reflective acoustical comb filter effect

reflective acoustical comb filter effect
Wilson Audio ® is a registered trademark of Wilson Audio Specialties, Inc.
Cub ®, WATT/Puppy®, MAXX® and X-1/GrandSLAMM® are registered trademarks of Wilson Audio
Specialties, Inc.
WATCH Center TM, WATCH SurroundTM, and WATCH SubWooferTM are trademarks of Wilson Audio
Specialties, Inc.
This manual was produced by the Wilson Audio Engineering Department in cooperation with Sales
and Marketing. The information contained here in is subject to change without notice. Current Revision 1.0, if you are in need of a more recent manual please contact your dealer.
The information in this manual is the sole property of Wilson Audio Specialties, Inc. Any reproduction in whole
or in part without the express written permission of Wilson Audio Specialties, Inc. is prohibited. No material
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without the express written permission of Wilson Audio Specialties, Inc.
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SECTION 1.0 WATCH INTRODUCTION................................................................... 1-1
WATCH .................................................................................................... 1-1
SECTION 1.1 APPLICATIONS .................................................................................... 1-2
APPLICATIONS ............................................................................................. 1-2
DESIGN CONSIDERATIONS............................................................................. 1-3
ENCLOSURE MATERIALS TECHNOLOGY .......................................................... 1-3
ADHESIVE ................................................................................................... 1-3
DEPTH OF DESIGN ....................................................................................... 1-4
SECTION 1.2 WATCH PACKAGE ........................................................................... 1-4
WATCH CENTER ...................................................................................... 1-4
WATCH SURROUND .................................................................................. 1-5
WATCH SUBWOOFER ................................................................................. 1-5
WATCH SUMMARY .................................................................................... 1-6
SECTION 2.0 CARE OF THE FINISH ......................................................................... 2-1
BREAK IN PERIOD ....................................................................................... 2-2
BINDING POSTS ........................................................................................... 2-2
SECTION 3.0 ROOM REFLECTIONS ......................................................................... 3-1
SLAP-ECHO ................................................................................................ 3-1
STANDING WAVES ....................................................................................... 3-2
COMB FILTER EFFECT .................................................................................. 3-3
SECTION 3.1 RESONANCE ....................................................................................... 3-5
STRUCTURAL RESONANCE ............................................................................. 3-5
AIR VOLUME RESONANCE ........................................................................... 3-5
SECTION 4.0 INITIAL SYSTEM SETUP- MULTICHANNEL OPTION .............................. 4-1
SYSTEM SETUP PROCEDURE ........................................................................ 4-1
ZONE OF NEUTRALITY ................................................................................. 4-2
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SECTION 4.1 CHOOSING A LISTENING POSITION ..................................................... 4-3
LEFT AND RIGHT SPEAKERS ......................................................................... 4-3
SPEAKER PLACEMENT VS. LISTENING POSITION.............................................. 4-3
SPEAKER ORIENTATION ................................................................................ 4-3
CENTER CHANNEL ....................................................................................... 4-4
SURROUND CHANNEL .................................................................................. 4-5
SUBWOOFER .............................................................................................. 4-5
SECTION 4.2 INITIAL SETUP SUMMARY................................................................... 4-6
SECTION 5.0 INITIAL SYSTEM SETUP- 2 CHANNEL OPTION ..................................... 5-1
SYSTEM SETUP PROCEDURE ........................................................................ 5-1
ZONE OF NEUTRALITY ................................................................................. 5-2
SECTION 5.1 CHOOSING A LISTENING POSITION ..................................................... 5-3
SURROUND CHANNEL .................................................................................. 5-3
SECTION 6.0 PREPARATION .................................................................................... 6-1
SETUP PROCEDURE ...................................................................................... 6-1
SECTION 6.1 SAFETY WARNING ............................................................................. 6-3
SECTION 6.2 MOUNTING THE WALL BRACKET ....................................................... 6-4
MARKING LOCATION ................................................................................... 6-4
DRILLING PILOT HOLES ............................................................................... 6-5
MOUNTING BRACKET .................................................................................. 6-6
SECTION 6.3 PLACING SURROUND .......................................................................... 6-6
PLACING SURROUND ON BRACKET ................................................................ 6-7
SECTION 6.4 CONNECTING SPEAKER TO AMPLIFIER.............................................. 6-10
SPEAKER CABLES ..................................................................................... 6-11
SPADE LUGS ............................................................................................. 6-11
SURROUND SETUP COMPLETED................................................................... 6-12
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SECTION 7.0 INTRODUCTION .................................................................................. 7-1
SECTION 7.1 LEFT AND RIGHT CHANNELS ............................................................. 7-2
DETERMINING FRONT TO BACK DISTANCE..................................................... 7-2
DETERMINING SIDE TO SIDE DISTANCE ......................................................... 7-3
SECTION 7.2 INTEGRATING THE WATCH SYSTEM ................................................. 7-4
INTEGRATING THE WATCH CENTER............................................................. 7-4
INTEGRATING THE SURROUND CHANNELS ...................................................... 7-5
INTEGRATING THE SUBWOOFER ..................................................................... 7-6
SECTION 7.3 TWO CHANNEL FINAL SETUP PROCEDURE .......................................... 7-7
SECTION 8.0 WATCH SPECIFICATIONS ................................................................. 8-1
GENERAL ................................................................................................... 8-1
IMPEDANCE ................................................................................................ 8-2
SECTION 9 WARRANTY INFORMATION .................................................................... 9-1
APPENDIX A TROUBLE SHOOTING GUIDE ............................................................. A-1
APPENDIX B REPAIR PROCEDURES .........................................................................B-1
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FIGURE 1.1 WATCH CENTER...............................................................................................................1-4
FIGURE 1.2 WATCH SURROUND...........................................................................................................1-5
FIGURE 3.1 COMB FILTER EFFECT........................................................................................................3-4
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6.1 SURROUND MOUNTING BRACKET........................................................................................6-2
6.2 MOUNTING LOCATIONS FOR A CONCRETE WALL ...................................................................6-4
6.3 MOUNT LOCATIONS FOR WALL STUD OR WOOD SUPPORT. ..................................................6-5
6.4 SURROUND HARDWARE ATTACHMENT .................................................................................6-6
6.5 PLACING THE SURROUND CHANNEL ONTO THE MOUNTING BRACKET ..................................6-7
6.6 LOWERING SURROUND CHANNEL ONTO UPPER SPIKES ........................................................6-6
6.7 POSITIONING LOWER SPIKE................................................................................................6-9
6.8 SPADE LUG ATTACHMENT................................................................................................. 6-11
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WATCH
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SECTION 1.0 WATCH INTRODUCTION
WATCH ™
If your passion is home theater, and you have sought the full sensory experience
created as your eyes absorb the vision and your skin awakens to the power of the
sound, Wilson Audio has your answer. Introducing WATCH.
While all Wilson speakers are designed to take full advantage of todayʼs popular
multichannel formats, WATCH is the first Wilson system designed from the ground
up to excel specifically at home theater performance. Best of all, it comes in a
package as small or as large as you desire.
The fact is, you havenʼt truly experienced home theater until youʼve felt the impact,
power and passion of a film score the way the director intended it, and no company
will deliver this passion like Wilson Audio. Thatʼs why in the past decade, more
blockbuster hits have been mixed, composed, or recorded using Wilson Audio than
any other loudspeaker.
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SECTION 1.1 APPLICATIONS
APPLICATIONS
For more than 20 years, Wilson Audio loudspeakers have set the standard
for performance in a wide variety of 2 channel audio and multichannel home theater applications. The WATCH (Wilson Audio Theater Come Home) surround system was designed to offer a more compact and versatile home theater option for
those with limited space. Purchasing a surround system design by Wilson Audio
insures the very best possible integration with your Wilson Audio stereo loudspeakers. The Watch system is designed to integrate with the Cub, WATT/Puppy, MAXX
and in many instances the X-1 Grand SLAMM.
Using structural enclosure, speaker driver, and geometric time alignment
technologies developed for the WATT/Puppy, MAXX and the X-1 Grand SLAMM,
the WATCH system is truly the thoroughbred of its class, and is well suited to carrying on the heritage of Wilson Audio speakers.
One of David Wilsonʼs most important criteria in speaker development is that
a speaker meets the accuracy and dynamic demands of studio monitoring, analytical hardware and software evaluation, and of course, critical music and theater
sound track listening. Therefore, the WATCH has been designed to deliver all of the
speed, dynamics and musical accuracy to satisfy even the most demanding music
lovers. The WATCH system will provide years of satisfaction whether listening to
two channel audio, multichannel audio or todays latest movie sound track technology.
The WATCH has also been engineered to take full advantage of todayʼs
multichannel surround formats, especially the latest AC-3 (Dolby Digital) and DTS
(Digital Theater Systems) formats. The WATCH will provide the speed, dynamic
impact and realism you have come to expect in a high performance home theater
system.
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DESIGN CONSIDERATIONS
Your WATCH system has been designed to perform all of the specific functions of a high performance home theater system. This was a difficult task because of the many interactions that occur in a home theater environment. Because
the WATCH system was designed in-house and voiced with a variety of Wilson
speakers you can be sure that the driver blend will be excellent whether your system includes Cubs or X-1 Grand SLAMMs. To accomplish this task David Wilson
and his engineering department used some extraordinary materials and enclosure
techniques. The discussion of a few of these follows.
ENCLOSURE MATERIALS TECHNOLOGY
Only the very best in materials are used in the WATCH enclosures. The enclosures of the WATCH system use the same proprietary techniques as have been
very successfully used in the X-1 Grand SLAMM, MAXX and the WATT/PUPPY
systems. The enclosures are made from a non-resonant material that is highlycross braced to further reduce cabinet resonance. In the most critical area, the
WATCH uses our proprietary “X” material, a very dense, strong composite, developed for the X-1 Grand SLAMM.
ADHESIVE
Whatʼs in an adhesive? Everything. This often over looked element is crucial to the
proper performance and longevity of a loudspeaker. Correct modulus of elasticity,
coefficient of thermal expansion and natural frequency response are just a few of
the important elements.
A highly cross-linked, thermoset adhesive is used for the construction of the enclosure. It was also chosen for its excellent bond strength, solvent resistance, hardness and optimum vibrational characteristics.
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DEPTH OF DESIGN
The combination of the best in composite materials and adhesive technology,
provided to us by the leaders in their industries, allows us to design enclosures
with unmatched performance. The WATCH system has been designed to eliminate
vibration and cabinet signature, while maintaining an internal acoustical integrity
that is simply, the best.
SECTION 1.2 WATCH PACKAGE
WATCH CENTER
Specifically designed to excel at center
channel functions, WATCH-Center is extremely
dynamic with high sensitivity and strong power
handling. Unlike most center channels, it provides listeners not only with optimal on-axis
response, but also smooth, linear, off-axis
response. This is in part a result of Wilson
PDC™, a technology first developed for Wilsonʼs WAMM and X-1 Grand SLAMM systems,
and later applied to the rest of the Wilson Line.
PDC (phase delay correction) allows for optimal tuning of a loudspeaker for various listening distances and heights, and gives listeners
much greater control over their sound.
FIGURE 1.1 WATCH CENTER
The WATCH center channel was designed from the ground up as a center
channel. It is not merely a standard speaker that was tipped onto its side. The center channel was voiced and optimized to truly represent dialogue for movies as well
as music and vocals when used in a multichannel audio setup.
Of course, WATCH-Center lives up to Wilson high standards of cutting edge
design, superior build quality, and stunning sonic performance. WATCH-Center is
shielded and is available with a matching stand.
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WATCH SURROUND
WATCH-Surround is a perfect example of performance disproportionate to size. With strong power
handling capacity and low-end frequency response
reaching 45Hz, this speaker will take your surround
sound to new heights. Unlike most surround speakers, WATCH-Surround is more than a noisemaker.
It brings accuracy, dynamics, and emotion to your
theater, and with itʼs gorgeous Mirrorgloss™ finish, it
looks right at home on your wall.
WATCH-Surround also minimizes wall/ceiling
resonant interactions through its advanced mounting
system. Perhaps the greatest challenge for a mounted speaker, these interactions cause coloration of
sound; accentuating some frequencies and effectively
masking others. Using state of the art materials technology first developed for the X-1 Grand SLAMM,
WATCH-Surround provides stunning results.
FIGURE 1.2 WATCH
SURROUND
The Surround wall mounting bracket allows
the Surround to be spiked to the bracket, further reducing wall interaction and resonance. The Surround can also be rotated in towards the listening position offering
improved integration with the front speakers and better imaging.
WATCH SUBWOOFER
The WATCH Subwoofer has been designed to integrate well with any of the
Wilson Audio loudspeakers you chose for your multichannel system. The bass is
clean, powerful, and uncolored. It offers speed, dynamics and clarity that are often
talked about with a Subwoofer, but rarely realized in the design. If you are looking
for that extra bass extension, the WATCH Subwoofer is the only solution to give
you truly high-end audio bass, without compromise.
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CONCLUSION
Finally, a home theater, designed from the ground up as multichannel, that is
truly high-end. Combine the structural and design considerations with the superior
sonic quality and finish and you find what makes Wilson Audio the leader in the industry. Wilson Audio delivers a product that maintains the strictest structural tolerances, durability and reliability. You will have consistent, repeatable performance,
unaffected by the climatic conditions, anywhere in the world. You are about to experience multichannel audio/home theater, like you never thought possible, except
from Wilson ....
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SECTION 2.0 CARE OF THE FINISH
Your WATCH Surround enclosures are hand-painted with Wilson gloss™ paint and
hand-polished to a high luster. While the paint seems quite dry to the touch, final curing
and complete hardening takes place over a period of several weeks. To protect the finish
of the Surrounds during final manufacturing, shipment, and setup in your listening room,
we have applied a removable layer of protective film over the finish. We recommend that
this film be left in place until the speakers are in their final location in your listening room.
Once you have determined their final position, remove the film by peeling it off. Do not
leave this film on indefinitely, as it will leave impressions on the paint. It is important
that the delicate paint finish of the WATCH speakers be dusted carefully with the dust cloth,
which has been provided. We recommend that the following procedure be observed when
dusting the speakers:
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Blow off all loose dust
Using the dust cloth as a brush, gently whisk
off any remaining loose dust
Shake out the dust cloth
Dust the finish, using linear motions in one direction parallel to
the floor. Avoid using circular or vertical motions
Because the paint requires a period of several weeks to fully cure, we recommend
that no cleaning fluids such as glass cleaners be used during this initial period of time.
When the paint is fully cured, heavy finger prints and other minor smudges may be removed
with a glass cleaner. Always use the dust cloth. Stronger solvents are not recommended
under any circumstances. Consult your dealer for further information if required. Periodic
polishing may be desired over the years to maintain the high luster of the finish. We recommend a nonabrasive carnauba-based wax and soft cloth.
Several pieces of the WATCH system are made of black “X” material. Where this
material is not painted it will require periodic polishing to maintain the semi-gloss finish.
We recommend a silicone based plastic polish (available at automotive supply stores).
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BREAK IN PERIOD
All audio equipment will sound its best after the components have been broken in
for some period of use. Wilson Audio breaks in all woofers and mid-range drivers for a 12 hour period. All drivers are then tested, calibrated, and matched for
their acoustical properties. In your listening room, expect 25-50% of break-in to be
complete after two hours of playing music fairly loudly. Ninety percent of break-in
is complete after 24 hours of playing. Playing a “disc repeat” overnight can accomplish this task quickly. Wilson Audio recommends chamber music for this task.
BINDING POSTS
The binding posts used with the WATCH are specifically made for Wilson Audio. David Wilson and his engineering team spent many hours listening to a variety
of binding posts and making modifications to each until the most musical combination was achieved.
Note: The binding posts should be tightened only snugly. Over tightening can result
in the breakage of the posts. Please take care when attaching the spade lugs to the WATCH
System.
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Note: The following section presents important information on room acoustics. These important concepts for two channel audio become even more important when dealing with
multichannel audio or home theater. The presence of more than two speakers in a room only
increase the amount of setup difficulties and speaker interactions. By studying carefully the
concepts presented and then evaluating your own room configuration, you will hear marked
improvement in the performance of your multichannel system.
SECTION 3.0 ROOM REFLECTIONS
There are 3 commonly encountered room reflection problems, slap-echo, standing
waves, and comb filter effects.
SLAP-ECHO
Probably the most obnoxious form of reflection is the slap echo. In slap echo, primarily mid-range and high frequency sounds reflect off of two parallel hard surfaces. The
sound literally reverberates back and forth until it is finally dissipated over time. You can
test for slap echo in any room by clapping your hands sharply in the middle of the room and
listening for the characteristic sound of the echo in the mid-range. Slap echo destroys the
sound quality of a stereo system primarily in two ways:
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Adding harshness to the upper mid-range and treble through
energy time storage.
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Destroying the delicate phase relationships which help to establish
sound stage and image localization clues.
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Nonparallel walls do not support slap echo, but rather allow the sound to diffuse.
Slap echo is a common acoustical problem in the typical domestic listening room, because most of these rooms have walls of a hard, reflective nature, usually being only occasionally interrupted by curtains or drapes. Slap echo can be controlled entirely by the
application of absorptive materials to hard surfaces, such as:
•
Sonex
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Airduct board
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Cork panels
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Large ceiling to floor drapes
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Carpeting to wall surfaces
In many domestic listening environments, heavy stuffed furnishings are the primary
structural control to slap echo. Unfortunately, their effectiveness is not predictable. Diffusers are sometimes also used to very good subjective effect, particularly in quite large
rooms. Sound absorbent materials such as described above will alter the tonal characteristic of the room by making it sound “deader”, much heavier in bass tonal balance,
less “bright and alive” and “quieter.” These changes usually make the room more pleasant for conversation, but sometimes render it too dull in the high frequencies to be musically involving. Diffusers, on the other hand, tend to not change the high frequency
tonal balance characteristic of the room, but make the sound more “open”. A combination of absorptive and diffusive treatments is usually the best approach.
STANDING WAVES
Another type of reflection phenomenon is standing waves. Standing waves cause
the unnatural boosting of certain frequencies, typically in the bass, at certain discreet locations in the room. A room generating severe standing waves will tend to make a loudspeaker sound one way when placed in one location and entirely different when placed
in another. The effects of standing waves on a loudspeaker’s performance are primarily,
as follows:
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Tonal balance- Bass too heavy
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Low-level detail- Masked by long reverberation time LF standing
waves
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Sound staging- LF component of image shifted
Standing waves are more difficult to correct than slap echo because they tend
to occur at lower frequencies, whose wave lengths are long enough to be ineffectively
controlled by absorbent materials such as Sonex. Moving speakers about slightly in the
room is, for most people, their only control over standing waves. Sometimes a change
of placement as little as one inch can dramatically alter the tonal balance of a system
because of standing wave problems. Fortunately, minor low frequency standing waves
are sometimes well controlled by positioning tube traps in the corners of the room. Very
serious low frequency accentuation usually requires a custom-designed bass trap system.
Low frequency standing waves can be particularly troublesome in rooms constructed of concrete or brick. These materials trap the bass in the room, unless it is allowed to leak out of the room, through large window and door areas.
In general, placement of the speaker in a corner will excite the maximal number
of standing waves in a room, and is to be avoided for most direct radiator, full range
loudspeaker systems. Some benefit is achieved by placing the stereo pair of loudspeakers slightly asymmetrically in the listening room so that the standing waves caused by
the distance between one speaker and its adjacent walls and floors are not the same as
the standing wave frequencies excited by the dimensions in the other channel.
COMB FILTER EFFECT
A special type of standing wave, noticeable primarily in the midrange and
lower high frequencies is the so-called “comb filter effect”.
Acoustical comb filtering occurs when sound from a single source, such as a
loudspeaker, is directed toward a microphone or listener at a distance. The first sound to
reach the microphone will be the direct sound, followed by delayed reflected sound. At
certain frequencies cancellation occurs, because the reflected sound lags in phase relative to the direct sound. This cancellation is most apparent where the two are 180 degrees out of phase. There is augmentation at other frequencies where the direct and the
reflected sounds arrive in phase. Because it is a function of wave length, the comb filter
effect will notch out portions of the audio spectrum at regular octave-spaced intervals.
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The subjective effect of comb filter effects, (such as is shown in Figure 3.1) is as follows:
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Added roughness to the sound
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Reduction of harmonic richness
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Smearing of lateral sound stage image focus and placement
Comb filter effects are usually caused by side wall reflections. They are best controlled by
very careful speaker placement and by the placement of Sonex or air duct panels applied to
that part of the wall where the reflection occurs.
REFLECTIVE ACOUSTICAL COMB FILTER EFFECT
FIGURE 3.1 COMB FILTER EFFECT
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SECTION 3.1 RESONANCE
Resonance in listening rooms are generally caused by two sources:
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The structures within the listening room
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The volume of the air itself in the listening room
STRUCTURAL RESONANCE
Structural resonances are familiar to most people as buzzes and rattles, but this type
of resonance usually only occurs at extremely high volume levels, and is usually masked
by the music. In many wood frame rooms, the most common type of structural resonance
problem is “booming” of walls and floors. You can test for these very easily by tapping
the wall with the heel of your hand or stomping on the floor. If it is a wooden floor, this is
done to detect the primary spectral center of the resonance. To give you an idea of what the
perfect wall would sound like, imagine rapping your hand against the side of a mountain.
Structural wall resonances generally occur in the low to mid-bass frequencies and add tonal
balance fullness to any system played in that room. They too are more prominent at louder
levels, but their contribution to the sound of the speaker is more progressive. Rattling
windows, picture frames, lamp shades, etc. can generally be silenced with small pieces of
caulk or with blocks of felt. Short of actually adding additional layers of sheet rock or book
shelves, to flimsy walls, however, there is little that can be done to eliminate wall resonances.
AIR VOLUME RESONANCE
The volume of air in a room will also resonate at a frequency determined by the size
of the room. Larger rooms will resonate at a lower frequency than will smaller rooms. Air
volume resonances, wall panel resonances, and low frequency standing waves, together,
combine to form a low frequency coloration in the sound. At its worst, it is a grossly exaggerated fullness, which tends to obscure detail and distort the natural tonal balance of the
speaker system. Occasionally, however, there is just enough resonance to give a little added
warmth to the sound... an addition some listeners prefer. Tube traps manufactured by the
ASC corporation have been found to be effective in reducing some of these low frequency
room colorations. While custom designed and constructed bass traps, such as perforated
Helmholtz resonators, provide the greatest degree of low frequency control.
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INITIAL SETUP INFORMATION- MULTI-CHANNEL SETUP
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Note: This section contains initial setup information for the all of the speakers of a
multichannel system with the surround channels. If you are using the speakers for
two channel audio, please proceed to section 5.
SECTION 4.0 INITIAL SYSTEM SETUP
We strongly recommend that you have a Wilson Audio dealer come to your
home and help you with the set up of the WATCH System. They have been trained
on setting up our systems to provide you with the most satisfying results. However,
if you choose to set up the system yourself we have provided some instruction that
will allow you to achieve very good performance from the WATCH System.
If you have not read the previous section on room acoustics, do so now. It
will provide you with valuable information for determining the overall best speaker
placements and listening position. As well as allow you to fully evaluate the acoustical qualities of your existing room and give you some ideaʼs on how you can improve your overall system performance.
SYSTEM SETUP PROCEDURE
We recommend that you setup your multichannel system as follows:
• Perform an acoustical analysis of your existing room.
• Find and mark the zones of neutrality for each of the speakers in the
WATCH system (more specific details are found below).
• Follow the setup procedures outlined section 5 and your left and right
channel owners manual.
• Perform the final system setup and fine tuning steps outlined in section 7.
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ZONE OF NEUTRALITY
The zone of neutrality is the speaker location where your speakers sound
most natural. This location is where the speakers interact the least with the room.
We realize that the location of your WATCH speakers are not very flexible. However, we recommend that you place your speakers in the general area where you
want them to be and then wait to spike them until the final system setup is completed in section 7. To find the zone of neutrality do as follows:
1. Stand against the wall BEHIND the speakers. Speaking in a moderately
loud voice and a constant volume, project your voice out into the room.
2. As you slowly walk out from the wall, (you will need to have another listener seated in the listening position to aid you in the evaluation) listen to
how the voice “frees up” from the added bass energy imparted by the rear
wall boundary.
3. When you hear the voice “free up” from this artifact, place a piece of tape
on the floor to mark this location. You will now be entering the “zone of neutrality”.
4. Continue to walk slowly away from the wall. You will hear the beginning of
a new artifact - the interaction with the opposite wall. This will manifest itself
in a sound that loses focus and appears to “slap” off of the wall back to you.
5. When you begin to hear this artifact, place a piece of tape on the floor
and mark this location.
6. Repeat the procedure coming off of the side walls, again listening for your
voice to lose the added bass energy from the wall behind you, and continuing until there is an obvious interaction with the opposite wall in front of you.
Do each side or speaker location individually. What you should have at the
end of this procedure are two rectangles on the floor (usually near the corners), which is your zone of neutrality for each channel.
Note: The more reflective or “live” sounding the room is, the more difficult it will be
to detect the changes in your voice, thus you may have to repeat this process until
the zones have been determined.
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SECTION 4.1 CHOOSING A LISTENING POSITION
Decide where you want your listening position to be. Please remember that
your WATCH System can fill most rooms with beautiful sound. However, for the
PDC advantage, we want to ensure that you get all the benefits possible with the
group delay adjustment features that are built into this design. Listening positions
that are to close to a boundary will deteriorate the overall system performance.
LEFT AND RIGHT SPEAKERS
SPEAKER PLACEMENT VS. LISTENING POSITION
The location of your listening position is as important as the careful setup
placement of your speakers in your room. The listening position should ideally
be no more than 1.1 to 1.25 times the distance between the left and right channel
tweeters on each speaker. Therefore, in a long rectangular room of 12ʼ x 18ʼ, if the
speaker tweeters are going to be 9ʼ apart, you should be sitting 9ʼ11ʼʼ to 11ʼ3ʼʼ from
the speaker. This would be about halfway down the long axis of the room. Experiment carefully for best low frequency response.
Some people place the speakers on one end and sit at the other end of the room.
Needless to say, this will not yield the finest sound. Carefully consider your listening
position for optimal performance. Our experience has shown that any listening position which places your head closer than 14” to a room boundary will diminish the
sonic results of your listening.
SPEAKER ORIENTATION
Speaker placement and orientation are two of the most important considerations in obtaining superior sound. The first thing you need to do is minimize the
influence of the side walls on the sound of your system. Speakers placed too close
to the side walls will suffer from a strong primary reflection. This can cause outof-phase cancellations, or comb filtering, which will cancel some frequencies and
change the tonal balance of the music. A good place to start is with the speakers
about 18” from each wall and, if you need to move them relative to the side wall,
move them away from the wall, not closer.
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Another important aspect of speaker placement is how far to place the
speakers from the wall behind them. The closer to the back wall the more pronounced the low bass energy and centering of the image will be. However, this
comes at a definite reduction in stage size and bloom, as well as a deterioration
of upper bass quality. You must find the proper balance of these two factors, but
remember, if you are partial to bass response or air and bloom, do not overcompensate your adjustments to maximize their effects. Overbalanced systems are
sometimes pleasing in the short term, but long term satisfaction is always achieved
through proper balance.
CENTER CHANNEL
After determining the general area for the Left and Right Channel, determine the
best place for your center channel, the following center channel configurations are
possible:
• Set on the floor with speaker angled up towards the listener.
• Mounted on stand with no rotation.
• Mounted on stand with longer spikes in the front of stand and shorter
spikes in the back allowing the stand and speaker to be rotated up toward
the listener.
• Mounted above TV on a custom made bracket.
• Mounted upside down on to ceiling with speaker angled down towards the
listener.
All of the above arrangements will allow for some fine tuning of speaker
placement once the entire system is set up except for the ceiling mounted option. If
you are mounting the speaker to the ceiling be sure to choose the location carefully
as you will not be able to move the center channel once it is bolted to the ceiling.
A poor placement will lower overall system integration and performance. As a general rule the distance from the main left and right tweeters to the listening position
should be the same as the distance from the center channel tweeter to the listening
position. This allows the sound provided by each speaker to arrive at the ear at the
same time. The phase delay correction will be made via the sliding tweeter module
on the center channel.
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Our testing has shown that a floor or stand mounted center channel integrates best when placed centered between the left and right speaker and either
aligned horizontally with the front inner edge of the left and right speakers or slightly behind the front inner edge. You will want to experiment with the center channel
distances and find the location that offers the smoothest left, right and center channel integration. We will step you through this process in Section 7.
SURROUND CHANNEL
Wilson Audio has done everything possible to eliminate the boundary interactions caused by mounting a speaker onto the wall. The mounting bracket allows
for significant improvements in detail, speed, and clarity. The surround channels
will perform well in almost any location they are placed. The mounting bracket and
the careful design of the surround channel has eliminated most of the sonic problems encountered when placing a standard speaker too close to a boundary. Nevertheless, we have performed extensive testing on the surround channel and found
that significant improvement on speaker linearity and integration can be achieved
by careful selection of the surround channel mounting location.
We realize that the location of the surround channel is generally set by the
architecture of the room. However, if you have some flexibility in the wall mounting location we suggest that you perform the zone of neutrality test, as outlined on
page 4-2. Find the area along the wall where your voice sounds the most natural
and has the least amount of reflections or standing waves. Be sure to listen for
room modes and frequency response peaks or dips.
SUBWOOFER
The subwoofer will perform very well in any location in the room. In general,
the closer you place the subwoofer to a wall or corner, the greater the augmentation of the bass. However, the increase in bass comes at a cost of perceived
speed, dynamics and bass clarity. We recommend that you experiment with the
placement of the subwoofer to find a balance of the above mentioned items with
which you are satisfied.
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SECTION 4.2 INITIAL SETUP SUMMARY
Ideally, the speakers should not be positioned too far from the listener, if
maximum resolution of low level detail is required (near-field monitoring). If possible, the speakers should be positioned out into the room, slightly asymmetrically
away from side and rear walls. The speakers should be toed-in toward the listener,
preferably so that the listener at his seated position can barely see the surface of
the inner side panel of the left and right speakers as he faces the speaker. It is
recommended that a distance of 2-3 feet, and possibly more, be maintained between the left and right speakers and the rear walls. A distance of at least 1 1/2 feet
should be maintained between the front panel of the left and right speakers and
reflective side walls. Use of sound absorbent materials may reduce the space requirement somewhat. Experiment for each room.
Be sure to place the center channel even with or slightly behind the front inner edge of the left and right speakers.
The surround channel should be mounted on the wall in a location that has
the least amount of reflections and standing waves. The location should have a
natural sound if you stand next to it and project your voice into the room.
The subwoofer has a great degree of flexibility in its placement. The final location will be determined by aesthetics and user taste, balancing the quality verses
the quantity of bass.
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INITIAL SETUP INFORMATION- TWO CHANNEL SETUP
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SECTION 5.0 INITIAL SYSTEM SETUP- TWO CHANNEL AUDIO
We recommend that you have a Wilson Audio dealer come to your home and
help you with the set up of on wall speakers. They have been trained on setting up
our systems to provide you with the most satisfying results. However, if you choose
to set up the system yourself we have provided some instruction that will allow you
to achieve very good performance from your speakers.
If you have not read Section 3 on room acoustics, do so now. It will provide
you with valuable information for determining the overall best speaker placements
and listening position. As well as allow you to fully evaluate the acoustical qualities
of your existing room and give you some ideaʼs on how you can improve your overall system performance.
SYSTEM SETUP PROCEDURE
We recommend that you setup your on wall speakers as follows:
• Perform an acoustical analysis of your existing room.
• Find and mark the zones of neutrality along the wall for each channel.
• Decide on a mounting location within the marked zone of neutrality.
• Follow the setup procedures outlined section 6.
• Perform the final system setup and fine tuning steps outlined in section 7.
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ZONE OF NEUTRALITY
The zone of neutrality is the speaker location where your speakers sound
most natural and interact the least with the room. We realize that the location of
your on wall speakers is not very flexible. Nevertheless, careful selection of the
mounting location will improve the performance of the speakers. To find the zone of
neutrality do as follows:
1. Stand on a chair against the wall, in the general location where you would
like to place the speakers. Speaking in a moderately loud voice and a constant volume, project your voice out into the room.
2. As you move down the wall, (you will need to have another listener
seated in the listening position to aid you in the evaluation) listen to how the
voice “frees up” from the added bass energy imparted by the ceiling boundary.
3. When you hear the voice “free up” from this artifact, place a piece of tape
on the wall to mark this location.
4. Repeat the procedure coming off of the side walls. Again, listening for
your voice to lose the added bass energy from the wall behind you, and continuing until there is an obvious interaction with the opposite wall in front of
you. Do each side or speaker location individually. What you should have
at the end of this procedure are two rectangles on the wall (usually near the
corners), which is your zone of neutrality for each channel.
Note: The more reflective or “live” sounding the room is, the more difficult it will be
to detect the changes in your voice, thus you may have to repeat this process until
the zones have been determined.
SECTION 5.1 CHOOSING A LISTENING POSITION
Decide where you want your listening position to be. Please remember that
your on wall speaker can fill most rooms with beautiful sound. However, for the
PDC advantage, we want to ensure that you get all the benefits possible with the
group delay adjustment features that are built into this design. Listening positions
that are to close to a boundary will deteriorate the overall system performance.
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SPEAKER PLACEMENT VS. LISTENING POSITION
The location of your listening position is as important as the careful setup
placement of your speakers in your room. The listening position should ideally
be no more than 1.1 to 1.25 times the distance between the left and right channel
tweeters on each speaker. Therefore, in a long rectangular room of 12ʼ x 18ʼ, if the
speaker tweeters are going to be 9ʼ apart, you should be sitting 9ʼ11ʼʼ to 11ʼ3ʼʼ from
the speaker. This would be about halfway down the long axis of the room. Some
people place the speakers on one end and sit at the other end of the room. Needless to say, this will not yield the finest sound. Carefully consider your listening position for optimal performance. Our experience has shown that any listening position
which places your head closer than 14” to a room boundary will diminish the sonic
results of your listening.
SURROUND CHANNEL
Wilson Audio has done everything possible to eliminate the boundary interactions caused by mounting a speaker onto the wall. The mounting bracket allows for
significant improvements in detail, speed, and clarity. The surround channels will
perform well in almost any location they are placed. The mounting bracket and the
careful design of the surround channel has eliminated most of the sonic problems
encountered when placing a standard speaker too close to a boundary. Nevertheless, we have performed extensive testing on the surround channel and found that
significant improvement on speaker linearity and integration can be achieved by
careful selection of the surround channel mounting location.
We realize that the location of the surround channel is generally set by the
architecture of the room. However, if you have some flexibility in the wall mounting
location we suggest that you perform the zone of neutrality test, as outlined on page
5-2. Find the area along the wall where your voice sounds the most natural and has
the least amount of reflections or standing waves. Be sure to listen for room modes
and frequency response peaks or dips.
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Note: Before setting up the Surround channels study carefully the sections 3-5 on room
acoustics and initial setup information. They provide valuable information on determining
the ideal room locations for your speakers.
SECTION 6.0 PREPARATION
BEFORE YOU BEGIN
• Inspect the speakers for shipping damage. Report any damage to
shipping company.
• Read carefully the safety warning in section 6.1 on page 6-3. This
will help you determine if you will need to re-enforce your wall prior to installing the Surrounds. Failure to read this section could result in the speaker
falling from the wall causing property damage or personal injury.
You will need the following items:
•
Supplied hardware kit
•
Tape measure
•
Known listening position
•
Hand Drill
SETUP PROCEDURE
Note: Be careful not to touch the driving elements when you are moving your Surround channel, you may damage the driver.
1. Gently slide the Surround channels out of the crate. Remove the plastic
outer bag. Do not remove the protective film until you are ready to place the
surrounds onto the mounting bracket.
Note: Do not cut the bag off of the Surround channels. You may mark the cabinet
or damage a driving element. Additionally, you will need this bag, if you need to
repackage the Surround. Save your shipping crates and all packing materials. They
are specifically designed to prevent harm from coming to your Surround channels.
2. Select the appropriate locations for the Surround speakers. ( see Section 3).
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3. Take a moment familiarize yourself with the mounting bracket. Note the
locations for mounting hardware, spikes, instruction plate and speaker wire
(see Figure 6.1) below. Notice that with some advanced planning you can
conceal your speaker cable by feeding it through the mounting bracket.
Note: There are two geometries of the Mounting Brackets, clockwise (CW) and
counter clockwise (CCW). They refer to the direction of adjustment rotation possible
for the Surround speakers. Usually you will want to rotate the speakers toward the
listening position.
UPPER SPIKE
HOLES
SPEAKER CABLE
FROM WALL
LOWER SPIKE
HOLE
SERIAL TAG
FIGURE 6.1- SURROUND MOUNTING
BRACKET
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SECTION 6.1 SAFETY WARNING
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SERIOUS INJURY MAY OCCUR IF YOU DO NOT FOLLOW THESE INSTRUCTIONS
CAREFULLY.
This wall mounting bracket was designed to be mounted into wood or concrete. The
Surround channel weighs over 50 Lbs. and requires that the mounting plate be firmly attached to the wall. We recommend that you have your professional home theater installers
mount the Surround channel to the wall. They can make sure that the mounting plate is properly attached to the wall. Before any holes are drilled you must make sure that there are no
electrical wires in the wall behind the speaker. If you cannot verify the location of all of the
electrical wiring do not proceed with the installation. Contact your contractor or an installation specialist.
Mounting
Surface
Evaluation
Is your wall strong enough to support the Surround speaker?
Wilson Audio has provided two different wall anchors depending on whether
you are mounting into wood or concrete. We have evaluated these anchors and
found them to securely attach the wall mounting bracket to the wall in most domestic environments in the U.S.A (specifically to cement foundations, 2”x4” studs, or
2 layers of reinforced plywood ). These attachments may also work well in other
countries. Because of the large variation in wall construction from country to country
we cannot predict their performance outside of the U.S.A. We recommend that you
have a professional evaluate your particular wall construction and determine the
ideal mounting hardware.
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SECTION 6.2 MOUNTING THE WALL BRACKET
The Surround channel mount has been designed to mount into concrete or at
least 1.5” thick wood. Depending your wall you may need to reinforce the wall before attaching the mount to the wall. Use care when attaching the wall mount. If it is
not attached correctly, it may fall and cause injury.
MARKING LOCATION
• Decide how the speaker cables will be routed to the speaker through the
opening in the mounting bracket or from some other location).
Using the template provided mark the mounting holes on the wall according to Figures 6.2 and 6.3 below.
• If you are mounting into concrete mark the outer 5 holes.
• If you are mounting into a wood surface, mark the 3 center holes.
• If you are not mounting into a wall stud but into a wood support, mark the
outer 5 holes.
CEMENT ANCHOR
DRILL 1/4”
CEMENT
ANCHOR
DRILL 1/4”
HOLE
1 3/4” DEEP
HOLE
1 3/4” DEEP
FIGURE 6.2- MOUNTING LOCATIONS FOR A CONCRETE WALL.
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ADDITIONAL HOLES
MOUNTING LOCATIONS
FOR WOOD SCREWS
FOR CENTER WALL
IF WOOD SUPPORT
STUD
IS AVAILABLE
FIGURE 6.3- MOUNT LOCATIONS FOR WALL STUD
OR WOOD SUPPORT.
Remember: Have you verified the location of all internal wall electrical wiring?
DRILLING PILOT HOLES
Drill the mounting pilot holes into the marked wall locations as follows:
• Concrete: drill a pilot hole 1/4” diameter and 1 3/4” deep using
provided cement drill bit and a hammer drill.
• Wood: drill a 3/16” diameter by 1 3/4” deep pilot hole.
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MOUNTING BRACKET
• Using the provided wall anchors (lag bolt or concrete anchor), washers and
ratchet with socket, position the correct mounting bracket (CW or CCW)
onto wall and screw into placing.
• Check that the mounting bracket is securely attached to the wall by pulling on the bracket. If properly attached the bracket should be able to support
200+ lbs.
SECTION 6.3 PLACING SURROUND
Attach the mounting spikes as indicated in Figure 6.4, by screwing them into
place until snug. Note the other hardware shown in the figure.
RESISTOR ACCESS
COVER
UPPER SPIKES
STAMPED #2
CROSSOVER ACCESS
MAIN INPUT
BINDING POSTS
LOWER SPIKE, STAMPED #3
FIGURE 6.4- SURROUND HARDWARE ATTACHMENT
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There are three different lower spike options, #2, #3, and #4. Start with the
Spike stamped #3. If needed, during final setup and system tuning you may change
this spike to improve the Surround channel integration.
PLACING SURROUND ON BRACKET
Place the WATCH Surround onto the bracket by lifting it up, then into the upper
spike holes. Finally, positioning the lower spike into the lower spike hole located on the mounting
bracket (see Figures 6.5-6.7).
FIGURE 6.5- PLACING THE SURROUND CHANNEL ONTO
THE MOUNTING BRACKET
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Note: The upper left spike location has 3 different possible locations, allowing for some rotation in towards the listening position. Place the spike into the spike hole that is closest to
the wall. The final location will be determined during the final setup and voicing performed
in Section 7.
FIXED SPIKE LOCATION
VARIABLE SPIKE LOCATION ( 3 POSITIONS)
FIGURE 6.6- LOWERING SURROUND CHANNEL ONTO UPPER SPIKES.
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SET LOWER SPIKE
INTO 1/4” HOLE,
GROUNDED INTO
LEAD.
FIGURE 6.7- POSITIONING LOWER SPIKE
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SECTION 6.4 CONNECTING SPEAKER TO AMPLIFIER
• Turn off the power amplifier(s) and remove the AC power cord from the
wall outlet.
• Lay out the speaker cables before hooking them up to the Surround channel.
Make sure that there are no kinks, twists, or rightangle bends in the cable. If
you need to turn corners, attempt to use a gradual curve as opposed to a
severe right-angled bend.
• Connect the negative (normally Black) end of the speaker cable to the high
current speaker binding post with the engraved “-” above it.
Note: Do not over tighten the binding posts. Overtightening can cause the posts to
break off.
• Connect the positive (normally Red) end of the speaker cable to the high current speaker binding post with the engraved “+” above it.
• Plug your amplifier(s) AC power cord into the wall outlet.
Note: Always attempt to keep your pair of speaker cables the same length. This will
ensure that the signals arrive at each speaker in the proper time frame, by traveling
the same distance to each speaker.
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FIGURE 6.8- SPADE LUG ATTACHMENT
SPEAKER CABLES
We recommend the use of the very highest quality loudspeaker cables, particularly
those designed for high frequency propagation correction and phase linearity. Beware of
“zip cord” type speaker cables which will smear the sound from your Surround channels,
and limit their effective bandwidth. Also, do not use braided litz type loudspeaker cables
as they will cause an unnatural brightness to the sound, compromise sound staging performance, and may cause instability, oscillation and damage in wide bandwidth solid state amplifiers.
SPADE LUGS
The spade lugs of some of the high quality cables often used with the Surround
channel are angled to reduce pressures on the cable during installation. Avoid the instinct
to push the cable’s spade lug ends all the way into the Surround channel’s connectors (see
Figure 6.8 ). Partial insertion of these angled spade lugs will actually improve the reliability
of the connection. Flat lugs may be fully inserted to connectors before tightening.
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SURROUND SETUP COMPLETED
This completes the initial setup of your Surround channel. Final system tuning and voicing should be performed as outlined in Section 7. Section 7 will evaluate your entire speaker setup and allow you to make small modifications in speaker
rotation and location (except of course the Surround channel), that will greatly improve the performance of your multichannel audio or home theater system.
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SECTION 7.0 INTRODUCTION
This loudspeaker placement method was developed by David A. Wilson, for
Wilson Audio Specialties, to find optimum loudspeaker location in any given room
within one hour. Participating in numerous audio/multichannel/home theater shows
with very different and difficult acoustic environments necessitated this procedure.
Currently, all Wilson Audio dealers employ this setup procedure for their customers,
in order to quickly and predictably achieve the best performance from their systems
(this procedure can be used successfully with ANY moving coil speaker system).
Proper system calibration is the most important step in the setup of your multichannel/home theater system. The WATCH system offers increased resolution and
overall system performance. This increased resolution allows you to fine tune your
system, thus increasing overall performance, more than any other system available.
Fine tuning and “voicing” generally involve only small changes in location
and rotation (or toe) of your multichannel system. With proper calibration you will
find that changes as small as 1 inch will have an impact on the performance of your
system. The following sections step you through this fine tuning process. Sections
7.1 and 7.2 will cover a multichannel setup. Section 7.3 will cover two channel audio. The multichannel setup will be done as follows:
•
ed.
•
•
•
Set up of Left and Right Channels, with all other speakers disconnectAdd the Center Channel
Add the Surround Channels
Add the Subwoofer
Adding one speaker at a time will allow you to easily evaluate the integration with the system and make the necessary adjustments to fine tune the setup.
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SECTION 7.1 LEFT AND RIGHT CHANNELS
DETERMINING FRONT TO BACK DISTANCE
The proper setup of the left and right channels is crucial for optimum system
performance. If these speakers are not set up correctly the entire system will suffer
from poor integration. Please follow these steps carefully:
• Place the speaker in an appropriate location relative to your screen and listening area. Make certain to remove the grilles and spikes.
• Toe the speakers in so that you can just barely see the inside edge when
seated in the primary listening position.
• Using removable masking tape, graph off the floor so that you can accurately move both speakers forward and backward in 1/2 inch increments.
• Place your multichannel processor into stereo mode.
• Using a piece of full range music (dynamic with a lot of low frequency information) played at a moderately high level, take notes on the sound quality.
Pay specific attention to upper and lower bass quality, dynamic contrasts, image height and focus.
• Move the speakers back or forward in 1 inch increments and then 1/2 inch
increments.
Note: Moving the speakers BACK will generally increase low bass, sharpen focus, lower
image height, and increase dynamics up to the point where you go too far, in which case
the sound will start to lose these qualities in addition to becoming boomy and slow sounding. Moving the speakers FORWARD will increase air and bloom, raise image height, and
generally increase the sense of space. Moving too far forward will cause the sound-stage to
become unnaturally high with a lack of focus, dynamics and low end extension.
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•
Find the front to back location where the bass is tight, dynamics are correct,
image is well focused and you find the best sound staging.
•
Mark this as your final front to back location.
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DETERMINING SIDE TO SIDE DISTANCE
The distance the speakers are from the side walls is very important. This distance determines the amount of comb filtering you will hear. In effect, you are “tuning” the comb filter interaction between the speaker and the wall. Perform the side
to side analysis as follows:
• Place a piece of tape on the floor parallel to the front edge of the speaker
and again mark off 1/2 inch increments side to side.
• Using only one channel/speaker at a time, you will now determine the optimum position with regard to the side walls.
Note: A high quality, solo piano recording works well for this step.
• While the music is playing, slowly move the speakers left or right 1 inch
then 1/2 inch at a time until you achieve the best harmonic integrity.
You should not need to move the speaker any more than one inch left or
right from the original location. Do this independently for each channel. What you
will hear when the speaker moves into the correct location is a reduction of hardness and muddied harmonics from the piano.
Note: If you continue moving the speaker past this point, you will begin to hear
again this fatiguing artifact.
When you have determined the optimum location for each speaker, mark
it carefully, and make certain the toe in is correct. When installing the spikes, the
speakers may shift slightly but you can move them precisely back to the correct location again using your tape markers.
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SECTION 7.2 INTEGRATING THE WATCH SYSTEM
Note: Many processors offer a setup guide that steps you through the integration
of each of the speakers. Specifically, setting speaker distances, delays and phase
rotation. These adjustments are made via internal electrical adjustments. We have
found that actual geometric changes, that is, moving the speaker location and rotation, offer improved results when integrating speakers. We recommend that you
follow the steps outlined below, evaluate your system performance and then make
adjustments in the processor. Ultimately, you will of course need to make level adjustments via the processor.
INTEGRATING THE WATCH CENTER
The next step in the setup process is fine tune the location and rotation of the Center
channel. Do as follows:
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Place the Center channel centered between the main speakers and even with
the front inner edge. Set the spikes as indicated in Center channel manual
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Follow the processor instructions on level adjustment. Adjust the level on the
Center channel so it matches in level with the left and right channels. Do
not be surprised if the Center channel requires 7-10 dB lower adjustment than
the left and right channel.
•
Make sure that only the front left, right and Center channels are connected.
•
With the center channel spiked, put on a multichannel audio track or movie
scene with which you are familiar.
•
Play the selection and listen for the integration with the main speakers. As the
audio moves across the three front speakers, listen for a smooth transition
from one speaker to the next. You should not hear any voids in the
sound stage.
•
Make 1/2” changes in front to back location until you find the Center channel
location that offers the best integration.
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IMAGE HEIGHT
Check the image height. Does the dialogue of a movie have the correct height? Is it
too low or too high?
If needed adjust the amount of rotation until the image height is correct. On a stand
or floor mounted Center channel, raising the front spikes will raise the image height, lowering the front spikes will lower the image height (you may need to add or remove a spacer to
get the correct image height).
CENTER ROTATION
Our testing has shown that a stand mounted Center channel, at listening distances
greater than 2-3 meters, requires the front of the center channel to be raised about 1”. This
is because the effects of comb-filtering are more noticeable the further you are away from
the Center channel. This combfiltering reveals itself as a slight nasal sound in the voice. If
you notice this in the sound you should raise the front spikes of your center channel until the
combfiltering is reduced. Often, raising the front spikes as little as 1/2” will eliminate the
combfiltering.
RESETTING THE PDC
Once the final rotation has been determined, you will need to reset the PDC. This
may be done as follows:
•
Measure the distance you have raised the speaker.
•
Slide the tweeter forward 1/2 of the distance you raised the
speaker.
Note: If you lowered the speaker, then the tweeter will slide back 1/2 of the lowered
distance.
Every system has a unique time and phase character which, can effect the PDC accuracy. Because of this, you may find that sliding the tweeter forward or backwards a few
positions increases the clarity and correctness of your Center channel. If you like, experiment with the tweeter position and lock it in position when you find the location you feel to
be most accurate.
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CENTER CHANNEL POLARITY
Establish the polarity of the Center channel according to the test disc provided. The
test disc will play pink noise through the Center channel together with alternating Left and
Right channels. If the polarity is correct on the Center channel you will hear the pink noise
centered between the Center channel and either the Left or Right speakers. If the polarity
is incorrect you will hear two point sources that are unfocused and located at each speaker
playing.
INTEGRATING THE SURROUND CHANNELS
• Follow the processor instructions on level adjustment. Adjust the level on the
Surround channels so they match in level with the front channels.
• Play a DVD that has a scene with something moving around the room. Listen for the correct spacial imaging. A correctly adjusted Surround channel
will have good imaging characteristics, seamlessly blended, and should be
just as transparent as the front channels.
• Adjust the rotation of the surround channel until you find the best integration.
Remember that the rotation has two different adjustments, rotation on the up
per two spikes and rotation by changing the lower spike.
Note: The surround channel rotates on the upper two spikes. Examine carefully this
rotation and the mounting bracket before trying to adjust the angle of rotation. Be
careful when rotating the speaker as it is very heavy and could fall off of the mounting bracket.
INTEGRATING THE SUBWOOFER
The subwoofer will perform well in almost any location in the room. In general, the closer you place the subwoofer to a wall or corner, the greater the augmentation of the bass. However, the increase in bass comes at a cost of perceived speed,
dynamics and bass clarity. We recommend that you experiment with the placement
of the subwoofer to find a balance of the above mentioned items with which you are
satisfied. For complete information on integrating a Wilson Audio subwoofer, please
refer to your subwoofer ownerʼs manual.
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SECTION 7.3 TWO CHANNEL FINAL SETUP PROCEDURE
The final step in setting up your on wall stereo speakers is to set the rotation.
Remember that the mounting bracket allows for the speaker to rotate on the upper
spikes. This rotation allows the speaker to be toed in towards the listening position. The lower spike can be changed to optimize the phase delay character of the
speaker and set the correct image height. For this purpose, three different length
lower spikes are provided. Careful evaluation of the rotation will significantly improve the performance of your speakers. Determine the correct rotation as follows:
• Sit in your listening position. Make certain to remove the grilles.
• Adjust the rotation of the speakers so that they are firing straight forward.
• Using a piece of full range music (dynamic with a lot of low frequency in
formation) played at a moderately high level, take notes on the sound quality. Pay specific attention to upper and lower bass quality, dynamic contrasts, image height and focus.
• Find the rotation where the bass is tight, dynamics are correct, image is
well focused and you find the best sound staging.
• Play a simple piece of music with one vocal only. The selection should be
one that you are familiar with and know to have clean and well focused
vocals.
• Find the lower spike (#2, #3, #4), that offers the most correct image
height and an overall naturalness in the voice.
• Set this as your final location.
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SECTION 8.0 WATCH SYSTEM SPECIFICATIONS
WATCH - SURROUND
Measurements:
Impedance:
Sensitivity:
Frequency Response:
8 Ohms, see Impedance Curve page 8-2
89 dB, 2.38 V input, measured @ 1m.
45Hz to 22kHz
Dimensions:
Height
Depth Unmounted
Depth Mounted
Width at Top
Width at Bottom
22.5”
8”
10.5”
9.5”
5”
Weight (uncrated):
WATCH-Surround
Universal Mount
50 lbs.
15 lbs.
Finishes:
Speaker -
Wilson Gloss Paint
Bracket -
Not painted (standard)
Neutral tone paint finish (optional)
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SURROUND CHANNEL IMPENDANCE CURVE
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WILSON AUDIO LOUDSPEAKER
LIMITED WARRANTY
TERMS AND CONDITIONS
LIMITED WARRANTY
Wilson Audio warrants its loudspeakers to be free of manufacturing defects in material and workmanship, subject to the conditions hereinafter set forth for a period of
90 days from the date of purchase by the original purchaser, of five (5) years, if a
Warranty Registration Form has been correctly filed at Wilson Audio, no later than
30 days after product delivery to the customer.
CONDITIONS
This warranty is subject to the following conditions and limitations. The Warranty
is void and inapplicable if the product has been used or handled other than in accordance with the instructions in the ownerʼs manual, abused or misused, damaged
by accident or neglect or in being transported or the defect is due to the product being repaired or tampered with by anyone other than Wilson Audio, or an authorized
repair center. Most repairs can be made in the field by an authorized Wilson Audio
agent. In instances when return to Wilson Audioʼs factory is required, a return authorization must first be obtained by the dealer or customer. Wilson Audio will pay
return freight of its choice. A RETURNED PRODUCT MUST BE ACCOMPANIED
BY A WRITTEN DESCRIPTION OF THE DEFECT. Wilson Audio reserves the right
to modify the design of any product without obligation to purchasers of previously
manufactured products and to change the prices or specifications of any product
without notice or obligation to any person.
REMEDY
In the event that the above product fails to meet the above Warranty and the above
conditions have been met, the purchaserʼs sole remedy under this Limited Warranty
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shall be to return the product to Wilson Audio or to an authorized Wilson Audio repair center where the defect will be rectified without charge for parts or labor.
LIMITED TO ORIGINAL PURCHASER
This Warranty is for the sole benefit of the original purchaser of the covered product
and shall not be transferred to a subsequent purchaser of the product. Any subsequent purchaser should contact a Wilson Audio dealer to request a new warranty.
DEMONSTRATION EQUIPMENT
Equipment used by an authorized dealer for demonstration purposes is warranted
to be free of manufacturing defects in materials and workmanship for a period of
five (5) years from the date of shipment to the dealer. Demo equipment needing
warranty service may be repaired on-site or, if necessary, correctly packed and
returned to Wilson Audio by the dealer at his sole expense. Wilson Audio will pay
return freight of its choice. A returned product must be accompanied by a written
description of the defect. Dealer owned demonstration equipment sold at retail
within two (2) years of date of shipment to the dealer is warranted to the first retain
customer to be free of manufacturing defects in materials and workmanship for the
same time periods as if the product had originally been bought for immediate resale to the retail customer. In other words, 90 Day basic warranty, unless extended
to 5 years by return of completed Warranty Registration.
MISCELLANEOUS
ANY IMPLIED WARRANTIES RELATING TO THE ABOVE PRODUCT SHALL BE
LIMITED TO THE DURATION OF THIS WARRANTY. THE WARRANTY DOES
NOT EXTEND TO ANY INCIDENTAL OR CONSEQUENTIAL COSTS OR DAMAGES TO THE PURCHASER. Some states do not allow limitations on how long
an implied warranty lasts or an exclusion or limitation of incidental or consequential
damages, so the above limitations or exclusions may not apply to you. This Warranty gives you specific legal rights, and you may also have other rights which vary
from state to state.
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Reason
One channel is not operating... Check interconnects from source.
Check the connections on the speaker cables.
Both at amplifier and speaker ends. Watch especially for connector touching each other.
Imaging is off center...
Check your connections. When a tweeter or midrange driver is not working, or is out of phase, the
imaging will be off. Double check your connections for red-to-red and black-to-black.
Play music at a low level, and listen to each driver
in each channel. You may have a driver that is
not operating correctly. If you find a driver that is
silent please go to the “Driver Out section” of this
troubleshooting guide.
A chronic lack of bass energy...Check the input cable connections on your woofer
enclosure. If one channel is out of phase (connections reversed), bass will be cancelled.
Driver not playing after
connections have
been
Note: Turn off your amplifier, and unplug it from
the wall.
If you have found a driver that would not play,
move to the rear of this particular loudspeaker.
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Using the 1/8” Allen wrench remove the resistor
cover.
Locate the resistor and remove the resistor using
a soldering iron. Replace the resistor and solder
the new resistor in the old ones place.
Note: An improper resistor value will deteriorate
your speaker performance.
Plug your amplifier into the wall and turn it on.
Listen to the channel at a low level. The driver
should now be operating correctly.
Amplifier shuts off as soon
as it is turned on:
Check to see if your speaker cables are properly
secured. Look for frayed ends, loose connections,
a conductor contacting the amplifier chassis.
Turn the amplifier off and disconnect it from the AC
wall outlet. Disconnect the preamplifier leads to the
amplifier. Now turn back on the amplifier.
If the problem is solved: There is something
wrong with your preamplifier or interconnect. Call
your dealer.
If the problem persists: Leave the pre-amp leads
disconnected and continue on to the next step.
Turn the amplifier off and disconnect it from the AC
wall outlet. Disconnect the speaker leads at the
main input to the speaker . Now turn the amplifier
on.
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If the problem is solved: Call your Wilson Audio
dealer. There may be a problem with the crossover or the speakerʼs internal wiring.
If the problem persists, continue on to the next
step.
Turn the amplifier off and disconnect it from the
AC wall outlet. Disconnect the speaker cable
leads to the amplifier and turn the amplifier on
again.
If the problem is solved: You have a short in
your speaker cables. Check for frayed ends,
holes (from spike feet), or make sure that your
spade lug is not touching the chassis while it is
connected to the binding post.
If the problem persists: Call the dealer where
you bought your amplifier. You appear to have a
problem with this component.
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REPLACING A BLOWN RESISTOR
The WATCH Surround loudspeaker has a resistor that will protect the tweeter, in most cases, if the speaker is over driven during normal operation. This is done
so that the driver is not damaged. Replace a blown resistor as follows:
1. Determine which driver is not playing music.
2. Remove the appropriate resistor access cover from the enclosure by
removing each of the 10-32 button head machine screws (see Section 5
for resistor cover locations).
3. Heat up the leads of the resistor with a 45 watt soldering pencil and remove the faulty resistor.
4. Wrap the leads of the new resistor around the ends of the posts and resolder the leads.
5. Reattach the resistor access cover to the enclosure, making sure not to
over tighten the screws.
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REPLACING A BAD DRIVER
If you believe that a driver is blown, make sure that you have tried replacing
the protective resistor before you replace the driver. No sound coming from a driver
is often a blown resistor and not a bad driver. If you need to replace a driver do so
as follows:
1. Using the supplied Allen wrench, remove the machine screws holding the
driver in place.
2. Insert the Allen wrench into one of the driver screw holes 1/8”. Gently lift
out the driver and place it onto the foam pad covering the front baffle.
Note: It is best to place an old towel under the driver so that you will not damage
the enclosure when unsoldering the driver.
3. Using a 900 degree F soldering iron heat, up the solder joints and remove
the driver.
4. Melt a small 1/8” diameter bead of solder onto the tip of each wire, heat
the wire up until you see the solder wick into the copper.
5. Place the replacement driver onto the cloth and solder on the wires to the
driver. White wire to the positive side and black to the negative. The pos
itive side is generally indicated by a red dot. Make sure to heat up the
solder joint completely and hold firmly in place until the solder sets.
6. Replace the driver foam gasket.
7. Place the driver into the machined recess.
8. Replace the machine screws, tightening them to 15 inch/ pounds of
torque.
Note: Be careful not to over tighten the screws, it may cause the brass insert to
spin.
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