Lc 265.1 Series Owners Manual
 Operating the Lc 265.1
Speaker System
Westlake
udio
Lc265.1
User Manual
Table of Contents
Operating the Lc265.1
Setting up the System pg. 1-3
. The Environment pg. 4
Listening Room Characteristics pg. 4
Room Treatment: What To Do or Not To Do pg. 4-5
More Tips: Room Considerations ре. 5
The Listener/Speaker/Room Interface ре. 5-6
Equipment Selection and Interfacing pg. 6-9
The System: Important Considerations pg. 9
Trouble Shooting Tips | pe. 9
Safety and Maintenance pg. 10
Options pg. 11
Speaker Mutis pg. 11-12
Single Wire, Bi-Wire and Bi-Amp Applications pg. 13
Application Notes & Drawings pe. 14-18
Specifications ре. 19
OPERATING THE Lc265.1 SPEAKER SYSTEM
Thank you for your purchase of the
Westlake Audio Lc 265.1 loudspeaker system.
If you are reading this, you have probably
already opened the shipping carton and
removed the speaker. Save the box and foam
pieces if possible for use during transit of the
speakers such as moving or returning to dealer
or factory for service. Ifitis not practical to
retain the shipping carton, you may order a
replacement through your dealer or directly
from Westlake Audio. Units should always be
transported in proper cartons to prevent
damage.
SETTING UP:
Position the speakers on a stable
surface equidistant (+ or - 2mm for multichannel
installations) to the listener location, preferably
at ear level as referenced to the acoustic center
line of the speaker. The acoustic center is the
mechanical center of the mid/H.F. driver
located between the two woofers. From a
practical view, referencing the mechanical
center of the front board is advised. If the
speakers must be located at a position other
than ear level, the speaker should be directed
towards the prime listening location with each
loudspeaker at the identical elevation, angle of
inclination and azimuth (L & R) if at all possible.
For dedicated center channel
operations on top of a T.V./video monitor it
may be desirable to leave the speaker flat with
it's face perpendicular to the floor and flush with
the video tube's face. However, some
experimentation may be required to see if an
amount of tiltis required to optimize audio
definition. Although the logo is fixed for
horizontal viewing the speakers may be
operated on their sides for L/C/R applications
(shielded version) around a video monitor. The
coaxial nature of the mid/h.f. unit will provide
good off axis response from both horizontal and
vertical positions.
In the L/C/R applications there are a
few additional considerations when placing and +
aiming the units. If the room usage is to be
optimized for multiple viewers it may be best to
just face the 3 speakers directly forward (ina
straight line) without forming a listening triangle
that is focused on the center line of the video
monitor/screen. On the other hand, if primary
image focus at the center line is of major
importance, then aiming the speakers towards
this prime location should be considered, along
with determining (with a tape measure) that
both L & R units are equidistant (+ 2mm or 1/
16”) to the prime listening locations. This will
assure an optimum sound image (particularly if
the systems is also used for high quality music
playback).
At this point a word about placement of
the speakers as they relate to the video screen
(or not), the room, and the listener (for music
oriented uses, particularly if no video 1s
integrated, refer to the section in the manual
“The Listener/Speaker/Room Interface’). Here
for a moment let’s assume a video oriented
application, where a front projection system
(onto a perforated screen) is employed. The
three (L/C/R) speakers should all be located
behind the screen so as to promote the same
sound character from all three speakers. Allow
at least 6” between the front of the speaker and
the rear of the screen to minimize L.F.
interaction which can produce screen sway and
out of focus visual images. All three speakers
should be at the same height, with speaker
center at screen center, to slightly above, so as
to promote sound sources at the most likely
visual location(s). The L/R units, should be as
far to the outside of the screen as practical
while still remaining behind the screen. The
acoustic center of the speaker can be closer to
the screen edge if the L & R units are tipped on
their sides in a vertical format. The center
image will be slightly more slim or focused if the
center Lc265.1 is tipped on its side or in a
vertical format. However, used in its normal
horizontal mode the center sound image will
take on a slightly larger body. Both personal
taste and practical mounting conditions should
be considerations here.
Regardless of mounting orientation,
consideration to aiming and distance to the
listener(s) must be given. As previously
mentioned in a L/C/R set up, if multiple listeners
are of prime consideration then having all three
speakers in a straight line may be all that is
required. If, however, there is to be an
optimized primary viewing location on the
screen axis, the L & R speakers should be
equal in distance, rotation and inclination to the
primary viewing location which should be
located on the screen center line. Ideally this
should also be the center line of the viewing/
listening room. À symmetrical room will be
preferable to irregular shaped ones as relates to
consistent L/R sound and imaging of phantom
sources and/or music. Placing the center
speaker at the same distance, elevation and
inclination, as the left and right speakers,
obviously requires establishing the distance to
the primary listening location as well as the fact
that this location is on the room center line.
Herein lies one of the limiting factors of the
three (L/C/R) channel frontal presentations. If
identical sound sources emanate from the center
and left or right speakers simultaneously the
sound will take on a phasey quality if the listener
moves forward or back from the primary
listening location (unless the listening room has a
very live and diffuse acoustic character
effectively masking this effect). This is caused
by the fact that while the left and right speakers
maintain identical sound propagation time to the
listener's locations at any point along the
acoustic center line, the center channel can only
be correct for one location. We have grown
accustom to finding the “center” or acoustic
summing point by pushing the L/R speakers
about and moving our bodies in the very familiar
“stereo” or 2 channel presentations. Whether
we will so accustom ourselves to resolving the
“sweet spot” for 3 channel sources remains to
be seen. Some film mixers may well be aware
of this effect and limit their position changes to
fixed transitions as opposed to a panned follow
of the screen action. Some music mixers have
already noted that the center channel is
problematic and may be best used for ambience
or special effects, not unlike the surround
channel usage. At any rate, points to ponder
when choosing speaker locations and software
formats.
Considering rear projection of
conventional CRT video presentations where
speakers must be at the sides and on top or
below the picture, note the following:
The L¢265.1 should be the magnetically
shielded (has tri-colored badge on front)
version or picture distortion will likely occur
unless kept 6 to 127 from the T.V./monitor.
When setting on top of the video monitor /T.V.
place a felt or rubber pad under the speaker to
minimize the conduction of structure borne *
vibration into the video cabinet. Please note
that although the shielded version does reduce
the stray magnet flux from the driver magnets
considerably, itis still in existence (particularly
towards the front of the cabinet), albeit at a low
level, Some video displays with particularly
sensitive receiving mechanisms could
conceivably be adversely affected by the
speaker’s presence. This effect is continuous
and usually shows up as color distortion (or
colors in B & W pictures) in the affected areas,
in close proximity of the speaker. Less likely,
and less obvious is a possible interference on a
dynamic (effect changing with sound(s) and
level) basis caused by electromagnetic
transmission from the air core coils in the
speaker’s crossover network. This type of
interference can produce color and/or
geometric distortion of the picture in time to
music or voice. It is also possible that video
horizontal and vertical sweep signals may
couple into the speaker at a high enough level to
be audible. The remedy for this condition, if it
exists, is a spacer between the video monitor
and the speakers. Usually only a few inches
will produce adequate performance
improvement. Placing the L/R speakers on end
(logo vertical) will allow the sound source to be
as close to the visual (on screen) cues as
possible, with the same magnet interference
restrictions as the center channel. Moving the
speaker(s) slightly away from the video monitor
may mitigate residual magnetic interference
factors and produce an emphasized sound field.
However, the diffraction from the speaker
cabinet edge and/or video cabinet edge may
reduce the intelligibility of the dialogue. Use of
optional “Super Duper Speaker Muffs” may
produce a significant improvement, depending
on room acoustics and equipment/listener/room
setup. As the center channel speaker in this
setup cannot be located at the picture center,
the use of dual Lc265.1's located above and
below the picture may in some applications
improve the presentation, creating a phantom
image at picture center.
If the system is used for conventional
two-channel stereo reproduction the L/R
speaker separation in relation to the distance to
the listener should be considered. An
equilateral triangle (center line of left to center
line of right speaker equals the distance from
either to listener) is about as close as the listener
should be. Closer will produce an exaggerated
sound field where small amounts of head
movement produces large shifts in sound stage.
A distance of twice the L/R spacing 1s about as
far as the listener should be from the speakers,
as further away will produce a monophonic or
homogenized sound field for all but hard left or
right pan positions. At the chosen position, tow
in or out (angling of the front board location)
should be minimal (that is to say the speakers
should aim directly towards the primary listening
position) taking into account the afore
mentioned considerations in multichannel use
applications or the guidelines discussed in “The
Listener/Speaker/Room Interface” portion of
this manual for general stereo reproduction.
The imaging of the system will be best
with the grill frames off and nearby objects as
far away as possible. Keep in mind that the
symmetry of the environment around the
speakers can affect the L/R balance.
Positioning the speakers where one side wall 1s
glass while the other is open or damped, will be
difficult (at best) to balance left to right. The
closer you are to the speakers (within reason)
the better the imaging will be. The optional
“Super Duper Speaker Muffs” can add an extra
amount of detail to enhance the imaging on well
recorded source material. The muffs should be
placed flush with the front board, bevel side
forward towards the listener if there are no
nearby objects. If the speakers are moved near
other objects (T.V., on shelf, etc) you may get
better results with the grills on and the muffs
mounted flat side towards the listening position,
flush with the front board (or grill face if used).
Some experimentation is recommended.
Always transport the speakers with the grill on.
Consider putting them back on after listening if
there are small children or pets present, being
careful not to move the speaker itself after
alignment.
THE ENVIRONMENT:
Obviously choosing the proper setting
can have a large influence on the perceived
performance of the loudspeakers. Choose a
quiet, acoustically well dampened location if
possible. The noisier the scene is, the harder
the speakers have to work to overcome the
ambient noise level. Sometimes a little planning
can help. Turning off unused equipment (either
at home or in the studio) can save money and
lower the background noise, particularly if the
noise source is near the listening position. An
obvious consideration during setup 18
positioning the listener away from noise sources
such as open doors/windows, air conditioners,
or noisy audio/video gear. Simply choosing
your listening time, ie. late at night when it's
cooler and the air conditioning doesn’t run as
much or the traffic is lighter, can be a big bonus.
LISTENING ROOM
CHARACTERISTICS:
Many different philosophies about
listening environments exist, each having its
followers, each its benefits and limitations. The
live environment is the one most often found at
home. Itis after all a live almost echoey sound
that greets us when we are looking for a new
home or apartment or commercial space for a
studio. Although we like the sound of ourselves
singing in the shower, a little room character
goes a long way. At Westlake Audio we feel
that a more damped environment will wear
better in the long run, aid in keeping ambient
noise down and generally allow the listener to
savor the intimate recording details more easily.
However, having said this, we know that many
avid audiophiles and studio engineers alike, will
take issue with this position as reflected in their
experiences with what they consider to be
over-damped rooms. Our experience with this
scenario has taught us that upon evaluation,
most of the “bad” over-damped rooms are in
fact only damped at mid and high frequencies.
This tilts the power response of the room
towards the bass end of the spectrum thus
calling attention to the under-damped low
frequency room modes (standing waves) which
always exist and almost always are problematic
in the average listening room.
WHAT TO DO AND NOT TO DO
TO YOUR ROOM:
Don’t cover the majority of your room
surfaces with thin, 1” or less, acoustic foam or
fiberglass products. This will only succeed in
rolling off your mid and high frequencies while
having minimal effect on the problematic low
frequencies. Use thick materials, 4” (100 mm)
or more if possible. Although not fire rated,
dacron or polyester (open cell) are available in
low fiber form, however, they will not be as
effective as fiberglass (R11 or R19) or mineral
wool (U.S.G./S.A.F.B.) products which do
meet class 1 fire requirements. These materials
may require grill frames or draped grill cloth,
depending on your aesthetic tastes and/or need
to isolate yourself, children, friends, or pets
from it. Class 1 products such as Illbrucks”
Willtec (melamine) material are light weight and
self-finishing thus can be hung from wires
attached to the ceiling. Unit cost, however, 15
high and again don’t be tempted to simply use
the 1” material directly mounted on a large
percentage of wall surfaces.
Acoustic reflections are particularly
destructive to transient response and therefore
the dampening materials can be especially
effective if placed in the path of the reflection.
Le., on floor, ceiling or wall areas that enable
the reflection from the speaker to reach the
listening area. A console top reflection can be
problematic as well. However, putting
absorption material on top of the recording
board (at least permanently) 1s not very
practical. In this case changing the relationship
of the listener’s ears to the speakers and
console top by changing chair height or speaker
position (i.e. move from meter bridge to stands
or boost the speaker up on foam spacers, etc.)
is the recommended work up. In all cases,
enlisting the aid of a piece of mirror placed on
the suspected surface(s) while observing the
speaker(s) from the listening position will
identify the areas in need of treatment.
MORE TIPS:
Although Westlake Audio, ASC, RPG,
Hibruck and other companies make
prefabricated devices for installation in studios
or home listening environments you should be
aware that one or two pieces of any product
are unlikely to completely address the wide
range of acoustic anomalies that exist in a
typical listening environment. To effectively
attenuate low frequency room modes usually
requires a large amount of diffusion and/or
absorption. Large pieces of furniture,
particularly if the covering is porous (i.e. cloth
rather than plastic or leather) can be very
effective absorption devices, as can heavy
velour drapery.
A consideration in a live rooms the
basic room dimensions. One with equal (1:1:1)
or even multiple (1:2:3, 1:1.25:1.5, etc)
dimensions for the length, width, and ceiling
height will tend to bunch or accentuate the
modes at predetermined frequencies.
Therefore a room with dimensions that are not
even multiples (1:1.15:1.42, etc) will space the
modes more evenly. However, this technique
alone is no substitute for adequate amounts of
diffusion and absorption. In most rooms, with
enough absorption and/or large and irregularly
shaped objects, the decay (Rt60) time or room
character can be essentially smoothed or
neutralized.
Some would advocate the use of
nonparallel surfaces. However, it should be
pointed out that this technique is not unlike the
dimension ration technique. That is, it moves
modes around in the frequency domain but
does not decrease their number. It is, however,
a much more complex job to predict their
location. As an element of diffusion and/or
reflection control, nonparallel surfaces along
with adequate absorption can be part of a total
acoustical solution in some applications. Be
aware that as a roomis dampened, some
discrete echoes can develop if absorption and/ -
or diffusion is not applied in all room axes, 1e.
floor/ceiling, side wall/side wall, front/back,
diagonals, etc.
Westlake Audio offers, for a fee, total
acoustic design and consultation for clients
requiring a high degree of acoustical
performance.
THE LISTENER/SPEAKER/
ROOM INTERFACE:
We have already commented on several
aspects related to this LSR relationship but here
are some more basics. Always place the
speaker system on a secure surface with front
board flush with adjoining vertical surfaces,
Place a thin rubber or felt mat under the
speaker to reduce structure borne transmission.
For more bass move the speaker or listener or
both closer to large objects or the room
boundaries (wall, floor, ceiling, etc.). For less
bass move the speakers and/or listener towards
the center of the room. One particularly
effective setup is to place the listener near the
wall at the back of the room and position the
speakers 1/3 of the way into the room. This
places the listener at the rear wall and thus puts
the direct wave and the rear wall reflection
essentially in phase at low frequencies. The
listener is sitting in a high pressure (low
frequency) area while the speakers are located
in an area of neutral or average pressure. This
allows the speakers to be tuned to some
degree; moving them closer to the front wall will
tilt them towards a more bassy sound, moving
them towards room center will reduce the bass
but increase the direct field over the room
character. Moving the speakers towards or
away from the side walls will have a similar
effect depending on how close they are in
relationship to the room size. This is sometimes
referred to as the near or close field monitoring
situation which is a typical setup used in
professional recording studios. This type of
setup has the advantage of presenting the direct
sound to the listener as quickly as possible thus
allowing the listener to get an accurate
assessment of the sound field before the room
field has a chance to build up, possibly masking
details. It also allows the loudest peak levels to
be presented to the listener while keeping the
average room SPL down. This eases the work
the speakers have to do and reduces the
neighbor interference factor.
It may also be beneficial to try locating
the listener and speakers on the long wall of
rectangular rooms. This will put the side wall
reflections further away (in time) from the direct
signal and obviously promotes a closer field
experience. In very small rooms, however, this
may preclude the afore mentioned tuning
position adjustments due to traffic flow
limitations. Besides the afore mentioned bass
buildup when the speakers are in close
proximity of a wall, there will be a frequency
response anomaly (peak and dip) in the lower
mid/upper bass area due to reflections directed
back to the listener from the wall behind the
speaker. When moving the speakers away
from the wall is not an option, then placing as
much thick absorption material (i.e. R19 flat on
the wall or better, stack width wise floor to
ceiling, 12,18, & 24” widths, unbacked 1s best,
are readily available) on or in front of the wall
can be effective in minimizing the response
error. Alternatively, flushing the speakers into
the wall (while maintaining isolation with rubber
or felt) or simply placing them on a bookshelf
with book backs flush around them may help
minimize response irregularities.
Most of the above information 1s
directed at the very attentive and focused
listener who will sit at the proper speaker
summing location and gain benefit from all this
room tweaking. If you are a more casual
listener who is likely to move around the room
(or even listen from another room) then room
dimensions and speaker placement may be all
that you need to think about. Of course the
most important consideration of all 1s how you
feel about your listening experience. Try by
experimentation to take this information and
enhance your listening environment.
ASSOCIATED EQUIPMENT
SELECTION AND
INTERFACING
CONSIDERATIONS:
The most important consideration for a
speaker system is the amplifier system that
drives it. Although the moderate load that the
Lc265.1 presents to the amplifier output
terminals makes it a possible candidate for high
quality receiver type systems, it will likely be
best served by a separate stereo or mono
power amplifier. Many high quality brands are
to be found on the market. The amplifier
should have flat frequency response and low
distortion, or noise, within the audio bandwidth
(20Hz-20KHz) and be capable of driving the
Lc265.1 impedance without producing audible
distortion. While ultra wide bandwidth/high
slew rate amplifiers can have very good sound,
this specification alone is not conclusive enough
to base selection on. Choose an amplifier that
is the best sounding within your budget that has
adequate power reserves to play the Lc265.1
at reasonable levels. Included in the
possibilities are both solid state and tube type
amplifiers. Generally, but not always, a solid
state amplifier will sound tighter, possibly dryer
while a tube amplifier will be warmer, fuller or
slightly less damped.
Amplifiers can have balanced or
unbalanced audio input circuits. In theory the
balanced circuits should give more immunity
from noise and therefore sound better. In
poorly designed units, the additional circuitry in
a balanced input may just make sound worse.
In well designed units the sound should be the
same and only the noise immunity should differ.
The amplifier should have suitable
cosmetic appeal for your tastes and inherent
mechanical integrity including appropriate input/
output terminations for the cabling systems you
are considering. The chosen unit should have a
good power supply and not emit extraneous
noises such as hum, buzz or fan noises that
might interfere with low level sound details in
the listening environment. If you are ona
limited budget and are setting up a stereo music
C.D. playback only system you may want to
consider an amplifier with front panel input level
controls. This would allow you to forego the
traditional preamplifier allowing for a budget
reduction or alternatively focusing your buying
power in a better power amplifier itself. Some
C.D. players have internal remote level control
which might (depending on range of control in
the C.D. unit and amplifier sensitivity) allow you
to select an amplifier without input controls.
You should, however, be aware that level
control within the C.D. player may deteriorate
the sound advantage that eliminating the preamp
has produced. It depends on the particular
method that is employed in the unit to attenuate
the signal. A passive level control may be
employed if C.D. output level and impedance is
appropriate and the cable lengths can be kept
short. Inexpensive passive level control units
may not have a high quality control
potentiometer and thus may produce noise or
channel imbalance at some settings. Try to
listen to the exact piece of hardware you will be
buying, before you purchase if possible.
The second most important
consideration for a speaker system 1s the
speaker/amplifier interface cable itself. Far too
much is made of this by most audiophiles and
the audiophile press contributes greatly to this
puffery for many reasons, the least of which 1s
not the need to feed the voracious appetite of
the many monthly press runs. Nevertheless, the
speaker cable can affect the sound, more often
from just poor connection causes or
inappropriate applications than for the pseudo-
science reasons dreamed up by the marketing
departments of some of the cable
manufacturers. Having said that, we would be
remiss if we did not point out to you that
Westlake Audio manufacturers its WI and BWI
series of speaker cable assemblies which we
feel will provide you with all the electron
carrying capacity that your amplifier can throw
at a Lc series speaker system. Available in
various wire sizes and lengths, contact your
dealer or Westlake Audio for price and
availability. Where budget considerations affect
cable choices, consider that biwiring (or passive
biamping for that matter) can often produce a
more significant sound improvement than
spending money on more esoteric cable
assemblies.
Whatever cable you choose, keep the
following points (which will affect the speaker
performance) in mind as you contemplate your
installation. The speaker and the amplifier form
a cohesive energy transfer system. The less
interference the cable gives during this transfer
the better. Keep it simple, short and direct. In
general the lower the cable resistance, the
better (and louder) the sound will be. Normally
a number 10 or 12 gauge (AWG) conductor
size is adequate for short runs of two to eight
feet (.6 to 2.4 meters). #7 gauge for runs up to
12 feet (3.3 meters) and #4 gauge for runs over
12 feet. Runs over 20 feet should be avoided if
possible. You may use larger gauges for smaller
runs although the sonic benefits will be minimal
unless the amplifier has a very low output
impedance, the connections are extremely
good, the source equipment and software are
exemplary and the listening environment is
unusually quiet. Westlake cables offer an ultra
high strand count for any given gauge and an
engraved silicone insulation. The two
conductor pairs are twisted which means all
features combined our cable assemblies are the
most flexible in the industry for their current
carrying capacity.
Although shorter is better, do not place
the speaker closer then 24” (.6 meters) to the
power amplifier. The Lc series crossover
employs air core inductors which can receive
and transmit magnetic signals which may cause
distortion if placed too close to associated
electronics. On the same line of thinking, do
not split the two conductors of a speaker cable
apart as this will form a magnetic loop which
can also transmit and receive signals which may
cause distortion. Do not run the speaker cable
within a confined space such as a conduit with
other cables including the other channels in a
multichannel system. Keep the speaker cable
away from signal input cables or power cords.
Try to use the same length of cable to each
speaker.
Be sure to make a good connection at
both ends of the cable. Clean the terminations
prior to installing, with alcohol or suitable
connection cleaner. Particular attention should
be paid to banana type connectors as repeated
insertion will cause metal particles to be
shredded and imbedded in the female portion of
the mating parts. Inserting an alcohol wetted,
wooden shank, cotton swab into the female
portion while slowly rotating it with your fingers
should produce a sanitary connection. Quite a
bit of pressure, while rotating the cotton swab,
may be required for successful insertion of the
swab depending on the exact size of the shank
and head. An appropriate product is shipped
with all Westlake cable assemblies or may be
ordered from us. Consumer type products (Q-
tip, etc.) may or may not be appropriate in this
application as the head must be inserted all the
way into the connector and rotated several
times to be effective. Upon removal of the
swab, a grayish look will be testament to a
potentially dirty sound. Remember, repeated
additional insertions of the banana connector
will mandate recleaning. Clean the male portion
of the banana plug with the cotton swab around
the entire perimeter. Spade lugs and terminal
strip terminations are slightly less problematic,
but nonetheless should be carefully cleaned
before installation, particularly if the
components being interfaced have seen prior
service. Cleaning the spade lugs themselves is
straight forward but placing them on an
appropriate work surface where a fair amount
of pressure can be applied is helpful. The
barrier strip or binding post can be cleaned by
employing the cotton end of a moistened swab
(if the threads will allow enough expansion to
fit) or the bare wooden shank end (moistened)
in some instances depending on mounting
geometry. Where access to the connection is
limited, the cardboard backing of an office
memo pad may be employed as an aid. Simply
trace the outline of the mating spade lug and cut
out a dummy with scissors or razor blade.
Lightly moisten with alcohol and then insert into
the barrier strip. Apply a slight amount of
pressure by partially tightening the screw.
Repeatedly tighten and loosen the screw while
rotating the cardboard dummy lug to cause the
contacting surfaces to be cleaned.
Good connections are paramount to
good sound! Double check each screw, nut or
banana upon completion of the installation to
make sure each connection is tight! Also check
to see that all wiring polarity (+ to +, etc.) has
been maintained, especially in multichannel
systems.
THE SYSTEM, DEBUG IT
BEFORE LISTENING:
Many a good speaker has been unjustly
tried and convicted of audio heresy not because
of what it does but because of what's going on
up stream. So take a little time to determine if
the system is interfaced properly and producing
the best sonic results. The first rule of good
sound is that with things setup and ready to go
(normal volume setting) and no source playing,
there should be no noise emanating from the
speakers that is audible at the listening position.
Moving closer to the speaker, nothing should be
audible until the ear is within 18” (1/2 meter)
and then only slightly if the amplifying
electronics are not of the best quality. From the
tweeter will come the mid and high frequency
noise and from the woofer a light humming.
With the best quality electronics the hum and
hissing should be all but inaudible unless the ear
is placed directly in front of the drivers in a very
quietenvironment!
If hum, hiss, ticks, pops, buzzing or
radio interference signals can be heard, then the
system is not ready for prime time listening and
some serious trouble shooting needs to take
place either by the system user or a qualified
technician.
Noise by another name is distortion!
You cannot have distortion free reproduction
while the afore mentioned sonic gremlins are
present. Additionally these items should be
observed over some time period as audio
interference can be continuous, random or
periodic. If a previously good sounding system
develops a case of the blase’s, “New” noise
could be the culprit.
TROUBLE SHOOTING TIPS:
While complete trouble shooting 18
beyond the scope of this manual the following
bit of information may help you look for
possible solutions. Noises can be local to the
system itself or externally generated. Examples
of external noises are hum and buzzes that are
not always present, police transmissions, light
dimmer buzz and heating/air conditioning noises.
Examples of internal noises are hum or noise
that is always present or when specific program
sources are selected or during specific cycling
of equipment in the system (i.e. loading C.D.,
turning on turntable, etc.)
Noises can be generated from:
defective equipment (bad power supply, etc.);
improperly installed equipment (wrong voltage
selected, incorrect wiring); equipment or
physical interference (power amp up too close
to turntable pickup, audio equipment located
too close to air conditioner or other noise
source); too many or not enough ground
connections and wire routing. A good method
of isolating the problem is to start with the
amplifier connected only to the speaker and
work upstream as you add each piece of
equipment. Ifit causes a noise or hum there is
either a problem in that piece of gear, in the way
it is connected (including wire routing, ground
looping or defective cables) or its physical
location (including the speaker itself) in the
system.
Don’t discount the possibility that your
local A.C. power is too high or low for your
equipment, even if it is within the power
company specs. Line filter/regulators, although
expensive for good ones, may help in some
situations. Often once wiring and interface bugs
are worked out, the system will operate
satisfactorily without outboard line conditioners.
FOR THE LONG TERM,
SAFETY AND MAINTENANCE:
In general your Lc system should
provide many years of trouble free use. Only
the highest quality components are used in all
Westlake Audio Speaker Systems. No
periodic maintenance is recommended other
than cleaning of dust and fingerprints. If
stronger cleaning becomes necessary, do not
use aggressive cleaning agents. Seek out those
products recommended for fine furniture.
Pretest a small non-obvious portion of the
speaker first. Do not apply cleaning solutions
to the tweeter dome under any conditions. Do
not leave the system exposed to the elements,
including direct sunlight.
In the event that replacement drivers
are required, seek out authentic Westlake
Audio replacement parts. While other parts
may look similar, they are unlikely to possess
the exact characteristics necessary to reinstate
the original Westlake sound. When replacing
the drivers you, or your technician, should note
the color coding of the wire (color to + or red
terminal) and maintain correct wiring polarity
within the speaker itself. Also, it should be
noted that the Lc system uses a shock
absorbing foam gasket that should only be
compressed enough to seal the driver/cabinet
interface (usually 10-15% compression).
Additionally the mounting screws employ a
shock isolation rubber grommet under the head.
The grommet will prevent overtightening of the
mounting screw as it will distort or be forced
out from the head if the screw is overtightened.
Be aware that the gasket is self adhering and
can hold a driver in place (especially if it has
been installed for a long time) even after the
screw have been removed. Caution! Within a
few minutes the driver will usually fall out,
potentially damaging the finish or nearby
objects. Putting slight and constant (up to |
minute) pressure on the driver with fingers or
hook at the mounting hole (don’t wedge
screwdriver under drivers or cosmetic damage
may result) will expedite its removal.
Be careful not to accidentally damage
or blow out your speakers. Because it may be
beneficial from a sound standpoint, to power
your speaker with a power amplifier more
powerful that the L.c265.1 can handle on a long
term basis, please note the following: Always
turn the power amplifier off or disconnect it
from the speakers when changing equipment or
cables.
Always turn the volume control down
on your preamp when selecting different source
devices as each may have different levels and
some preamps may pop or click loudly when
switched. When selecting a new piece of
software, reduce and/or readjust the level until it
1s appropriate. Be careful not to set the level
too high at the intro as many performances build
up to a crescendo or have unexpected loud
transient passages which may or may not be
identified in the accompanying literature.
Be careful not to overpower the
speakers or your ears. The Lc system is
capable of generating sound pressure levels that
can produce temporary, or under prolonged
use, permanent hearing loss (Particularly in the
“close field” listening setup). If after a listening
session your ears ring or hurt, you have
exposed yourself to too high a sound pressure
level and should rest your ears by reducing the
level, if not postponing any further use. If at
anytime the sound coming out of the Lc systems
does not sound good or has changed from its
previous character, discontinue operating it until
service can be performed on the Lc system or
the associated electronics.
10
11
Lc265.1 OPTIONS:
1) T.V.version: Magnetically shielded
2)
woofers and mid/tweeter assembly
allows use of the Lc265.1 near video
monitors. (The unshielded units may
have to be placed 10” or 25 cm away
from sensitive video monitors.) Most
of the Lc265.1 units produce are
shielded units and are identified by the
tri-colored badge on the front.
Super Duper Speaker Muffs: These
foam muffs, as described previously,
can enhance the stereo image and
apparent bass response. Highly
recommended for the ultimate listening
experience with the Lc system.
3)
Westlake Audio Speaker Cables:
The ultimate in conductivity and
flexibility. Various sizes and lengths of
WI (for passive biamp or single wire
applications) and BWI (for biwired
installations) assemblies are produced.
Contact your Westlake Audio dealer
for price and availability.
28.5" (72.4cm)
15" (38em)
Lc 265.1 With Speaker Muff
— —— 2” (5cm)
| with . : Without
Fa Muff Side View © Muff
(removable) 1 _—— 10.375" (26.4em) ———
í i
1] 1]
I id
| + UE
a сова, dia | 11" (28cm) —————1 |
"cant nig ep Pres PE
у N | | clearance rq'd
alternate
T.V.,shelf TT)
or console
12
Westlake
- Audio
1"... |
—.SINCLEWIRE, BIMRE AND PASSIVE(no active crossover )BIAMP APPLICATIONS
This unit can be interfaced to a single power amplifier using one
(fig.1) or two pairs (fig.2) of number 10 gauge (or larger) multi—
strand copper wire. Biwiring should not be confused with biamplifi—
cation which requires the use of additional amplifier channels.
Biwiring is recommended for optimized single—amp performance
and will usually provide better sonic results than a more esoteric
single wire cable assy.
This speaker can be passively biamplified (fig.3) if care is taken to
assure that both amplifier channels have identical gain to maintain
the high and low frequency balance. Due to the moderate impedance
of the crossover network, passive biamplification
in many installations will produce better results than a mono brid—
ged installation with the same amplifier. Most often, passive
biamplification will produce improved sonic performance over single
or biwired installations.
Wl cable assy
— ñ wi J H.F.
left ch.a ( y |
(center) — — Amplifier e” ==
right h.b EF.
A jumper wires L.F.
LY
Fig.1 Regular, single pair (WI) wiring interface Speaker
-Power Amplifier BW cable assy
— — — =
left a)
( M.F.
right L.F.
A TA LF.
"3 WAY SYSTEMS ONLY
Fig.2 Biwire interface (BWI) Speaker
Power Amplifier Wi cable assy
left / val
yu H.F
ch.a \ J
pd M.F
hates W cable assy ni
” и e LF.
в) СР. E LF.
N J "3 WAY SYSTEMS ONLY
multed or dual input cable
Speaker
Fig.3 Passive biamplification
13
Westlake
Audio
OPTIMIZING THE LISTENING TRIANGLE
AND TRAVEL PATH TIMING ALIGNMENT
( for two speaker reproduction )
Just as you would not record your master stereo tape with
out checking your head azimuth to see that it is correct,
you should always take a moment to position your Westlake
Audio monitors to assure proper power summing and stereo
prospective at the listening position.
First consider the relationship that the speaker separation
(D1) has to the distance(s) (D2&D3) between listener and
speakers (fig.1&2).
D3
“e
In figure 1 the distance between the left and
right speaker (acoustic center) and the distance
to the listener is equal. The stereo image will be Figure 2.
emphasized or spread out, with a heightened sense
of the musicians location. Shortening D2 & DJ is
not recommended as even small amounts of head
movement will produce large shifts in the stereo image.
In figure 2 the distance to the listener is twice the distance
between the left and right acoustic centers. With this config—
uration the movement of the head is less restricted and the
image more homogenious, the sound stage is however reduced
in width. Additional lengthening of D2 & D3 is not recom—
mended as the image will become monophonic for all but
the most emphasized ( hard left, hard right etc. ) pan lo—
cations.
A little bit of experimentation should reveal the triangle that
optimizes the stereo view for your particular environment and
listening preferences.
14
15
It should be pointed out that for each different triangle that
is evaluated, it is imperative that D2 & D3 are as close to
equal as is possible! If you are an
experienced engineer ( or
audiophile ) you may be saying....this is obvious. Just consider
though that D2 & D3 must be within 1/16” (1.6mm) so that
a 20Khz signal emitting from both
degrees of one another.
speakers will be within 33
In o multiway speaker system care must be taken to assure equal
travel path distances for each of the driver pairs(tweeters,mids,woofers
to the listening position. This requires the height, focus angle and
vertical tilt (if any) should be as equal, left to right, as is possible.
D4 (C/C if used)
logit room center) by
use a steel tape
Determine the listening center line (usually the
pulling a string or tape measure
from front to back of the room. Use this line to
assure that left and right speakers are kept at
an equal distance from center for all listening
triangles evaluated (figure 3). For measurement of
the travel path(top, bottom & sides) distances
with a slotted, right angle end.
Hook the end over the head of a screw or nail
firmly anchored at or behind the listener (fig.3&4).
yA distances will not be equal unless
reference point is located at specker focus.
secure reference point
listening center line
While maintaining constant tension
distance to top of left speaker must equol distance to righ
Ber reference point
—"
—[
———
—
ни
Mote: top and bottom distances do not have
to be equal.
distance to bottom of left & right speaker must be equal
Or;assuming a level floor, place the speakers aot the same height
(+/-1/16 and level them. Proceed with odjustments in fig.1thrud
adjust the left and right speakers
until all related measurements (left
versus right) are as equal as practical.
Figure 4. Vertical section view.
The best sound and imaging will usually occur when the speakers are
focused directly at the listener. They may however be spread out to
accommodate additional listeners or decorating consideration’
Now of course it is fair to ask ... is this (alignment) audible? *
Yes, presuming a reasonably well damped listening environment
and a properly matched pair of monitors reproducing phase
coherent (1/r) material. Certainly a misalignment of 1/2"
(12.7mm) will produce a considerable power imbalance and
image shift of material panned to center.
* See separate application note.
Westlake
Audio
© 1998
1989
1991
Westlake
Audio
© 1998
=
si /
. E +
ALA vel
spkr Ve n N
celling slopes toward listener, reflections are close in time, celling slopes away from listener reducing amplitude of first ond “
high in amplitude 2nd order celling relections due to their off axis origination
rotating the listener /specker relationship only 90? would create an asymetrical listening space ond is lesa desirable for a proper left/right balance
SETTING UP WTH A SLOPED CEILING
acoustical panels: speaker “Muffa“reduce sdga reflections
1 slightly bakow ond block wall reflections from behind apio
a Muff ПВег panal keapa scund from wall
3 F md open frome sta
spkr
Ea
a
Destructive interference from reflactions prevent the listener careful placement of objects within the listenin
i g environment can
from resolving the full definition of the speaker system. reduce the amplitude of interfering reflections at the listening position
(a mirror ploced on the reflecting surface will
BLOCK /ABSORB THOSE RELECTIONS! help determine the area needing treatment)
-—ON SHORT WALL Г
ON LONG WALL—| / a
2 ”
n 3
sound [email protected]
/ point can reduce h/f energy o
F L 3
MAIN STEREO PAIR A e je Sy EN
>“
AZ
use “spkr Muff”to reduce Noo, |
6 edge reflections.Reverse(flat
face forword)installotion may xv, Ne ZZ
ee avia ела E valia) % :
Ñ he Mop E
use center fill sound panel
or foam if no center speaker.
- example of corner sound panel
# Owall/wall,wall/ceiling junction.
| listening center line
runs total space,must be reflection is weaker and further away in time from direct sound
porous;non boomy.
N
ts center line — ES
reflection is strong and close to direct sound
LONG OR SHORT WALL SET-UPS?
16
Muff
* о —]————— *
direct view
FAL
(35” shown)
With
Muff
(over hang
and slightly forward)
Oo
direct view
TX
(35 shown)
17
— PERS - — —————o——] — — F A (SES * ¡e “E a e -
Trim lower part of Muff
L/R units are slightly forward.
With and place center chan— Angle them in and let Muff
Lc 7205. 1 Muff nel flush with meter bay. hang over. Remove Muff to
Use rubber/felt mat under view meters during recording
or trim bottom as center unit.
to isolate speakers.
trimmed
©
O NAPO
1
235325 E M
Hit
Recording Console
Stereo or Multi channel Recording/Mixing
Ee - ———— TA — * — —o;—
Center channel or L/R units can be horizontal or
With vertical as long as all coax drivers are behind screen.
Le 765 1 | Same distance to screen will maintain balance but
. Muff optimization for single [email protected] will be off even
L
when screen is retracted for audio only presentations,
j=)
18
SPECIFICATIONS:
Le 265.1
* Drivers Dual 6.5” woofers, 5” mid with coaxially mounted
1” dome tweeter
* Frequency response 48 Hz-18 kHz +3dB
* Crossover frequencies 180 Hz, 4kHz
* Power handling long/short term per IEC 268-5
95/255w (h.f.)
120/400w (1.1.)
* Size 8.5”H x 22”W x 11”D (21.6 x 56 x 28 em)
Weight 42 165. (19 Кё)
* Input connectors Dual Banana, 5-way for H.F. and L.F. inputs
* Options Super Flex Speaker Cables, Speaker Muffs,
Shielded Drivers, Biwirable or Passive Biampable
APPLICATIONS:
* Dedicated center channel for video* or multichannel audio
* L/C/R video* or multichannel audio playback, horizontal or vertical
orientation
* High quality stereo reproduction, horizontal or vertical orientation
* Low profile stereo playback, reference mixing system
* Shielded version required where close proximity to a
C.R.T. is employed.
Thank you for your confidence in Westlake Audio products. If you have any
comments, good or bad, or have any suggestions of other products you might like to see
us offer please feel free to contact us at:
1-805-499-3686 (Phone)
1-805-498-2571 (Fax)
or
Westlake Audio Manufacturing Group
2696 Lavery Court, Unit 18
Newbury Park, California U.S.A. 91320-1591
ñ [email protected] OR www .westlakeaudio.com
Good luck and good listening!
Copyright 1998 by Westlake Audio, Inc.
Copying any part of this manual without expressed written permission of Westlake Audio is prohibited, All rights reserved.
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