towards the listening area. You will notice the tonal bal- ance and imaging changing. You will notice that as the speakers are toed-in, the system becomes slightly brighter than when toed-out. This design gives you the flexibility to compensate for a soft or bright room.
Generally it is found that the ideal listening position is with the speakers slightly toed-in so that you are listening to the inner third of the curved transducer section. A simple, yet effective method to achieve equal toe-in involves sitting at the listening position, holding a flashlight under your chin and pointing it at each speaker. The reflection of the flash- light should be within the inner third of the panel (figure 4).
Tilting .the .Speakers .Backwards .and .Forwards—As the diagrams show in the Dispersion Interactions section of this manual (page 13), the vertical dispersion is directional above and below the stator panel itself. In some instances, if you are sitting close to the floor, slight forward tilting of the speakers can enhance clarity and precision.
Imaging—In their final location your CLX speakers may have a stage width somewhat wider than the speakers themselves. On well-recorded music, the instruments can extend beyond the outer edges of each speaker (left and right), yet a vocalist should appear directly in the middle. The size of the instruments should not be too large or too small, subject to the intent and results of each unique audio recording.
Additionally, you should find good clues to stage depth and height. Make sure that the vertical alignment, dis- tance from the front wall, and toe-in is exactly the same
Figure .4.. Flashlight toe-in technique.
for both speakers. This will greatly enhance the quality of your imaging.
Bass .Response—Your bass response should be tight and well defined. Kick-drums should be tight and percussive. String bass notes should be uniform and consistent the run without booming or thudding. Bass response should not be ‘one note’ or be too heavy.
Tonal . Balance—Voices should be natural and full. Cymbals should be detailed and articulate yet not bright and piercing. Pianos should have a nice transient char- acteristic and deep tonal registers. If you are not hearing these traits, read the section on Room Acoustics (pages 11–12). This will give you clues on how to get closer to these ideal qualities.
Final Placement
After the full break in period, obtaining good wall treat- ments, and the proper toe-in angle, begin to experiment with the distance from the wall behind the speakers. Move your speaker slightly forward into the room. What happened to the bass response? What happened to the imaging? If the imaging is more open and spacious and the bass response is tightened, that is a superior position. Move the speakers back six inches from the initial setup position and again listen to the imaging and bass response. There will be a position where you will have pinpoint imaging and good bass response. That position is the point of the optimal placement from the front wall.
Now experiment with placing the speakers farther apart. As the speakers are positioned farther apart, listen again, not so much for bass response but for stage width and good pinpoint focusing.
Check and adjust toe-in each time you move the speakers.
Your .ideal .listening .position .and .speaker .position .will . be .determined .by:
•Tightness and extension of bass response
•Width of the stage
•Pinpoint focusing of imaging
Once you have determined the best of all three of these considerations, you will have your best speaker location.
