Bedienungsanleitung Klipsch P-39F (Seite 7 von 11) (Englisch)

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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 signicantly.

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 eects on some music may be small and quite startling on others.

Phase

Phase is not a matter of preference. Out-of-phase eects manifest themselves as poorly dened bass, poor

stereo with very vague localization of instruments and voice, and generally fuzzy, ill-dened 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 amplier 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

identication 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 amplier/s using the diagrams on pages 8-11 to help you.

You are now ready to enjoy your music!

Collar

Spike

Shaft

Spike Seat

Klipsch P-39F Seite 7

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