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Final AdjustmentsFinalizing the Assembly
The P-39F has a phenomenal frequency response and superb dynamics, so playing large orchestral or rock
music will be an awesome experience, but may not necessarily be the best guide in setting up the speakers.
Your listening tests should be performed with a wide range of music, including unaccompanied vocal and solo
instrumental recordings with as little processing on the source as possible. A natural solo cello recording will
reveal much about the bass characteristics of your room and positioning. The best position will yield smooth,
extended bass without boom or smear.
The loudspeakers are “handed” - the recommended position is with the bass ports facing outward. The ports
distribute a lot of air at high bass volumes, so if the speakers appear to boom even slightly re-positioning them
with the ports facing inward may help signicantly.
Stridency in the upper section caused by underdamped rooms can be compensated for by hanging drapes or
pictures on the walls to dampen reverberant walls; increasing the amount of soft furnishings will also help to
eliminate high frequency “ringing”.
Room resonances are often structural. In such circumstances, good placement will minimize but not eliminate
these resonances.
Apparent height is critical. The speakers have controlled directivity. In the P- 39F, phase response anomalies are
kept to vanishingly low levels by reducing the distance between the midrange and tweeter horns to the abso-
lute minimum; nevertheless, if you are in the wrong seat, it may happen that the sound stage is not perfectly
integrated. One remedy is to tilt the speaker slightly (if necessary by using a combination of long and short
spikes) to aim the midrange driver at the listener’s ear to yield best driver integration. Take your time with this
—the eects on some music may be small and quite startling on others.
Phase
Phase is not a matter of preference. Out-of-phase eects manifest themselves as poorly dened bass, poor
stereo with very vague localization of instruments and voice, and generally fuzzy, ill-dened sound. A single-
wired out-of-phase system is easy to detect; a tri-amped system with one element connected out of phase
can be nearly impossible to track down. If you nd that there are problems with the system that no amount of
experimentation can cure, check all the loudspeaker and amplier wiring carefully. If you have connected your
speakers strictly in accordance with this manual, no phase problems will arise.
Conclusion
All the advice above will help you get the most out of these superb loudspeakers, but in the nal analysis you
should do what your ears tell you is right — you are, after all, the nal arbiter of your system.
Happy listening!
Fitting Spikes
The loudspeakers are supplied with a set of long spikes and a
set of short spikes. All are adjustable and t in the same way.
Spike seats with felt bases are supplied for use where spikes
are inappropriate; e.g., on stone, hardwood or marble oors.
The spikes may be tted with sets of short spikes, sets of
long spikes or as a combination of two short spikes at the
front and two spikes at the rear to assist with imaging,
(Refer to the next page)
Method: Run the textured collar halfway down the
threaded shaft away from the spike point. Insert the shaft
into the plinth and screw in tight. Now run the collar up to
the plinth and lock it nger tight. Repeat for all four spikes.
Hint: If you feel that you may have to move the speakers around a lot before you get them exactly right, it is advisable
to start out with the spikes resting in their spike seats. This will allow you to easily slide the speakers on a hard oor
surface. After nalizing the speaker position, you can then mark the position of the feet and remove the spike seats.
Caution: Regardless which size spike is used make sure the textured collar is threaded on the spike. Failure to do so could
result in damage to the plinth.
Dressing the Cables
If there are more than one cable to each loudspeaker, gather them and lay them side by side. Make sure you have
identication on all the cables. Ensure the cables are connected the same way round with no loose or faulty con-
nections. Leave a small amount of slack and then bring the cables out between the spikes. It may be helpful to
tape bi- or tri- wired sets side by side to the underside of the plinth to stop them from interfering with the spikes.
Standing the Loudspeakers Upright
With the help of an assistant, lift the speakers into the vertical position. The feet must be secure, as there will be a
large amount of pressure on the two spikes that come into rst contact with the oor.
Remove the top packing piece and the protective bag from the loudspeaker. Be careful to avoid touching any of
the drivers.
You should now level the loudspeaker. If the oor is not perfectly level, you will nd that one spike is o the
ground. Starting with this spike and with the help of a spirit level, you should now adjust the spikes so the speak-
ers do not wobble and are not at an angle. Try to get the speakers to the same height if at all possible.
Final Connections
Now, connect the loudspeakers to the amplier/s using the diagrams on pages 8-11 to help you.
You are now ready to enjoy your music!
Collar
Spike
Shaft
Spike Seat