Wilson Benesch FIBONACCI Series User manual

FIBONACCI SERIES

User Manual

Dear Valued Customer,

To the cognoscenti of British high-performance audio, the Wilson Benesch marque is recognised as one of the world’s leading loudspeaker design and manufacturing

companies. We are honoured that you have chosen a Fibonacci Series product for your personal audio system. Our team of engineers, craftspeople and designers have

devoted every effort to manufacture this reference class product and we are extremely proud to present it to you. Our products are engineered to last a lifetime and we wish

you many hours of enjoyment from your music collection with a Wilson Benesch Loudspeaker at the heart of the system.

Before starting your journey, we encourage you to pay special attention to the information contained in this manual. All Fibonacci Series products have been designed and

built with precision. However, in order to extract maximum performance from the product, it is critical that it is setup correctly. Should you have any questions or require

assistance, please do not hesitate to contact your authorised dealer or distributor.

On behalf of all the Team at Wilson Benesch,

Craig Milnes, Design Director Christina Milnes, Managing Director

1.0 Product Registration __ P4

1.1 Unpacking: Important points before setup __ P4

1.2 What is in the Box __ P5

2.0 The Subject of Room Acoustics __ P6

2.1 Standing Waves __ P6

2.3 Reection, Absorption, Diffusion __ P7

2.4 Loudspeaker and Listening Position __ P8

2.5 Speaker Toe-in __ P9

2.6 Spikes & Speaker Rake Angle __ P9

2.7 Loudspeaker Clearance and the Bass Port __ P9

2.8 Kinematic Location Cups or Spikes __ P9

3.0 Bi-Amping __ P10

3.1 Bi-Wiring __ P10

3.2 Terminals __ P10

3.3 Loudspeaker Terminal Wiring __ P11

4.0 Stable Listening Room Environment & Surface Finishes - P12

4.1 Running-in (168-Hours) __ P12

4.3 Partnering Products __ P13

4.4 Handwheel and Extension Plate Removal __ P13

4.5 Other Adjustments __ P13

4.6 Magnet Precautions __ P13

5.0 Limited Warranty __ P14

5.1 Conditions __ P14

5.2 Remedy __ P15

5.3 Warranty Limited to Original Owner __ P15

5.4 Demonstration Equipment __ P15

Table of Contents

FIBONACCI SERIES MANUAL REV 1.0

1.0 Product Registration

Please register your product within 30-days of receipt of your Wilson Benesch product. Completion of the product registration within 30-days of receipt will validate a

full 5-year warranty provided all conditions detailed in section ‘4.7 - Limited Warranty’ are satised. Please refer to our terms and conditions at the back of this product

manual for more information. Product registration can be completed by returning the ‘Product Registration’ card that is supplied with your Fibonacci Series product,

please complete all elds fully to validate your product warranty.

1.1 Unpacking: Important points before setup and Warnings

Before unpacking your new Wilson Benesch loudspeakers, please observe the instructions in this manual. Furthermore, please note the check list on the opposite page for

what is included in the product packaging.

During installation please observe normal procedures for lifting and correct posture when handling the speakers. It is strongly recommend for the smaller products that

two people work together to unpack the product. With the largest products in the Fibonacci Series at least three people will need to work together to unpack the product

and safely install it. Never attempt to unpack or install speakers without assistance as this can result in damage or personal injury. It is strongly recommended that all

watches and jewellery be removed prior to unpacking and gloves worn to allow better grip of the product and protection to the surface nish.

Patient and careful setup is essential to obtain the maximum performance from this system. Special care and attention must be taken to ensure that no pressure is

applied to the drivers and in particular, the tweeter dome, when handling or moving the product from the packaging.

Once the speakers have been stood in an upright position on their terminations the supplied protective coverings can be removed and the packaging stored for future use.

This packaging is essential for safe shipment of the product. It is designed and tested specically for use with this product. Due to the bespoke nature of the packaging,

replacement costs are not insignicant and it is highly recommended therefore, that the packaging is retained for any potential later use.

FIBONACCI SERIES MANUAL REV 1.0

Discovery 3Zero Endeavour 3Zero A.C.T. 3Zero Resolution 3Zero Omnium Eminence

Product Manual • • • • •

Warranty Registration Card • • • • •

1x WB Spanner 13/22mm • • • • •

1x 6mm Allen Key for installation / removal of foot plates • • • •

1x 5mm Allen Key for installation / removal of port bung •

1x 17mm Socket Wrench • •

1x 13mm Socket Wrench • •

1x 10m Socket Wrench • •

1x Air Wedge •

3x Lifting Handles for Loudspeaker Top Box •

4x Bafe Blanking Caps •

2x Spine Blanking Caps •

6x Spiked Terminations • •

8x Spiked Terminations • • • •

6x Kinematic Location Cups • •

8x Kinematic Location Cups • • • •

2x Product Grille(s) • • • • • •

2x Loudspeaker Covers • • • • • •

2x Port Bungs •

2x Terminal Link Leads • • • • • •

1.2 What is in the Box

FIBONACCI SERIES MANUAL REV 1.0

2.0 The Subject of Room Acoustics

Acoustics is a complex subject and this text should be treated for what it is -- a simple but informative guide. For a deeper understanding we would recommend seeking out

a range of texts on the subject which can be used in conjunction with basic measurement equipment such as a tape measure, laser measure and spirit level.

It is important to respect the role that the room and its contents will have on the overall sound of the audio system. The air contained within the room is the link between

the output of the loudspeaker and your ear. How this air behaves is dependent upon the attributes or character of the room. It follows that a better understanding of basic

acoustics will assist in making decisions about the way in which the room and subsequently the system can be initially installed and ultimately improved. We strongly

recommend that customers have your Wilson Benesch dealer do the nal voicing and positioning of your Wilson Benesch loudspeaker with you.

Room types fall between two extremes. A room can be ‘dead’ -- being full of highly acoustic energy absorbent materials. Or a room may be ‘lively’ -- with a high

proportion of non-absorbent, hard, reective surfaces. A combination of materials with different acoustic properties will in general allow the listener to achieve a balance

between these extremes, which is of course preferable to either extreme at which point the performance and accuracy of the music’s presentation will suffer.

The contents of a room will impact upon its overall acoustic character. As you would expect harder surfaces like glass, concrete or wooden oors tend to reect and/or

diffuse a broad band of acoustic energy. Complimentary materials that are soft and thick such as heavy natural bre curtains, large rugs or soft acoustic panels will tend

to absorb a broad band of frequencies.

2.1 Standing waves

When sound waves reect between two parallel surfaces, the distance apart being equal to half the wavelength or less, dependent upon wave size, resonance modes

referred to as ‘standing waves’ are created. In loudspeakers with parallel walls these waves will cause distortions. The standing waves in your room will distort the

frequency response of your system sympathetically boosting or cancelling certain frequencies. If a certain standing wave frequency is acoustically isolated from its modal

neighbours its effect is more likely to be audible and problematic. This can compromise the accuracy of the presentation of any loudspeaker.

FIBONACCI SERIES MANUAL REV 1.0

2.3 Reection, Absorption, Diffusion

The upper-range of frequencies is generally affected more by room contents than room shape. The surfaces and how they reect, absorb or diffuse acoustic energy will tend

to describe the ‘sound’ of a room. As is the case with all forms of energy, acoustic energy cannot be destroyed it can only be converted or reected. The shape, thickness and

material type of a surface will determine how the sound is reected, how much of it is reected and also how much is absorbed and converted into heat or kinetic energy.

Depending on the frequencies in question, the thickness, density and material of the surface or boundary, some energy may pass through entirely. This behaviour is

commonly observed in the lower range of frequencies, being comprised of larger wave lengths that can pass through wall or ceiling boundaries and into an adjacent room,

while the upper frequencies are either absorbed or reected back inside the listening room.

Diffusion occurs when acoustic energy is reected by a surface and dispersed in a random and/or disordered fashion. Usually diffusion will occur when the acoustic energy

meets a non-uniform or uneven surface. A tightly packed book shelf with books of different sizes and proles is one example of a commonly found listening room boundary

which can result in diffusion of the upper frequencies.

Diffusion of sound energy at key areas of the listening room is often less damaging to system accuracy and therefore preferable to orderly reection. In the case of reection,

the quantity of indirect sound reaching the listening position will be greater and therefore more inuential. This mixing of indirect and direct sound at the listening position

can result in audible inaccuracies and artefacts.

It should be appreciated that sound waves behave in much the same way as light waves or ‘rays’. To imagine the loudspeaker driver as a oodlight can be helpful in

determining which areas of the listening space are critical to the performance and accuracy of the system. The key “rst points of reection” can be roughly identied by

having an assistant hold a mirror on each side wall while you are positioned in the listening chair. Once the speaker drivers can be seen in the mirror from the listening

position the impact of this identied area should be considered in light of the above basic principles. By the same token, the rst reection point on the ceiling can also be

considered for its inuence as a rst point of reection.

Although many listening rooms are unsuitable for professional acoustic treatment products due to their dual role as a living and listening space, it can still be possible to

make small but appreciable improvements by rearranging furniture, system components and of course the listening position. Consider the changeability of rooms; if the

room is dressed with heavy curtains simply changing the curtains position can alter the balance of the system. It is the goal that is the guide and the owner is the pivot in

this subtle balancing act.

FIBONACCI SERIES MANUAL REV 1.0

2.4 Loudspeaker and Listening Position

The system, comprised of different components, installed in a room with a unique acoustic character and every listener’s individual taste, should be appreciated as a

unique sum comprised of a great many variables. It should be considered that in this balancing act experimentation is critical to getting the best from the system and

more importantly, tuning to the listener’s own satisfaction. There is no one simple set of rules for speaker placement that will t for every scenario within which a Wilson

Benesch loudspeaker is installed. It is for this reason that no minimum or maximum parameters are stated for the positioning of each product. The listening position

should also be evaluated in the same manner.

The distance between the speakers in relation to the distance from each speaker to the listening position will impact on the size of the sound stage presented.

Additionally, if the listening position is moved closer to the speakers, the proportion of reected sound to direct sound will decrease. A great many recommendations

describe an equilateral triangle, whereby the distance between each speaker and the listening chair are the same, but again, experimentation is the key. A larger distance

between the speakers can result in a larger and more engaging presentation. The distance between the speaker and rear and side walls, should also be considered. Bass

performance in particular will often suffer wherever a speaker is too close to one of these boundaries, resulting in “boomy” or over-bloated bass and/or cancellations.

This affect is more pronounced still, when placing the speaker into a corner where two boundaries meet.

The most valuable commodity in this process is time. Be prepared to make small changes over long periods of time. Wiring up the loudspeaker and commencing the burn

in period is advisable. Whilst optimal setup cannot be achieved without completing the burn in period, it is generally possible to gain some understanding of how the

loudspeaker is integrating within the room during this period and start to experiment with positioning.

Once the 168-hour running in period has elapsed, the nal positioning and ne tuning of the system can begin in earnest. Parameters such as toe and rake angles should

yield quite marked changes in the presentation.

We would recommend selecting four musical passages as outlined below in helping you evaluate the various speaker positioning parameters and the effects of changing

these.

-Select one with a distinctive and easily heard human voice. Spoken voice is ideal.

-Select one passage with a full orchestra like The Pines of Rome.

-Select one that is very emotional for you.

-Select one that has a strong rhythm and a good portion of bass content, as found in a typical dance music track for example.

FIBONACCI SERIES MANUAL REV 1.0

2.5 Speaker Toe-in

The amount of speaker toe-in will dene a sharper centre image at the expense of image width. The upper frequencies will become more pronounced as you bring

the tweeters on axis with your ear at the listening position. While we generally recommend at least some speaker toe-in, the amount is not a precise or xed value.

Experimenting here is advisable and evaluation at the listening position while an assistant makes toe-in adjustments is one method to achieve the best balance.

2.6 Spikes & Speaker Rake Angle

The position of the tweeter has been designed to function best for listeners seated in conventional relaxed seating positions. However, the rake angle of the speaker can

be changed by adjusting the installed speaker spikes. Tilting the speaker back slightly will have the effect of projecting the perceived sound stage a little higher. This can

also change the perceived balance of the upper frequencies, as the tweeter will be most prominent when it is on axis with your ear at the listening position.

2.7 Loudspeaker Clearance and the Bass Port

For those loudspeakers that feature a bass port on the underside of the foot, the low frequency can be augmented in much the same way that it would should you place

the loudspeakers next to a wall. That is to say, adjustments in the overall clearance of the loudspeaker port from the oor will change the overall balance in the system.

Generally it can be observed that a smaller clearance and closer placement to the oor will result in a more augmented low frequency characteristic to the loudspeaker

presentation, where a larger clearance between the oor and the bass port will result in a less augmented low frequency characteristic to the presentation. This is a critical

step in the loudspeaker setup procedure and in many cases the balance of the system will change considerably as this parameter is adjusted.

2.8 Kinematic Location Cups or Spikes

In listening rooms with a carpet Wilson Benesch recommend using spiked termination, where the objective is to drive through the carpet and into the sub-oor to achieve

maximum stability for the speaker. For hard oors or low-pile carpets use of Kinematic Location Cups is recommended.

FIBONACCI SERIES MANUAL REV 1.0

3.0 Bi-Amping

Bi-Amping can give the ampliers more control over the drivers, separating these systems can deliver benets but it is not always the best solution and must be

experimented with. It is generally not recommended to bi-amp using different types and/or makes of amplier for different driver sections.

3.1 Bi-Wiring

Improvements can be heard through separating the energy from each lter in the crossover. Cables vary in construction but a good quality cable should be low in

impedance, inductance and capacitance. Do not use cables that act as additional crossover components. Experimentation is crucial in this situation and a cable that works

well in one situation with a given amplier may not always perform as well when one of these variables is changed.

3.2 Terminals

Wilson Benesch recommends the use of 8mm ring or spade connector cable terminations. A spanner is provided to tighten up the rhodium plated nuts. A light pinch of the

end of the supplied spanner is more than sufcient to tighten the nuts. Please be careful to not over tighten the terminals as this could result in damage to the terminal