JBL S 2600 User Manual / Operation Manual ▷ View online
S2600, S3100
LOUDSPEAKER SYSTEMS
OWNER’S MANUAL
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S2600/S3100 LOUDSPEAKER SYSTEMS
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THE S2600 AND S3100
LOUDSPEAKER SYSTEMS:
LOUDSPEAKER SYSTEMS:
Today’s requirements for audio-
phile listening in the home environ-
ment place a high premium on
stereophonic imaging, and the
S2600 and S3100 systems, like the
Project Everest DD55000 system
before them, provide accurate
stereo soundstage imaging over a
wide listening area. At the same
time, the systems, with their horn
loaded high frequency section, can
deliver high acoustic output with
very low distortion.
ment place a high premium on
stereophonic imaging, and the
S2600 and S3100 systems, like the
Project Everest DD55000 system
before them, provide accurate
stereo soundstage imaging over a
wide listening area. At the same
time, the systems, with their horn
loaded high frequency section, can
deliver high acoustic output with
very low distortion.
PLACEMENT AND ADJUSTMENT:
JBL believes that the most
accurate stereo soundstaging will
normally take place when the
included angle between loudspeak-
ers and the listener is in the range
from 40 to 60 degrees, as shown in
Figure 1. In most listening spaces,
this translates into a loudspeaker-
to-loudspeaker distance of 2 to 3
meters, with the listener located at
a similar distance from the line con-
necting the loudspeakers. This will
normally take place when the
included angle between loudspeak-
ers and the listener is in the range
from 40 to 60 degrees, as shown in
Figure 1. In most listening spaces,
this translates into a loudspeaker-
to-loudspeaker distance of 2 to 3
meters, with the listener located at
a similar distance from the line con-
necting the loudspeakers. This will
result in a nominal listening angle of
about 53 degrees. The listener may
then move closer or farther away to
adjust the angle to taste.
about 53 degrees. The listener may
then move closer or farther away to
adjust the angle to taste.
In the condition we have
described here, place the loud-
speakers so that their baffles are
parallel to the wall behind them.
The exact placement is not critical.
Corner placement works well, since
the controlled radiation from the
systems will cause minimal reflec-
tion from the adjacent wall.
speakers so that their baffles are
parallel to the wall behind them.
The exact placement is not critical.
Corner placement works well, since
the controlled radiation from the
systems will cause minimal reflec-
tion from the adjacent wall.
If you choose to operate the
loudspeakers in a larger room with
greater spacing between them, it
may be necessary to angle them in
slightly (perhaps not more than 5 to
10 degrees) to achieve the desired
image stability over a wide listening
range.
greater spacing between them, it
may be necessary to angle them in
slightly (perhaps not more than 5 to
10 degrees) to achieve the desired
image stability over a wide listening
range.
Begin the setup procedure by
putting on a recording that has a
strong phantom center image.
(Most solo vocal recordings will sat-
isfy this requirement.) As you are
sitting in the middle, equidistant
from the loudspeakers, you should
hear a strong, unambiguous center
image. Take time here to adjust bal-
ance, if necessary. Then, as you
move slightly to one side, the
image should remain clearly cen-
tered.
strong phantom center image.
(Most solo vocal recordings will sat-
isfy this requirement.) As you are
sitting in the middle, equidistant
from the loudspeakers, you should
hear a strong, unambiguous center
image. Take time here to adjust bal-
ance, if necessary. Then, as you
move slightly to one side, the
image should remain clearly cen-
tered.
Loudspeaker
Loudspeaker
40° - 60°
Figure 1. The 40° to 60° listening angle.
Listening Area
4
As you move further to one
side, the image should remain cen-
tered, if you have used the recom-
mended 2 to 3 meter spacings dis-
cussed earlier. If you are using a
wider spacing, then the image may
tend to move toward the nearer
loudspeaker. If this takes place, it is
your cue to angle both loudspeak-
ers inward slightly, so that more
correction will take place. Be sure
to angle both loudspeakers the
same amount, so that side-to-side
symmetry is maintained. Details
here are shown in Figure 2.
tered, if you have used the recom-
mended 2 to 3 meter spacings dis-
cussed earlier. If you are using a
wider spacing, then the image may
tend to move toward the nearer
loudspeaker. If this takes place, it is
your cue to angle both loudspeak-
ers inward slightly, so that more
correction will take place. Be sure
to angle both loudspeakers the
same amount, so that side-to-side
symmetry is maintained. Details
here are shown in Figure 2.
ELECTRICAL CONNECTIONS:
The models S2600 and S3100
are can be operated by a normal
stereo amplifier, or they may be
operated in “bi-wire” configuration.
For standard operation, bus bars
connect the two sets of terminals
on the back of each enclosure so
that both high and low frequency
sections of the dividing network are
electrically in parallel.
stereo amplifier, or they may be
operated in “bi-wire” configuration.
For standard operation, bus bars
connect the two sets of terminals
on the back of each enclosure so
that both high and low frequency
sections of the dividing network are
electrically in parallel.
In the bi-wiring configuration, a
separate amplifier section feeds
each of the high and low frequency
portions independently. In bi-wiring,
the full signal is applied to both
high and low frequency sections of
the dividing network; however, the
network will restrict the current flow
only to those signals intended for
the high or low frequency trans-
ducer. Bi-wiring has the advantages
of biamplification, but without the
need for an external electronic
dividing network. A schematic dia-
gram of the bi-wiring option is
shown in Figure 3.
each of the high and low frequency
portions independently. In bi-wiring,
the full signal is applied to both
high and low frequency sections of
the dividing network; however, the
network will restrict the current flow
only to those signals intended for
the high or low frequency trans-
ducer. Bi-wiring has the advantages
of biamplification, but without the
need for an external electronic
dividing network. A schematic dia-
gram of the bi-wiring option is
shown in Figure 3.
GRILLES:
Grilles are a complement to the
details and industrial design of the
loudspeaker system. However,
many listeners prefer to operate
their loudspeakers with the grilles
removed, even though JBL has
used the most acoustically trans-
parent materials available. The
choice is strictly up to the listener.
loudspeaker system. However,
many listeners prefer to operate
their loudspeakers with the grilles
removed, even though JBL has
used the most acoustically trans-
parent materials available. The
choice is strictly up to the listener.
THEORY OF OPERATION:
The uniform imaging properties
of the S2600 and S3100 systems
are based on the asymmetrical hori-
zontal coverage patterns that the
two loudspeakers produce. Above
1kHz, the high frequency horn’s
pattern ranges from wide, directly
in front of the system, to narrow, as
the listener moves off axis toward
the middle of the array and beyond.
are based on the asymmetrical hori-
zontal coverage patterns that the
two loudspeakers produce. Above
1kHz, the high frequency horn’s
pattern ranges from wide, directly
in front of the system, to narrow, as
the listener moves off axis toward
the middle of the array and beyond.
α
α
Figure 2. For loudspeaker spacing in excess of
3 meters, set a in the range of 5 to 10 degrees.
3 meters, set a in the range of 5 to 10 degrees.
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