Genesis Advanced Technologies 1.1 User Manual
Ver 2.0
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When properly set up, very little sound should appear to come
directly from the speaker. Instead, the sound stage should extend far
beyond the left and right edge of the loudspeakers and there should
be tremendous front to back depth. When the recording is close-miked
(when the instrument or performer is very close to the recording
microphone), the music may appear to come directly from the
loudspeaker. This is normal. Typically, however, the sound should
appear to be detached from the loudspeakers.
directly from the speaker. Instead, the sound stage should extend far
beyond the left and right edge of the loudspeakers and there should
be tremendous front to back depth. When the recording is close-miked
(when the instrument or performer is very close to the recording
microphone), the music may appear to come directly from the
loudspeaker. This is normal. Typically, however, the sound should
appear to be detached from the loudspeakers.
A simple rule of thumb to follow is that focus will be achieved by
placing the speakers closer together or toed-in. Front to back depth
can be adjusted by varying the distance from the rear wall. Further, as
the system “breaks-in”, the depth and width of the soundstage will
increase, and so will the “smoothness” of the sound.
placing the speakers closer together or toed-in. Front to back depth
can be adjusted by varying the distance from the rear wall. Further, as
the system “breaks-in”, the depth and width of the soundstage will
increase, and so will the “smoothness” of the sound.
2.3 Phase Control
We suggested in the beginning of this section to set the phase to 0, 45
or 75 degrees. Now that you have roughed the system in, you may
want to experiment with different phase settings.
or 75 degrees. Now that you have roughed the system in, you may
want to experiment with different phase settings.
Using the remote control you can adjust the woofer's phase angle up
or down in five-degree increments.
or down in five-degree increments.
The changes are subtle and they usually affect the imaging and
soundstage. Listen carefully to the positioning (in acoustic space), of
the orchestral players as you change the phase control. You may
notice small shifts in their apparent relationship to the other members
of the orchestra. Do not expect them to actually move. Expect minute
changes in the soundstage, the apparent width of the stage, your
ability to distinguish individual players etc.
soundstage. Listen carefully to the positioning (in acoustic space), of
the orchestral players as you change the phase control. You may
notice small shifts in their apparent relationship to the other members
of the orchestra. Do not expect them to actually move. Expect minute
changes in the soundstage, the apparent width of the stage, your
ability to distinguish individual players etc.
If you are using the output from the preamplifier to drive the servo-
bass amplifier, the phase setting you need will depend on the relative
difference between the input phase and the output phase of the power
amplifier used. In extreme cases, where the power amplifier inverts
phase, the phase setting you use may have to be 135 degrees or
more.
bass amplifier, the phase setting you need will depend on the relative
difference between the input phase and the output phase of the power
amplifier used. In extreme cases, where the power amplifier inverts
phase, the phase setting you use may have to be 135 degrees or
more.
Experiment with rock and blues recording (even if you only listen to
classical music). If the phase is correct, your foot will naturally tap in
time to the music. If the phase is out, you may think that the drummer
is having difficulty coordinating his cymbal work with his kick drum.
classical music). If the phase is correct, your foot will naturally tap in
time to the music. If the phase is out, you may think that the drummer
is having difficulty coordinating his cymbal work with his kick drum.