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DEFINITION MK.IV
TUNING
PLACEMENT FINE TUNING | MIDRANGE
Once the lower octaves are sounding good, natural and vibrant midrange and treble can then
be dialed in. Before you begin, it’s important to understand a few details about midrange
tuning. While similar to that of bass, midrange is a task of inches [decimeters] rather than feet
[meters], and upper octaves a matter of fractions of an inch [centimeters] and loudspeaker
firing axis (wavefront and where they face). And while midrange and treble changes can be
heard at the ‘being positioned loudspeaker’, it is much more helpful to have a friend do the
positioning while you listen from the sweet spot/listening position. Select lighter recordings for
this—singer-songwriter, folk, jazz, space-ambient, violin solos, acoustic guitar, and so on—
music with good overtone color and not too heavy.
Staying with the same loudspeaker tuned for low frequencies, (remember you only tune one
channel and then mirror its mate) and with your favorite light recording playing, start tuning for
mids and highs. Move the speaker toward the closest wall an inch or two at a time [3~6cm].
The sweet spot observer, and possibly the person positioning the loudspeaker, should notice
midrange color and presence transition from low and masked to open and intimate—that’s
the goal anyway. There may be several spots within the good sounding bass area that have
good presence, go with the widest point (closest to the wall) for an expansive and engaging
stereophonic soundscape. Don’t worry about center focus, Definition Mk.IV can really throw an
expansive and focused image (provided it’s in the recording and passes unhindered through the
electronics—there’s nothing worse than some stupid whizbang technology forever synthesizing
space and tone).
PLACEMENT FINE TUNING | TREBLE
Once a midrange position is selected it’s time to work on the highest octaves. This is usually
as simple as rotating the Definition Mk.IV loudspeaker to face directly at the seated listener—
pivoting the speaker on its front inside spike. Now listen again for soprano voice and light
instrument openness and intimacy, minor placement adjustments and face angle will likely be
necessary. Realize that best placement may change with speaker age, electronics upstream,
and other variables. The simple guideline is if it’s a bit treble rich, rotate each speaker to focus
behind the main listening area a few feet—experiment. And yes, this same technique works for
other Zu speakers, and most others you might be proud to own.
ADJUSTING LOUDSPEAKER FEET & BAFFLE CANTING
Spikes for carpet, ball-end studs for hard surface floors. Once positioned and tuned-in, your
last step is to level the loudspeakers by adjusting the spike or ball-end studs. Each loudspeaker
should stand straight and level and all four contact points should be equally weighted. If you
have a high listening position you can cant the loudspeaker back, lowering the rear feet / rasing
the front feet. This rotates and elevates the stereophonic image.
Содержание DEFINITION Mk.IV
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