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Quest User's Manual

Experimentation

Toe-in

Toe-in. Now you can begin to experiment. First begin by

toeing your speakers in towards the listening area and
then toeing them straight into the room. You will notice
that the tonal balance changes ever so slightly. You
will also notice the imaging changing. Generally it is
found that the ideal listening position is with the
speakers slightly toed-in

slightly toed-in

slightly toed-in so that you are listening to

the inner third of the curved transducer section.

Experimenting with the toe-in will help in terms of
tonal balance. You will notice that as the speakers are
toed-out, the system becomes slightly brighter than
when toed-in. This design gives you the flexibility to
modify a soft or bright room.

Tilting the Speakers Backwards and Forwards.

As can be seen from the diagrams in the

Room

Acoustics

section of this manual, the vertical

dispersion is directional above and below the stator
panel itself. In some instances, if you are sitting close
to the floor, slight forward tilting of the speakers can
enhance clarity and precision.

Imaging.

Imaging. In their final location, your Quests should have

a stage width somewhat wider than the speakers
themselves. On well recorded music, the instruments
should extend beyond the edges of each speaker to
the left and to the right, yet a vocalist should appear
directly in the middle. The size of the instruments
should be neither too large nor too small. Additionally,
you should find good clues as to stage depth. Make
sure, when listening, that the vertical alignment,
distance from the front wall (wall in front of the
listening position), and toe in is exactly the same from
one speaker to the other. This will greatly enhance the
quality of your imaging.

Bass Response.

Bass Response. Your bass response should neither

be one note nor should it be too heavy. It should
extend fairly deep to even the deepest organ pas-
sages, yet it should be tight and well defined. Kick-
drums should be tight and percussive, string bass
notes should be uniform and consistent throughout
the entirety of the run without any booming or thud-
ding.

Tonal Balance.

Tonal Balance. Voices should be natural and full,

cymbals should be detailed and articulate yet not
bright and piercing, pianos should have a nice
transient characteristic and deep tonal registers as
well. If you cannot attain these virtues, re-read the
section on

Room Acoustics

. This will give you clues

on how to get closer to those ideal virtues.

A Final Word

Final Placement.

Final Placement.
After obtaining good wall treatments and attaining proper
angle, begin to experiment with the distance from the wall
behind the speakers. Move your speaker slightly forward
into the room. What happened to the bass response?
What happened to the imaging? If the imaging is more
open and spacious and the bass response tightened, that
is a superior position. Move the speakers back six inches
from the initial set-up position. Again, listen to the imaging
and bass response. There will be a position where you
will have pin-point imaging and good bass response.
That position becomes the point of the optimal placement
from the front wall.

Now experiment with placing the speakers farther apart.
As the speakers are positioned farther apart, listen again,
not so much for bass response but for stage width and
good pin-point focusing.

Your ideal listening position and speaker position will be
determined by:

1) tightness and extension of bass response,

1) tightness and extension of bass response,
2) the width of the stage, and

2) the width of the stage, and

2) the width of the stage, and
3) the pin-point focusing of imaging

3) the pin-point focusing of imaging

3) the pin-point focusing of imaging.

Once you have found the best of all three of those
considerations, you will have your best speaker location.