Multi-channel audio support on the Vengeance 2000 requires software, which is available for Windows only. Vengeance 2000 will function as a stereo headset in Mac OS X, but it will not provide multi-channel positional audio.
Under normal circumstances, you will never need to manually "pair" the Vengeance 2000 with the included wireless USB adapter ("dongle"). However, if the status indicator on the dongle does not stop blinking, you can try pairing the dongle and the headset.
Here's how to do it:
Turn the headset off by pressing the power button until the blue indicator light below the power button goes out.
Insert the wireless adapter into your PC's USB port.
With the end of an unfolded paper clip, press the recessed pairing button on the wireless adapter.
After about ten seconds, the indicator light on the wireless adapter will blink rapidly.
Press and hold the power button on the headset for about ten seconds, until the headset indicator light blinks rapidly.
The light on the wireless adapter will go solid blue, and the light on the headset will flash slowly (about two seconds between each flash)
The headset and wireless USB adapter are now paired.
The Vengeance 1500 and Corsair HS1 gaming headsets feature two sets of technology provided by Dolby: Dolby Headphone, and Dolby ProLogic IIx.
Dolby Headphone is responsible for accurately reproducing positional audio. If you're playing a multi-channel game or watching a movie with surround sound, Dolby Headphone takes the multi-channel signal delivered to the headset and applies advanced HRTF and other algorithms to deliver it the way the audio designer intended. There's no upmixing or adding of additional channels: if your enemy is behind you and to the left, that's where you'll hear him.
Dolby Headphone also applies audio processing to give you the feeling of listening to audio from speakers in a room, reducing the "in your head" effect that can lead to ear fatigue. It's a key part of the comfort equation that helps you play for hours and think about the game, and not the headset.
Dolby ProLogic IIx is an optional feature that allows for upmixing of stereo and 5.1 sources into simulated 7.1 surround sound. It's a technology that originated with home theater systems, and many people like to enable it on their home theater systems when listening to stereo music, so that the music is delivered to all the speakers. On a headset, it's not necessary when you're playing a game or watching a video with multi-channel audio. You may enjoy it with stereo sources as well, but if not, you can simply leave it turned off.
The most common cause for these issues is due to loose connections on the rear of the subwoofer. Please ensure that the connections on the rear of the subwoofer are securely connected by using one hand to hold the subwoofer in place and firmly pressing on the connections to make sure that the cords are fully plugged in.
The subwoofer uses a double chamber reinforced 12mm MDF construction with a professional grade black vinyl protective layer. The satellite speakers are 3.5mm PS with acoustically aligned elliptical/conic section horn flare. The tweeter is acoustically damped silk with ferrofluid cooling 16W continuous (FTC “RMS” power), and magnetically shielded rare-earth magnet structure. The midrange is a coated paper pulp with magnetically shielded rare-earth magnet structure with 40W continuous (“FTC “RMS” power) using rubber surrounds. The subwoofer is a folded paper with 120W continuous (“FTC “RMS” power) using rubber surrounds.
The SP2500 can work on a desk, bookshelf, or stand. Their response can be adjusted via the use of the built in DSP for reference, games, movies, music, entertainment and party (karaoke, club/theatre/stadium) response. The most accurate sound is attained using CLASSICAL EQ with “NONE” program mode. We are working on other configurations that will be available for update via DSP.
The Class D amplifiers in the SP2500 use a common architecture for all modulation and drive stages. The modulators are integrated with our DSP cores and the drive stages are customized to drive the precise amount of power required for each loudspeaker driver unit. The drive stages for the Midrange and Tweeters have significant headroom, meaning that the amplifiers could theoretically blast those midrange or tweeters into thermal oblivion [and we did blow a few in the lab during development - the tweeter in particular was suped-up to use ferrofluid cooling so that we could drive high power out to 20kHz]. The headroom allowed us to get the lowest distortion of any product in this class.
This philosophy allowed us to increase the power of the system on the first day of production. We started the line up and found that we were exceeding our target of 220W on every single unit tested with wide margin, so we reprinted the boxes to show the actual 232W of power that the units actually put out.
Two 60W amplifiers in a bridge configuration provided much lower distortion than one 120W unit and allowed us to use the 60W design like a cookie cutter to decrease design complexity and lower cost. This is one of the many design choices we made to keep the cost low while providing the highest performance possible, and turned out to be a win-win decision.
There are 3 inputs available. On the Subwoofer you will find a single 3.5mm stereo jack along with an RCA stereo auxilary input for gaming systems. There is also an additional 3.5mm stereo auxilary input on the right satellite for MP3 players and other devices.
To navigate the menus on the remote, first press the middle "Menu" button on the remote. Use the dial on the remote to scroll through the items within the menu and then press down on the dial to select a menu option. Once selected you can scroll through the different options for each menu item and then press down on the dial to select your option.
Our remote on the SP2500 uses an SVGA connection which is found on some monitors. You can use a standard SVGA extension cable to extend the length of the remote, as long as it has both male and female connectors. Make sure you get the SVGA cable, because a standard VGA cable will not allow the speakers to transmit the audio signal.
We designed the SP2500 to have a fully usable range of volume. This means that you can turn the speakers all the way up to the max without worrying about sound quality deteriorating or wearing out your speakers prematurely. These speakers are rated to run at maximum volume for up to 48 hours, turn them up as loud as you (or your neighbors) can stand!
First make sure that the speakers are not muted. To mute/unmute the system select the volume button on the bottom left corner of the remote, and then press down on the volume control dial. To unmute the system you can also simply twist the volume dial and your selected volume will override and disable mute.
The SP2500 has 3 different inputs, you will want to be sure that you have selected the proper input on the remote. "Line In" is the input that should be selected if you want to listen to a device that you have connected to the RCA jacks on the rear of the subwoofer. "AUX1" should be selected if you are looking for the device connected to the 3.5mm jack on the rear of the subwoofer. "AUX2" should be selected if you want to hear the device that is connected to the 3.5mm jack on the top of the remote.
The SP2500 gives you the ability to independently control subwoofer volume, and in addition to this, the subwoofer also has its own mute option. To check to see if your subwoofer is muted, press the subwoofer button on the bottom right corner of the remote then make sure the volume is turned up to the desired level. While on the subwoofer volume menu you can press down on the round selector dial to toggle mute/unmute. When the subwoofer is muted, the subwoofer icon on the remote's display will be greyed out.
The foam pads are made with open cell foam, so they should not be immersed in water. You can use the sticky side of tape or a lint removal tool to clean the ear pads, or a gentle wipe with a damp cloth on the fabric would also be fine
The HS1 renders all audio accurately, even explosions and the fire of large caliber weaponry. We’ve strived to create a product that reproduces audio exactly as the audio engineer or designer intended it, whether it’s a first-person shooter, an audio recording, or an action movie.
Gaming headsets with an overboosted low-end might create a good first impression, but, fall apart in the mid-band so you can’t hear “com-chatter” when your partner warns you of the zombie approaching on your blind spot, and can’t localize with the high frequency sound details the sound designers put in the game mix. Also, when you want to listen to other types of audio it’s best to retain as much dynamic range across the whole audio band. Of course, if you want to crank up the low end on the HS1 to get a similar effect when you’ve launched an FPS game, you can do that too – see the previous question.
Our goal is to create a great product in the $99 price range. We’ve done this by talking to customers about what they want and how they use their headsets, and creating a simple, durable product that focuses on what’s important: audio quality, comfort, and reliability.
In our evaluation of the gaming headset market, we’ve found several products which emphasize features at the expense of material quality, so the end result is a plasticky-feeling product that may not be as comfortable as it could be, or which is liable to wear out sooner than it should. We’ve designed the HS1 to last the active enthusiast through years of use and abuse.
Our goal was not to create the best-sounding $99 gaming headset on the market, or even to create a gaming headset that’s as good as $150 models. Our goal is to create the best-sounding gaming headset on the market. This is an endeavor which has influenced everything from the choice to use 50mm drivers, to our obsessive focus on baffle orientation and geometry, and even our selection of padding and fabric materials.
But, hearing is believing. We invite you to compare the HS1 to the finest gaming headset you can find, and tell us what you think.
EQ can be used to trim response at particular frequencies, but cannot effectively be used to boost response – you can’t boost what’s not there. If you take an “explosion-optimized” gaming headset and use software EQ to try to boost the midrange where the frequency response dips, you’ll end up with distortion and run out of dynamic headroom – that is, you’ll lose the effect of games and music with wide range of volume in the midrange band… which describes most music and games. You’ve already boosted your midrange, and it can’t be boost much more.
But since EQ can be used to trim response, if you want to emphasize the low end on the HS1, you can lower the EQ for the midrange and high ends while keeping the low end EQ at the default. This will create a “bass shelf” and mimic the effect of an “explosion-optimized” headset. The HS1 gives you the best of both worlds.
Big drivers sound better than small drivers. This is immediately understood who’s listened to the same music on large home audio speakers and a portable iPod dock. But explaining why and how they sound better requires a little more detail.
A 50mm driver has 56% more surface area than a 40mm driver (thanks to the “A = πr2” formula we learned in elementary school). It also has a proportional increase in what audio scientists call “volume velocity,” or “acoustic impedance.” This translates into a measurement that the same scientists refer to as “acoustic power” or “sound power.” A 50mm driver has an increased sound power of 143%. You can look up these terms on Wikipedia for more details on how they’re calculated.
The additional sound power allows the driver to reproduce audio that’s much more detailed. If your audio source has a lot of things going on at once – a 24-track musical “wall of sound,” for instance, or a boss level in a game where you have way too many enemies firing way too many types of weapons your way – a driver with more sound power can recreate each of these more accurately, while a smaller driver is more liable to lose details in the noise.
This means that listening is more enjoyable, with less distortion – whether it’s distortion that you can immediately notice, or if it’s the continuous, low-grade distortion that irritates you on a subconscious level, contributes to ear fatigue and makes you want to stop listening.
Beyond enjoyment, there’s a practical advantage when playing games – you need to hear the voices of your teammates during the massively insane firefights. While this won’t be an issue 90% of the time (a good game audio designer will test on various types of speakers and headphones), it’s that 10% that counts.
The first question to answer is “how do humans detect sounds all around them, when we have just two ears?”
The answer is that we’ve learned to determine the position of a sound based on the subtle changes to the sound depending on how it reaches our ears. For instance, a sound wave that travels over the back of your ear before reaching your ear canal will be slightly modified in a way that’s different than the modification that takes place with sounds that come at you from the front. We figure this out subconsciously, and it’s not a skill we’re born with – we learn how to do this as infants.
Audio scientists have been studying these effects for decades, and they have a name for these position-based changes: head-related transfer functions, or HRTFs. Scientists have learned how to apply these functions to sounds to make them appear to come from any direction. In other words, the functions simulate the effect of the sounds coming from front or behind you. The HS1 provides surround sound using HRTF technology developed by the experts at Dolby. A key to the effectiveness of this technology is the design of the headset itself, and we have found competitive products that have licensed the same Dolby technology, but lack the proper response curve for effective HRTF. So, if you’ve tried other surround sound headsets which use HRTFs and have not been impressed, please give the HS1 a serious evaluation.
That being said, there is a certain percentage of the population for which HRTFs aren’t effective. A lot of acoustic science has gone into developing this technology, but it can’t accommodate for everybody’s unique head and ear shape. If you fall into this category, you can be assured that you’ll still enjoy great-sounding stereo audio with the HS1.
Dolby Headphone also incorporates Dolby ProLogic IIx technology, which up-mixes stereo and 5.1 audio sources into 7.1 audio. It can create a feeling of spaciousness and depth that you don’t hear in the original source. It’s the same technology that’s ubiquitous in home audio. However, if it’s not to your liking for whatever reason, you’ll be happy to know that it’s optional.
Dolby Headphone also applies processing to simulate the effect of listening to speakers in a room. It doesn’t attempt to make the instruments and musicians appear to be placed far away; rather, it makes the audio source sound much as it would if you were in your living room listening to music on your audio system, rather than wearing headphones. This reduces the effect of audio appearing to come from “in your head” and can greatly reduce what is known as “headphone fatigue,” the syndrome where you get tired of music that appears to emanate from your skull.
In our testing, we’ve noted that Dolby Headphone works great for most audio sources, but there are some types of recordings where the effect adds a little too much processing. That’s why Dolby Headphone, like Dolby ProLogic IIx, is an optional setting. We recommend that you try it with a variety of audio sources, and play with the configuration options that allow you to choose the simulated room size. We think that you’ll find that for many types of audio, it adds a sense of realism that you can’t get with ordinary stereo headsets.
The choice to use 50mm drivers, rather than the industry-standard 40mm drivers, was just the first step of the journey. There’s much more to creating a great headset beyond investing in the right high-quality components. Our audio engineering team looked at every parameter that affects accurate audio reproduction, including driver design and alignment, baffle geometry and angle, and the acoustic tuning of the materials chosen for the ear-pads and liner material.
“Circumaural” means “around the ear.” The other type of commonly used earcup design is “supra-aural,” resting on the ears.
Circumaural earcups provide superior noise isolation. Noise isolation is important for LAN parties and other noisy, high-distraction environments – you want to get your head into your game (or your movie, or your music) without noise filtering in, and others around you may not want to hear what you’re listening to.
When designing a Circumaural headset, the key to comfort is relatively light weight, without creating pinch points or touching the ears. We’ve accomplished this by using extra-large earcups that we tested on people who sport some of the largest ears we could find. Our use of memory foam allows a firm, uniform seal, without exerting too much pressure on the head. The fabric covering allows for less slip than imitation leather, and reduces the excess moisture that leather-like materials can cause.
Closed-back earcups are sealed against sound leaving or entering the earcup. Compare this to open-back earcups, which have perforations, slots or another type of opening in the earcups that allow some environmental sound in, and allow some of the audio from the earcups to escape. Open-back designs do not allow for adequate noise isolation.