I N S T A L L A T I O N
&
O P E R A T I O N G U I D E
M O D E L S
M O D E L S
AT8500
AT8700
IN-WALL LOUDSPEAKERS
®
®
B L E N D I N G H I G H F I D E L I T Y A N D A R C H I T E C T U R E
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High Performance Woofer and
Introduction
Tweeter Designs
Both the AT8500 and AT8700 models
incorporate woofer designs which feature
cast aluminum frames, vented pole pieces,
custom debris screens, inverted dust caps,
butyl rubber surrounds, and Niles
BumpBack™ magnet structure to provide
powerful and accurate bass response.
Additionally, the AT8700 features a bi-filer
voice coil winding which enhances the
speaker’s already flat frequency response
characteristics, lowers distortion, and
increases the woofer’s efficiency.
The AT or Advanced Technology group of
In-Wall Loudspeakers are designed to
deliver truly stunning performance with
optimum installation flexibility. All models
in the AT series are constructed using the
highest quality components and utilize
advanced materials technology to create
speakers capable of reproducing both
music and movie soundtracks with stun-
ning realism and sonic impact. They are
perfect anywhere that quality of sound is
the most important consideration.
AT8500—Aluminum/Urethane
Composite Woofer
The AT8500’s 8” woofer is constructed of a
composite of aluminum and urethane
which is extremely light, highly efficient,
and offers superior damping characteristics.
An AT8500/AT8700 Series Speaker Kit;
AT8000 Series Bracket Kit; and an
AT8000 Series Frame/Grille Kit are
required to install one pair of AT8500,
AT8700 In-Wall Loudspeakers in either
new or existing construction.
Dual Hyperbolic Aluminum/Urethane
Dome Midranges and Tweeter
Features and Benefits
Patent Pending Dispersion Control
Array with Directed Sound Field
Geometry™ (DSFG)
The AT8500’s dual 1-1/2” midrange drivers
and single 1” tweeter incorporate the same
aluminum/urethane composite used in the
construction of the AT8500’s woofer. The
result is a very natural sounding speaker
capable of reproducing mids and highs
with superb detail and accuracy.
Both the AT8500 and AT8700 models
employ Niles’ Directed Sound Field
Geometry (DSFG). With DSFG, the tweeter
is offset from the center of the dual
midrange drivers. The resulting acoustic
interaction between the dual midrange dri-
vers and the offset tweeter directs the flattest
frequency and phase response approxi-
mately 15 degrees off-axis from the tweeter.
AT8700—Aluminum/Titanium/Urethane
Composite Woofer
The AT8700’s 8” woofer is constructed of a
three layer composite of aluminum, titani-
um, and urethane to offer unparalleled
rigidity, excellent transient response, and
very low distortion.
By mounting this innovative midrange/
tweeter design on 360 degree rotating and
30 degree swiveling low diffraction
Dispersion Control Array, the AT8500 and
AT8700 models can deliver pinpoint imag-
ing and optimum phase and frequency
response regardless of speaker placement or
listening position.
Dual Hyperbolic Dome Midranges
and Tweeter
The AT8700’s dual 1-1/2” midrange drivers
and single 1” tweeter all share composite
design consisting of an inner aluminum
layer that forms the dome, a stiffening layer
of titanium, and a damping layer of ure-
thane to kill unwanted resonances.
Patent Pending
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1
Computer Optimized Crossover with
Acoustical Configuration Controls
Easy Retrofit Installation in your
Existing Home
The second order Linkwitz-Riley crossover Designed for ease of installation, the Niles
is computer optimized and constructed of mounting system makes retrofit installa-
premium components for unparalleled tions simple and fast. A supplied template
sonic performance. The baffle-mounted assures fast and accurate hole cutting. The
Tone Controls provide installers with Bass, bracket slips behind the drywall and the
Midrange and Treble adjustment in four screws secure the bracket to the frame,
increments (-2dB, Flat, +2dB, +4dB). sandwiching the drywall between them.
Additionally, the AT8700 features a Sub- The speaker baffle attaches to the frame,
Bass Boost control which adds 3dB at 60Hz and the grille mounts over the speaker.
to enhance the speaker’s low frequency
performance if desired, and two Linear
Track™ Filters. These controls can be used
to fine tune the speakers performance or to
compensate for less than ideal room
acoustics. (For more information, see
Setting the Tone Controls on page 20).
Three Stage Installation System for
Remodels or New Construction
You install only the parts you need for a par-
ticular stage of construction. When the fram-
ing and wiring are finished, you install the
bracket. After the drywall is up, but before
the painter begins to paint, you install the
frame and provide the painter with the alu-
minum grilles so that they can be painted to
match the surroundings. Only when con-
struction is completely finished do you put
the valuable speaker in the wall. You don’t
have to mask or prep the speaker for paint-
ing, and worries about theft during the final
phases of construction are never an issue!
BumpBack™ Woofer Magnet
Niles engineers have utilized a unique mag-
net construction allowing far greater “throw”
or voice coil excursion. This enables Niles
AT loudspeakers to play louder without
mechanical distortion or “bottoming”.
6 mm Polycarbonate X-Matrix™
Reinforced Baffle
The AT8500 and AT8700 models feature an Eight Ohm Impedance
extra thick (6 mm) polycarbonate, X-Matrix The AT8500 and AT8700 speakers are
baffle design which uses specially molded designed to be compatible with most ampli-
ribs to add rigidity to the baffle assembly. fiers. Their eight ohm impedance is an easy
The end result is better bass and improved electrical load for most amplifiers to drive.
midrange detail.
Low Diffraction, Paintable
Weather Resistant Construction
Aluminum Grilles
The AT8500 and AT8700 loudspeakers fea-
AT speakers are available with aluminum
ture drivers which are impervious to mois-
grilles. The powder-coated aluminum grille
ture; the grille (sold separately as part of the
has hundreds of precisely sized perforations,
AT8000 Series Frame and Grille kit) is
creating an acoustically transparent grille.
made of aluminum, and all exposed hard-
ware is constructed of stainless steel.
Infrared Sensor Mount
The speaker baffle has a locator designed for
the Niles MS-1 MicroSensor,™ a miniature
infrared sensor. The MS-1 installs discretely
Absolutely Flush to the Wall
Appearance
The unique mounting system of the AT loud-
behind the aluminum grille and therefore
speakers securely clamps the frame to the
minimizes wall clutter in your home. When
bracket, sandwiching the wall material
you want to control your equipment, you
between them. Because the clamping action
simply point your remote control at the
is totally uniform around the frame, there are
speaker from up to 15 feet away.
no shadows or gaps between the wall and the
frame. Additionally, the Niles mounting sys-
tem is carefully optimized to stiffen the sur-
rounding drywall and prevent it from resonat-
ing. You hear only the music, not the drywall.
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2
Figure 1
Model AT8700 Shown
New Construction Wings
Bracket
Frame
Speaker Baffle
Grille
Installation Considerations
Recommended Amplifier Power
Incorporating a Local Volume Control
For satisfactory performance, we recom- In a multi-room system there is one indis-
mend an amplifier with a power rating of pensible control for true convenience—a
twenty to two hundred watts for the local volume control. It allows you to
AT8500 and AT8700 speakers. Curiously, adjust the volume of the speakers without
most speakers are not damaged by large leaving the room.
amplifiers but by small amplifiers. If your
Plan to wire the system so that each pair of
system is playing loudly, a small amplifier
speakers has its own volume control built
will run out of power very quickly. When
into the wall (think of a volume control as
an amplifier runs out of power it creates
a dimmer switch for sound).
damaging “clipping” distortion. A large
Niles makes a wide range of high perfor-
amplifier will play at the same volume
mance indoor and outdoor volume con-
trols. They are available in Standard or
Decora® style faceplates (just like your light
without distorting. (For more information
about clipping distortion, see the section
on Operation, on page 20).
switches and dimmers). Volume controls
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3
are connected in line with the speaker, so An IR sensor requires that a 2-conductor
you must connect the wire from the ampli- shielded wire (West Penn D291 or equiva-
fier to the volume control and then from lent) be home run from each sensor loca-
the volume control to the speaker.
tion to the main equipment location. This
wire is normally run beside the speaker
wire at the same time. Typically, the sensor
Speaker Wire
Use 2-conductor speaker wire when con- is placed in a location that faces your lis-
necting AT speakers to your receiver or tening position. Most remote controls will
amplifier. For most applications, we recom- have an effective line of sight range of 18
mend you use a minimum of 16 or 18 gauge to 30 feet with any Niles sensor placed in
wire. For wiring runs longer than 80 feet we a wall, ceiling, on a cabinet or tabletop.
recommend a minimum of 14 gauge wire. However, when you place a Niles MS-1
The gold plated binding post terminals of MicroSensor behind the perforated alu-
the AT speakers will accommodate up to 8 minum grille of a speaker, the sensor’s
gauge wire directly. Banana jack or pin effective range is reduced to 9 to 15 feet.
connectors may also be used.
Acoustical Treatment Options
For the best performance from your AT
When wire is to be run inside walls, spe-
cial jacketing (CL-2 or CL-3) is required to
speakers, acoustically treating the sur-
both protect the wire and for fire preven-
rounding drywall is suggested. In new con-
tion. In some areas conduit is required. For
struction installations, the most practical
a trouble-free installation, low voltage
option is to block off the wall cavity both
wire such as speaker wire must be run in
above and below the area where the
accordance with the National Electrical
speaker will be installed. This will create a
Code and any applicable provisions of the
“backbox” containing a specific volume of
local building code. If you are unsure of
air in which the performance of the
the correct installation techniques, wire
AT8500 and AT8700 speakers will be opti-
jacket or type of conduit to use, consult a
mized. When installing the AT speakers in
professional audio/video installer, your
a standard wall (16” stud spacing with 2x4
building contractor, or the local building
studs) the suggested air volume would be
and inspection department.
2540 cubic inches or 52” of space
between the top and bottom walls of the
Incorporating a Remote Control
“backbox”. If the speakers are to be
If you are planning to use a stereo system
installed in a 2x6 wall, a true backbox may
with a hand held IR remote control, con-
be constructed using 1/2” or 5/8” thick
sider the advantages of installing a Niles IR
Medium Density Fiberboard (MDF). The
Repeater System. You are able to control all
dimensions of the enclosure may be varied
of the functions of your system from the
in terms of height, width, and depth, as
room with the remote pair of speakers.
long as the interior volume of the enclosure
Niles makes a number of IR sensors which
remains approximately 2540 cubic inches.
install in the wall, in the ceiling, in cabi-
Although the AT speakers utilize an infinite
netry, on tabletops, or even behind the
baffle design which does not require the
grille of your Niles AT speakers.
use of a backbox, critical listeners may
TECH TIP
Wire size is expressed by its AWG (American Wire
Gauge) number. The lower the number, the larger
the wire, i.e. twelve AWG is physically larger than
fourteen AWG.
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4
appreciate the tighter bass and extended the front and rear walls, both above and
frequency response into the lower octaves below the cutout. Use care when inserting
that the use of a backbox (or blocking off the brace, as too much pressure will create
the wall cavity) will provide. A hole cutting a bulge in the wall.
template is provided with the AT8000
Series Bracket Kit. The cutout for the speak-
er must measure 9-3/4” x 17-1/4”.
Speaker Placement
Insulating the Wall Cavity
The AT8500 and AT8700 speakers feature
When it is not possible to use a backbox,
a low diffraction midrange/tweeter array
good results can be achieved by treating
which employs Niles’ DSFG. This innova-
the interior of the drywall cavity with
tive driver configuration can be adjusted to
Dynamat™ or a similar cabinet damping
provide optimum phase and frequency
material. At least two linear feet of damp-
response at the listening position. Please
ing material should be adhered to the rear
read Positioning the Midrange/Tweeter
wall and to the front wall (one foot above
Array under Installation of the Speaker
and one foot below the cutout) of the wall
and Grille in New or Existing Construction
cavity. Additionally, insulating the wall
on page 17 before deciding on a final
cavity behind the speaker with fiberglass
installation location for your AT8500 or
insulation (e.g., R-19 unbatted insulation)
AT8700 speakers.
will improve performance. Try to keep the
amount of insulation used for each speak-
er equal, as bass output will be more con-
sistent. Further improvement can be made
by wedging a brace of 1x1 stock between
Placement for Critical Listening
If you like to imagine that the band or
orchestra is playing in front of you as you lis-
ten to music, or you are very conscious of
Speaker
Placement
Zone
10’
5’
10’
Speaker
Placement
Zone
Figure 2
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5
The Boundary Effect
clarity, detail and the textures of the individ-
ual instruments, you are a critical listener. In
a home theater, the intelligibility of dialog
and action reproduced by the front speakers
is paramount! The position of the speakers
plays a very important role in how clear the
sound is and how a stereo image is created.
Here are some guidelines to make the
process of placement quick and easy.
Corners can affect the bass response of the
speaker powerfully! This is called the
boundary effect. You will emphasize partic-
ular bass frequencies and cancel out other
bass frequencies when you place speakers
close to the wall/ceiling boundary or a cor-
ner wall boundary. This can make the
speaker sound excessively boomy and inac-
curate to some listeners, while to others it
just seems like more bass sound. A good
rule of thumb is if you always listen to your
current pair of speakers with the bass turned
up, you’ll enjoy corner placement. If you
keep your preamp or receiver’s tone con-
trols at neutral, try to keep the speakers at
least one or two feet from the boundaries of
the room. The baffle-mounted Acoustical
Configuration Controls may be used to help
reduce the affect of corner placement (or the
room’s own acoustics) on the speakers per-
formance. (For more information, see
Setting the Tone Controls on page 20).
Make sure the sound will not be blocked or
reflected off of furniture or other objects.
You should have a direct line of sight with
the front of the speaker. To determine the
best position, measure the “listening” dis-
tance between the ideal listening position
(your favorite chair or couch) and the wall
in which you plan to install the speakers.
Try to place the speakers so that they are
equally distant from your listening spot and
at least one half of the listening distance
apart (this maintains a large pleasant stereo
“image”). In home theater applications
where there is a center channel you may
choose to space the left and right main
speakers farther apart for a “bigger than
life” sound with Dolby® encoded movies
and TV shows. However, for combined
music and movie usage stay within the
good placement zone for music. For exam-
ple; if you are ten feet back from the wall,
the speakers should be between five and
ten feet apart (See Figure 2).
Placement for Varying Listening
Positions
If you want the freedom to sit anywhere in a
room facing any direction, and/or find that
you prefer the “all around you” sound of
some car stereos to a conventional “sound
stage” facing you, consider the speaker
placement techniques professional installers
use in restaurants and bars. They place
AT8700
Figure 3
For an AT8700 placed above a
TV, install the speaker with the
tweeter up.
Not Greater
than 24"
TV
AT8700
AT8700
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6
speakers in an array around the listening stereo amplifiers. However, Niles manu-
area, so that the music is always surround- factures Systems Integration Amplifiers
ing you, regardless of the direction you face. which enable one room to be wired in
stereo while other rooms are wired in
The rule of thumb is to add one pair of
mono! Consult your local Niles dealer for
speakers for every 100 to 200 square feet of
more information.
listening area. Curiously, this is not so that
you can play the music louder, but so that In smaller rooms or rooms that are infre-
you can play it softer! When you have only quently used, you typically can’t justify the
one pair of speakers in a large room you will expense of more than two speakers. Try to
notice that when the sound is perfect in one bracket the room with the two speakers.
part of the room, it is too loud near the Diagonal placement is a very effective way
speakers. By placing more than one pair in to stretch the coverage pattern of two
the room you will avoid these “hot spots” of speakers. You can also compromise
loud sound and create more sonic between direct sound (for detail and clari-
ambiance while maintaining clarity and rich ty) and reflected sound (the ambient or “all
sound everywhere.
around you” effect). By trying to place the
speakers so that they create as much
reflected sound as possible, you emphasize
the ambient effect. They can be up high in
You can make listener position even less
critical by using mono rather than stereo.
This can be difficult to achieve with normal
Perforated Screen
AT8700
AT8700
AT8700
AT8700
Figure 4
For an AT8500 or AT8700 speaker placed below a projection screen, position the Midrange/Tweeter Array
horizontally with the tweeter facing down. For an AT speaker installed behind a perforated screen, the
Array should be positioned horizontally with the tweeter facing up if above ear level, or facing down if
below ear level. The speaker itself may be installed either horizontally or vertically.
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7
Figure 5
If the primary listening position is towards the back of the room as depicted in figure 5, place the rear
speakers high up on the side wall or in the ceiling with the array closest to the ceiling as pictured.
the wall or even down low at power outlet In a commercial theater, it is not uncommon
height, in the ceiling, near corners, or to see twenty or thirty speakers around the
directed at reflective objects and walls. The audience. This huge array of speakers
more reflected sound there is in the room assures that you will feel completely sur-
the stronger the ambient effect at low vol- rounded by the ambient soundtrack of the
umes. You should use moderation, howev- movie. Film makers try to use the “surround”
er, otherwise the compromise becomes too soundtrack to envelope you in the environ-
one sided and at high volumes the sound ment on screen. They will place background
will be blurred and less distinct.
music, rain sounds, traffic noise, etc. on the
“surround” soundtrack. In a home with a
single pair of speakers it is easy for the jungle
sounds to sound like they are “in the middle
of your head” just like headphones!
Placement for Rear Home Theater
Applications
In a home theater, the goal is to reproduce
the experience of a great movie theater in
our homes. The biggest difference between
the two is the rear or surround speaker array.
A single pair of AT Loudspeakers, properly
placed, can create a very convincing simu-
Figure 6
If the primary listening position is towards the center of the room as depicted in figure 6, place the rear
speakers high up on the rear wall or in the ceiling as pictured.
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8
Figure 7
If you use multiple rear speakers or have an irregularly shaped listening area as shown in figure 7,
place the speakers high up on the rear and side walls or in the ceiling as pictured.
lation of an array of speakers. If you place Of course, the best way to emulate the
them near a hard reflecting surface you can sound of multiple speakers is to use multiple
make one pair of speakers sound like sever- speakers. In large or unusually shaped
al. Create as many reflections as possible by rooms this might be the only way to achieve
mounting the speakers up high in the wall a good effect. If you like to listen to music
and aim the Midrange/Tweeter Array into surround modes which emulate concert hall
the corners or at an adjoining wall or ceiling acoustics, more than two surround speakers
to diffuse the sound (See Figures 5, 6 and 7). will prove extraordinarily effective. With
Niles AT loudspeakers it is easy to add
Mounting the speakers as far away as you
another pair without affecting the decor of
can from the listening area will also create
the room. However, you will need to use a
additional reflections. However, all of these
much more powerful amplifier than that
placement techniques require that you work
which is built into a typical surround sound
your surround sound amplifier channels
receiver or amplifier. Niles makes a number
harder. If the surround sound system you are
of Systems Integration Amplifiers with pro-
using has a small five or ten watt amplifier
prietary features that make them uniquely
for the rear speakers, stay within five to eight
suited to enhance a good surround sound
feet of the listening location. If you are using
system. Consult your Niles dealer for more
a 25 to 50 watt amplifier you can mount the
speakers 10 to 15 feet away from the listen-
information (See Figure 7).
ing location and still achieve reasonably
high volume levels.
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9
for more than ten feet, install metal conduit
or shielded speaker wire. Low-voltage wires
such as doorbells, intercoms, telephone,
security, or television cannot cause interfer-
ence or hum on your speaker wires, so you
can safely run all of them at the same time,
through the same holes, side-by-side.
Installation
Fundamentals
Running the Speaker Wire in New
Construction
If you have doubts about whether you are
capable of installing Niles AT Series speak-
ers in your walls, consult a Niles dealer or
professional installer. They have special
tools, techniques, and experience to make
the impossible possible. The installer can
provide you with an estimate before any
work is done.
Before you drill any holes, mount the
speaker brackets in the desired speaker
locations and mount p-rings or open
backed J-boxes where the in-wall volume
controls and stereo equipment will be.
Safety First!
Wear gloves, safety goggles and head pro-
tection when drilling. Avoid nails, they ruin
bits and they can create injury. Pay partic-
ular care when using “hole-hogs” and
other powerful electric drills; the torque of
the drill when suddenly stopped by a nail
can break the wrist of a strong man.
Scheduling and Preparation
Plan to schedule the speaker wiring after
the electrical wiring is finished. That way
you can avoid wire routes which could
potentially induce hum over the speaker
wire. The basic rules are:
•
•
•
Never run speaker wire through the
same hole as an electrical cable.
Drilling
Use a bit that is large enough for the wires
you plan to run. An auger bit is the pre-
ferred bit for rough-in wiring. It will actual-
ly pull itself through the wood, so that the
drill motor, not you, does most of the work.
You will be drilling a lot of holes, so this is
important.
Never run speaker wire into the same
J-box as electrical cable.
Avoid running the speaker wire beside
the electrical cable. Keep it at least three
or four feet distant from any electrical
power cable.
Always drill the holes in the center of the
stud. If you have to notch the stud or drill
the hole closer than one inch from the
edge of the stud, protect the wire with a
nail plate (See Figure 8).
Side-by-side wiring is unavoidable in partic-
ular spots in every house, just move the
speaker wire route away as soon as possi-
ble. If construction forces a side by side run
When drilling holes in ceiling joists, drill in
the center of the joists and try to locate the
hole near the end of the joist. DO NOT
drill through a “gluelam” or any load bear-
ing beam without the direction of your
contractor.
Figure 8
Try to line the holes up perfectly, because it
makes pulling the wire much easier. A good
technique is to snap a chalk line across the
face of the studs or against the bottom of the
ceiling joists. Then work backward so that
you can always see the holes you have
already drilled. Paying careful attention to
this will save you a lot of time later on!
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10
Pulling the Cable
Exterior walls are different. They must insu-
late the house from the heat and cold out-
side, so they are stuffed with insulation.
The national building code requires that
the hollow wall space in exterior walls be
Pull the cable in sections (from the stereo
to the volume control, from the volume
control to the speaker). Start with the
longest sections and use left over wire to
complete the short sections. If you plan to
pull many rooms at the same time through
a central route, walk off the distance to
each destination, add a generous fudge
factor for turns and other obstacles, then
cut off each section so that you have a bun-
dle of wires you can pull at once.
broken by
a
horizontal stud placed
between the vertical studs. This “fire block-
ing” makes it very difficult to retrofit long
lengths of wire. In some areas of the coun-
try the exterior walls are constructed of
solid masonry, and have no hollow space
for speakers or wires.
Whenever you run the wire further than
four and one half feet from a hole in a stud
or joist (open attic space, going up walls,
etc.), fasten the wire to the joists or studs
using cable clamps or appropriately sized
wire staples. The wire should not have
large sags in it, nor should it be too tight.
Try to protect the wire from being stepped
on in attics or other unfinished crawl
spaces. There are guard strips, raceways
and conduits which can be used to protect
the cable. Consult the local building code
for special requirements in your area.
Start by examining all the possible routes
you might take to run the speaker wire
from the speaker to the volume control and
back to the stereo. Use a stud sensor or
other device to locate the internal structure
of the wall. You want to avoid all studs or
joists. A typical route would be: from the
speaker location up the inside of the wall
to a new hole drilled into the top “plate”
(horizontal two-by-four at the top of the
inside of the wall), into the attic crawl
space, then down to the volume control
location through another top plate, back
up to the attic, across the attic, and finally
down another plate to the wall behind the
Concealing Speaker Wire
in Existing Walls
This is actually a fairly simple
task if you restrict your choice of
speaker locations and wire
routes to the interior walls or
ceilings of your home. Interior
walls in almost all North
American residences are hollow,
so that it is easy to flush mount
speakers into them and route
new speaker cable around the
house. What you see when you
look at the painted wall board,
plaster, or paneling is only the
skin of the wall. Behind the skin
is the skeleton; two-by-four
wood or metal “studs” running
vertically from the floor to the
ceiling in walls and two-by-six or
larger “joists” running horizon-
tally in the ceilings and floors. In
between the studs and the joists
is the space for the wiring and
plumbing of your home.
Speaker
Location
Volume
Control
Location
Stereo
Location
Figure 9
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11
Unobstructed space
for speaker wiring
Figure 10
stereo system itself (See Figure 9). The If your house is built on a slab or you are
other very common route is through the wiring between two finished floors, look
bottom plate of the wall into an unfinished for baseboards which could be removed
basement or crawl space.
and replaced with the wire behind them.
Doorjambs can be removed and often
have enough space for speaker wire all the
way around the door (See Figure 11).
Identify where all of your electrical, phone,
and TV wiring is likely to be and plan to
route around it all. You can accidentally
induce 60 Hz hum on your speakers if you
run your speaker wire right beside electri-
cal wire for more than a few feet. Try to
keep speaker wire running parallel to
power cables at least 3 feet away. To find
exactly where an electrical cable is routed,
try inspecting the inside of the wall by turn-
ing off the breaker for a particular power
outlet or switch, removing the cover plate
and switch or receptacle, and shining a
penlight into the wall. If you have access to
an attic or basement space you can quick-
ly see which part of the wall space the wire
is free of obstructions (See Figure 10).
Figure 11
When you don’t have access above or
below the wall, try to estimate the existing
wire and pipe locations from the positions
of electrical outlets and plumbed fixtures
on both sides of the wall. Take a look at the
outside of your house too, sometimes con-
duit, vents or drain pipe will be visible that
give useful information. Choose the route
with the fewest potential obstacles.
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12
Figure 12
Sometimes, an under-the-carpet run is matching paint and take reasonable care in
possible (there are special flat speaker patching you can cut a hatch in the drywall
wires made for under-the-rug wire runs). at each stud, run your wire, and patch and
As a last resort, heating and air condi- touch-up the wall (See Figure 12).
tioning vents can be used as wire race-
When you are dealing with the unknown
ways for plenum rated wire (check your
because of the structure of your home, or
local building codes, some municipalities
with difficult to patch wall materials like
require conduit).
plaster, lath and plaster, faux finishes, wall-
paper etc., be patient. A careful study of the
In traditional wood stud/drywall construc-
tion you can cut the hole for the speaker
potential problems before you start the job
and utilize the large hole to auger holes
will pay off.
across, up or down the wall for as far as
your drill bit will take you. If you have
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13
Figure 13
Installation of
Brackets, Frames
and Grilles in
New Construction
Stage One: Before Drywall is Hung
4 Wire Ties
Insulating the Wall Cavity.
If feasible, fill the wall cavity with insula-
tion at this point.
Attach the wings to the bracket by snapping
them into the sides of the bracket. The
wings can be shortened by breaking them
along the scored lines if their length will
interfere with a corner or eaves. You can
mount the bracket horizontally or vertically
(See Figure 13).
Figure 14
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14
Figure 15
Painting the Aluminum Grilles
Screw one side of the assembled bracket
with wings to the stud using one of the sup-
plied screws. Level the bracket. Screw the
other side of the bracket to the stud. Two or
three screws (depending upon the size of
the model) on each side makes for a very
secure installation. Attach the wire to the
bracket at the indicated wire tie points
(See Figure 14).
The grille is important to the sound of the
AT loudspeakers. Do not fill the holes of
the grille with paint. The grille is construct-
ed of aluminum with a perfectly even
powder coat overall. This powder coat is
an ideal primer.
Remove the grilles before painting. If you
are using spray paint, use two thin coats
without any primer. If you are using a com-
pressor and a spray gun, use the finest,
most diffuse setting. Practice first on some
paper if you have no experience painting
with spray paint.
Stage Two: Before Painting
Screw the frame to the installed bracket
using the supplied screws. Do not over-
tighten the screws. This will distort the
frame and the grilles will not fit (this is not
permanent, just loosen the screws and the
grille will pop in) (See Figure 15).
If you are using an applicator or brush, and
a can of paint, thin the paint first. You do
not want to have to poke hundreds of holes
in your beautifully painted grilles.
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15
Figure 16
Installation of
Brackets, Frames
and Grilles in
Existing Walls
Important: Before you cut into any
wall, review the sections on running
wire and speaker placement.
1. Drill a 1/8” pilot hole just barely through
the wallboard or dry wall (1/2” to 5/8”
deep in most homes) about an inch
below the center of your proposed
speaker location (an inch to the side if
you are mounting the speaker horizon-
tally). BE VERY CAREFUL NOT TO
DRILL THROUGH EXISTING WIRES,
PIPES, OR STRUCTURE. If you feel any
extra resistance as you are drilling, STOP.
Cut a piece of coat hanger equal to the
width of the bracket. Bend the wire in
half creating a right angle. Poke the “L-
shaped” wire into the pilot hole and turn
it in a complete circle. If it turns freely,
repeat the procedure from a hole about
an inch above the center of your pro-
posed speaker location (See Figure 16).
3. If you are cutting painted or wall
papered drywall, use a sheetrock or key-
hole saw. Cut the hole with the saw at a
45 degree angle. That way, the drywall
section can be replaced cleanly if there
is an unseen obstruction behind the
wall. BE VERY CAREFUL NOT TO SAW
THROUGH EXISTING WIRES, PIPES,
OR STRUCTURE. If you feel any extra
resistance as you are cutting, STOP.
4. If you are cutting into lath and plaster
walls, use masking tape to outline your
penciled marks, drill the four corners
with a 1/4” bit and use a razor to score
the plaster down to the lath beneath.
Then use a chisel to remove all of the
plaster within the taped outline. Finally,
insert a metal cutting blade into a sabre
saw and very slowly and carefully saw
the lath. Sawing the lath can easily
vibrate plaster off the wall. If you have
the patience, use a pair of tin snips to
slowly nip away at the lath instead.
There is no risk with this method, it is
just time consuming.
If the wire's movement is obstructed by a
pipe or cable, fill the hole(s) with spackle
or other patching compound and try
another location.
2. When determining the final location of
the cutout, keep in mind that the frame
and bracket will extend beyond the
cutout. Make sure that you do not place
the edge of the cutout directly next to a
stud. Locate the studs by using a stud
sensor or by hand-knocking. Once you
have determined the correct position for
the cutout, hold the supplied template
up to the wall surface. Level the template
in either the horizontal or the vertical
position and mark the wall with a pencil.
Drill the four corners with a 1/4” drill bit.
5. Fill the wall cavity with insulation at this
point. Remember to use equal amounts
of insulation for each speaker.
6. Slip the mounting bracket through the hole
and pull it toward you so that its front edge
slides into the hole and stops in place.
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16
Speaker Phase
7. Attach the frame to the bracket by screw-
ing the frame to the bracket using the
supplied screws. Do not overtighten the
screws, this will distort the frame and the
grilles will not fit (this is not permanent,
just loosen the screws and the grille will
pop in). The screws should pull the
frame and bracket together (sandwiching
the drywall) so that the frame is absolute-
ly flush with the wall surface. There
should be no gaps between the wall and
the frame (See Figure 17).
Speaker wire has two conductors. One
conductor is attached to the negative (-)
terminals and one conductor is attached to
the positive (+) terminals of both your
speaker and your amplifier. Usually, the
wire is marked for your convenience.
There are different ways wires are marked:
a stripe on one wire, a ribbed area of one
conductor you can only feel, different col-
ors of metal wire on each conductor, or
there might be a fabric strand or string
wound into one of the conductors. Of
course, there are some wires which appear
completely identical. Be careful, or you
might make a mistake.
Installation of the
Speaker and Grille
in New or Existing
Construction
Installing a Niles MS-1 MicroSensor™
There is a 1/2" round molded "IR Sensor
Knockout" on the face of the speaker baffle.
To prevent damage to the crossover net-
work, you must remove the knockout from
the rear of the speaker. Do not attempt to
remove the knockout with the speaker face
up! Lay the speaker face down on a clean
carpet or rug. Put the tip of a screwdriver
into the center of the round "knockout" and
sharply tap the screwdriver handle as neces-
sary. Install the MS-1 using its mounting hex
nut and washer so that it is tightly secured to
the speaker. Connect all wires and continue
your installation.
If you make a mistake, one speaker will be
playing “out-of-phase” with the other
speaker. An out-of-phase pair of speakers
work against each other and the sound of
the two speakers playing together will be
lacking in bass and be “phasey” sounding.
If you suspect the sound is not right and
you cannot see any markings on the wire,
try this simple test:
1. Stand half way between the two speakers.
2. Play some music with the amplifier or
radio set to Mono.
3. Listen to the richness of the bass and the
loudness of the sound.
4. Turn off the amplifier and reverse the con-
nections on one amplifier channel only.
5. Repeat the listening test with the same
setting of the volume control. When the
sound has a richer bass and is slightly
louder, the speakers are working together
or “in-phase”.
Figure 17
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17
Installing the Speaker
If the grille is already installed, remove it by
using a bent paper clip or the tip of a
corkscrew and pulling it away from the
frame (See Figure 18).
1. Separate the speaker wire so that at least
two inches of each conductor are free.
2. Strip one half inch of insulation from the
end of each conductor of the speaker wire.
Figure 18
3. If you have gold pin connectors which
you wish to use, affix them to the
stripped wire ends now.
4. Connect one stripped wire end (or con-
nector) to the black and one to the red
terminal. Pay attention to the markings
on the wire. Each speaker must be con-
nected to the amplifier in the same way.
5. Place the speaker baffle in the frame and
secure it with the supplied #8 x 1/2”
screws. If you find that the baffle does
not smoothly fit the frame, slightly
loosen the mounting screws that hold
the frame to the bracket.
Figure 19
6. Carefully fit the grille into its recess so
that it is barely in place. Starting with one
corner, go around the speaker, pushing
the grille in a little bit each time. You
should be gentle, the aluminum grille
can be easily bent out of shape. The
speaker will have an absolutely flush
appearance when it is fully in place.
Positioning the
Midrange/Tweeter Array
Proper adjustment of the Midrange/Tweeter
Array is essential to getting the best sound
from your AT8500 and AT8700 speakers.
Just as freestanding speakers sound their best
when angled inward (or “toed in”), position-
ing your AT speaker’s Midrange/Tweeter
Array with the offset tweeter furthest from
the listener will steer the sweet spot in
towards the listening position at approxi-
mately 15 degrees off axis. Pivoting the
Midrange/Tweeter Array on it’s own axis will
enable you to accurately focus the sweet
spot on the listener relative to their distance
from the speakers. “Toeing” in the Array too
tightly will cause the image to focus in front
of the listener, while toeing them too far out
will cause the middle of the sound stage to
disappear or sound unbelievably wide and
unrealistic. Experiment with your favorite
recordings until you find what works best in
your installation.
DSFG - The Basics
As explained in the Features and Benefits
segment of this manual, the acoustic inter-
action between the two midrange drivers
and the offset tweeter results in the flattest
frequency and phase response approximate-
ly 15 degrees off-axis from the tweeter. This
unique driver configuration is combined
with the rotating and pivoting design of the
Midrange/Tweeter Array to enable the
installer to “steer” the sweet spot towards
the listening position (See Figure 19).
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18
In-Wall at Ear Level
Coverage for Large Listening Areas
The AT8500 and AT8700 speakers will per- When installing your AT8500 or AT8700
form their best when installed at ear level speakers in large rooms with varying listen-
and spaced within the “good placement ing positions, best results will be achieved
zone for music” (See “Speaker Placement” by widening the dispersion pattern of the
on page 5). Position the Midrange/Tweeter Midrange/Tweeter Array. Installing the
Array in the vertical position with the speakers up high in the wall and spacing
tweeter on the outside and pivot the Array them appropriately will provide even cov-
in or out to obtain a believable soundstage erage over a larger area. Position the Array
(See Figure 20).
at a 45 degree angle to achieve maximum
coverage. Some critical listeners may notice
that positioning the Array in this manner
may blur the stereo image slightly, but the
size of the listening area will be dramatical-
ly increased so other listeners may enjoy
the music (See Figure 22).
Figure 20
In-Wall at Above Ear Level
When the speakers are located up high in
the walls, installing the speakers upside
down with the Midrange/Tweeter Array as
close to ear level as possible will yield the
best results. Depending on the distance
Figure 22
between the speakers, position the AT Speakers for Home Theater
Midrange/Tweeter Array and pivot the dri- The AT8500 and AT8700 speaker models
vers so that the sweet spot is focused on the are designed to perform as well for movies as
listening position (See Figure 21).
they do for music. Position the Midrange/
Tweeter Array for the main left and right
speakers as you would for music listening. If
you are using an AT8500 or AT8700 for your
center channel speaker, it may be installed
horizontally or vertically above a TV, above
or below a standard projection screen, or
behind a perforated screen at ear level.
Position the Midrange/Tweeter Array verti-
cally for maximum coverage and pivot the
drivers approximately 15 degrees off axis for
the flattest phase and frequency response.
Because the AT8500 and AT8700 speakers
are not magnetically shielded, be sure to
maintain a distance of at least 24 inches from
a direct view TV to avoid discoloring the pic-
ture (See Figures 3 and 4 on pages 6 and 7).
Figure 21
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19
When utilizing AT8500 or AT8700 speakers As an example, a speaker installed within
to reproduce rear channel information in a one or two feet of a corner or ceiling may
home theater, the goal is to create as many exhibit excessive bass response caused by
reflections as possible by mounting the the boundary effect. Cutting the Bass by 3 dB
speakers up high in the wall or in the ceiling can minimize the boundary effect and
and aim the Midrange/Tweeter Array into enable the speaker to sound much more
the corners or at an adjoining wall to diffuse accurate and natural despite it’s proximity
the sound (See Figures 5 and 6 on page 8).
to the adjoining wall or ceiling (For more
information on the boundary effect, see
The Boundary Effect on page 6).
Of course, the best way to emulate the
sound of multiple speakers is to use multi-
ple speakers. In large or unusually shaped
rooms this may be the only way to achieve
good results (See Figure 7 on page 9).
In contrast, a large room with lots of
drapes, upholstered furniture and textured
wall paper may sound dead and lifeless.
Boosting the Treble 2 or even 4dB may
substantially increase the ambience and
presence in an absorbent room.
Once again, experiment with the position-
ing of the Array using your favorite movie
soundtracks until you find what works best
in your theater.
The key to good sound is experimentation.
Set the controls to the “flat” position to start
with, then adjust until the desired results
are achieved.
Setting the Tone Controls
The AT8500 and AT8700 speakers feature
baffle-mounted, 4 position level controls
for the Bass, Midrange and Treble frequen-
cies. Additionally, the AT8700 features two
LinearTrack™ filters and a Sub-Bass Boost
control which adds 3dB at 60Hz to
enhance the speaker’s low frequency per-
formance if desired. These tone shaping fil-
ters enable each of the frequency bands to
be cut or boosted to compensate for less
than ideal room acoustics, or to suit the lis-
tener’s preference.
Operation
Listening at Higher Volumes
It requires more power to achieve a reason-
able volume of sound in a large room than
it does in a small room. It is possible (even
if you are not a teenager) to turn the volume
so high that the amplifier runs out of power.
This creates “clipping” distortion.
The AT8700’s two LinearTrack™ Filters
which enable you to fine tune the perfor-
mance of the crossover. These two filters
each adjust an octave wide band of fre-
quencies most affected by the interaction
between the woofer and midrange, and
between the midrange drivers and the
tweeter. The controls can be adjusted to
provide 2dB of Boost or Cut centered at
1KHz and 3.5KHz. When used in con-
junction with the Bass, Midrange, and
Treble Tone Controls (which directly affect
the frequency response of the woofer,
midrange drivers, and the tweeter respec-
tively), the LinearTrack™ Filters will help
smooth out the seams in the frequency
spectrum between the Tone Controls to
optimize performance in less than ideal lis-
tening environments.
Clipping distortion makes treble sound very
harsh and unmusical. When you hear harsh
sounding treble from any good speaker,
turn the volume down immediately! Those
harsh sounds are masking some much
more powerful ultra-high-frequency sound
spikes which will quickly damage any fine
loudspeaker. You are much less likely to
damage a speaker with a large amplifier
because it will be very loud indeed before
it produces any clipping distortion.
Cleaning
You can clean the speaker with a dampened
soft cloth or paper towel. If the speaker is
mounted high up on a wall or ceiling, use a
broom to gently brush it off.
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20
Specifications
Model AT8500
Driver Compliment
Design Principle
Infinite baffle for large and varying air
volumes
WOOFER — 8” aluminum/urethane cone
with a cast aluminum frame, vented pole
piece, high temperature aluminum voice coil
former, an inverted dust cap, butyl rubber sus-
pension and a custom construction debris
screen
Recommended Amplifier Power
Twenty to two hundred watts per channel RMS
Nominal Impedance
8 ohms (4 ohms minimum)
MIDRANGE — Dual 1-1/2” fluid-cooled
aluminum/urethane hyperbolic domes with
NDFE 35 neodymium high magnetic flux
motor structure and distortion canceling bal-
anced drive
Frequency Response
30 Hz to 21,000 Hz, plus or minus 3dB (on axis)
Sensitivity
89 decibels for 2.83 volts of Pink Noise, mea-
sured at 1 meter on axis
TWEETER — 1” fluid-cooled aluminum/ure-
thane hyperbolic dome with a NDFE 35
neodymium high magnetic flux motor struc-
ture and distortion canceling balanced drive
Maximum Sound Pressure Level
112dB
Overall Exterior Frame Dimensions
11” x 18-3/8”
GENERAL — 360 degree rotating, 30 degree
pivoting, DSFG™ adjustable dispersion array.
6mm low diffraction X-Matrix™ reinforced
polycarbonate baffle.
Depth Behind Wall
3-1/2” (Assumes 1/2” drywall)
Wall Cut-Out Dimensions
9-3/4” x 17-1/4”
Crossover
Computer-optimized, Linkwitz-Riley filters
with premium components and 4 increment
(-2dB; Flat; +2dB; +4dB) Bass, Midrange, and
Treble controls
Wiring Requirements
We recommend 16 to 18 gauge for up to 80
feet, 14 gauge for up to two hundred feet.
Connectors accommodate 8 to 22 gauge wire.
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21
Specifications
Model AT8700
Driver Compliment
Design Principle
WOOFER — 8” aluminum/titanium/urethane
Infinite baffle for large and varying air
cone with a cast aluminum frame, bi-filer volumes
voice coil winding, a vented pole piece, an
Recommended Amplifier Power
Twenty to two hundred watts per channel RMS
extreme temperature Til voice coil former, an
inverted dust cap, a butyl rubber suspension
and a custom construction debris screen
Nominal Impedance
8 ohms (4 ohms minimum)
MIDRANGE — Dual 1-1/2” fluid-cooled alu-
minum/titanium/urethane hyperbolic domes
with NDFE 35 neodymium high magnetic flux
motor structure and distortion canceling bal-
anced drive
Frequency Response
30 Hz to 21,000 Hz, plus or minus 3dB (on axis)
Sensitivity
89 decibels for 2.83 volts of Pink Noise, mea-
sured at 1 meter on axis
TWEETER — 1” fluid-cooled aluminum/
titanium/urethane hyperbolic dome with a
NDFE 35 neodymium, high magnetic flux
motor structure and distortion canceling bal-
anced drive
Maximum Sound Pressure Level
114dB
Overall Exterior Frame Dimensions
11” x 18-3/8”
GENERAL — 360 degree rotating, 30 degree
pivoting, DSFG™ adjustable dispersion array.
6mm low diffraction X-Matrix™ reinforced
polycarbonate baffle.
Depth Behind Wall
3-1/2” (Assumes 1/2” drywall)
Wall Cut-Out Dimensions
9-3/4” x 17-1/4”
Crossover
Wiring Requirements
Computer-optimized, Linkwitz-Riley filters
with premium components and 4 increment
(-2dB; Flat; +2dB; +4dB) Bass, Midrange, and
Treble controls plus a Sub-Bass Boost control
(3dB @ 60Hz) and LinearTrack™ filters cen-
tered at 1kHz and 3.5kHz.
We recommend 16 to 18 gauge for up to 80
feet, 14 gauge for up to two hundred feet.
Connectors accommodate 8 to 22 gauge wire.
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22
WARRANTY REGISTRATION CARD
Model Purchased__________________________________________________________________________________
Serial Number___________________________________________________________________________________
Date Purchased (month/day/year)_________________________________________________________________
Dealer Name and Location________________________________________________________________________
__________________________________________________________________________________________________
❑ Dr.
❑ Miss
❑ Mr.
❑ Mrs.
❑ Ms.
Name____________________________________________________________________________________________
Address_________________________________________________________________________________________
_________________________________________________________________________________________________
City_________________________________________________________State______________Zip______________
Telephone (___________)___________________________________________________________________________
Please take a moment to fill out our warranty registration card. The information helps us to
get to know you better and develop the products you want
❏
Age:
Musical tastes:
What magazines do
you read?
Warranty
Do you . . . ?
❏
❏
❏
❏
❏
Under 25
25-34
35-44
45-54
55 & over
(Please check all that
apply)
❏
Own a House. If yes,
1. _____________________
2. ___________________
3. ___________________
how many square feet?
❏
❏
❏
❏
❏
❏
❏
❏
❏
Alternative
Classical
Country
Jazz
New Age
Popular
R&B
Rock
Other______________
__________________
❏
Own a Town House/
Condominium/Co-op
Rent an Apartment
Rent a House
Income:
❏
❏
Who will install the
product?
❏
❏
❏
❏
❏
❏
❏
Under $24,999
$25,000-$34,999
$35,000-$44,999
$45,000-$59,999
$60,000-$74,999
$75,000-$99,999
Over $99,999
❏
❏
❏
❏
Custom Installer
Electrician
Friend
Are you interested in
receiving literature on
other Niles products?
Myself
How did you hear
about Niles?
❏
❏
Yes
No
Which factor(s) influ-
enced the purchase
of your Niles prod-
uct?
❏
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❏
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Architect/Developer
Custom Installer
Direct Mail
Are there products/
capabilities that you
would like to see
introduced?
Occupation:
❏
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Arts/Entertainment
Business Owner
Engineer
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General Office
Management
Professional
Sales/Marketing
Student
Tradesperson
Friend/Family
(Please check all that
apply)
In-Store Display
Interior Designer
Magazine Ad
Mail-Order Catalog
Newspaper Ad
Product Brochure
Product Review
Retail Salesperson
____________________
____________________
____________________
____________________
____________________
____________________
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Ease of Use
Price/Value
Product Features
Quality/Durability
Reputation
Style/Appearance
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PLEASE FILL OUT THE
WARRANTY REGISTRATION
CARD ON THE REVERSE
SIDE, DETACH, AND MAIL
TO:
Niles Audio Corporation
Warranty Registration Dept.
P.O. Box 160818
Miami, Florida 33116-0818
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Limited Warranty
Niles Audio Corporation ("NILES") warrants its loudspeaker products to the original purchaser
to be free of manufacturing defects in material and workmanship for a period of two years from
date of purchase.
This Warranty is subject to the following additional conditions and limitations. The Warranty is
void and inapplicable if NILES deems that the product has been used or handled other than in
accordance with the instructions provided by the manufacturer, including but not limited to
damage caused by accident, mishandling, improper installation, abuse, negligence, or normal
wear and tear, or any defect caused by repair to the product by anyone other than NILES or an
authorized NILES dealer.
To obtain warranty service, take the unit to the nearest authorized NILES dealer, who will test
the product and if necessary, forward it to NILES for service. If there are no authorized NILES
dealers in your area, you must write to NILES and include your name, address, model and
serial number of your unit, along with a brief description of the problem. A factory Return
Authorization Number will be sent to you. DO NOT RETURN ANY UNIT WITHOUT FIRST
RECEIVING WRITTEN AUTHORIZATION AND SHIPPING INSTRUCTIONS FROM NILES.
If the above conditions are met, the purchaser's sole remedy shall be to return the product to
NILES, in which case NILES will repair or replace, at its sole option, the defective product with-
out charge for parts or labor. NILES will return a unit repaired or replaced under warranty by
shipping same by its usual shipping method from the factory (only) at its expense within the
United States of America. THERE ARE NO OTHER WARRANTIES, INCLUDING WITHOUT
LIMITATION, EITHER EXPRESS OR IMPLIED WARRANTIES OF MERCHANTABILITY OR FIT-
NESS FOR A PARTICULAR PURPOSE, WITH RESPECT TO THE PRODUCT.
REPAIR OR REPLACEMENT AS PROVIDED UNDER THIS WARRANTY IS THE EXCLUSIVE
REMEDY OF THE CONSUMER/PURCHASER. NILES SHALL NOT BE RESPONSIBLE FOR ANY
INCIDENTAL OR CONSEQUENTIAL DAMAGES EXCEPT TO THE EXTENT PROVIDED (OR
PROHIBITED) BY APPLICABLE LAW.
Some states do not allow the exclusion or limitation of incidental or consequential damages,
so the above limitation may not apply to you. This warranty gives you specific legal rights, and
you may also have other rights which vary from state to state.
For the name of your nearest authorized NILES dealer contact:
NILES AUDIO CORPORATION
P.O. BOX 160818, Miami, Florida 33116-0818.
Please fill in your product information and retain for your records.
Model____________________________________________________________________________________
Serial No._________________________________________________________________________________
Purchase Date_____________________________________________________________________________
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25
Niles Audio
Corporation
12331 S.W. 130 Street
Miami, Florida 33186
Tel: (305) 238-4373
Fax: (305) 238-0185
© 1999 Niles Audio Corporation DS00222A
Printed in Taiwan
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