Avalon AcousticsメーカーAVALON INDRAの使用説明書/サービス説明書
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S ERIAL N UM BERS : ________________ H A NDCRAFTED B Y : ____________ ___________ ____ ____________ ___________ ____ ____________ ___________ ____ ____________ ___________ _____ INDRA R D ESIGNED BY N.
Table of Contents 1 Introduction ............................................................................................................................ 4 2 Unpacking Instr uctions .................................................................
9 Accuracy of Bas s Reproduction .......................................................................................... 33 Introduction .......................................................................................................... 33 9.
4 1 Introduction Congratulations on your purchase of A V ALON INDRA , one of the most technologica lly advanced high -energy t ransducers ever creat ed. I NDRA represents t he c ulminat ion of 20 years of researc h an d developme nt in the areas of tra nsient response, bandw idth, noise fl oor and octave - to -octave energy balance.
5 2 Unpacking Instructions Introduction Your A VALON A CO USTICS loudspea kers w ere shipped in a heavy-duty crate to ensure their safe arriva l. It is rec ommended to save these c rates for p ossibl e future use. D ue t o t he w eight of the speakers, it will require two persons t o un -crat e t hem an d position t hem for listeni ng.
6 2.1 Opening the Crate The crat e fea tures a on e- piece top assembly w hich is fast ened to t he crate bottom with screw s around the lower perimeter. T o u npack, remove the screws and lift the upper portion of t he crate straight up (this will require two people).
7 2.2 Installing the Grilles The grille asse mblies are behind a p anel on th e outside of the speaker cr ate. Remove the screws securing the panel, and then c arefully pull the grilles straight out. The grilles are insta lled w ith friction fast ene rs and press into place on the speaker ca binets.
8 2.3 Replacing Grille Pins The grille pins installed on the grille assemblies are fragi le an d can be easily damaged. Should any of the pin s brea k, you may replace them using t he following procedure . 1. Place the grille assembly face -dow n on a padded surface (a towel or carpetin g).
9 4. Carefully pull t he grille cloth away from the frame mounting hole. T he mounting hole must be clear of all obst acles durin g pin inst allation. 5. Place t he exposed end of th e grille pin in the open mount ing hole. Check to insure that th e grille cloth is not trap ped between the pin and frame.
10 3 Wiring Instructions Introduction The cross over is housed in a sealed, non -accessib le chamber in the b ottom of the speak er cabinet, to minimize t he effect of vibration on t he component s. The I NDRA is eq uipped w ith h igh -quality binding post for connect ing t he speaker cables.
11 4 Break-in Period Your new A VALON A C OUSTICS loudspeakers have an i niti al break-in period. They will not perform to their full sonic pot ential when first i nstalled in your system. This i s pa rtially due to a residual polarization of the diel ectric materials used in the crossover capaci tors and internal wiring.
12 5 Maximizing Performance These details are imperative to obta ining optim um r esults from your A VALON A COUSTICS loudspeakers. Break- in The break -in period is critical to ma ximizing sonic performan ce and should take place before other adjustmen ts (see the discus sion on page 11 ).
13 Toe- In Adjusting the toe -in angle of t he spea kers i s use ful in tailoring the sound to best mat ch the characteristic s of your system and li stening room. When the speakers are fac ing straight forward, t hey t end t o crea te a la rge, expansive so und-st age, pai nted w ith broad b rush strokes.
14 First Reflection Points Since the ear/brain system tends to integrat e t he sounds arrivi ng within a 10 millisecond time w indow, i t is important to control th e early reflec tions arr ivi ng from t he sidewal ls to th e list ening position.
15 6 Care of Your Loudspeakers Cabinet (Hardwood Finis h) A VALON A COUSTICS ’ hardwood finished loudspeakers a re suppl ied with a special polish and tw o lint -free polishing c loths, in order to p roperly c are for the h igh qualit y furniture l acquer.
16 7 Warranty Your A VALON A COUSTICS loudspeakers are warra nted to the original, registered purchaser agai nst defec ts in workma nship an d mat erials for a period of three years from the date of first purchase, pro vided th at the enclosed registration card is returned to th e factory within seven days of the purchase date.
17 Warranty Statement 1. A V A LON A C OUSTICS warran ts th e materi als, workma nship, a nd p roper functioning of thi s product for a period of t hree years to t he origi nal regi stered purchaser, provided th at the completed registration card is returned to A VALON A COUSTICS within seven days of the date of purchase.
18 6. The above w arrant y is the sole warrant y given by A VALON A COUSTICS , and is in lieu of all other wa rranties. All implied warranti es, including warranties of merchanta bility or fitness for.
19 8 R o o m A c o u s t i c s a n d S p e a k e r P o s i t i o n Introduction The listenin g room forms t he fina l link of t he playback system , as import ant as any oth er c omponent in the chain.
20 An Optical Analogy Let us use a visual ana logy to aid our underst andi ng of acoustic s. I magine that you are in a room that is lit only by a candle in its center.
21 8.1 Standing Waves The paral lel surfaces of most list ening rooms c an lead t o a pot ential probl em in the low frequencies. A sound wave ca n be repeatedly reflect ed from opposing surfaces, back an d forth. If t he dist ance betw een t he surfaces i s an integra l mult iple of one-half the sound wa velength, a stan ding wave will be set up.
22 8.2 Flutter Echo These paral lel, r eflective surfaces can also produce a different audible problem. I f there is little absorption at higher frequencies, a musical transient containin g high frequencies, such as a h and clap or t he strike of a percussion instrument, ca n be heard bouncing repea tedly bet ween the surfaces.
23 8.3 Early Reflections Another sit uation t hat c an reduce t he subject ive qualit y of reprod uced s ound is the presence of early reflections. By earl y reflect ions, we are referri ng to reflected sound w aves that reach the list ener w ithin 10 t o 20 milliseconds of the direct signa l from the loudspeaker.
24 Avoiding Early Reflecti ons The speed of sound is approximat ely one foot (30 cm) per mi llisecond. Therefore, t o preserve the natural soundstage on your recordings, t here should be no reflected .
25 Since the floor i s wit hin 5 feet of the speak er, it is b est to have a carpeted fl oo r to absorb fl oor reflect ions. A thic k, dense carpet and pad will absorb l ower frequencies m ore eff ectively t han a thin one.
26 8.4 Bass reinforcement By ba ss reinforcement , we mean the effect of the room boundarie s on the propagation of sound . It is wi dely kn own t hat speaker placement relative to the floor a nd wall s can a ffect the relative amount of bass that the system produces.
27 By pr operly selec ting the distanc es t o ea ch surfa ce, we can extend the in - room bass response of the speaker m uch deeper than its anechoic response. Please see Fig ure 8.5. This is bec ause the bass rein forcement p rovides a b oost which i s complement ary to t he bass roll -off t hat w ould be present in an anechoic chamb er.
28 Conversely, improper p lacement of the loudspeakers can re sult in une ven frequency response . This results in diminished bass qualit y. Please refer t o Figure 8.
29 There are t ypically three reflective surfaces near each speaker: t he floor, t he rear wall, and the side w all. Eac h of these surfaces prod uces its ow n reflection, a nd h ence i ts own cancellation and reinforcement . By prope rly selecting the dist ances t o each surface, we can provide a uniform a nd extended bass response.
30 8.5 Summary of Recommendations Now that we have l ooked at some of the common probl ems o f listenin g rooms, as well as their cures, let us summarize our findin gs and recommendations . Flutter Echo and Standing Waves These sit uations are t he result of the r oom having p arallel, reflec tive surfaces.
31 Speaker Placement Although yo ur A VALON A COUST I CS l oudspeakers may be p laced i n a wide variety of positi ons rel ative to t he walls of the ro om, it is sti ll wise to experiment a bit to achieve optimal results.
32 8.6 A Listening Room Example In order to make t hese points more clear, an example of a r oom layout is given in Figure 8 .9, illustrat ing the prin ciples we have given. Figure 8.9 - Example l istening room. The area around the spea kers is free o f objects that would produce earl y refl ect ions.
33 9 Accuracy of Bass Reproduction Introduction We have all ha d the experienc e of list ening to speakers w ith poor bass quality. Perhaps th e ba ss w as muddy, or ill-defi ned.
34 9.1 Sensitivity to Time-Related Information It is w idely know n that the h uman ear/brai n system is ext remely sensit ive to time-rel ated distortions. Thi s can be understood when one rea lizes that directional a nd spatial information is provided by in ter - aural ti me (and phase) differences.
35 9.2 Rationale There i s an old saying, "There's no such thin g a s a free l unch." There are many trade-offs in speaker design, as i n almost a ny area one can think of. In thi s case, t he t rade off is between t ransient response and anechoic frequency response (the speaker 's freq uency response in a n anech oic chamber).
36 9.3 Measurements of Audio Equipment It should be recognized th at measurement s are not th e f inal a rbiter of sound quality of audio comp onents. Often times a measurement standa rd h as evolved because i t is easil y perf ormed, or bec ause it is easily rep eatable, or it has shown some lin k to c ertain audible characteristi cs.
37 Loudspeaker Measur ements Returning to loudspeakers, a sim ilar situation has developed. Although nobody listens t o music in an a nechoic chamber, l oudspeaker mea surement s are commonly perfor med in th em.
38 Designing for Accur ate Bass Rep roduction How, then, d oes one arrive at the goal of a loudspea ker th at provides t onal accuracy in the listeni ng room? The a nswer, in large part , comes in t he form of t he digital comput er.
39 9.4 Listening Qualities We have seen how many speaker systems store resonant bass energy , resulting in ringing and poor transient accuracy. Now we w ill turn our attention to the listening experienc e, and des cribe how these measurab le properties correlat e with our subjecti ve impressions.
40 Transient Response E ffects A spea ker with poor t ransient response will st ore energy , releasin g it after t he initial musical transient has pa ssed. This cau ses a l oss of detai l and obscur es important musica l informati on. A lso associat ed with poor transient response i s a narrow- band resonance, whic h can empha size specific notes.
41 9.4 Conclusion Most loudspeakers have been designed to perf orm well in th e frequency domain when mea sured in an anechoic test chamber. W e h ave seen how this desi gn pa radigm p roduces audibl e bass di stortion and exa ggeration.
42 10 Features Advanced ultra-light weight ceramic and Nomex/Kevla r driver di aphragm material s minimize energy storage a nd time -domain distortion. Each driver in dividually tested and m atched for op timum performance . Smooth, wide polar resp onse for superl ative ima ging capab ilities.
43 11 Specifications Driver Complement ( 1) 1 ” Concave Ceramic NeoDymium Tw eeter (1) 3 .5 ” Concave Ceramic Do me Midra nge (2) 7 " Nomex Kevlar Comp osite Cone W oofers Sensitivity 87 dB I.
44 12 Notes.
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