MONITOR AUDIO Silver Series 7G Natural Walnut Floorstanding Speaker Owner’s Manual
- June 6, 2024
- MONITOR AUDIO
Table of Contents
MONITOR AUDIO Silver Series 7G Natural Walnut Floorstanding Speaker
Spikes and Feet
Select finishes are supplied with a foam gasket on the out-rigger, please
ensure this side is placed on the cabinet.
For Wooden/Hard Floors
(Silver 200, 300 and 500 only)
The feet and ‘out-riggers’ are supplied assembled for use on non-carpeted,
wooden/ hard floors or where spikes are inappropriate. All that is required is
to fix them to the speaker base using the supplied bolts and hex keys.
You can check that the speaker is level on all sides by using a spirit level
(not supplied). If it’s slightly off-level, unscrew the foot at the lowest
point and check again. Continue this process until the cabinet is fully level.
Use the locking nuts on each foot to fix the feet in place and to stop any
unwanted vibrations.
For Carpeted Floors
(Silver 200, 300 and 500 only)
If the speaker is being installed on a carpeted floor, screw the spike into
the foot and ‘out-rigger’ assembly. Fix them to the speaker base using the
supplied bolts and hex keys.
You can check that the speaker is level on all sides by using the spirit
level. If it’s slightly off-level, unscrew the foot at the lowest point and
check again. Continue this process until the cabinet is fully level. Use the
locking nuts on each foot to fix the feet in place and to stop any unwanted
vibrations.
WARNING:
Please ensure there are no hidden wires under the carpet that could be damaged by the spikes.
Setting Up
2 Channel Positioning
When arranging a 2 channel system, the listening position and the loudspeakers
should form an equilateral triangle. Ideally the speakers should be positioned
approximately 6 – 10 feet (1.8 – 3m) apart and a minimum of 3 feet (91cm) from
the side walls. The ideal distance from the rear wall varies depending on the
speaker (see list below).
- Silver 50 6 – 12 inches (15 – 30cm)
- Silver 100 & 200 8 – 14 inches (20 – 36cm)
- Silver 300 & Silver 500 12 – 24 inches (30 – 61cm)
NOTE: These are
recommended distances for optimal performance. Actual results will vary
dependent on room size and construction. Experimentation is strongly advised
when setting up the speakers, as environment and personal preference will
differ with every installation. If there is insufficient bass for example, try
moving your speakers closer to the rear wall. The opposite approach is
recommended if there is excess bass. Also see the information on page 6
referring to Port Bungs. If stereo imaging is being lost, try ‘toeing’ them in
slightly. The sound should appear to originate from the centre point between
the speakers, not the actual speakers themselves.
AV Positioning
Please refer to the illustrations below for the ideal angles and positions of
each speaker in your surround system. The speakers should be distanced from
the wall according to the requirements of the speaker, which are listed in the
2-Channel Positioning section (page 2). However due to AV receiver crossover
filter settings, they may be positioned closer to the wall. Experimentation is
advised.
If the sound is too bass heavy or there is bass boom from the room when playing music (without a subwoofer), try moving the loudspeakers slightly further away from the wall(s). If this is not possible, then try the supplied port bungs. In a system with a subwoofer try adjusting the crossover frequency settings for the speakers and/or sub or changing the subwoofer’s position.
The Silver C250
centre channel speaker should be positioned so that it is pointing at the
viewing position and at approximate ear height.
NOTE: The images below are for illustrative purposes only. If using the
Silver FX please refer to the next section for further information.
- A. Side surround speakers
- B. Rear surround speakers
A 7.1 surround system will make use of side (position A) and rear speakers (position B) to create a full 360° soundstage, if setting up a 5.1 system you can place your surrounds in position (A).
Setting up the Silver FX
The Silver FX features Di-Pole or Bi-Pole listening modes. In Bi-Pole mode,
the driver and tweeters are all in phase. In Di-Pole mode one of the tweeters
is out of phase to the other tweeter and main driver to create the diffused
sound. The FX speakers should be wall mounted approximately 2 feet above ear
height.
Di-Pole/ Bi-Pole switch:
When part of 5.1 systems set the switch to Bi-Pole. Although there is nothing
wrong with experimenting and trying the switch in the Di-Pole mode.
If part of a 7.1 system with 1 pair of FX’s set the switch to Bi- Pole. If
using 2 pairs of FX’s for side and rear effects, set them
all to Di-Pole mode and swap the left and right handed side FX speakers over,
keeping the rear FX speakers handed correctly (matching left and right with
the front left and right channels) as illustrated
NOTE: Before
adjusting any switches, please ensure that the amplifier is at the very least
turned off. This will help to protect the amplifier.
Atmos
In-Ceiling
When arranging the overhead channels in an Atmos system we would recommend
using our three-way in-ceiling speakers. These employ a unique pivoting
midrange/ tweeter module which offers a wider dispersion characteristic, and
are ideal for Atmos duties. More information can be found on our website:
monitoraudio.com
Please see below for ideal positioning of 2 or 4 Atmos speaker setups.
Typically these would be in line with the front left and right speakers.
Silver AMS Dolby
Atmos® Enabled Speakers
Our new Silver AMS speakers offer a dedicated solution and alternative to in-
ceiling Atmos installations. They can be positioned directly on top of the
front and/or rear speakers in a 2 or 4 Atmos speaker setup. Additionally and
alternatively, the Silver AMS can also be wall mounted for use as surround or
height speakers. 
Fixing Silver FX & Silver AMS to a Wall
CAUTION: Always determine where the Silver FX or Silver AMS will be fixed
and the structure of the wall. For safety reasons, if unsure of your ability
to provide a secure and safe fixing, do not attempt to fix these speakers to a
wall. Instead, please obtain the services of a competent and qualified trades
person.
CAUTION: Ensure that water pipes or electricity cables do not run behind
where the speakers are going to be secured. Work from secure steps and avoid
trailing wires.
NOTE: We do not supply wall fixing screws and plugs with the Silver FX or
Silver AMS. Please only use suitable fixings for the type of wall construction
the speakers will be fixed to.
The Silver FX and Silver AMS comes with keyhole inserts. To fix the speakers to the wall, we would recommend using the wall fixing template enclosed within the packaging carton.
Wiring
Single Wiring
Single wiring is achieved via a single set of cables to the terminals on the
back of the loudspeaker. Internally the loudspeaker crossover guides the
frequencies to the appropriate driver/tweeter. Low frequencies to the bass
drivers, mid frequencies to the mid/bass drivers and high frequencies to the
tweeter.
It is perfectly acceptable to connect to the top, bottom terminals or even
diagonally (experimentation is advisable to achieve the preferred results).
NOTE: When using
this method you must keep the terminal links in place.
Bi-Wiring
Bi-wiring is accomplished by connecting separate pairs of speaker cables to
the terminals on the loudspeaker from a single pair of connections on the
amplifier. In the case of the Silver Series, the bottom terminals connect to
the bass driver(s) and the top terminals connect to the tweeter in 2 way
loudspeakers, or the mid and tweeter in 2.5 and 3 way loudspeakers.
NOTE: When using
this method the terminal links MUST be removed.
Bi-Amping
Bi-amping is the same as bi-wiring except you are introducing a second
amplifier into the equation.
In order to bi-amp you must connect a set of speaker cables to the top
terminals on the loudspeaker from one amplifier and another set of speaker
cables to the bottom terminals from the second amplifier.
NOTE: When
wiring this method the terminal links MUST be removed.
The Effects of Bi-Wiring and Bi-Amping
Fundamentally a loudspeaker crossover varies the impedance seen by the speaker and by the power amplifier. The situation is such that when the full range musical signal is applied to the terminals of a full-range speaker system, the bass driver(s) will only receive low frequency signals, the mid driver receives the mid band frequency signals and the tweeter only gets sent high frequency signals.
This means that if separate speaker cables are connected to the low and high frequency terminals, not only have the drive units had the frequency’s directed and divided for them, but the two separate speaker cables will now also carry different signals, the bass cable mostly the lows, and the tweeter cable mostly the highs.
Once the high and low frequencies have been separated in this fashion, the
strong current pulses and surges demanded by bass drivers when reproducing
bass or drums, will not interact with the delicate sounds of a flute or
cymbal.
In a single wired system, unwanted mechanical and electrical resonances
manifest as distortion at both sets of speaker terminals. Due to the impedance
of the speaker cables, these distortions will not be entirely cancelled by the
amplifier. Instead, they modulate between the two crossovers, and degrade
sound quality.
When bi-wiring, this interaction is minimized as signal distortion is ‘seen’ at the amplifier’s output where it can be more effectively cancelled. Bi- wiring/ bi-amping therefore presents a ‘cleaner’ signal at both the low frequency and high frequency speaker terminals, and because the high and low frequencies have already been separated, each has a minimal effect on the other – in essence the bass does not overpower delicate treble.
In terms of the audible benefit, bi-wiring/ bi-amping, provides more clarity and detail to the midrange and high frequencies. Often the bass will become faster and tighter. Focus and staging will improve as well. In all, this is a very effective and desirable improvement and is highly recommended by Monitor Audio.
Port bungs
WARNING: Care must be taken not to insert the port bungs too far into the
port, as this may result in the foam bung being lost inside the cabinet.
If the loudspeaker is to be installed in a small room, typically 9 sqM (80
sqFT), or a room known to reproduce accentuated bass response, it may be
desirable to fit a port bung in the affected speaker.
However, experimentation is recommended with positioning of the loudspeaker in the room prior to fitting. To optimise performance from the loudspeaker it is important to ensure the loudspeaker is not positioned too close to a wall or near the corners of a room.
If the positioning of the loudspeaker is predetermined by room aesthetics or layout, you find you have accentuated bass or in the case speakers are to be sited in close proximity (less than the minimum suggested distances of page 2) to a rear wall (such as on a bookshelf, positioned in a cabinet or on a stand close to a wall), we recommend fitting the supplied port bungs to the ports. With speakers that have 2 ports, such as the Silver 200, only one port bung should still be used per speaker.
This will reduce the bass ‘boom’ sometimes termed as overhang, and assist the loudspeakers to reproduce their best performance under these environmental conditions. ‘Boom’ is generally caused when bass energy from the loudspeaker ‘excites’ room modes and causes an accentuation at a particular frequency, or number of frequencies.
When fitting port bungs the overall bass extension will not be reduced,
however bass energy/ output around the port tuning frequency will be reduced.
This has the effect of reducing bass ‘boom’ while increasing bass clarity and
apparent agility.
In all circumstances experimentation is highly recommended.
Running-In Your Speakers
Run your speakers in by playing normal music at low-mid listening levels for
approximately 50-70 hours play time. You may find the sound will continue to
improve even after the 70 hour mark.
This can be done naturally over time: like a fine wine the performance will
improve with age.
Alternatively if you wish to run the speakers continuously on loop you can decrease the audible volume/presence by placing the speakers face-to-face so that the drivers/tweeters are directly aligned and as close as possible. Then connect the amplifier to your speakers so that one is as normal (in phase): positive to positive and negative to negative (red to red and black to black), and the other speaker out of phase: positive to negative and negative to positive inputs on the speaker.
Retention Bolt Adjustment
The new Silver Series has a bolt-through driver fixing to reduce cabinet
coloration. Each bolt acts as a rigid brace, but also removes the need for
conventional driver fixings as well, effectively decoupling the driver and
front baffle to eliminate a further source of resonance.
NOTE: Should this bolt become loose over time, or has worked loose during
transit, then please use the supplied hex key to tighten the bolt back up.
This only needs to be a quarter turn after the strain has been taken by the
bolt.
Warranty
Both the craftsmanship and the performance of this product is covered by the
manufacturer’s warranty against manufacturing defects provided that the
product was supplied by an authorized Monitor Audio retailer under the
consumer sale agreement. For the period of cover please refer to the product
page on our website: monitoraudio.com for the product you have purchased.
When purchasing Monitor Audio products, please keep your receipt of purchase
safe, as this validates your warranty.
- Owner Information
- Product Details
- Model:
- Product Serial No:
- Date of Purchase:
- Dealer Details
- Dealer Name:
- Address:
- Post code:
- E-mail address:
Monitor Audio reserves the right to alter specifications without notice.
Specifications
| Silver 50| Silver 100| Silver 200| Silver
300| Silver 500| Silver C250| Silver FX|
Silver AMS
---|---|---|---|---|---|---|---|---
System Format
|
2 – way
|
2 – way
|
2 1/2 way
|
3 – way
|
3-way
|
3 – way
| 2 – way Dipole/ Bipole|
2 – way
Frequency Response, In-Room (-6dB)
|
47Hz – 35kHz
|
35Hz – 35kHz
|
34 Hz – 35kHz
|
31Hz – 35kHz
|
27Hz – 35kHz
|
65Hz – 35kHz
|
81 Hz – 35kHz
|
76 Hz – 35kHz
Sensitivity (2.83v @ 1m)|
86dB
|
87.5dB
|
87.5dB
|
87.5dB
|
90.5dB
|
88.5dB
|
87.5dB
|
87dB
Nominal Impedance| 8 Ohms| 8 Ohms| 8 Ohms| 8 Ohms| 8 Ohms| 8 Ohms| 8
Ohms| 8 Ohms
Minimum Impedance|
3.9 Ohms @ 250 Hz
|
4.9 Ohm @ 170Hz
|
5.0 Ohms @ 240Hz
|
4.0 Ohms @ 160Hz
|
4.1 Ohms @ 150Hz
|
3.9 Ohms @ 170Hz
|
4.1 Ohms @ 240Hz
|
4.0 Ohms @ 230Hz
Maximum SPL (single, free-field)|
104dB
|
106dB
|
108dB
|
110dB
|
111dB
|
110dB
|
104dB
|
102 dB
Power Handling| 100W| 120W| 150W| 200W| 250W| 200W| 85W| 60W
Recommended Amp Requirements|
40-100W
|
40-120W
|
60-150W
|
80 – 200W
|
80 – 250W
|
80 – 200W
|
30 – 85W
|
30 – 60W
Crossover Frequency
|
2.6kHz
|
2.3kHz
|
2.7kHz
| L.F: 750Hz M.F/ H.F: 2.8kHz| L.F: 800Hz M.F/ H.F: 2.7kHz| L.F: 650Hz M.F/ H.F: 3.3kHz|
2kHz
|
2kHz
Port Tuning Frequency|
58Hz
|
42Hz
|
49Hz
|
40Hz
|
36Hz
|
N/A
|
N/A
|
N/A
Bass Alignment
|
Bass reflex. HiVe II port system
|
Bass reflex. HiVe II port system
| Bass reflex Dual HiVe II port
system
| Bass reflex Dual HiVe II port
system
| Bass reflex Dual HiVe II port
system
|
Sealed cabinet
|
Sealed cabinet
|
Sealed cabinet
Drive Unit Complement
|
1 x 51/4” C-CAM RST
II mid-bass driver 1 x 1” (25 mm)
C-CAM Gold Dome tweeter with UD Waveguide II
| 1 x 8”
C-CAM RST II mid-
bass driver
1 x 1” (25 mm)
C-CAM Gold Dome tweeter with UD Waveguide II
|
2 x 51/4” C-CAM RST
II mid-bass driver 1 x 1” (25 mm)
C-CAM Gold Dome tweeter with UD Waveguide II
| 2 x 6” C-CAM RST II
bass driver
1 x 3” C-CAM RST II
mid-range driver
1 x 1” (25 mm) C-CAM
Gold Dome tweeter with UD Waveguide II
| 2 x 8” C-CAM RST II
bass driver
1 x 3” C-CAM RST II
mid-range driver
1 x 1” (25 mm) C-CAM
Gold Dome tweeter with UD Waveguide II
| 2 x 51/4” C-CAM RST II
bass driver
1 x 3” C-CAM RST II
mid-range driver
1 x 1” (25 mm) C-CAM
Gold Dome tweeter with UD Waveguide II
| 1 x 6” C-CAM RST II
mid-bass driver 2 x 1” (25 mm) C-CAM Gold Dome tweeter with UD Waveguide II
| 1 x 51/4” C-CAM RST
II mid-bass driver 1 x 1” (25 mm) C-CAM Gold
Dome tweeter with optimised Waveguide*
External Dimensions including Grille and Terminals (H x W x D)|
282 x 165 x 272 mm 111/8 x 61/2 x 103/8”
|
375 x 230 x 332 mm 143/4 x 91/16 x 135/64”
|
885 x 165 x 272 mm 3313/16 x 61/2 x 103/8”
|
1000 x 185 x 332 mm
393/8 x 75/16 x 135/64”
|
1050 x 230 x 332 mm
415/16 x 91/6 x 135/64”
|
206 x 481 x 272 mm 87/64 x 1815/64 x 1045/64”
|
250 x 312 x 147 mm 913/16 x 135/64 x 513/16”
|
185 x 185 x 313 mm 75/16 x 75/16 x 1221/64”
External Dimensions including Outrigger Feet and Spikes
(H x W x D)
|
N/A
|
N/A
|
930 x 254 x 329 mm 3639/64 x 10 x 1261/64”
|
1045 x 274 x 389 mm
419/64 x 1025/32 x 155/16”
|
1095 x 319 x 389 mm
437/64 x 129/16 x 155/16”
|
N/A
|
N/A
|
N/A
Product Weight
| 5.6 kg 12 lb 6 oz| 9.4 kg 20 lb 12 oz| 13.7 kg 30 lb 3 oz| 19.3 kg 42 lb 9 oz| 22.5 kg 49 lb 9 oz| 10.6 kg 23 lb 6 oz| 4.5 Kg 9 lb 15 oz| 4.0 kg 8 lb 12 oz
Monitor Audio Ltd.
24 Brook Road
Rayleigh, Essex
SS6 7XJ
England
Tel: +44 (0)1268 740580
Email: info@monitoraudio.com
monitoraudio.com
©Monitor Audio Ltd. V1-2021