JBL Speaker System SYN 3 User Manual

JBL Consumer Products,  
Incorporated  
240 Crossways Park West  
Woodbury, NY 11797  
8500 Balboa Boulevard  
Northridge, CA 91329  
800-645-7484  
A Harman International Company  
P/N 301227-001  
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CONTENTS  
INTRODUCTION ............................................................................................................2  
SPEAKER PLACEMENT .................................................................................................3  
CONNECTING THE SPEAKERS TO THE REST OF YOUR SYSTEM..............................7  
FINE TUNING YOUR AUDIO SYSTEM...........................................................................8  
TROUBLESHOOTING ..................................................................................................16  
SPECIFICATIONS.........................................................................................................17  
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INTRODUCTION  
Congratulations on purchasing this JBL Synthesis Three home theater speaker. This  
product represents the synthesis of everything that JBL has learned about the emo-  
tional power of audio and video in over fifty years of preeminence in the field. It sets  
new benchmarks in the use of “high technology” and provides you with the experience  
of being in some of the world’s greatest movie-houses and concert halls, right at  
home! JBL’s Synthesis Three speaker systems feature the following:  
THX ® LICENSED HOME AUDIO SYSTEM: When used with a Home THX controller  
and amplifiers, your speaker system will deliver state-of-the-art THX home theater  
experience to your home. 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.  
CINEMA/MUSIC SWITCHING: The Synthesis Three main speakers (S3M) utilize dif-  
ferent combinations of transducers that are specifically chosen for playing cinema or  
music. Via an electronic relay, the speaker mode can be switched, depending on  
whether the surround processor is in the music or cinema mode. The result is a  
speaker that reproduces all sources incredibly!  
HIGH POWER COMPRESSION HORN: Horns are commonplace in movie theaters  
across the world, because of their high power handling and well-defined high frequen-  
cy output. The horns employed in Synthesis Three have very low distortion, and a  
well controlled directivity, to put the dialogue at the center of the screen and the effects  
all around you.  
ACCURATE MID-BASS DRIVERS AND SUBWOOFERS: The 6-1/2 inch mid-bass  
drivers incorporate fiberglass reinforced cones along with microcell laminate domes  
and surrounds to provide tight and smooth midrange sounds without harshness, stri-  
dency, or listener fatigue. The pair of twelve inch high power subwoofers completes  
the experience with earth shattering, deep bass.  
PURE TITANIUM TWEETER: This tweeter provides well-defined high frequency out-  
put with low distortion, flat and smooth high frequency response, and no break-up in  
the audio range.  
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COMMON VOICING: Synthesis Three 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.  
SPEAKER PLACEMENT  
Positioning your speakers properly is critical in order to achieve the sonic performance of  
a home theater. Please read the following sections to guide you in correct placement.  
LEFT AND RIGHT SPEAKERS - If you have purchased the Synthesis Three Home  
Media System, then the main speakers (model S3M) will serve as your left and right  
speakers. If you have purchased the Synthesis Three Cinema Only System, or Cinema  
Only Speaker Package, then the vertical center speakers (model S3VC) will serve as  
your left and right speakers.  
Since the left and right speakers have been  
designed for maximum localization of sound, they  
L
C
R
should be placed as close to the screen or televi-  
sion as possible, with the center of the horns at  
about the same height on the screen as actors  
would be, to aid in maintaining the illusion that the  
actorsvoices are coming directly from their  
mouths. Ideally, you want to have the speakers  
about 45 degrees apart from each other, viewed  
from the listening position.  
VIEWING  
POSITION  
Toeing inor turning in the speakers towards the  
listening area is optional, and its effects can  
depend on the room, so it is advisable to experi-  
ment with the speakers to see which orientation,  
facing straight out or facing the center of the view-  
ing area, yields the best results.  
FLOOR PLAN  
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The speakers have been designed to integrate well with rear projection 35and 45tele-  
vision sets. The subwoofers can be placed on both sides of the television set, with the  
left and right speakers stacked on top. This arrangement lends itself nicely because it  
places the center of the horns at approximately the desired height with the screen.  
CENTER CHANNEL SPEAKERS  
S3VC  
If you have purchased the vertical center channel speaker (model S3VC), position it ver-  
tically in order to take advantage of its sound dispersion qualities. If you mount it horizon-  
tally, the S3VC will not work properly. If the speaker is being used with a perforated pro-  
jection screen, then it should be mounted behind the center of the screen, in the same  
plane as the left and right front speakers. In cases where the S3VC is being used with a  
non-perforated screen, the speaker should be positioned above or below the screen. In  
use with a rear projection television set, the vertical center channel could be placed  
above or below based on mounting and visual constraints. If the center of the horn is  
either above or below the center of the screen, the speaker should be tilted so that a line  
from the center of the horn, perpendicular to the front surface extends to ear height in the  
viewing position.  
SPEAKER PLACEMENT OPTIONS  
S3HC  
If you have purchased the horizontal center chan-  
HC  
nel speaker (model S3HC), then the suggested  
location for it is on top of a television set. If the  
L
R
SCREEN  
center of the horn on top of the television set is  
higher than where your ears would be while in the  
viewing position, it is advisable to tilt the speaker  
forward using the adjustable foot assembly in the  
back. Tilt the speaker forward so that a line from  
the center of the horn, perpendicular to the front  
surface extends to ear height in the viewing posi-  
tion. Be careful while adjusting the height,  
SUB  
SUB  
OR  
L
R
SCREEN  
VC  
because large adjustments could make the speak-  
er unstable on top of the television.  
SUB  
SUB  
It is extremely important to maintain the vertical  
distance between the horns in the center, left, and  
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right speakers. The horn in the center channel speaker should be no more than two  
feet higher or lower than the horns in the left and right speakers. This preserves the  
localization integrityof sound pans, in which the sound appears to move from left to  
center to right. Having it also appear to go from high to low to high, or vice versa, can  
destroy the illusion of such effects and should also be avoided. Use of speaker stands  
can help achieve this goal.  
SUBWOOFERS - The location of subwoofers is the most flexible aspect of placement.  
The convention is to place them on or very near to the floor. The subwoofers can be  
placed on both sides of the television set or projection screen, with the left and right  
speakers stacked on top. If this arrangement is not feasible, then they can be placed  
in the corners of the room. It is recommended that you experiment with the various  
positions to see which suits you both sonically and aesthetically.  
SURROUNDS - The 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 not be placed to radiate  
directly at the listeners. Rather, they should echo off the front  
and rear walls, or optionally, off the ceiling, to create a sound  
space that encloses the listener. The listeners should be locat-  
ed in a null zonein which no sound is directly radiating at  
them from the ambient surrounds. Always make sure that the  
null baffle (the side w/no speakers or speaker terminals) points  
towards the listening area.  
The ambient surround speakers should be placed higher than the seating area, at  
least two feet above seated ear level.  
The preferred method to mount the ambient surrounds is to put them directly on side  
walls with brackets, or to stack them atop a column attached to the wall. This lets  
each speaker radiate to the front and back of the room, and to reflect off the side walls.  
There are a few instances in which the ambient surrounds would do better if mounted  
on the ceiling rather than the walls. If one or both of the walls is acoustically dead,  
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due to the presence of windows, fabrics, furniture, or other absorption, it may be nec-  
essary to turn the ambient speakers sideways, and instead of bracketing them in a  
vertical orientation, hang or mount them from the ceiling in a horizontal orientation.  
Although identical drivers are used on both sides of a surround speaker, it is important  
to have a particular side facing the wall with the screen. Remove both grilles covering  
the transducers and locate the side that has a port tube on it. Make sure that this side  
faces the front of the room, or the wall that the screen is on. If you are mounting the  
speakers on the wall, it is recommend that you use the mounting brackets that are sup-  
plied with them.  
NOTE: Do not attempt to install any type of mounting bracket that is not supplied  
with the speakers. 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 suggest and 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  
S3M  
OR  
S3VC  
S3VC  
OR  
S3HC  
S3M  
OR  
S3VC  
Synthesis Three loud-  
speakers to the  
receiver or power  
amplifiers, use two-  
conductor insulated  
speaker wire. We rec-  
ommend #14 AWG  
wire as a minimum  
size. Your JBL dealer  
can recommend suit-  
able cables, or you  
can buy this type of  
wire at most hardware  
stores.  
(-) (+)  
(-) (+)  
(-) (+)  
LEFT AND RIGHT FRONT  
S3S  
S3S  
LEFT  
(-) (+)  
LEFT  
(-) (+)  
S300  
(-) (+)  
(-) (+)  
CENTER*  
LEFT  
(-) (+)  
LEFT  
(-) (+)  
S150  
AMBIENT  
AMBIENT  
SUBWOOFER  
LEFT  
(-) (+)  
LEFT  
(-) (+)  
S300  
(-) (+)  
AMBIENT  
(-) (+)  
LEFT  
(-) (+)  
LEFT  
(-) (+)  
S150  
AMPLIFIERS  
*When used with a complete Synthesis Three system, the center amplifer (model S150) is operated in the mono bridged mode  
The terminals on the back of the speakers accept both bare wire and dual banana  
plugs, either of which will provide easy, secure connections.  
PREPARING THE HOOKUP WIRE  
1. First determine the distance between your amplifier and the most distant speaker in  
each group (fronts, 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 of 3/8of insulation from both ends of each conductor.  
4. Twist each set of thin wires into a tightly-bunched spiral.  
5. Now find a visual difference between the two conductors of each molded pair of  
speaker wire. 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 doesnt matter which of the two  
strands go to the (+) and (-) on the speakers and amplifiers, as long as all speakers  
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are connected identically. Unscrew the binding post, insert the wire into the hole, and  
retighten. If you are using banana plug type wire connectors, insert them directly into  
the posts making sure the lug on the negative (-) side of the banana plug is placed into  
the black binding post. For each channel, connect the red terminal on the loudspeak-  
er to the red or (+) loudspeaker connection terminal on the amplifier and the black to  
the black or (-). Connecting the loudspeakers this way ensures that they will be in  
phase; that is, work together, not in opposition. Connecting the loudspeakers out of  
phase will not damage them, but will result in less bass and poor imaging.  
6. If you have purchased the Synthesis Three Home Media System, which utilizes the  
S3M speakers for the left and right channels, it is necessary to connect the five pin din  
cable (included) to each speaker. This cable is essential to the system, for it allows the  
speakers to switch from the music mode to the cinema mode. Plug one end into the five  
pin din jack (located above the speaker terminals) and the other end into the jack locat-  
ed on the power sequencer labeled Speaker 1. Do the same for the second speaker.  
FINE TUNING YOUR AUDIO SYSTEM  
ACOUSTICAL PROBLEMS IN LISTENING ROOMS  
The Home THX Audio 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,  
there are many variables which are beyond the control of a manufacturer. Room reflections  
create spurious false images and comb filterinterference effects which alter the tonality of  
the system while degrading the localization of specific sounds. Larger rooms sustain echoes  
which degrade dialog intelligibility and detail. All rooms have standing waves which empha-  
size 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 real-  
ize. 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 which  
lesser systems might never evoke.  
It can be tempting to try to solve all of these problems with the indiscriminate use of  
sound-absorbing products, but even this technique has its pitfalls.  
All of these common acoustical problems will be addressed in this section. Once  
again, these techniques are not necessary for a successful Home THX Audio System  
installation. Rather, they are provided to solve occasional problems and to provide fur-  
ther enhancement possibilities.  
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ROOM REFLECTIONS  
The most troublesome room reflections are usually the early reflections of the LCR  
speakers off the floor, ceiling and side walls. These reflections reach the listeners ears  
delayed with respect to direct sounds and blur the perceived image. They can also  
degrade dialog intelligibility, through the same mechanisms.  
The design of the THX LCR 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 primary reflection  
from floors with hard surfaces. A rug made from wool will generally have more uniform  
absorption characteristics than one made from synthetic fibers.  
The THX LCR speakers have broad dispersion in the horizontal plane in order to ensure  
a wide usable listening area. This design choice can induce reflections off of the side  
walls, especially in installations where they are relatively close to the front speakers.  
These reflections can be reduced simply by angling the left and right speakers inward  
somewhat.  
If giving the speakers some toe-inis not enough, the next step is the strategic place-  
ment of absorptive materials on the side walls. These range from commercially available  
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 an assis-  
tant. Sit at the primary listening position and have the assistant slowly slide the mirror  
along the wall. When  
you can see any of the  
front speakers reflected  
in the mirror, mark the  
wall at the mirror for later  
placement of absorptive  
material.  
A variation of this  
method is especially  
helpful in rooms which  
are already fairly dead”  
acoustically. Rather than  
using absorptive materi-  
al in rooms like these, try  
using diffusion instead.  
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Commercially built diffusers are available but large bookcases and irregularly shaped  
furniture will also serve the same purpose. They reflect sounds in a highly randomized  
way which effectively scattersthe 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 installations, particularly when the home theatre room serves multi-  
ple 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 else 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 the pink noise found in Chapter 6 of the WOW! laserdisc. If you can move the  
cloth in front of the speaker without hearing a difference, you are all set.  
Large expanses of glass can be challenging. They reflect mids and highs but often  
pass bass through almost as though they didnt exist. The result is a characteristically  
bright, rough sound which can be difficult to correct electronically. The best treatment  
is generally the heaviest insulated drapes which can be found. (Incidentally, these  
serve double duty, controlling light which 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 frequen-  
cy response problems.  
EXCESSIVE USE OF ABSORPTIVE MATERIALS  
People are sometimes  
tempted to go over-  
board with absorptive  
material once they dis-  
ROOM ABSORPTION FOR HOME THEATRE SYSTEMS  
Surround speaker  
Screen speaker  
cover how powerful its  
"Dead" zone absorbs  
front speaker reflection.  
use can be. While the  
ideal home theatre  
should be considerably  
deaderacoustically  
than a typical living  
"Live" zone provides  
surround propagation  
Reflective "live" zone  
Absorptive "dead" zone  
room, it still needs some  
reflectivity and diffusion.  
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In particular, the surround speakers depend on non-absorptive surfaces for their opera-  
tion, since they radiate virtually no sound directly at the listeners.  
The best arrangement of the absorptive and non-absorptive surfaces in the room can  
be seen in the diagram below. 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.  
SLAPECHOES  
Slapechoes are common in rooms which have parallel walls with little or no absorp-  
tion or diffusion. Sounds tend to bounce back and forth between the parallel wall many  
times before they die out, causing a characteristic bright, zingysound and interfering  
with the intended tonal balance and acoustic nature of the soundtrack.  
Walk slowly through the room, clapping your hands. No clear reflections should be  
heard at any point in the roomespecially not near the primary seating area. Listen for  
a flutter echoof the hand clap (a rapidly-repeating percussive sound, indicative of  
the sound bouncing between two parallel walls). Again, the best home theatres are  
fairly deadacoustically. This allows the program material and the playback system to  
create the environment, rather than having the rooms native acoustic signature color  
everything. You can also use the hand claps in chapters 17 and 18 of WOW!  
The solution for slap echoes is usually a combination of absorption and diffusion.  
Specifically, placing absorptive material behind the front speakers (heavy drapes,  
fiberglass, dense foam) and diffusion in the rear of the room (bookcases, irregularly-  
shaped furniture, etc.) will deliver the greatest benefits. 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 characteristic of the surrounds even  
further.  
In those relatively rare cases where you have the luxury of building the home theatre  
room from scratch, consider using non-parallel surfaces in the construction of the  
room. A difference of as little as 6° will break up the slap echoes very effectively. For  
example, flaringthe side walls out from the front by approximately 6° and having the  
ceiling rise toward the rear of the room at a comparable rate will do wonders for the  
rooms acoustics, if the wall design is solid and the angles are clearly intentional from  
the outset.  
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RATTLES  
Rattles in the room are structural resonances (as opposed to standing waves, which are  
airborne resonances) which 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 knick-knacks  
on various shelves around the room. The simplest way of identifying these rattles is by  
using the Rattle Test found on WOW! (Chapter 16). This is an extremely slow low fre-  
quency sweep from 20 Hz to 500 Hz, recorded at reference level. 10dB of output level  
increase over standard level might be necessary to allow hearing 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 bottom corners) to prevent  
audible rattles against the wall. Likewise, strips of felt can be wedged into a loose win-  
dow rattling in its frame. Recessed lighting fixtures can be tightened up. A piece of  
cloth can be placed under offending knick-knacks.  
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 pseudo-distortion is some-  
times large, and the effort involved is quite small.  
BACKGROUND NOISE  
The effects of background noise on system performance is dramatic, yet often over-  
looked. Most people might think of it merely as a minor inconvenience, yet it has a pro-  
found effect on the way we perceive sound.  
The presence of more-or-less constant background noise alters the way we perceive  
volume, since subjective loudness is a relative measure. In a quiet room, even a 70 dB  
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 expose ourselves and to the volume a given system can reproduce, having a  
relatively noisy environment effectively limits the perceived dynamic range of the pro-  
gram material. This, in turn, limits the dramatic effect which might have been intended  
by the director (or the performer, if listening to music).  
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Constant background noise also obscures, or masks, low-level signals which are fre-  
quently important in films. Many scenes use subtle ambient noises to set the mood  
prior to an important eventwithout the full perception of the whispered secret or the  
barely-heard creaking of a door, the impact of the following 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, outside 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  
compromisedand the directors intention along with it.  
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 the 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-freediffusion grille rather than one which creates undue  
noise from turbulence. In cases of new construction, using larger-diameter air ducts for  
lower air velocity is very beneficial. You can go further by using ductwork which is lined  
with acoustically-absorptive material. Where possible, longer ducts which 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 environment include:  
Double or triple layers of sheet rock (gypsum board)  
Double wall construction, meaning two complete sets of studs (preferably stuffed with  
fiberglass insulation)  
Double wall construction with staggered studs (minimizes 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 which then get transmitted up through furniture)  
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Seal all windows, doors, 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 atten-  
tion away from the program material, and remind you that you are in your home  
theatre/living room rather than a participant in the action of a movie.  
STANDING WAVES  
A standing waveis what causes a pipe of a particular length in a large pipe organ to  
have its characteristic pitch. The pipe literally amplifies certain frequencies, based on  
its length and the wavelength of the frequency.  
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 to as room resonancesor room modes”—that is,  
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 60150 Hz range  
for a typical domestic living room. (At lower frequencies in larger rooms.)  
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 variety of strategies.  
STANDING WAVE SOLUTIONS: ROOM RATIOS  
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 upon top of each  
other. In this regard, the ratios of room dimensions are the critical factor. Rooms having  
equal dimensions are the worst, since the standing waves in all directions reinforce one  
another. Room dimensions which are even multiples of one another are also to be  
avoided where possible.  
STANDING WAVE SOLUTIONS: SPEAKER PLACEMENT  
Speaker placement also has an effect on standing waves and their audibility. In particu-  
lar, 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 irregu-  
lar response. The displacement 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  
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often requires significant adjustment of subwoofer placement. Leave yourself some lati-  
tude with regard to subwoofer placement when planning your systemthe final adjust-  
ment will probably have to be done on something of a trial-and-error basis.  
STANDING WAVE SOLUTIONS: ABSORPTION  
In theory, it is possible to damp standing waves with absorptive material. The difficulty is that  
the thickness of the absorptive material would have to be approximately one-half the wave-  
length of the lowest frequency requiring damping. This means a five-foot thickness of fiber-  
glass would be required in order to damp everything down to 100 Hznot very practical.  
Standing wave energy tends to be concentrated in the corners of rooms, which is why  
these are the worst places for subwoofers. Because of this fact, it may be possible to  
break them up somewhat by breaking upthe 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 on this theme is to run an absorptive panel diagonally  
across the corner, leaving open air space behind it. Neither of these techniques is more  
than a partial solution, at best, but they 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 easi-  
ly constructed. But it takes specific skills to determine its optimal design.  
On other occasions, careful third-octave analysis and equalization may be appropri-  
ate. Optimize everything else that you can, then use EQ, if necessary, to touch upthe  
room. This is its best use. If everyone used EQ this way, it wouldnt have the bad repu-  
tation that it has in some consumer electronics circles. Professional use it all the time,  
with excellent resultsbecause 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. The final electronic equalization should be  
applied by means of a one-third octave graphic equalizer at a minimum.  
In any event, rooms requiring this level of treatment are relatively rare, and the skills  
necessary to handle them properly are highly specialized. Do not hesitate to use the  
professional services of an acoustician when you need them.  
15  
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TROUBLESHOOTING  
Symptom  
Probable Cause  
Solution  
No sound coming  
from speaker  
Amplifier not turned on  
Amplifier gain is low  
Correct source not  
selected or turned on  
Defective patchcords to  
amplifier  
Turn on amplifier  
Make sure that there is  
amplifier gain for that  
channel  
Select proper source  
Check/replace patch cords  
Check speaker wire  
connection to amplifier  
Speaker wires not  
connected to amplifier  
Cinema drivers are not  
turning on in cinema mode  
Loose din cables between  
speakers and power  
sequencer  
Loose din cables between  
power sequencer and  
surround processor  
Defective din cables  
Relays in speakers not  
switching  
Check that din cable is  
connected between  
speakers and power  
sequencer  
Check that din cable is  
connected between power  
sequencer and surround  
processor  
Check/replace din cables  
Bass is very weak  
Subwoofers are wired out  
of phase  
Make sure that positive  
terminals on the  
Subwoofers have not  
been placed optimally  
subwoofers go to the  
positive terminals on the  
amplifiers (red) and do the  
same for the negatives  
Experiment with different  
locations  
Poor or smeared imaging  
Poor room acoustics  
Poor program source  
Improper polarity  
Use absorptive materials  
to minimize early  
reflections  
Check another program  
source  
Aim speakers at listening  
area, check polarity  
Indistinct dialog  
Slap echoes  
Miscalibration of center  
channel output level  
Add absorption or  
diffusion materials  
Check output levels of  
surround processor  
Uneven surround coverage Poor speaker placement,  
strong reflections  
Place surrounds  
according to THX spec  
Add absorption and/or  
diffusion materials  
Excessive absorption near  
surrounds  
Remove absorptive  
material to provide  
surround reflections  
16  
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SPECIFICATIONS  
S3M-Cinema  
S3M-Music  
S3VC  
S3HC  
S3S (L+R)  
S2A  
Frequency  
Response  
70Hz-18kHz,  
(-3dB)  
70Hz-18kHz,  
(-3dB)  
70Hz-18kHz,  
(-3dB)  
70Hz-18kHz,  
(-3dB)  
32Hz-1kHz,  
(-3dB)  
80Hz-12kHz  
(-3dB)  
Power  
Handling  
150 watts  
100 watts  
87dB  
150 watts  
87dB  
150 watts  
87dB  
250 watts  
87dB  
100 watts  
87dB  
Sensitivity  
dB/1W  
87dB  
Nominal  
Impedance  
8 ohms  
N/A  
8 ohms  
8 ohms  
N/A  
8 ohms  
N/A  
8 ohms  
N/A  
6 ohms  
N/A  
High  
1Titanium  
Frequency  
Dome  
Transducer  
High  
1”  
N/A  
1”  
1”  
N/A  
(2)-1”  
Frequency  
Compression  
Driver  
Mid-bass  
(2)-6-1/2”  
(1)-6-1/2”  
(2)-6-1/2”  
(2)-6-1/2”  
N/A  
(2)-5”  
Transducer  
Low Frequency N/A  
N/A  
N/A  
N/A  
(1)-12”  
N/A  
Transducer  
Dimensions,  
H x W x D in  
inches  
32x 10x  
12.25”  
32x 10x  
12.25”  
27.5x 10x  
12.25”  
9.5x 28.25x 19.5x 20x 16x 10.5  
8.75”  
22  
56  
70  
7.5”  
Weight, lbs  
45  
45  
41  
32  
39  
32  
21  
Shipping  
Weight, lbs  
41  
39  
29  
DOLBY, DOLBY STEREO, PRO LOGIC, TIME LINK and the double-D symbolare trademarks of  
DOLBY LABORATORIES LICENSING CORPORATION.  
LUCASFILM THX AUDIO and HOME THX CINEMAare trademarks of  
LUCASARTS ENTERTAINMENT COMPANY.  
17  
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