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sition your Duettes. Speaking in a moderately loud, normally pitched
voice and at a constant volume, project your voice out into the room.
Your voice will have an overly heavy, “chesty” quality because of your
proximity to the rear wall.
2. While speaking, slowly move out into the room, progressing in a di
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rection parallel to the sidewall. It is helpful to have another listener
seated in the listening position to assist you during this process. Listen
to how your voice “frees up” from the added bass energy imparted by the
rear wall boundary. Also notice that your voice is quite spatially diffuse
(to your assistant, your voice will sound spatially large and difficult to
localize) as you begin to ease away from the rear wall.
3. At some point during your progression forward into the room, you will
observe a sonic transition in your voice; it will sound more tonally cor
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rect and less spatially diffuse (your assistant can now precisely localize
the exact origin of your voice). When you hear this transition, you have
entered the inner edge of the Zone of Neutrality. Place a piece of tape
on the floor to mark this location. Although it will vary from room to
room, the zone in most rooms begins between two and a half to three feet
from the rear wall.
4. Continue to walk slowly away from the rear wall. After some dis
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tance, usually one to two feet past the first piece of tape, you will begin
to hear your voice lose focus and appear to reflect (echo) in front of you.
This is caused by the return of the room’s boundary contribution; your
voice is now interacting with the opposite wall. At the point where you
begin to hear the reflected sound of your voice, you have reached the in
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ner edge of the Zone of Neutrality. Place a piece of tape on the floor and
mark this location. The distance between the “inner” and “outer” edge
tape marks is usually between eight inches (for small, interactive rooms)
and three feet (for large, more neutral rooms).
5. Now position yourself against the side wall perpendicular to the in
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tended speaker location. Stand between the two tape marks. Using the
same procedure as above, begin moving into the room toward the op
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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
Summary of Contents for The Duette
Page 1: ...T h e D u e t t e O w n e r s M a n u a l...
Page 6: ...W i l s o n A u d i o S p e c i a l t i e s...
Page 7: ...S e c t i o n 1 I n i t i a l S e t u p...
Page 8: ...D u e t t e O w n e r s M a n u a l Wi l s o n A u d i o S p e c i a l t i e s...
Page 12: ...W i l s o n A u d i o S p e c i a l t i e s...
Page 13: ...S e c t i o n 2 D u e t t e O n a S t a n d...
Page 14: ...Wi l s o n A u d i o S p e c i a l t i e s...
Page 22: ...Wi l s o n A u d i o S p e c i a l t i e s...
Page 23: ...S e c t i o n 3 D u e t t e i n a B o o k s h e l f...
Page 24: ...Wi l s o n A u d i o S p e c i a l t i e s...
Page 34: ...Wi l s o n A u d i o S p e c i a l t i e s...
Page 35: ...S e c t i o n 4 D u e t t e i n a C a b i n e t...
Page 36: ...D u e t t e O w n e r s M a n u a l 36 Wi l s o n A u d i o S p e c i a l t i e s...
Page 47: ...S e c t i o n 5 C a r e o f D u e t t e...
Page 48: ...D u e t t e O w n e r s M a n u a l 48 Wi l s o n A u d i o S p e c i a l t i e s...
Page 54: ...Wi l s o n A u d i o S p e c i a l t i e s...
Page 55: ...S e c t i o n 6 I n Yo u r R o o m...
Page 56: ...D u e t t e O w n e r s M a n u a l 56 Wi l s o n A u d i o S p e c i a l t i e s...
Page 69: ...S e c t i o n 7 S y s t e m S p e c i f i c a t i o n s...
Page 70: ...D u e t t e O w n e r s M a n u a l 70 Wi l s o n A u d i o S p e c i a l t i e s...
Page 74: ...Wi l s o n A u d i o S p e c i a l t i e s...
Page 75: ...S e c t i o n 8 Wa r r a n t y I n f o r m a t i o n...
Page 76: ...D u e t t e O w n e r s M a n u a l 76 Wi l s o n A u d i o S p e c i a l t i e s...