DEFINITION MK.IV
TUNING
Z U A U D I O
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PLACEMENT FINE TUNING | BASS
Perhaps it has been the lack of skilled engineers, maybe audiophiles at large have lacked
discipline, for whatever reason the current consumer playback world is lost in its perception
of acoustics and the nature of sound—much has been written in consumer magazines but
little of it is genuine. Original recommended works on the subject include: Music, Physics
and Engineering (formerly titled Musical Engineering) by Harry F. Olson, Science & Music by
Sir James Jeans, Fundamentals Of Musical Acoustics by Arthur H. Benade, Fundamentals Of
Acoustics by Lawrence E. Kinsler, Austin R. Frey, Alan B. Coppens and James V. Sanders. There
are many other good sources of researched data; those mentioned represent a good cross-
section.
The following technique is Zu Definition specific. It addresses the loudspeaker’s relationship
with the room and works for both two-channel and multi-channel setups.
How and where the loudspeakers excite a room and how a room reacts are relative to the type
and source of excitation and room reactance—a function of boundaries (walls, floors, etc.);
boundary properties (mass, compliance, Q, damping, texture and structure); area impedances
(shape, volume); diffusion and absorption (furnishings, people, flooring, etc.); source and type
of wave excitation (loudspeaker design and placement); resonators (closets, forced air ducting,
hallways, etc.); even atmospheric pressure and humidity, though very minor, will influence
sound. While the above are beyond the scope of this manual, the recommendations and listed
books will start you down the proper acoustic path. Again, before you trust another modern
work relative to playback and acoustics please research the above listed references.
With your loudspeakers positioned for visual appeal, livability and fidelity, you can now begin
fine-tuning. This involves three major steps: in sequence they are bass, mids and treble. If you
can’t fine-tune your system within an evening or two please contact us, we’re here to help.
If you have one loudspeaker that is framed with more wall space than the other, this is the
loudspeaker you will fine-tune and then simply mirror the other. Select recordings with large
amounts of sustained low frequency information; dramatic pipe organ and dance music work, as
do test recordings that have warbled low frequency tracks (50~100Hz range). Note that steady-
state sine, triangle and square wave signals prove very difficult to interpret. Bass information
with some transient content will enable the listener to make fast work of fine-tuning.
With the loudspeaker playing at a moderate level, (VERY IMPORTANT—only the ‘tuning
loudspeaker’ should be connected and ‘on’) walk over and kneel down next to it. Kneeling
will put your head in the seated listening horizontal plane and allow you to hear how the
loudspeaker integrates with the room. Now move your head and ears in all directions around
the vertical axis of the loudspeaker, say a few feet or so [.5m] on all sides. Listen to the fidelity
of the bass, does it sound woolly and muddy right behind the loudspeaker? Is the bass more
defined a bit to the left or right? If the bass sounds better a bit to the left, move the loudspeaker
to this position and then listen again. Remember, moving the sound source also changes how
the room reacts. You should not have to move the loudspeaker more than several times
to get it right.
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