LOUDSPEAKER, LOCATION & AMPLIFICATION
5
Since 5.1 channel discrete music surround programs are mixed with full frequency and dynamic
range in all channels, including the surrounds (except, of course, the LFE .1 subwoofer chan-
nel), it is recommended that you employ a minimum of four matched loudspeakers (L & R Front;
L & R Rear) in your listening environment. You might even consider the placement of these four
primary loudspeakers as two identical sets of stereo loudspeakers, so that no matter which way
you turn, 90˚ to the left or right, or 180˚ to the rear, you should be able to reproduce a satisfacto-
ry stereo soundstage between any pair of loudspeakers. Your center loudspeaker may be
restricted in size due to space considerations, but it should at least match the timbre of your four
mains. Further, you should consider recessing the center loudspeaker creating somewhat of an
arc between the left and right front soundstage area. If the center loudspeaker is too dominant,
either by volume or placement, your left-right frontal soundstage image will be negatively impact-
ed.
For the serious listener, there is the optimum “sweet spot”, which should mirror the vantage point
of the recording/mix engineers position. It is equidistant from all five main loudspeakers, includ-
ing the center. Other than this “preferred” vantage point, if the entire listening space is energized
with a balanced mains loudspeaker system, than the phase and frequency coherence of the 5.1
channel surround program is maintained. You will be able to move around and never lose the
sense of dimension or spatiality.
Placement for the subwoofer, may take some experimentation on your part. In many cases one
sub will be satisfactory. However, space permitting, you might consider using two subwoofers in
your system. Try using a pair of forward firing subs, placed equidistant between the L & R front
loudspeaker. Or put one sub between the L & R front loudspeakers, and another sub, between
the two rear loudspeakers. This is really a subjective call and the experts change their minds just
about as often.
Amplification should be applied equally to all channels in order to complete the matching, bal-
ancing and positioning of your loudspeaker system. We do not recommend the use of dipole
loudspeakers, as some suggest, to “diffuse” the surround image. The surround image is created
by the mixing engineer, artist and /or producer when the program is recorded and mixed, not by
loudspeaker design or placement.
By following these suggestions, you may be able to closely emulate the conditions present dur-
ing the actual mix of the program. While motion picture soundtrack mixes may not conform
exactly to the conditions we’ve noted here, music surround mixes that require a much higher
degree of accuracy, phase and frequency coherence most certainly do.
NOTE:
2-Channel Stereo Installation
If your current sound system is only 2-channel stereo, there is no installation diagram in this
manual for implementaion, however, it is a simple and straight-forward hook-up. Connect the
Left Front (channel 1) output of your stereo preamplifier/receiver to the Left Front input of the
Millennium 2.4.6; likewise with the Right Front (channel 2) I/O connections. Then, connect the
CD or LD Player’s (coax or optical) digtal output to the corresponding Millennium digital input.
Stereo analog program material will then pass through the Millennium untouched, to the Left
Front and Right Front channel power amplifiers(s)/loudspeakers.
For a complete 5.1 DTS upgrade you need to add power amplifiers/loudspeakers for the Center,
Left Surround, Right Surround, and LFE (subwoofer) channels. See the installation diagram on
page 7.
