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W i l s o n A u d i o S p e c i a l t i e s
slap-echo, nonparallel walls allow the sound to diffuse. This approach can be accounted
for during the construction process. For existing rooms, slap echo can also be controlled
entirely by the application of absorptive materials to the hard surfaces. These are absorp-
tive materials that can be used to ameliorate slap echo:
• Illbruck Sonex®
• Air duct board
• Cork panels
• Large ceiling to floor drapes
• Carpeting to wall surfaces
In many domestic listening environments, heavy stuffed furnishings reduce slap
echo somewhat. Unfortunately, their effectiveness is not predictable. Diffusers are some-
times 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,” 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. Soundtrack effects will be more local-
ized. However, over-damping the room can render reproduced sound that is lacking in
musical involvement and “aliveness.”
Diffusers, on the other hand, do not affect the tonal balance characteristic of the
room as much. Placed properly, diffusers create a smoother and more open sound. Some
diffusers, due to their construction, create narrow midrange peaks and suck-out the
warmth region. Do not use diffusers on the wall behind the speakers or on the sidewalls
directly beside the speakers. It is our experience that all of these room treatment devices
should be used judiciously.
Summary of Contents for Alexandria XLF
Page 1: ...A l e x a n d r i a X L F O w n e r s M a n u a l...
Page 2: ......
Page 7: ...S e c t i o n 1 I n t r o d u c t i o n S e c t i o n 1 I n t r o d u c t i o n...
Page 8: ......
Page 16: ...A l e x a n d r i a XL F O w n e r s M a n u a l 16 Wi l s o n A u d i o S p e c i a l t i e s...
Page 17: ...S e c t i o n 2 I n Yo u r R o o m...
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Page 32: ...Wi l s o n A u d i o S p e c i a l t i e s...
Page 33: ...S e c t i o n 3 I n i t i a l S e t u p...
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Page 41: ...S e c t i o n 4 F i n a l S e t u p...
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Page 65: ...S e c t i o n 5 C a r e o f t h e A l e x a n d r i a...
Page 66: ......
Page 71: ...S e c t i o n 6 T r o u b l e s h o o t i n g S e c t i o n 6 T r o u b l e s h o o t i n g...
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Page 76: ...Wi l s o n A u d i o S p e c i a l t i e s...
Page 77: ...S e c t i o n 7 S p e c i f i c a t i o n s S e c t i o n 7 S p e c i f i c a t i o n s...
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Page 81: ...S e c t i o n 8 A l i g n m e n t Ta b l e s...
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Page 89: ...S e c t i o n 9 Wa r r a n t y I n f o r m a t i o n...
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Page 94: ...A l e x a n d r i a XL F O w n e r s M a n u a l 94 Wi l s o n A u d i o S p e c i a l t i e s...