JBL Speaker S4VC S4HC S4Ai User Manual

®
SYNTHESIS FOUR  
S4VC, S4HC  
& S4Ai  
FLUSH-MOUNT  
LOUDSPEAKERS  
OWNER S AND INSTALLER S  
MANUAL  
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INTRODUCTION  
®
Thank you for purchasing JBL Synthesis Four flush-mount home theater loudspeakers. These products represent the  
®
synthesis of everything that JBL has learned about the emotional power of audio and video in more than sixty years  
of preeminence in the field. They set new benchmarks in the use of “high technology” and provide you with the expe-  
rience of being in the world’s greatest movie houses and concert halls – right at home! JBL Synthesis Four speaker  
systems feature the following:  
®
THX ULTRA2 -LICENSED HOME AUDIO SYSTEM: When used with a THX controller and amplifiers, your  
speaker system will deliver a state-of-the-art THX home theater experience to your living room. You will hear in  
your home exactly what the director and sound engineer heard in the recording studio. The system will reproduce  
the audio flawlessly and without distortion.  
FLUSH-MOUNT APPEARANCE: The S4Ai, S4VC and S4HC are designed to fit flush to your wall surface.  
Designers and interior decorators will be pleased by their hidden appearance and stunning performance.  
PURE-TITANIUM, HIGH-FREQUENCY TRANSDUCER DOME: The pure-titanium diaphragms with neodymium  
magnet structures are ultralight to accurately reproduce lightning-fast sounds – such as cymbal crashes – yet  
extremely rigid to eliminate distortion and ear fatigue.  
ELLIPTICAL OBLATE SPHEROIDAL (EOS) WAVEGUIDE: First developed for our JBL Professional LSR studio  
monitors, this unique structure enables Synthesis Four Series speakers to evenly disperse high frequencies, creating  
precise imaging over a wide listening area.  
PURE-TITANIUM, INVERTED-DOME, MIDRANGE TRANSDUCERS (S4VC, S4HC): The midrange drivers  
seamlessly complement the titanium-dome tweeter and offer nearly perfect pistonic motion, which eliminates the  
uncontrollable flexing found in conventional cones. The inverted dome is driven precisely at its center, which cancels  
resonances inherent in cone materials. The result is ruler-flat frequency response beyond the crossover point.  
TITANIUM-ALLOY, INVERTED-DOME, LOW-FREQUENCY TRANSDUCERS (S4VC, S4HC): The low-fre-  
quency drivers deliver precise, undistorted bass reproduction that matches the titanium tweeter and midrange. The  
powerful neodymium magnet provides its own video shielding, allowing for flexible placement near video monitors.  
Cast-aluminum frames remain rigid even at the highest volumes, avoiding the distortion found in some other speaker  
designs. The aluminum doesn’t affect the magnetic field, so driver movement is precise.  
COMMON VOICING: Synthesis Four uses common voicing across the front three channels. Since identical drivers  
are used, each speaker has the same tonal qualities; thus, as a sound is panned from one side to the other, there will  
be no change in timbre.  
MAGNETIC SHIELDING: All front speakers are magnetically shielded, allowing you to place them near video  
monitors without generating interference or distorting the picture. (S4Ai is not magnetically shielded.)  
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INCLUDED  
or  
or  
One S4VC vertical channel  
flush-mount loudspeaker  
One S4HC horizontal channel  
flush-mount loudspeaker  
One S4Ai multipole ambient  
flush-mount loudspeaker  
Four mounting L-brackets with  
eight 1/4-20 x 3/4" screws  
One grille with grille frame  
Eight 8-32 x 1/2" screws for  
speaker installation  
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SPEAKER PLACEMENT  
Positioning your loudspeakers properly is critical in order to achieve the  
sonic performance of a home theater. Please read the following section  
and the “Fine-Tuning Your Audio System” section for guidance in correct  
and optimal placement.  
L
C
R
LEFT AND RIGHT SPEAKERS: If you have purchased a Synthesis Four  
Digital Home Theater System, then the model S4VC will serve as your  
front left and right main speakers.  
VIEWING  
POSITION  
Since the left and right speakers have been designed for maximum localization  
of sound, they should be placed with the center of the speakers at about the  
same height on screen as the actors would be, to aid in the illusion that the  
actors’ voices are coming directly from their on-screen images. Ideally, the  
speakers will be placed about 45 degrees apart from each other, viewed  
from the listening position, so that the distance between the speakers is the  
same as each speaker’s distance from the listener (see Figure 1).  
FLOOR PLAN  
Figure 1. 5.1-Channel system  
CENTER CHANNEL SPEAKERS  
S4VC: If you have purchased the vertical channel speaker (model S4VC)  
for the center position, be sure to place it vertically during installation in  
order to take advantage of its sound-dispersion characteristics. If you mount  
it horizontally, it will not provide the correct dispersion pattern. If the speaker  
is being used with a perforated projection screen, it should be mounted  
behind the center of the screen (see Figure 2). If a nonperforated projection  
screen, plasma display or other fixed video device is being used in the  
installation, the preferred center speaker is the model S4HC (below).  
Figure 2.  
S4HC: If you have purchased the horizontal channel speaker (model S4HC)  
for the center position, be sure to position it horizontally during installation  
in order to take advantage of its sound-dispersion characteristics. If you  
mount it vertically, it will not provide the correct dispersion pattern.  
Although the preferred speaker model to be used with a perforated projec-  
tion screen is the vertical model S4VC (above), the S4HC horizontal speaker  
may be used instead and should be mounted behind the center of the  
screen. If a nonperforated projection screen, plasma display or other fixed  
video device is being used in the installation, then the recommended  
location is directly below and as close as possible to the video display  
(see Figure 3), although the inverse of this method will work also.  
Figure 3.  
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SPEAKER PLACEMENT  
NOTE:  
It is extremely important to place the tweeter/mid-bass arrays for each of the center, left and right speakers at the  
same height. The EOS waveguide containing the tweeter in the center channel speaker should be no more than two  
feet higher or lower than those in the left and right speakers. This preserves the “localization integrity” of “sound  
pans,”in which the sound appears to move from left to center to right. If the program material also appears to travel  
up and down, it can destroy the illusion of panning effects and so should be avoided.  
AMBIENT SURROUND SPEAKERS: Although it has been common for many years to use a number of surround  
speakers in commercial movie houses, until recently, the traditional home theater configuration called for 5.1  
channels, i.e., front left, center, front right, surround left and surround right, plus a low-frequency-effects channel.  
The newer surround formats that are appearing in consumer audio equipment are calling for more complicated 6.1-  
and 7.1-channel systems. The advantages of using additional speakers are many. Additional channels enable a more  
versatile use of directionality for a more accurate surround presentation. Also, a higher overall sound-pressure level  
can be achieved with less energy expenditure from any individual speaker.  
Placement of the surround speakers remains critical.  
5.1-CHANNEL SYSTEMS  
The S4Ai multipole ambient surround speakers work optimally if they are  
placed as far back from the screen as the viewing chairs are. If there are two  
rows of chairs, these speakers should be placed between them.  
The ambient surround speakers should be placed higher than the seating area,  
at least two feet above (seated) ear level (see Figure 4).  
The preferred method to mount the ambient surrounds is to put them directly in  
the side walls. This lets each speaker radiate to the front and back of the room  
and to reflect off the side walls.  
Figure 4.  
There are a few instances in which the ambient surrounds would perform  
better if mounted in the ceiling rather than the walls. If one or both of the walls  
are “acoustically dead,due to the presence of windows, fabric, furniture or  
other absorption, it may be necessary to turn the ambient speakers sideways  
and, instead of mounting them in a vertical orientation, mount them in the  
ceiling in a horizontal orientation.  
L
C
R
6.1-CHANNEL SYSTEMS  
A 6.1-channel system can be thought of as a 5.1-channel system with the  
addition of a rear center speaker placed midway between the two surround  
speakers, and further to the rear than the surrounds. It should be placed at the  
same height as the side surround speakers (see Figure 5).  
FLOOR PLAN  
Figure 5. 6.1-Channel system  
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SPEAKER PLACEMENT  
L
C
R
7.1-CHANNEL SYSTEMS  
In a 7.1-channel system, two speakers are added for rear fill, in addition to the sur-  
round speakers in a 5.1-channel system. The two additional speakers are placed on  
the rear wall or near the rear wall in the ceiling (see Figure 6).  
SIDE  
LEFT  
SIDE  
RIGHT  
S4Ai MODES OF OPERATION  
The S4Ai multipole ambient surround speakers feature the unique capability of  
being configured in any of three operational modes. Choose between Dipolar or  
Bipolar operation for cinema reproduction, and Direct Radiating for music. Both Dipole  
and Bipole modes are diffusive, meaning there is less energy on-axis than off-axis  
relative to the front of the speaker baffle. As Figure 7 indicates, the S4Ai’s omni-  
directional woofer faces toward the listening area, while dual sets of tweeter/  
midrange (diffuse) arrays face toward the front and rear or from side to side in  
the room. In Dipole mode the arrays play out of phase in relation to each other,  
and in Bipole mode they play in phase with each other.  
REAR RIGHT  
REAR LEFT  
Figure 6. 7.1-Channel system  
To activate the Direct Radiating mode for music playback, use the JBL Synthesis  
electronics package, including the SDP-40 surround processor, to trigger the  
autoswitching relay in the loudspeakers. The input to the trigger connection is  
located at the bottom of the speaker, next to the speaker terminals (see Figure 8)  
and accepts two-conductor, #24 to #16 AWG wire. The relay is activated by a con-  
stant 12V DC signal.  
Figure 7.  
S4Ai WIRING GUIDE  
Single-drive w/Direct – Dipole or Bipole  
and Direct Radiating operation – two-cond.  
speaker wire and two-cond. trigger wire  
Single-drive – Dipole or Bipole  
operation only – two-cond.  
speaker wire  
Figure 8.  
Dual-drive w/Direct – Bipole and Direct  
Radiating operation – four-cond. speaker  
wire and two-cond. trigger wire  
Dual-drive – Bipole operation  
only – four-cond. speaker wire  
SPEAKER INPUT #2  
SPEAKER INPUT #1  
Each S4Ai speaker can be wired in single- or dual-drive mode. The best performance can be obtained by installing  
four S4Ai speakers in a 7-channel system and wiring them in single-drive mode; that is one amplifier channel per  
S4Ai speaker. If only two S4Ai speakers can be used in a particular application, then they should be wired in dual-  
drive mode so as to gain the advantages of a 7-channel system. Each S4Ai speaker receives amplification from two  
channels – side and rear – which can only be accomplished in the Bipole mode.  
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SPEAKER PLACEMENT  
WHICH DIFFUSE MODE IS THE RIGHT ONE FOR THE JOB?  
DIPOLE MODE IS TYPICALLY USED WHEN:  
The speaker is located relatively close to the  
listening position.  
Multiple side or rear speakers are being used in a small listening room.  
The speaker is mounted near, but not in, a corner  
and will be subject to negative reflections from  
nearby walls.  
The room is highly reflective.  
BIPOLE MODE IS TYPICALLY USED WHEN:  
One speaker location is used to drive both side and  
rear channels in a dual-drive configuration.  
The speaker is located relatively far away from the  
listening position.  
Multiple side or rear speakers are being used in a  
large listening room.  
The speaker is mounted in a corner, at a 45-degree  
angle.  
PHASE  
SWITCH  
PHASE  
SWITCH  
SWITCH OUT (SHIPPED)  
SWITCH IN (OPTIONAL)  
Figure 9. Dipole phase relationship  
PREPARING THE S4Ai FOR THE CORRECT  
OPERATIONAL MODE  
It will be necessary to choose which of the two diffuse modes to use at the time of installation. The S4Ai is shipped  
from the factory in the Bipole mode. If this is your choice and the speaker will be placed in the vertical orientation,  
no changes are required and the S4Ai can be directly installed into its permanent location.  
Setting the phase in relation to the other speakers in the room only applies when the S4Ai speakers are set in  
Dipole mode. If you choose to use the S4Ai in Dipole mode, the following information for proper phase relations  
between speakers will apply:  
The S4Ai speakers are shipped from the factory with the phase switch in the OUT position. In this position, the posi-  
tive phase array is pointing toward the left as you face the speaker. That is, when positive voltage is applied to the  
cone, the cone will move outward. Usually, when the Dipole mode is used in a 5.1 system, the positive phase array  
should fire toward the front of the room. The array facing the rear of the room will have a negative orientation. That  
is, when positive voltage is applied to the cone, it will move inward, in the opposite direction of the other array on  
the speaker. As shipped from the factory, the S4Ai is set up for placement in the right-side wall in a 5.1-channel sys-  
tem. The speaker that will be placed in the left-side wall should have its phase switch pushed in so that the positive  
phase array will be firing toward the front of the room when installed (see Figure 10).  
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SPEAKER PLACEMENT  
In a 7.1-channel system, where two  
additional S4Ai speakers may be  
mounted in the rear wall, the positive  
phase arrays for all speakers should  
fire toward the rear corners, as shown  
in Figure 11. Thus, the side left speaker  
should be configured with its phase  
switch in the IN position, and the  
speaker on the right should be config-  
ured with its phase switch placed in  
the OUT position (see Figure 11). See  
the table on the right side.  
L
C
R
L
C
R
SIDE  
LEFT  
SIDE  
RIGHT  
SIDE  
LEFT  
SIDE  
RIGHT  
+
+
+
+
FLOOR PLAN  
FLOOR PLAN  
REAR RIGHT  
REAR LEFT  
+
+
Figure 11. 7.1 System  
Figure 10. 5.1 System  
To change the operational mode  
between Bipole and Dipole, move the  
switch to the Dipole-mode position (see Figure 12). The switch can be  
accessed from the back of the speaker, or from the front by removing the  
upper half of the baffle.  
Phase Switch Setting in Dipole Mode  
5.1 System 7.1 System  
Side Left  
Side Right  
Rear Left  
Rear Right  
IN  
OUT  
IN  
IN  
OUT  
N/A  
N/A  
OUT  
D
D
B
B
I
I
P
P
I
I
P
P
O
O
O
O
L
L
L
E
L
E
E
E
Figure 12. Switch for  
Dipole/Bipole mode  
S4Ai ORIENTATION – VERTICAL OR HORIZONTAL  
The S4Ai’s top baffle or “diffuse array” may be rotated 90 degrees clockwise so that the speakers can be placed in  
either vertical or horizontal orientation and still be able to produce the correct dispersion pattern. This may be neces-  
sary, for example, if the S4Ai is being installed in a ceiling and the joists are running from front to back in the room.  
In that situation, conventional in-wall side channels would be firing side to side rather than front to back. To correct  
this and produce the correct pattern, remove the eight retaining screws from the “diffuse array” and rotate 90  
degrees so the dispersion pattern is correct in relation to the room and the other surround speakers in the system. If  
changing from the vertical to horizontal configuration, rotate the array clockwise. If changing from the horizontal to  
vertical configuration, rotate the array counterclockwise (see Figure 13). In both cases, take care not to damage the  
wiring, which will remain connected to either the Dipole or Bipole connector, as discussed above (see Figure 12).  
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SPEAKER PLACEMENT  
S4Ai DUAL-DRIVE MODE  
As the S4Ai has the capability of producing both side and rear fields from a single location in Bipole mode while  
dual-driven for cinema playback (see S4Ai Wiring Guide on page 7), some care must be taken when using the  
Direct-Radiating mode with the autoswitching trigger for music playback.  
ROTATE ARRAY CW  
Figure 13. Rotate top baffle for vertical or horizontal orientation  
Use Speaker Input #1 (see Figure 8) for the side field so that the direct-radiating tweeter for both speakers plays the  
correct information generated by the decoder. This can be accomplished by rotating the “diffuse array” 180 degrees  
from default so that the speakers mirror each other in the installation.  
See Figure 13, which shows how to rotate the array, but note that for Dual-Drive mode you will need to rotate the  
array an additional 90 degrees from the position shown for a final position, in which the tweeter-midrange array that  
started out on top ends up on the bottom (and thus with the tweeter facing to the right rather than the left).  
MOUNTING THE SPEAKERS  
SPEAKER-MOUNTING OPTIONS  
The S4VC, S4HC and S4Ai models all use the same mounting bracket. There are two models to choose from, based  
on the type of installation. In the case of new construction,  
choose the S4PCB preconstruction bracket. For retrofit instal-  
lation, use the S4RFB. Both are sold separately. The speakers  
will fit into standard-construction 2" x 6" walls with 16" on-  
center studs. For horizontal mounting, cross-bracing is  
required; also at 16" on center. See separate instructions on  
mounting either S4PCB or S4RFB, included with the brackets.  
The speakers are directly attached to the mounting L-brackets  
SET THIS  
SCREW TO  
WALLBOARD  
THICKNESS  
with hardware supplied in the speaker packing box, and can  
be adjusted for proper mounting depth with a variation of up  
to 2-1/2 inches. The actual depth will vary depending on wall  
construction and acoustic materials applied to the wall sur-  
face (see Figure 14). To flush-mount the grille to the wall  
Figure 14.  
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MOUNTING THE SPEAKERS  
surface, the speaker must be recessed in the wall no more than 1/4 inch. The grille pins fit directly into the speaker  
cabinet via receiver bushings with 15 ft/lb of tension per pin. Use the marked speaker-depth-indicator flanges  
(attached to the sides of the speaker baffle) to appropriately adjust the depth from the wall surface so that the  
baffle is recessed 1/4 inch. This will ensure that the grille will sit flush to the wall surface.  
REQUIREMENTS FOR MOUNTING  
OPTION 1 – NEW CONSTRUCTION: The S4PCB mounting-flange bracket must be installed before the drywall  
is installed in the room. Attach the included L-brackets to the speakers (see Figure 14), and attach them to the  
mounting flanges at the appropriate recessed distance. The S4VC and S4HC require a minimum 6" wall depth.  
The S4Ai requires a minimum 4" wall depth (see Figures 15, 16 and 17).  
Figure 15. Mounting the S4VC  
speaker using the S4PCB kit  
Figure 16. Mounting the S4HC  
speaker using the S4PCB kit  
Figure 17. Mounting the S4Ai  
speaker using the S4PCB kit  
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MOUNTING THE SPEAKERS  
REQUIREMENTS FOR MOUNTING  
OPTION 2 – RETROFIT/PREEXISTING  
CONSTRUCTION: Use the S4RFB bracket.  
Mount the S4RFB to the wall surface and secure  
it to studs behind the wall. Attach the speaker  
via mounting flanges to the appropriate recessed  
distance. The S4VC and S4HC require a minimum  
6" wall depth. The S4Ai requires a minimum 4"  
wall depth (see Figures 18, 19 and 20).  
Figure 18. Mounting the  
S4VC speaker using the S4RFB kit  
Figure 19. Mounting the S4HC  
speaker using the S4RFB kit  
Figure 20. Mounting the S4Ai  
speaker using the S4RFB kit  
NOTE: Do not attempt to install any type of mounting bracket other than the S4PCB, the S4RFB, or any other  
bracket that JBL may supply for these speakers in the future. Drilling holes in the product or improperly  
installing mounting brackets may void your JBL warranty and cause a safety hazard.  
A JBL factory-authorized custom installer can install appropriate brackets. Contact JBL and your installer/dealer for  
additional information.  
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CONNECTING THE SPEAKERS TO THE REST OF YOUR SYSTEM  
To connect the Synthesis Four loudspeakers to the power amplifiers or receiver, use two-conductor insulated speaker  
wire. We recommend #14 AWG wire as a minimum size. Your JBL dealer can recommend suitable cables.  
Both the S4VC and S4HC utilize push-style friction binding posts that can accommodate up to #10 AWG stranded wire.  
Since the S4Ai can be configured in three different ways, be sure to run the correct number and type of wires. Refer  
to the S4Ai Wiring Guide on page 7.  
PREPARING THE HOOKUP WIRE  
1. First determine the distance between your amplifier and the most distant speaker in each group (fronts, surrounds,  
back surrounds, subwoofers).  
2. Now make the hookup wires for all speakers in each group this length, even if one speaker is much closer to your  
amplifier than the other. This will help maintain proper signal balance.  
3. Strip off 3/8" of insulation from both ends of each conductor.  
4. Twist each set of standard wires into a tightly bunched spiral.  
5. Speakers and electronics terminals have corresponding (+) and (–) terminals. Most manufacturers of speakers and  
electronics, including JBL, use red to denote the (+) terminal and black for the (–) terminal, although some electronics  
manufacturers have adopted the new color-coding standard promulgated by the Consumer Electronics Association.  
In that case, the positive terminal will be colored to correspond to the channel position, while the negative terminal  
will be black.  
It is important to connect all speakers identically: (+) on the speaker to (+) on the amplifier and (–) on the speaker to  
(–) on the amplifier. Wiring “out of phase” results in thin sound, weak bass and poor imaging.  
With the advent of multichannel surround sound systems, connecting all of the speakers in your system with the cor-  
rect polarity remains equally important to preserve the proper ambience and directionality of the program material.  
Now find a visual difference between the two conductors of each molded pair of speaker wires. Differentiating  
marks can be a different color wire (copper or silver); a strand of yarn in one conductor; thin, raised ribs on one part  
of the outer insulation; or a printed marking on one part of the outer insulation. It doesn’t matter which of the two  
strands go to the (+) and (–) on the speakers and amplifiers, as long as all speakers are connected identically. Push  
down on the binding post, insert the wire into the hole, and release.  
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FINE-TUNING YOUR AUDIO SYSTEM  
ACOUSTICAL PROBLEMS IN LISTENING ROOMS  
A home THX audio system, such as the Synthesis Four system, addresses many of the problems common to high-quality  
reproduction of music or soundtracks in a home environment. For example, the dispersion pattern of the front LCR speakers  
minimizes the effects of floor and ceiling reflections. Still, the single most important variable in any sound system is the  
listening environment. Room reflections create spurious false images and “comb filter” interference effects which alter  
the tonality of the system while degrading the localization of specific sounds. Larger rooms sustain echoes that degrade  
dialogue intelligibility and detail. All rooms have standing waves that emphasize certain frequencies at the expense of  
others, based on the dimensions of the room.  
Other concerns include environmental noise, which is often greater than people realize. Although they might become  
accustomed to its presence and “tune it out,” it still reduces the perceived low-level resolution of the system. In  
addition, the profound bass capabilities of a home THX audio system can create distracting rattles that lesser  
systems might never evoke.  
This section of the manual contains a variety of suggestions for addressing some of the peculiarities of the listening  
environment to improve the accuracy of your Synthesis Four system’s sound reproduction.  
t1  
t2  
ROOM REFLECTIONS  
Direct  
The most troublesome room reflections are usually  
the early reflections of the front LCR speakers off the  
floor, ceiling and side walls. These reflections reach  
the listener’s ears after a delay, with respect to direct  
sounds, and blur the perceived image. They can also  
degrade dialogue intelligibility through the same  
mechanisms (see Figures 21 and 22).  
An Additive  
Frequency  
Reflected  
Result: (+6dB)  
Direct  
t1  
t2  
A Canceling  
Frequency  
Reflected  
The design of the Synthesis Four speakers minimizes  
the floor and ceiling reflections. As an extra  
enhancement, it is often a good idea to place a thick,  
absorptive carpet between the front speakers and  
the listening position, just to further reduce this pri-  
mary reflection from floors with hard surfaces. A rug  
made of wool will generally have more uniform  
absorption characteristics than one made from syn-  
thetic fibers.  
Copyright 2000 Lucasfilm Ltd.  
Result: (–dB)  
Figure 21.  
Resultant Frequency Response From Reflection  
Sound Level  
+6dB  
0dB  
JBL Synthesis Four speakers have broad dispersion in  
the horizontal plane in order to ensure a wide usable  
listening area. This design choice can induce reflec-  
tions off the side walls, especially in installations  
where they are relatively close to the front speakers.  
With conventional speakers, these reflections can be  
reduced simply by angling the left and right speakers  
inward somewhat.  
Frequency  
Peak and dips at various frequencies  
Copyright 2000 Lucasfilm Ltd.  
Figure 22.  
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FINE-TUNING YOUR AUDIO SYSTEM  
However, since it is not possible to  
“toe-in” flush-mounted speakers, the  
next step is the strategic placement of  
absorptive materials on the side walls.  
These range from commercially avail-  
able fiberglass and dense foam to heavy  
draperies and even large, overstuffed  
furniture. The optimal position for these  
materials can be found with a small  
hand mirror and the help of an assistant.  
Sit at the primary listening position and  
have the assistant slowly slide the mir-  
ror along the wall. When you can see  
any of the front speakers reflected in the  
mirror, mark the wall at the mirror for  
SOLUTIONS TO ROOM REFLECTIONS:  
DIFFUSION AND ABSORPTION  
Loudspeaker  
Loudspeaker  
Absorptive Material  
Absorptive Material  
Listener  
Listener  
later placement of absorptive material  
(see Figure 23).  
Figure 23.  
A variation of this method is especially helpful in rooms that are already fairly “dead” acoustically. Rather than using  
absorptive material in rooms like these, try using diffusion instead. Commercially built diffusers are available, but  
large bookcases and irregularly shaped furniture will also serve the same purpose. They reflect sounds in a highly  
random way that effectively “scatters” the sound in all directions. Place the diffuser where you would otherwise  
place the absorptive material (using the “mirror trick”), to break up the first early reflections and scatter them  
randomly throughout the room.  
Commercially available fiberglass, foam and diffusion panels may not be aesthetically acceptable in many installa-  
tions, particularly when the home theater room serves multiple purposes. All of these materials can be covered with  
acoustically transparent cloth for design considerations. It is important that the cloth be acoustically transparent,  
however, or the effectiveness of the absorptive material will be greatly reduced. The simplest test for this is to hold  
a large sample of the cloth in front of a speaker playing pink noise. If you can move the cloth in front of the speaker  
without hearing a difference, the cloth is good for use in this application.  
Large expanses of glass can be challenging. Glass reflects mids and highs, but often lets bass pass through, almost  
as if the glass were not there. The result is a characteristically bright, rough sound that can be difficult to correct  
electronically. The best treatment is generally the heaviest insulated drapes that can be found. (Incidentally, these  
serve double duty, controlling light that might otherwise fall on the screen.)  
The materials just discussed are ineffective at lower frequencies. See the discussion on standing waves for more  
information about treating environments with low-frequency response problems.  
EXCESSIVE USE OF ABSORPTIVE MATERIALS  
Absorptive materials should be used judiciously, as overuse can acoustically deaden the room and create additional  
difficulties. While the ideal home theater should be considerably “deader” acoustically than a typical living room, it  
still needs some reflectivity and diffusion. In particular, the surround speakers depend on nonabsorptive surfaces for  
their operation, since they radiate virtually no sound directly at the listeners.  
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FINE-TUNING YOUR AUDIO SYSTEM  
The best arrangement of the absorptive and nonabsorptive surfaces in the room can be seen in Figure 24. Most of  
the room surfaces are relatively absorptive, with the notable exception of the rear wall and the highest portions of  
the other walls, which should be diffusive.  
ROOM ABSORPTION FOR HOME THEATER SYSTEMS  
Surround speaker  
Screen speaker  
• “Dead” zone absorbs  
front-speaker reflection  
• “Live” zone provides  
surround propagation  
Figure 24.  
“SLAP” ECHOES  
“Slap” echoes are common in rooms that have parallel walls with little  
or no absorption or diffusion. Sounds tend to bounce back and forth  
Loudspeaker  
between the parallel walls many times before they die out, causing a  
characteristic bright, “zingy” sound and interfering with the intended  
tonal balance and acoustic nature of the soundtrack (see Figure 25).  
Listener  
Walk slowly through the room, clapping your hands. No clear reflections  
should be heard at any point in the room – especially not near the pri-  
mary seating area. Listen for a “flutter echo” of the hand clap (a rapidly  
repeating percussive sound, indicative of the sound bouncing between  
two parallel walls). Again, the best home theaters are fairly “dead”  
acoustically. This allows the program material and the playback system  
to create the environment, rather than having the room’s native acoustic  
signature color everything.  
Copyright 2000 Lucasfilm Ltd.  
Figure 25.  
The solution for slap echoes is usually a combination of absorption and diffusion. Specifically, place absorptive mate-  
rial behind the front speakers (heavy drapes, fiberglass, dense foam) and elements that will facilitate diffusion in the  
rear of the room (bookcases, irregularly shaped furniture, etc.). This will effectively suppress the slap echoes while at  
the same time providing a diffusive surface in the rear for the surround speakers. This enhances the enveloping char-  
acteristic of the surrounds even further.  
In those relatively rare cases in which you have the luxury of building the home theater room as new construction,  
consider using nonparallel surfaces in the construction of the room. A difference of as little as 6 degrees will break  
up the slap echoes very effectively. For example, “flaring” the side walls out from the front by approximately  
16  
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FINE-TUNING YOUR AUDIO SYSTEM  
6 degrees and having the ceiling rise toward the rear of the room at a comparable rate will do wonders for the  
room’s acoustics, if the wall design is solid and the angles are clearly intentional from the outset.  
RATTLES  
Rattles in the room are structural resonances (as opposed to standing waves, which are airborne resonances) that the  
system may stimulate due to its broad frequency response and wide dynamic range. They are particularly prominent  
for sounds in the lower frequencies, and can sound like distortion. Sources of rattles include: furniture, loose window  
frames, walls, lighting fixtures, ventilation systems and even knickknacks on various shelves around the room. The  
simplest way of identifying these rattles is by using a rattle test. This is an extremely slow low-frequency sweep from  
20Hz to 500Hz, recorded at the reference level. Ten decibels of output level increase over the standard level may be  
necessary in order to hear all the room rattles. Be careful with this test, as it is also a severe test of associated  
amplifiers and speakers.  
As the sweep makes its way up the frequency range, you will probably find a surprising number of rattles in your room.  
All of these rattles will occur at one time or another during music or movies, but are usually perceived as background noise  
or distortion in the system.  
Once identified, eliminating the rattles is usually straightforward. As an example, small pieces of felt can be affixed  
to the back of a painting (in the frame’s bottom corners) to prevent audible rattles against the wall. Likewise, strips  
of felt can be wedged into a loose window rattling in its frame. Recessed lighting fixtures can be tightened up.  
A piece of cloth can be placed under offending knickknacks.  
Every home THX audio system should be subjected to the rattle test at least once – the difference in low-level  
resolution and in freedom from pseudodistortion is sometimes large, while the effort involved is quite small.  
BACKGROUND NOISE  
The effect of background noise on system performance is dramatic, yet often overlooked. Most people might think of  
it merely as a minor inconvenience, yet it has a profound effect on the way we perceive sound.  
The presence of virtually constant background noise alters the way we perceive volume, since subjective loudness is  
a relative measure. In a quiet room, even a 70dB SPL sound can seem fairly loud. In a noisy convention center, the  
same volume would be barely audible. Since there is a practical upper limit to both the volume to which we should  
subject ourselves and the volume a given system can reproduce, having a relatively noisy environment effectively  
limits the perceived dynamic range of the program material. This, in turn, limits the dramatic effect that might have  
been intended by the director or music artist.  
Constant background noise also obscures, or masks, low-level signals that are frequently important in films. Many  
scenes use subtle ambient noises to set the mood prior to an important event – without the full perception of the  
whispered secret or the barely heard creaking of a door, the impact of the scene is diminished.  
It has been demonstrated that even a relatively narrow-bandwidth noise can effectively reduce our hearing acuity  
over a broad range of frequencies, far greater than the noise itself. When you add up all the various sources of noise  
from electric motors, noisy heating/cooling systems and outdoor noises, plus noises that even audio and video com-  
ponents can introduce such as noisy transformers, motors in laser players or projector fan noise, our ability to discern  
the low-level information in the soundtrack is greatly compromised – and the director’s intention along with it.  
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FINE-TUNING YOUR AUDIO SYSTEM  
BACKGROUND-NOISE SOLUTIONS  
Many sources of noise in a home environment can be addressed simply. Locating the home theater in the basement often  
removes it from many household noises as well as isolating it from other family members. Taking care to completely seal  
windows and doors can also make a significant difference in reducing outside noise.  
Heating and cooling systems are more challenging. Sometimes, the answer may be as simple as using a “whistle-free”  
diffusion grille rather than one that creates undue noise from turbulence. For new construction, using larger-diameter  
air ducts for lower air velocity is very beneficial. You can go further by using ductwork that is lined with acoustically  
absorptive material. Where possible, longer ducts that have several turns further reduce the sound of the airflow by  
eliminating the straight path from the heating/cooling system to the room.  
Some of the construction techniques used to minimize the transmission of external sounds into the listening environ-  
ment include:  
• Double or triple layers of drywall (gypsum board)  
• Double wall construction, meaning two complete sets of studs (preferably stuffed with fiberglass insulation)  
• Double wall construction with staggered studs (to minimize transmission of vibrations from one set of studs  
to the next)  
• Floating floor construction (again, preferably stuffed with fiberglass; this also can enhance the perceived bass,  
since the subwoofers may cause structural vibrations through the false floor that can then be transmitted up  
through furniture)  
• Seal all windows, doors and vents  
• Seal and caulk all apertures in the wall (electrical outlets, through-wall plumbing, etc.)  
Finally, transient noises (traffic on the street, dripping faucets, etc.) distract your attention away from the program  
material and remind you that you are in your home theater/living room, and not in the midst of the action of a movie.  
STANDING WAVES  
A “standing wave” is what causes a pipe of a particular length in a large  
pipe organ to have its characteristic pitch. The pipe literally amplifies cer-  
tain frequencies, based on its length and the wavelength of the frequency.  
Loudspeaker  
A typical rectangular room has three characteristic “lengths” and, thus,  
three fundamental standing-wave frequencies. In addition, multiples of  
these frequencies are also amplified. These frequencies are often referred  
Listener  
to as “room resonances” or “room modes,” i.e., the frequencies at which  
the room tends to vibrate of its own accord. These resonances lead to  
uneven frequency response, the greatest problems being in the 60Hz –  
150Hz range for a typical living room (at lower frequencies in larger rooms).  
See Figures 26 and 27.  
Copyright 2000 Lucasfilm Ltd.  
Unfortunately, there is no way to eliminate the effects of standing waves  
completely. The best that can be done is to minimize their effect through a  
Figure 26.  
variety of strategies.  
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FINE-TUNING YOUR AUDIO SYSTEM  
STANDING-WAVE SOLUTIONS:  
ROOM RATIOS  
SUB  
In new construction, the best way to minimize  
the audibility of standing waves is to plan for  
an even distribution of them, so that their  
effects do not “pile up” on top of each other. In  
this regard, the ratios of room dimensions are  
the critical factor. Rooms having equal dimen-  
sions are the worst, since the standing waves  
in all directions reinforce one another. Room  
Low Relative Pressure  
Low Relative Pressure  
dimensions that are even multiples of one  
Copyright 2000 Lucasfilm Ltd.  
another should also be avoided where possible.  
Figure 27.  
STANDING-WAVE SOLUTIONS: SPEAKER PLACEMENT  
Speaker placement also has an effect on standing waves and their audibility. In particular, placement of any speaker  
(including subwoofers) where two walls and the floor meet will tend to stimulate all of the available standing waves,  
causing the most irregular response. The dis-  
placement required to minimize a particular  
standing wave depends on its frequency, with  
lower frequencies requiring more movement  
owing to their longer wavelengths. As a result,  
minimizing colorations due to standing waves  
often requires significant adjustment of sub-  
woofer placement. Leave yourself some latitude  
with regard to subwoofer placement when plan-  
ning your system – the final adjustment will  
probably have to be done on something of a  
trial-and-error basis. See Figures 28 and 29 for  
some suggestions.  
• How to improve a  
2nd-order standing  
wave  
Resulting Modal Structure  
The subwoofer  
drives the + and –  
areas equally,  
Listener  
+
+
resulting in reduction  
of resonance  
Subwoofer  
Copyright 2000 Lucasfilm Ltd.  
Figure 28.  
• Improving a 2nd-order  
standing wave  
STANDING-WAVE SOLUTIONS:  
– Connect the 2  
ABSORPTION  
subwoofers together as  
“in-phase”  
– The 2 subwoofers drive  
the + and – areas  
equally, resulting in  
reduction of resonance  
– Experiment a lot  
Resulting Modal Structure  
Listener  
In theory, it is possible to dampen standing  
waves with absorptive material. The difficulty  
is that the thickness of the absorptive material  
would have to be approximately one-half the  
wavelength of the lowest frequency requiring  
damping. This means a five-foot thickness of  
fiberglass would be required in order to damp  
everything down to 100Hz – not very practical.  
+
+
Subwoofer  
Output  
From  
Subwoofer 2  
Subwoofer 1  
Controller  
Mono!  
Copyright 2000 Lucasfilm Ltd.  
Figure 29.  
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FINE-TUNING YOUR AUDIO SYSTEM  
Standing-wave energy tends to be concentrated in the corners of rooms, which is why placing a subwoofer in the cor-  
ner tends to increase its bass output. Because of this, it is possible to break standing waves up somewhat by “break-  
ing up” the corner. This can be accomplished by placing a column of thick, absorptive materials in the corners (covered  
by acoustically transparent cloth, of course). The column ought to be at least a foot on a side, and run from floor to  
ceiling. A variation of this is to run an absorptive panel diagonally across the corner, leaving open air space behind it.  
Both of these techniques are easily tried and sometimes quite effective.  
STANDING-WAVE SOLUTIONS: ROOM EQUALIZATION  
If a room exhibits severe standing-wave problems, the best solution is to know your own limitations; hire a trained  
acoustician. These professionals have the necessary background to analyze the various room modes and recommend  
appropriate action. This will sometimes take the form of a custom-designed bass trap, which may be easily con-  
structed. But it takes specific skills to determine its optimal design.  
In other cases, careful analysis and parametric equalization may be appropriate. Optimize everything else that you  
can, then use EQ, if necessary, to “touch up” the room. This is its best use. Parametric equalization must be applied  
with care and a light touch to obtain optimal results. Professionals use it all the time, with excellent results –  
because they know its limitations and how to apply it.  
Never equalize a room by ear. Room analysis is not as straightforward as it may seem. The analysis should be done  
using equipment with at least one-third-octave resolution, using both spatial and temporal averaging.  
In any event, rooms requiring this level of treatment are relatively rare, and the skills necessary to handle them prop-  
erly are highly specialized. Do not hesitate to use the professional services of an acoustician when you need them.  
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TROUBLESHOOTING  
SYMPTOM  
PROBABLE CAUSE  
SOLUTION  
No sound coming  
from speaker  
• Amplifier not turned on  
• Amplifier gain is low  
Turn on amplifier.  
Make sure that there is  
amplifier gain for that channel.  
• Correct source not  
selected or turned on  
Select proper source.  
• Defective patch cords to amplifier  
Check/replace patch cords.  
• Speaker wires not  
Check speaker wire  
connected to amplifier  
connection to amplifier.  
• Balance control set improperly  
Make sure Balance control is set  
at center, or 12 o’clock, position.  
• Speaker wires damaged  
or shorted  
Make sure none of the speaker wires  
are frayed, cut or punctured. Make sure  
no wires are touching other wires or  
terminals and creating a short circuit.  
®
®
• Speaker not configured  
correctly  
In Dolby Digital or DTS mode, make  
sure that the receiver/processor is  
configured so that the speaker in  
question is enabled.  
®
• Center speaker is configured  
incorrectly  
In Dolby Pro Logic mode, make sure the  
center speaker is not in phantom mode.  
• Problem not diagnosed  
To diagnose the likely source of the  
problem, it is often helpful to switch the  
nonfunctioning speaker with one that  
is functioning correctly. Turn off all  
electronics before exchanging the  
speakers. Turn everything back on, and  
determine whether the problem is in  
the same place, or has moved with the  
speaker. If the problem is in the same  
place, the source is most likely with your  
receiver or amplifier. If the problem has  
followed the speaker, then contact your  
authorized JBL Synthesis custom installer  
or dealer for further assistance. If that  
is not possible, visit our Web site at  
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TROUBLESHOOTING  
SYMPTOM  
PROBABLE CAUSE  
SOLUTION  
Bass is very weak  
• Subwoofers are wired out  
of phase  
Make sure that positive terminals on the  
subwoofers go to the positive terminals  
on the amplifiers (red) and do the same  
for the negatives.  
• Subwoofers have not  
been placed optimally  
Experiment with different locations.  
Poor or smeared imaging  
• Poor room acoustics  
Use absorptive materials to minimize  
early reflections.  
Aim speakers at listening area.  
• Poor program source  
• Improper polarity  
• Slap echoes  
Check another program source.  
Check polarity of wire connections.  
Add absorption or diffusion materials.  
Check output levels of surround processor.  
Indistinct dialogue  
• Miscalibration of center  
channel output level  
Uneven surround coverage  
• Poor speaker placement,  
strong reflections  
Place surrounds according to THX  
specifications.  
Add absorption and/or diffusion materials.  
• Excessive absorption near  
surrounds  
Remove absorptive material to provide  
surround reflections.  
22  
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SPECIFICATIONS  
MODEL #  
S4VC  
S4HC  
S4Ai  
Description  
3-Way 8" (200mm) vertical  
flush-mount speaker  
3-Way dual 6-1/2" (165mm)  
horizontal flush-mount speaker  
Configurable-array flush-  
mount surround speaker  
Power Handling  
250W  
250W  
200W Single-driven or  
175W-per-array dual-driven  
Nominal Impedance  
Sensitivity (2.83V@1M)  
Frequency Response  
Crossover Frequencies  
6 Ohms  
6 Ohms  
6 Ohms  
91dB  
91dB  
91dB  
65Hz – 20kHz  
600Hz, 3.5kHz  
65Hz – 20kHz  
600Hz, 3.5kHz  
80Hz – 20kHz  
Dipole Mode: 400Hz;  
Bipole Mode: 800Hz, 3.6kHz,  
Direct Mode: 2.5kHz  
Bass Transducer(s)  
8" (200mm) Titanium-alloy  
inverted dome with rubber  
surround and cast basket,  
shielded  
Dual 6-1/2" (165mm) titanium-  
alloy inverted dome with  
rubber surround and cast  
basket, shielded  
8" (200mm) Dual-voice-coil  
inverted dome with rubber  
surround and cast basket  
Midrange Transducer(s)  
4" (100mm) Titanium inverted  
dome with rubber surround  
and cast-aluminum  
4" (100mm) Titanium inverted  
dome with rubber surround  
and cast-aluminum  
Dual 4" (100mm) neodymium  
full-range with rubber  
surrounds and cast-  
basket, shielded  
basket, shielded  
aluminum baskets  
High-Frequency  
Transducer(s)  
1" (25mm) Pure-titanium  
dome with rubber surround,  
shielded, with EOS waveguide  
1" (25mm) Pure-titanium  
dome with rubber surround,  
shielded, with EOS waveguide  
Triple 1" (25mm) pure-titanium  
dome with rubber surrounds,  
shielded, with EOS  
waveguide  
Dimensions (H x W x D)  
23-7/8" x 14" x 5-1/2"  
(606mm x 356mm x 140mm)  
14" x 23-7/8" x 5-1/2"  
(356mm x 606mm x 140mm)  
23-7/8" x 14" x 3-3/4"  
(606mm x 356mm x 95mm)  
Weight  
26 lb (12kg)  
32 lb (15kg)  
23 lb (10kg)  
Connectors  
Two-conductor push-type,  
10 –16-gauge  
Two-conductor push-type,  
10 –16-gauge  
Speaker: four-conductor push-  
type, 10 –16-gauge; Control:  
two-conductor screw terminal,  
16 – 24-gauge  
All features and specifications are subject to change without notice.  
JBL, Harman International, JBL Synthesis and Synthesis are trademarks of Harman International Industries, Incorporated, registered in the United States  
and/or other countries.  
Elliptical Oblate Spheroidal is a trademark of Harman International Industries, Incorporated.  
Dolby is a registered trademark of Dolby Laboratories.  
DTS is a registered trademark of DTS, Inc.  
Styrofoam is a trademark of the Dow Chemical Company.  
THX is a registerd trademark, and THX Ultra2 is a trademark, of THX Ltd. All rights reserved.  
23  
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Declaration of Conformity  
We, Harman Consumer Group International  
2, route de Tours  
72500 Château du Loir  
France  
declare in own responsibility that the products described  
in this owner’s manual are in compliance with technical  
standards:  
JBL Consumer Products  
250 Crossways Park Drive  
Woodbury, NY 11797  
EN 61000-6-3:2001  
EN 61000-6-1:2001  
8500 Balboa Boulevard  
Northridge, CA 91329  
818.830.8757  
Luc Guillaume  
Harman Consumer Group International  
Château du Loir, France 3/06  
Part No. 361103-001 3/06  
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