Abbingdon Music Research LS-77 owner manual

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With the person speaking and continuing to walk toward the listening position while talking at the same level, listen for the next change in the voice's tonal quality. This will be the first interaction of the opposite wall and should sound like a loss of focus that seems to resonate because of the side and rear wall reflections. Again, mark the position on the floor when the artifact first appeared with tape. You now have the front and back borders of the ZOLI.

Using the same procedures, but with the person speaking starting at the side walls and walking across the room in front of the listening position, you can now determine the left and right boundaries of the ZOLI. Again, as the person speaking walks away from the side walls, you should hear the voice freed up from the bass reinforcement provided by the side walls, eventually reaching a point where the opposite wall begins to interact with the voice. Repeat this for the left and right side walls, again marking the borders with tape.

Now if you do this alone, you may find that the borders are marked fairly different for the various walls. Simply using these borders would result in an asymmetrical arrangement of the speakers. So take some measurements and average all the different borders you came up with. Then re-arrange the tape to reflect the symmetrical average of your various positions. After performing these procedures you will have two ZOLI's, like the squares drawn around the speakers in the illustration.

To accommodate the AMR LS-77, simply adhere to the basic angles of around 60 degree and to the 1:1.1 to 1:1.25 ratio of listener distance from the speakers vs. Speaker-to-Speaker distance for the triangle formed by listener and speakers. The triangle in the drawing overleaf is a fine starting point to help you locate your listening seat prior to utilising the further steps of the AASR.

It's time now, to place your speakers and stands in these zones. For the time being, leave off any spikes or feet because you will have to move the speakers in the following fine tuning process. Sliding the stands with smooth undersides is a lot easier than dealing with spiked stands or enclosures.

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Contents LS-77 Reference Class Professional Monitor Loudspeakers Page Page Running-In PrecautionsContents Page Front Panel of the LS-77 UnpackingPlease check that all contents are present LS-77 Front Fascia Component OverviewContact with the chassis Using AMRs OptiLink Speakon Cable SetupConnecting the loudspeakers Speaker R Speaker L Using Binding Posts Speaker Cable Stereo Amplifier Interconnect Cable Choice of loudspeaker cable Connecting the amplifierMulti-channel set up Distance between the loudspeakers PositioningSymmetry and room modes Distance to back and side walls Distance to the loudspeakersLevelling/Speaker Support Room and furniture influence Loudspeaker Toe-inRunning-in the loudspeakers Care and maintenanceCare & Maintainance Power rating LS- 77 Technical Features Troubleshooting Guide TroubleshootingSpecifications Table SpecificationsAppendix a Adjustment of tonal balan ce HF Level Placement Suggestions HF Level R1 Placement Appendix B Abbingdon Acoustic Setup Regime Page ~100″/254cm ~115 ″/290cm Page Page Appendix C Biamplifying the LS-77 LS-77 Speaker R Speaker L Speaker Cable AM-77 Control Center Edition CCE Appendix D The AMR Active SystemLine Level Connection Setting up the AMR Active SystemSpeaker Connection Scenario Testing and Troubleshooting the AMR Active System LS-77 Speaker L AMR Active System Configuration DiagramIntroducing AMRs OptiArray scalable acoustic system Appendix E LS-77 in OptiArray configurationsPage AMR recommends the following OptiArray Setups Epsilon/Zeta Iota/Zappa Omicron/Sigma Epsilon/Zeta System wiring Acoustics Appendix G Acoustics Background In formationGood acoustics Reverberation timePage Absorption or Diffusion ? DiffusersAbsorbers Membrane absorbersPorous absorbers Standing WavesRoom modes
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