field monitoring has become the choice of many engineers in large and small studios because it mini-
mizes the effect of room acoustics. This is especially important in today’s project studios since the budget
for room acoustics is often close to nothing. By positioning the reference monitors in the near field (close to
the listeners), you can greatly reduce the effects of room acoustics. The most important considerations when
evaluating the effects of room acoustics are reflective surfaces that are around the monitoring area. These
can include flat tabletops, glass mirrors or
framed pictures, large open walls and even
the surface of your mixing console. Mostly
all reflecting sound will eventually reach
the listening position, but since it is slightly
delayed from the direct source, the result is
random cancellation of some frequencies, or
comb filtering. If possible, remove any and
all reflective surfaces. You may also want to
hang some acoustic foam on walls that are
close to the monitors. When positioning the
monitors you’ll want to set up what is com-
monly referred to as the “mix triangle”. In this
ideal configuration, the space between the
left and right monitor is equal to the dis-
mizes the effect of room acoustics. This is especially important in today’s project studios since the budget
for room acoustics is often close to nothing. By positioning the reference monitors in the near field (close to
the listeners), you can greatly reduce the effects of room acoustics. The most important considerations when
evaluating the effects of room acoustics are reflective surfaces that are around the monitoring area. These
can include flat tabletops, glass mirrors or
framed pictures, large open walls and even
the surface of your mixing console. Mostly
all reflecting sound will eventually reach
the listening position, but since it is slightly
delayed from the direct source, the result is
random cancellation of some frequencies, or
comb filtering. If possible, remove any and
all reflective surfaces. You may also want to
hang some acoustic foam on walls that are
close to the monitors. When positioning the
monitors you’ll want to set up what is com-
monly referred to as the “mix triangle”. In this
ideal configuration, the space between the
left and right monitor is equal to the dis-
Prime Listening Spot
Equal Distance
Figure 1.
ENGLISH
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