Handleiding REL Acoustics Q serie (pagina 17 van 25) (Engels)

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REL Acoustics ‘Q’ range User manual

Positioning

The optimal position for a REL is in one of the corners behind the main speakers. This position

provides 9 dB of mechanical amplification and allows for the most linear true low bass wave launch,

owing to the ability to tune the sub to the axial node of the room, or longest throw distance.

The Process

To begin the set-up process, choose a piece of music that has a repetitive bass line that is very low in

frequency. We recommend cut 4 from the soundtrack to Sneakers (Columbia CK 53146). This has a

repetitive bass drum throughout that gives you plenty of time to move the woofer around, but more

importantly, the recording venue was quite large for this recording, and therefore it has a very deep

and large-scale bass signature. This type of cut is perfect for the set-up process, and should be

played at the highest reasonable level expected for system play back.

Working with a partner, one in the listening position and one at the woofer manipulating the controls,

is the most effective and efficient ways to set up the woofer. If working alone, the initial steps in the

set-up can very effectively be carried out from the location of the woofer. Trying to ignore all other

music in the cut, listen for the bass drum and its effect on the listening room.

1. Phase Orientation: Once in the corner we need to adjust for phase. This may be the single

most critical step, and because it really is quite simple, it is often over thought, especially by

the most experienced audiophiles. Keep in mind; the right phase is whichever position is the

loudest or fullest. While playing music with true low bass, adjust the crossover to a point

where the sub and the speaker are sure to share frequencies (B, 3 for big speakers or C, 4

for smaller speakers). At this point turn the gain so that both sub and speaker are roughly

equal and then switch, using the “mode selector” switch, from “0” (position 1) to “180”

(position 3) phase positions. Again, whichever position is loudest or fullest is the correct

position, and, as often as not, may be 180-degree phase. That is, this position is working in

harmony with your main speakers, reinforcing bass, and not cancelling it.

2. Room Orientation: Next, if space allows, try two different orientations of the woofer relative to

the wall. First, while playing the set-up cut, place the REL with the connection panel parallel

with the rear wall. Second, place the REL with the connection panel parallel with the side

wall. As with phase, the orientation which yields the most output is the best position for that

room. This process simply orients the driver, and port, to most efficiently vent into the room.

In some instances there may be little difference, at which point aesthetic concerns may

override performance concerns. For Q series, if possible, point the driver directly out of the

corner, equidistant from the side walls.

3. Placement: The next step is to determine precisely how far out from the corner the sub

should be placed to achieve the most efficient output, as well as the lowest frequency

extension. With the sub fully into the corner, continuing to play the music, slowly pull the sub

from the corner on the diagonal, equidistant from both side and rear wall. At a certain point

(sometimes a matter of only a few inches, in rare cases a foot or more) the sub will audibly

go lower, play louder, and, if it truly locks on to the room and is fully pressurising it, the air

around the sub will seem to be energised, stop right there! This is the correct position for the

sub.

4. Crossover and Gain Settings: To determine the crossover point, bring the gain down, put the

crossover to A-1, bring the gain back up to the point where you have achieved a subtle

balance (In some situations where there may not be sufficient output due to room and

subwoofer interactions B-1 should be the position to use in setting initial gain). Working only

with the coarse control (A-D), bring the crossover point up until it is obviously too high, at this

point bring it down to the next lowest setting. Now, working with the fine control (1-6), bring

up the crossover point until it sounds too high at which point bring it back down to the next

lowest setting. For all intents and purposes, this is the correct crossover point. Once this

stage has been reached subtle changes to gain and crossover can be accomplished to

provide the last bit of complete and seamless integration. With that, set-up is complete.

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