The Blue Sky BMC MK III continues this lineage and philosophy of high value and superior performance products. Designed for use with 5.1 channel monitoring systems (and beyond!), the Blue Sky BMC MK III allows for complete control of all monitoring system parameters from a single, easy-to-use, remote control.

The Blue Sky BMC MK III eliminates the many variables of putting together a reliable, easy to calibrate 5.1 monitoring system, allowing the user to monitor with confidence!

Updated / New Features

• A redesigned remote, with additional indicator LED’s and controls
• New input solo mode, which includes allowing the user to solo multiple channels at the same time.
• LFE trim: in additional to the previous 0dB and +10dB settings, there is now an additional fine adjust trim range of +/- 2dB. This is particularly useful for users that are trying to perfectly match the LFE level in a small bass-managed monitoring studio to a larger dubbing stage or cinema.
• -3dB “film” surround offset, which drops the input level of the left and right surround channels -3dB relative to the other channels, to match standard SMPTE cinema calibration practices.
• The ability to turn off bass-management just for the surround channels. This limits their response to 80Hz, to better mimic the ‘typical’ cinema surround channel playback speakers, which are often not full-range.
• 4 presets, which include the following factory default settings:
  • Standard “Blue Sky LFE +10″
  • Film Surround -3dB
  • 6 Channel Volume Control
  • Film + Small Surround
• Each of the above settings can be renamed or customized, can include their calibration levels, etc.
• Additionally, the performance of the BMC MK III electronics has been greatly improved and now features a signal to noise ratio of >120dB. Output Noise has also been reduce to at -100dB (-90dB for the SUB out).

Employing Blue Sky’s proprietary computer-optimized crossover and bass management networks, the Sky System One delivers seamless full-range audio from the subwoofer to the main monitors with smooth on and off-axis frequency response. In addition, the Sky System One is THX pm3® approved for use in THX pm3® certified studios.

Sky System One delivers accurate, full-range nearfield monitoring in a wide variety of 2.1, 5.1 and beyond, surround sound applications. As is the case with all Blue Sky monitoring systems, Sky System One made extensive use of the proprietary BOO™ (Binary Organic Optimization) technology in the development of the crossover and bass management networks to ensure a seamless spectral experience in ‘real world’ monitoring environments.

Employing Blue Sky’s proprietary computer-optimized crossover and bass management networks, the Sky System One delivers seamless full-range audio from the subwoofer to the main monitors with smooth on and off-axis frequency response. In addition, the Sky System One is THX pm3® approved for use in THX pm3® certified studios. By adding three additional satellite speakers and a Blue Sky Bass Management Controller, the system is easily expandable for use in a 5.1 surround sound monitoring setup.

Sky System One delivers accurate, full-range nearfield monitoring in a wide variety of 2.1, 5.1 and beyond, surround sound applications. As is the case with all Blue Sky monitoring systems, Sky System One made extensive use of the proprietary BOO™ (Binary Organic Optimization) technology in the development of the crossover and bass management networks to ensure a seamless spectral experience in ‘real world’ monitoring environments.

The bass management for a 5.1 system is incorporated within Blue Sky’s Bass Management Controller (BMC) MKIII, which also provides calibration and level control. Additionally, two BMC’s can be combined to expand a ProDesk MKIII 5.1 system, all the way up to 10.2 channels of audio.

A ProDesk™ MKIII 5.1 system is designed for use in professional desktop music and audio production applications using computers and digital audio workstations, including audio editing, film, video and broadcast post production. Because of the many variables associated with room acoustics, independent subwoofer and satellite level controls are provided. These allow the user to adjust the level of the sats and sub to achieve seamless full-range response, from below 30Hz to beyond 20kHz.

The bass management for the 2.1 system is incorporated within the SUB 8 or SUB 8 Universal Subwoofer which is, of course, an integral part of the system, and features an 8″ woofer driven by a 100-Watt power amplifier. When used in conjunction with Blue Sky’s Bass Management Controller, ProDesk can also offer an extremely high performance 5.1 monitoring solution for desktop audio and music production applications.

A ProDesk™ 2.1 system is designed for use in professional desktop music and audio production applications using computers and digital audio workstations, including audio editing, film, video and broadcast post production. Because of the many variables associated with room acoustics, independent subwoofer and satellite level controls are provided. These allow the user to adjust the level of the sats and sub to achieve seamless full-range response, from below 30Hz to beyond 20kHz.

“The Stand” is compatible with Blue Sky’s SAT 8, SAT 6.5 and SAT 5 monitors using the standard bolt pattern on the main mounting plate, and for those near-field monitors that do not come with standard mounting patterns on the bottom, the optional “Universal Accessory Kit” is offered. “The Stand” base includes four 1/4″ x 20 threaded inserts for optional spiked feet and the entire stand is finished in high quality chrome and black paint.

The SUB 15 Universal is also the second subwoofer from Blue Sky which allows you to add true low frequency extension to your existing nearfield and mid-field monitors. To accomplish this, the SUB 15 Universal includes dualindependently tunable, state variable, high pass and low pass filters (50hz to 160Hz) with 4th order slopes.

The SUB 212’s unique “push-pull” configuration is designed not only to increase output, but also to reduce distortion. A push-pull subwoofer uses two drivers: one mounted facing forward, the second mounted backward with the magnet facing out. Utilizing two drivers doubles the maximum output, while the push pull configuration reduces even harmonic distortion. Typically, in a more conventional design, at high output levels, second harmonic distortion dominates the distortion spectrum of most subwoofer drivers and is caused by asymmetric operation of the suspension and magnetic structure. In simple terms; the output of the driver is slightly different when the cone is moving away from the magnet, as compared to when it is moving toward its magnet.

Push-pull operation reduces this even harmonic distortion in a clever application of physics. As mentioned before, push-pull uses two drivers, one reversed from the other. The bottom driver has its magnet facing out of the box and is driven electrically out–of–phase from the front driver, which keeps both drivers acoustically in phase. However, when the front driver’s cone is moving away from its magnet, the bottom driver’s (reversed) cone is moving towards its magnet. This puts the even harmonic distortion components of the bottom driver out-of-phase with the front driver. When you combined the outputs of both drivers, the even harmonic distortion of both drivers cancels, reducing the overall distortion of the subwoofer.