®
In-Wall Loudspeaker
Installation Guide
I.
II.
CONTENTS
Materials And Tools
A. Required Tools
B. Other Tools
Layout
A. Listening Locations
B. Speaker Locations
C. System and Supply
D. Obstructions
E. Weather Resistance
F. Tricks of the Trades—Nothing's Plumb, Square, or True
III.
Installation
A. New Construction
B. Enclosure Volume and Insulation
IV.
Wiring
A. Rough-in Wiring
B. Finish Wiring
C. Tricks of the Trades—Drilling
V.
Grilles
A. Installing and Removing
B. Grille Alternatives—Scrims, Hole Shapes and Sizes
Painting
A. Construction Dust and Paint Shield
VI.
B. Painting Finish Frames
C. Painting Grilles
VII.
Setup
B. High and Mid Frequencies Switches
C. Bipole and Dipole Switches
A. Swivel Tweeter
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D. Listening—Balance, Range, and Imaging
I. MATERIALS AND TOOLS
The only other materials necessary to install CustomSound speakers are paint
and extra fine sandpaper if you wish to change the color of Grills and/or Finish
Frames from their standard white. Of course, wire cable of appropriate length and
size will be necessary to connect speakers to amplifiers (or volume controls) in
the music system.
A. Required Tools
The following tools are needed for normal, simple installations:
Tape Measure, Pencil, and Level
Utility Knife and Wallboard Saw (and extra blades)
Philips Screwdriver and Putty Knife
Drill and Bits (smaller for lead holes and larger for cabling)
Probe Wire (a heavy coat hanger can substitute for a short fish-tape)
Flashlight
B. Other Tools
Particularly when installing a quantity of speakers, or installing in wood paneling
or other wall materials, the following tools are desirable for neater and more
efficient installations:
Stud Finder (helpful—particularly with simple, wallboard-on-studs
construction)
Metal Straight Edge (Ruler or Framing Square) and Masking Tape
Wallboard Rasp/Sanding Block (or a piece of wire lath around a block)
Awl or Worn Screwdriver (for initial, exploratory holes) and Hammer
Wire Cutters/Strippers and Electrical Tape
Battery Screwdriver and Power Drill and Extensions (with extra bits)
Jig Saw and Blades
Wallboard Router and Cutout Bits
II. LAYOUT
A. Listening Locations
Consider the desired, intended, and probable locations of listeners when
considering speaker locations. Ideally, listeners should have a clear line-of-
sight/hearing to all speakers in their listening area—not too far off axis and not
obstructed by structure or furnishings—for most balanced frequency response.
Where will listeners be—primary and secondary? Where will listeners’ ears
be—sitting, standing, walking? No installation is absolutely ideal, but considering
listener locations with speaker location can greatly improve the final result—and
simplify the effort and expense to achieve it.
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B. Speaker Locations
Here are three simple ideals, which are never fully satisfied:
1. Locate speakers equidistant to listeners, preferably at ear level.
2. Locate speakers closer to each other than their distance from listeners.
3. Locate speakers symmetrically to each other and to their physical
surroundings.
Ideally, listeners will be equidistant from front right and left and center channel
speakers and from rear (or side) left and right surround channels for most
accurate spatial imaging. If listeners are too close to front or to rear channel
speakers the image cannot come together and flow seamlessly across. While
ear-level mounting is ideal, the swivel tweeters can be aimed towards the
listeners, increasing the accuracy of frequency response when speakers are
located further off axis from listeners’ ears. Most importantly, a center channel
speaker should be located centered on the TV screen—to keep center channel
sound coming from the center of the screen.
Balance adjustment can compensate for some physical location difference between
left and right. Time-delay adjustment of surround sound can compensate for some
physical location difference between front and rear. With mono signals equidistant,
symmetrical location is still desired to minimize balancing requirements. Proximity to
additional side wall, ceiling or floor surfaces will cause increases and decreases in
frequency response which are very difficult to electronically equalize for smooth
response overall—particularly when only some of the speakers are affected.
Ceiling locations are generally good locations, particularly for rear channel and
secondary listening, allowing symmetrical layouts and the increased volume
between floor joists for improved bass response. Some sound output will transmit
through the wall behind (or floor above) a speaker; and, while this can be lessened
with insulation and other installation techniques, it should be considered in finalizing
locations.
All CustomSound models are designed to maintain the same tonal balance when
different models are mixed in a system. The same model should be used in
symmetrical listening locations in a system—front left and front right; rear left and
rear right.
Any of the PSB in-wall systems can be used as surround speakers. We also offer
dedicated surround systems with special radiation patterns optimized for use as a
surrounds, such as the CW260.
Surround systems should be located via the following guidelines. If you are using
one pair of surround speakers (a 5.1 system) the optimum location would be directly
to the sides or to the sides and slightly back of the primary listening area. This will
create the most enveloping surround field. Using 2 pair of surrounds (a 7.1 system)
is recommended as it both creates a more diffuse and a more even sound field.
There will be less variation for multiple seating positions. If your system has four
surround speakers then one pair should be mounted to the left and right sides of the
listener (connected as “sides”) and the second pair mounted to the rear (connected
as “rears”). If you could view your room layout from above the best surround
speaker location would have each speaker a fairly even angle removed from its
adjacent surround, that is, dispersed at equal angles around the listening area.
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Surround speakers will give a more diffuse sound field (a good thing) if they are
mounted fairly high on the walls and somewhat removed from the listener. Don't be
afraid to mix in-wall and in-ceiling mounting.
The CW88R is a special ceiling mount (round) system for use where space is limited.
In some rooms of the house, typically in bathrooms, space is limited such that there
isn't room for two ceiling speakers. Mounting a single speaker forces a choice of
whether to use the left or right channel signal. This can lead to strange effects were
a number of the musicians or some of the members of a talk show drop out entirely.
Creating a mono signal ahead of the driving amplifier is a possibility but adds
unnecessary wiring complications. The CW88R solves these problems by offering a
dual channel system built into one speaker assembly. The woofer utilizes dual voice
coils with separate electrical crossovers for each. For high frequencies, the system
features two tweeters both coaxially mounted and angled to give a modest stereo
effect.
The location of subwoofers will interact with the dimensions of the room to determine
the low frequency response of the overall system. Unlike with a free standing
subwoofer the in-wall subwoofer can't be mounted away from the wall surfaces!
The key question is: Where on the wall should they best be located?
Generally the main front speakers should be located first by following the guidelines
for placement (above) with regard to angles around the listener. Their location is
more critical than the location of the subwoofers. Once the main front speakers and
surround speakers are located then you may want to mount the in-wall subwoofer in
a spot that visually looks appropriate relative to the front speakers. This might be in
the same stud bay but directly below the front left or right. Alternatively they may be
mounted at just the same height as the other front speaker, yet outside them and
more towards the corners. Either approach is generally acceptable. Be aware that
mounting the in-wall subwoofer nearer a corner will generally increase the overall
bass level and that will increase its output capability, a good thing.
Avoid mounting the subwoofers at the rear of the room or on the side walls far from
the front wall. Although our sense of location for very low frequencies is poor it will
still degrade the blend between bass and upper frequencies when the subwoofer
and the front speakers are mounted far apart. An exception to this is when one
subwoofer is mounted in the center of the front wall and a second subwoofer is
mounted in the center of the rear wall. Recent studies have shown such a technique
to generally give a very good low frequency room response.
Each CustomSound speaker carton contains a full-size template of the front of the
speaker. These templates can be used when initially locating speakers and then
when marking and cutting out speaker locations. We encourage temporarily taping
templates in the intended locations and then sitting in the primary listening location
and considering the above guidelines again—also realizing that behind-the-wall
conflicts will probably require some adjustment to the intended locations before they
are final.
C. System and Supply
Typically, a cable with a wire pair must connect every speaker to the sources. This
amplified and controlled source supply may go directly from a power amplifier or
through a local, supplemental volume control. In some, mono-only systems, a single
wire may "daisy chain", entering and exiting from one speaker to
another—beginning and ending at the amplifier.
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Increasingly, different source signals may be provided to different
rooms/zones/speakers—at the same time. Increasingly, control systems allow
adjustments from locations different/remote from the signal sources, switching, tone
control, and amplification. Some rectangular models include a knockout in the baffle
into which an infrared signal remote receiver can be installed. With increasing levels
of multi-zone and remote control sophistication, it is increasingly desirable to have a
simple volume control local to speakers distant from the main equipment. This
control—for volume up and down and off and on—may be in a small, freestanding
box or flush-mounted in a wall.
Overall, a musical source—audio or video—is fed first through a preamplifier with
switching and tone controls—and then through a power amplifier and onwards to
each speaker. The preamplifier provides a level of tone controls—bass, treble, and
balance left to right. Surround processors, operating between the preamplifier and
amplifier stages, can provide surround decoding and another level of channel
balancing—front left, right, and center; surround left and right; and subwoofer. An
equalizer before the amplifier can provide some adjustment to smooth response for
field conditions and preferences. Multiple amplifiers may be used for multiple zones
and speaker loads.
D. Obstructions
With tentative speaker locations determined, potential obstructions must be
explored and the conflicts resolved: Structural; Mechanical—Electrical, Plumbing,
and HVAC; and Furnishings.
Temporarily mark and view tentative speaker locations and the existing construction
carefully to determine the existing structure and mechanical installations and
potential obstructions. Adjust the speaker layout, the furnishings, the mechanical,
and/or the structural to resolve the conflicts. Layout, review, and resolution on
building plans can be a very efficient process. However, some conflicts will inevitably
appear and need to be resolved as actual conditions are reviewed and as
installation proceeds.
Most typically and very basically, residential walls are constructed of wooden
studs—nominally 2" x 4", but measuring 1½” x 3½" (sometimes, particularly on
exterior walls 2" x 6", measuring 1½" x 5½") and normally located on 16"
centers—with 14½" between studs. This stud pattern usually begins from one,
exterior corner and results in a smaller than normal spacing at the other corner. The
full height "common" studs extend from a flat "sole" plate on the floor to a "top" plate
(often doubled) at the top of the wall. Top headers of doubled 2" x 4"s (or larger) are
placed on edge spanning over doorways and windows, and doubled sill headers run
under window openings. "Trimmer/jack" partial studs run under the ends of all
headers, doubled against full studs against the ends of all headers. Shorter partial
"cripple" studs run over headers to the top plate and under sills to the bottom
plate—at nominal spacing. Blocking may be between studs about mid-wall, behind
cabinets and other fixtures mounted to the wall, and over and under ductwork
through the stud cavity. Electrical receptacles and switches are mounted in electrical
boxes, usually mounted to a stud. Removing electrical cover plates in finished walls
is a good initial step to determine where studs are located.
Floors typically are constructed of wooden joists—nominally 2" x 8" or deeper, but
measuring 1½" x 7¼" or deeper and normally located on 16" centers (but not
uncommonly on 12" centers). Roofs typically are constructed of wooden
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rafters—nominally 2" x 6" or deeper, but measuring 1½" x 5½” and located on 16"
centers (but not uncommonly on 24" centers). Ceilings are usually backed by 1" x 3"
strapping leveled beneath the floor joists or roof rafters and located on 16" centers.
Electrical cables run to, and most often from, all electrical boxes—which are
grouped on circuits. Plumbing supply, drain and vent lines run to and from all
plumbing fixtures—which are grouped on vertical risers. Heating supply lines
circulate through radiation fixtures—which are grouped in zones off vertical risers.
HVAC ductwork runs to all supply grills and from all return grills. Control wiring
(sometimes tubing) runs to all controls.
Corner bay locations should be avoided since at least one corner bay is usually
smaller than normal, which will decrease bass response, and closeness to the side
wall will cause some unevenness in frequency response. Mechanical activity that
occupies volume in the speaker wall cavity will decrease bass response and may
transmit sound to other, unintended areas. Electrical power wiring should not run
close to the speaker or it's audio supply; crossing away from the speaker and its
supply has minimal effect.
E. Weather Resistance
CustomSound speakers are designed for outstanding durability as well as
outstanding sonic performance. Polypropylene cones with rubber surrounds,
stainless steel fasteners, aluminum grilles, and ABS plastic frames with UV
resistance increase the range of locations where CustomSound speakers can
continue to satisfy. It should be remembered that nothing is fully weatherproof
(or soundproof or fireproof). Salt water, driving rains, direct sunlight, and freeze
and thaw cycles will degrade all materials—even granite—over time. Almost any
interior locations other than submerged, baked, or frozen are fine. Good exterior
locations provide some protection from the weather, and these are usually also
better locations for improved sonic performance. Porch ceilings and walls are
fine. On exterior walls, some weather shelter is desirable—under overhanging
eaves is fine. Totally exposed, unsheltered locations will not sound as good and
will deteriorate over time.
F. Tricks of the Trades—Nothing's Plumb, Square, or True
All people in construction realize that it is an exacting but inexact craft—nothing is
exactly, absolutely plumb, square, or true. The craft is to understand and respect the
tolerances of materials, tools, makers, and users—what will look right to the eye, is
reasonably possible to build, and will retain it's position over years—within the
budgets of money and time. Planning, measuring, and coordinating are important;
but conflicts, tradeoffs, and imperfections are inevitable in the final construction.
Pre-construction drawings are very valuable to further the process mentally before
the physical begins. Post-construction, as-built drawings are valuable to assure
performance and aid modification. However; no drawings will be entirely complete
or consistent with the construction. Proceed with an open and responsive mind.
Prepare to be surprised, challenged, and rewarded—to solve the many small riddles
along the path to completion.
III. INSTALLATION
A. New Construction
The PSB in-walls covered in this manual use a particularly effective mounting
technique with toggle style mounting clamps. They are so named because the
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mounting clamp toggles out from a rest position prior to tightening down. As shipped,
this mounting clamp parks on a flat on its mounting tower, thus staying out of the way
for easy insertion of the system into the wall cutout. When a screwdriver is applied
to the mounting screws it first turns the clamp 90 degrees, removing it from its resting
place, and then brings the clamp down a track in the tower. With further tightening it
finally clamps the wall firmly. This clamping style gives firm clamping for freedom
from rattles, and great convenience of installation. The rectangular models have 6-
8 of these clamping assemblies and the round and square versions have 4 each.
A template is provided for marking the speaker cutout. It has a series of slots for
tracing the cutout and also an outline of the system to confirm that the flange won't
interfere with any wall features.
For the new construction application, we offer Performance Enclosure and Pre-
construction Bracket solutions. The Performance Enclosure (BBX-88) defines the
optimal enclosure volume for our CustomSound Series products and is mounted
between two studs behind drywall. The result is optimal low frequency response and
an improvement in adjacent room isolation. The Pre-construction Brackets simplify
installation in new construction application and can be used with or without the
Performance Enclosure. Installation instructions are provided with both products.
When final speaker locations are determined, use the template by placing it on the
wall at the intended system location. Several thumbtacks can hold it in position.
(Put the thumbtacks within the outline of the system and their holes won't show
later.) Use a pencil or fine tipped pen to trace around the slots of the template. Bias
the pencil or pen towards the inside of the slots to achieve the proper dimensions. A
cutout of the dimensions determined by the template will include a little play to allow
for cutting variation.
At each intended speaker location measure and mark with a pencil the intended
center of the speaker. Near the intended center make a small initial exploratory hole
with an awl or (worn) screwdriver and hammer, a wallboard cutout saw, or a drill. If
the awl, screwdriver or saw hits "solid" after the wallboard or plaster is pierced or if
the drill produces sawdust after the initial wallboard/plaster dust, you have probably
hit a wooden stud—which will obstruct that location. If drilling becomes harder after
piercing the wallboard or plaster, remember it could be plumbing, mechanical, or
electrical material. If you feel unusual resistance or sense an obstruction, stop.
Consider the situation and carefully make another small exploratory hole about
1 1/2" to the side where you would prefer the speaker location to move.
When your small exploratory hole avoids obvious obstruction, enlarge that hole
slightly with the screwdriver and hammer (or wallboard saw) until you can extend a
short probe wire/fish-tape through the hole and determine the location of the stud on
each side and other obstructions. Adjust your layout if necessary and then enlarge
the hole slightly so that you can see into the wall cavity (aided by a flashlight) and
confirm there are no further obstructions.
Continue this process of initial layout, exploratory holes, determining hole, and
confirming hole at each intended location in a related group before proceeding with
full cutouts. You can then modify the initial layout as required to avoid the inevitable
discovered conflicts and maintain a desired layout for acoustical performance and
visual aesthetics—while avoiding and minimizing any excess cutting and patching.
Now cut out the full rough-opening being careful to avoid over-cutting, breaking
edges of the opening, or damaging surrounding paint or wallpaper finishes. A
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wallboard handsaw, preferably with replaceable blades, is the normal tool. The
Finish Frames are about 3/4" wide around the Grilles on the finish surface and
extend about 5/8” beyond the rough opening cutout, which should be quite adequate
cover with reasonable care in layout and cutout.
Check that openings are large enough and plumb by test fitting the speaker into the
opening. A wallboard rasp block/plane is very useful to slightly expand and square
up openings. A small level on or against the Frame easily confirms level and plumb.
B. Enclosure Volume and Insulation
CustomSound speakers are designed for optimum performance in standard wall
cavities. A normal studded wall cavity is about 3 1/2" x 14 1/2" x 93" with a volume of
about 2.7 cubic feet (75 liters). Changes in cavity volume most affect bass
performance—response and maximum output. Slightly wider or narrower stud
spacing and the resulting cavity volume will not significantly affect performance.
Significant increases in cavity depth and the resulting volume—50% more with 2" x
6" wall studs or more than twice as much with floor joists—contribute to improved,
more easily attainable bass performance. Volumes less than half the design volume
will curtail bass performance and should be avoided.
Reaching through the rough-in opening and adding a bead of glue or caulking along
the junction of the stud and the wallboard at both sides of the opening, both front and
back, will increase the stiffness of the cavity enclosure near the speaker. This will
Place the system into the wall cutout. If there is extra slack in the cutout then level
and position the system before tightening the screws or after slightly tightening one
or two of the screws. Use a number 2 Philips head screwdriver or any style and size
that properly fits the screw head. Note: using bits that are too small will lead to
damaging the screw head and may make it very difficult to sufficiently tighten or
untighten the mounting screws.
Initial tightening may take considerable force as the screw forms a thread through
the mounting leg. This will loosen as the screw continues to turn. Set driver torque
with just enough force to start the screw turning. DO NOT OVERTIGHTEN. The
system has been well designed to prevent stripping or damage from over tightening
but PSB cannot be responsible for damage due to unreasonable force being used
when mounting the system.
Should it ever be necessary to remove the system from the wall, then unscrew each
leg (counter clockwise) in turn. As you unscrew the screw head will lie flat in the
frame until near the end of its travel, where the screw starts to rise. STOP AT THAT
POINT. Further turning will remove the screw from the assembly and will make it
more difficult to remove the system. The dog leg clamps are held at the top of the
mounting tower and should not fall off or down into the wall cavity, unless excessive
force and continued counter-clockwise turning are used.
When each mounting screw is back out as described above you should be able to
remove the system. Because the clamps are not parked in the starting position as
when the system was first mounted, some of them may interfere with the system's
removal. Usually some wiggling can jostle each clamp into a position where it isn't
interfering. Using a manual screwdriver to apply slight counterclockwise pressure
should also turn a clamp out of the way. (Start with the screws on one end of the
system and turn each slightly. Angle the system out a little more as each clamp
moves out of the way.)
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also provide insurance against possible buzzing from air movement in the cavity.
Bass response is affected by the shape of the wall cavity, as well as by the size and
resulting volume of the cavity. Sound radiated from the speaker driver inside the
cavity reflects back from the boundaries of the cavity. The strongest effects are
resonances at the frequencies whose wavelengths are multiples of the cavity
dimensions, which emphasize or de-emphasize these specific frequencies—with
resulting unevenness in overall response. Several, straightforward steps will avoid
and lessen these negative effects:
1. Do not locate speakers at the mid-points of wall or ceiling cavities—where the
distance from the speaker driver to both ends of the wall cavity will be the
same and resonance effects will be doubled. One-third and one-quarter
points should also be avoided for the same reason, although the negative
effects will be less.
2. Have standard (unfaced) fiberglass insulation loosely fill the wall cavity, (or at
least at both ends of the cavity and at the mid-points between the speaker
driver and the ends in both directions). This insulation allows the sound to
travel through in both directions, but mixes the lengths of travel and absorbs
some sound energy (particularly resonant sound) as heat to lessen any
resonant effects. If the wall cavity is fully insulated, it should be left in place,
removing only a portion of the insulation directly behind the speaker system
to avoid physically obstructing the normal operation of the system or over-
damping the sound output. The insulation also reduces transmission of
sound through the cavity rear wall to neighboring spaces.
IV. WIRING
A. Rough-in Wiring
Typically, a cable with a wire pair connects each speaker to the signal sources, either
directly or through a local volume control. The speakers must be wired appropriately
for the intended control. The impedance loads of speakers must be balanced with
the capabilities of the amplifier(s). In some, mono only systems a single wire may
"daisy chain', entering from one speaker to another—beginning and ending at the
amplifier. If biamplification or biwiring is desired for increased dynamic response
and power handling, a second cable pair of wires must be run to the speaker. Wire
size should increase with longer runs—usually 16 AWG stranded copper wire is
minimal, with 12AWG desirable for longer runs. Additionally, a control wire is
required to any IR sensor installed on a speaker baffle. Audio cable should avoid the
electrical power wiring to avoid interference, which can be audible—never running
directly adjacent to it and crossing at right angles, when necessary. Holes are
normally located in the middle one-third of the framing depth to minimize structural
effects. If wire is within 1" of the front face of the framing, it should be covered with
(standard) steel protection plates to prevent later fasteners from piercing the cable.
Wiring should be run to each back frame and inserted through one of the integral
wire clamps (no other fastener is required). Leave some additional wire at every end,
in case of a later shift; and dress the wire into the wall cavity, away from the opening.
B. Finish Wiring
When you install the baffle-mounted speakers, the ends of each wire need to be
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separated, stripped, twisted and inserted into the correct, spring-Ioaded terminal
post. Polarity needs to be maintained—typically +/rib/writing/red/right—for
uncompromised performance. The ends of the wires through each terminal post
should be pushed over slightly to avoid any contact with the wire strands through the
other terminal post or with the crossover circuit board. The terminal posts are
spaced so that the wires can be connected, if desired, using standard banana jacks
either through the ends or the sides of the posts.
The CW383 has a second set of terminal posts to allow bi-amping or bi-wiring the
tweeter and the woofer separately. When wiring to both sets of terminal posts (or to
the terminal posts and the second terminals location), the two short (white) wire
jumpers on the crossover circuit board need to be cut to separate the input signals to
the woofer and the tweeter.
The CW88R is essentially a stereo speaker with both channels combined in one
chassis. As such it should be wired as a conventional stereo zone. Leads for both
left and right channels are connected to two separate pairs of binding posts on the
back or the CW88R. It makes no difference which pair of terminals is connected as
left or as right but it is very important that you observe the right conventions for
polarity. Be sure that the amplifier + or red terminals, in both cases, go to the
speaker's + (red) terminals. If only one channel is to be connected (or a mono feed)
then the unused speaker channel should be shorted for best frequency response.
C. Tricks of the Trades—Drilling
When running wire through wooden framing, drill clean holes slightly larger and
aligned with each other to be able to pull cable through in longer sections with
minimal snagging. Auger style drill bits with threaded tips are self-feeding, can chew
through an occasional nail, and save much strain (although they can become
jammed in thick timbers). Right angle drills help in narrow spots to get holes drilled
and to maintain hole alignment. Short spade bits also get the job done more easily in
tight spots between studs.
V. GRILLES
A. Installing and Removing
Install Grilles by aligning one edge and corner against the Finish Frame and then
working the edges and corners of the Grille into the Finish Frame—avoiding force
which can bend the grill or scratch the edges of the Finish Frame. A putty knife is
useful to ease the process.
To ensure that Grilles in ceiling locations will not vibrate loose, small dabs of putty
can be inserted at several locations into the groove between the Finish Frame and
the Baffle before the Grille is inserted and edges embedded. Alternatively, Grille
edges can be bent very slightly inward at several spots on each side to "bite" the
baffle wall of the groove more securely.
Removing a Grille is most easily accomplished without scratching the finish by
inserting an unfolded paper clip or a small brad nail into a perforation and gently
pulling forward at several locations near a corner to start the removal.
B. Grille Alternatives—Scrims, Hole Shapes and Sizes
Grilles must be designed for acoustical transparency and also for visual
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opaqueness, weather resistance, and paintability. We use aluminum for weather
resistance. The relatively small perforations in a slightly thicker material improve
paintability and strength, while maintaining acoustical transparency. The removable
scrim feature allows the scrim to be removed during grille painting then re-applied, to
avoid fabric contamination. The slight decrease in high frequency output is
accounted for in the crossover design. If the scrim cannot/is not being used, flip the
baffle mounted “HIGH” switch down to optimize the response.
VI. PAINTING
A. Construction Dust and Paint Shield
The Construction Dust and Paint Shield should be installed when the speaker
drivers are installed, if construction is not yet completed. The shield fits snugly to
protect the drivers. It can be removed after painting and other construction is
completed by squeezing the finger holds in the shield and pulling the shield out from
the frame. Construction dust or paint on the speaker drivers will negatively affect
their performance and, if significant, void their warranty. If a removable Baffle with
drivers will be installed later, the construction dust and paint shield should be
installed after the Finish Frame is installed to close the opening and avoid any
excess drywall compound, plaster, or paint on the unexposed sections of the Finish
Frame.
B. Painting Finish Frames
The Finish Frame is made of ABS plastic and can be painted following standard
practices and techniques. Be sure the frame is clean and dry, free of any mold
release agent residue and of any construction dust. Lightly and evenly scuff with
extra fine sandpaper, rounding square edges slightly, to ensure good paint adhesion.
Apply two to three coats, thinned slightly with a paint conditioner, to produce an even
surface. Imperfections can be sanded between coats. Spraying will yield best results.
C. Painting Grilles
The Grille is made of painted aluminum and can be painted following standard
practices and techniques. Apply two or three coats of paint, thinned well with a paint
conditioner to avoid blocking Grille perforations while increasing paint coverage of
the sides of the holes. Spraying will yield best results. A roller tends to deposit too
much paint, blocking holes. While the paint is wet, blocked holes can be cleared
individually with a paper clip, or small nail (#18 wire brad is the closest size). Some
excess paint can be removed using a dry brush to pick-up the excess paint and then
brushing it out on a scrap of paper or rag and repeating the process. It may be
preferable to wipe the wet paint off with thinner or a rag and begin painting more
carefully again. With a contrasting color it is important to paint the sides of the
perforation holes to show consistent color off axis. This is best done by spraying or
brushing carefully from several angles side to side and up and down. Allow a painted
Grille to dry thoroughly before carefully installing it in the Finish Frame.
VII. SETUP
A. Swivel Tweeter
A number of our in-wall offerings give different means of aiming the sound towards
the listening area. This is done to achieve the best possible frequency balance (and
hence the most transparent sound) wherever the listeners may sit. If your speaker
includes an aimable tweeter as with the CW383, CW363, CW262, CW180 etc. then,
with the grille off, gently turn the tweeter and its surrounding SonicGuide or mount
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until it aims as nearly toward the center of the listening area as its design allows. Do
not overstress the turning assembly, also take care not to touch the silver dome of
the tweeter element as they are very fragile.
Additionally, when used as a surround
speaker, you may prefer to aim the tweeter away from the ears of listeners to provide
more diffuse, less direct sound. A small pivot of the tweeter with listeners nearby, is
the equivalent of turning a cabinet speaker slightly.
In the case of the CW363 and CW262 and also the CW180, the plate (or gimbal ring
for the CW180) of the high frequency elements will also rotate. This second degree
of mechanical movement lets you aim the sound not only laterally but also to incline
it upwards on downwards. Since many systems are wall mounted at an elevation
higher than the listener position, this second degree of freedom will further assure
the smoothest response
In the case of the CW383 and the CW260, the upper range elements are mounted
on a plate that can be removed and reoriented in 90 degree increments. This is
useful if the system is wall mounted with the long axis horizontal rather than with the
more typical vertical orientation. Simply unscrew the 4 mounting screws and turn the
plate as required. Generally the best orientation is when the units on the plate are in
a vertical (not horizontal) line.
In either case, carefully pivot the swivel tweeter to aim it towards or away from
primary listeners. Be careful to touch only the plastic perimeter —do not touch
the aluminum dome or the plastic phase vane and protector directly in front of
the dome. Denting the aluminum dome causes irreparable damage not
covered by warranty.
B. High and Mid Frequencies Switches
In-wall systems are balanced in design for as much bass as possible. Bass is a
difficult commodity to deliver in the desired quantity in the limited cavities of in-wall
installations. Increasing bass response is effectively decreasing high and mid
frequencies response (regardless of what some labels may indicate).
Adjusted high frequencies response may be desirable when the speakers are
installed in locations surrounded by hard surfaces that reflect the sound output with
very little absorption, causing a "hardness" to the sound (and/or with some
electronics). Adjusted mid frequencies response may be preferred when the
speakers are insta!led close to adjacent walls which can emphasize some upper
bass frequencies (and/ or with some electronics). Decreasing mid frequencies is
generally desirable to smooth the crossover transition and avoid an upper bass
"hump" in systems where bass is supplemented by a subwoofer. Decreasing high
and mid frequencies increases relative bass response, while decreasing efficiency
and sound power output.
To modify the response, simply flip the baffle-mounted switch or switches to the
alternate position—upper/left, is the normal position; lower/right is the decreased
position. These heavy-duty switches are designed to handle the currents of high
level sound without compromise.
C. Bipole and Dipole Switches
The CW260 is especially suited to surround usage with its 2 switchable radiation
patterns. Both patterns tend to send more energy to angles away from the listener
The SonicGuide is a constant directivity
waveguide that greatly improves response smoothness by preventing the sound
from radiating backward to the woofer cone.
13
and so contribute to a spacious sound. Pattern one is “Dipole” radiation. It creates
a distinct null in energy for angles straight out from the speaker. If a listener sits
within this null he will hear very little energy directly from the CW260. The sound
from the system will only reach the listener after several bounces off of the room
walls. This will give the maximum diffusion of the surround field but also has the
most rigorous mounting requirements. The dipole setting should really only be used
if the system can be mounted with the listener within 10 degrees of an axis straight
out from the system. Contrary to the comments above to mount the system high on
the wall, the CW260, when set to dipole will work best if it is near ear level.
If these mounting criteria can't be met then it is better to use the system with its
switch set to “bipole”. This setting also creates a more diffuse sound field by
sending the majority of sound away from the listening area. It just does so to a more
moderate degree.
A second switch sets the overall treble level. The “+” position gives greater treble
energy and will tend to flatten the “power response” when used in the dipole setting.
The second position gives a more flat direct sound field and may better suit “bipole”
operation, especially if the listening area is near the axis of the small full range
elements (45 degrees forwards or backwards of the system).
D. Listening—Balance, Range, and Imaging
Our goal is to provide listeners with completely convincing, "being there"
performance. In-wall installations place greater physical limits on systems than
freestanding box systems. However, their performance, particularly considering the
physical limits and the resulting minimal intrusion into the listening space, can be
startling.
Final judgments on the quality of the sound output are of course personal. We
encourage listening to the speakers with clear and familiar recordings—particularly
of female and male voices and acoustic instruments—to convince and satisfy
listeners of the natural tonal balance, wide frequency and dynamic range, and
spatial imaging delivered.
14
Notes on environmental protection
At the end of its useful life, this product must not be disposed of with
regular household waste but must be returned to a collection point for
the recycling of electrical and electronic equipment. The symbol on the
product, user's manual and packaging, point this out.
The materials can be reused in accordance with their markings.
Through re-use, recycling of raw materials, or other forms of recycling
of old products, you are making an important contribution to the
protection of our environment.
Your local administrative office can advise you of the responsible
waste disposal point.
15
XV. Specifications
Description
Frequency Range
Response
On Axis @ 0° ±3dB
Sensitivity
Typical Listening Room
Impedance
Nominal
Input Power
Recommended
Acoustic Design
Tweeter (Nominal)
Midrange (Nominal)
Woofer (Nominal)
EQ Adjustment
Dimensions (W x H x D)
Overall
Rough-in/Mounting Hole
Cover/Overlap
Pre-Construction Bracket (Optional)
Features
CW383
8” Rectangular
45-21,000Hz
90dB
4 Ohms
40-200 Watts
1” (25mm)
4” (102mm)
8” (203mm)
Treble and Midrange Level
Switches
11” x 18 1/4” x 4”
(280mm x 464mm x 102mm)
9 3/4” x 17”
(248mm x 432mm)
11/16” (18mm)
CK-88
3-way
Swinging Tweeter
16
XV. Specifications
CW262
6.5” Rectangular
50-21,000Hz
87dB
8 Ohms
30-150 Watts
3/4” (19mm)
6 ½” (165mm)
Treble and Midrange Level
Switches
9 ½”x 15 3/8” 3 1/2”
(241mm x 390mm x 89mm)
8 ½”x 14 5/16”
(215mm x 364mm)
9/16” (14.5mm)
CK-66
2-way
Rotating & Swinging
SonicGuide
CW260
6.5” Rectangular Surround
50-21,000Hz*
87dB
8 Ohms
* 4 Ohms dipole
30-150 Watts
2 x 2” (50mm)
6 ½” (165mm)
Bipole/Dipole and Treble
Level Switches
9 ½”x 15 3/8” 3 1/2”
(241mm x 390mm x 89mm)
8 ½”x 14 5/16”
(215mm x 364mm)
9/16” (14.5mm)
CK-66
Dipole/Bipole Switching
CW363
6.5” Rectangular
50-21,000Hz
87dB
4 Ohms
30-150 Watts
3/4” (19mm)
3” (76mm)
6 ½” (165mm)
Treble and Midrange Level
Switches
9 ½”x 15 3/8” 3 1/2”
(241mm x 390mm x 89mm)
8 ½”x 14 5/16”
(215mm x 364mm)
9/16” (14.5mm)
CK-66
3-way
Rotating & Swinging
SonicGuide
CWS8
8” Rectangular Dual
Subwoofer
39-200Hz
(with CWA-1)
87dB
4 Ohms
40-200 Watts
2 x 8” (203mm)
Via CWA-1
11” x 18 1/4” x 4”
(280mm x 464mm x 102mm)
9 3/4” x 17”
(248mm x 432mm)
11/16” (18mm)
CK-88
High Power Woofers
*Flat total radiated power
to 10kHz
17
XV. Specifications
Description
Frequency Range
Response
On Axis @ 0° ±3dB
Sensitivity
Typical Listening Room
Impedance
Nominal
Input Power
Recommended
Acoustic Design
Tweeter (Nominal)
Midrange (Nominal)
Woofer (Nominal)
EQ Adjustment
Dimensions (W x H x D)
Overall
Rough-in/Mounting Hole
Cover/Overlap
Pre-Construction Bracket (Optional)
Features
CW28
8” Rectangular
45-20,000Hz
88dB
8 Ohms
20-160 Watts
1” (25mm)
8” (203mm)
Treble and Midrange Level
Switches
10 9/16” x 14 11/16” x 3 13/16”
(268mm x 376mm x 97mm)
9 1/4” x 13 5/16”
(235mm x 338mm)
11/16” (18mm)
CK-28
2-way
Swinging tweeter
CW26
6.5” Rectangular
55-20,000Hz
87dB
8 Ohms
20-125 Watts
1” (25mm)
6.5” (165mm)
Treble and Midrange Level
Switches
9 1/16” x 12 11/16” x 3 1/16”
(230mm x 322mm x 78mm)
7 11/16” x 11 3/8”
(195mm x 289mm)
11/16” (18mm)
CK-26
2-way
Swinging tweeter
CW88R
8” Stereo Coaxial
45-20,000Hz
86dB
8 Ohms
20-100 Watts
2 x 1” (25mm)
8” (203mm)
Double voice coil woofer
11 1/16” dia. x 3 5/8”
(281mm dia. x 92mm)
9 11/16” dia.
(246mm) dia.
11/16” (18mm)
CK-80R
Stereo 2-way
Swinging tweeter
CW180R/S
8” Coaxial
38-21,000Hz
90dB
8 Ohms
20-100 Watts
1” (25mm)
8” (203mm)
Treble and Midrange Level
Switches
11 1/8” x 11 1/8” x 4”
(283mm x 283mm x 102mm)
9 7/8” (251mm) dia. for Round
9 7/8” (251mm) sq. for Square
11/16” (18mm)
CK-8R/CK-8S
2-way
Rotating & Swinging SonicGuide
18
XV. Specifications
Description
Frequency Range
Response
On Axis @ 0° ±3dB
Sensitivity
Typical Listening Room
Impedance
Nominal
Input Power
Recommended
Acoustic Design
Tweeter (Nominal)
Midrange (Nominal)
Woofer (Nominal)
EQ Adjustment
Dimensions (W x H x D)
Overall
Rough-in/Mounting Hole
Cover/Overlap
Pre-Construction Bracket (Optional)
Features
CW50R
5.25” Coaxial
65-20,000Hz
86dB
8 Ohms
20-60 Watts
3/4” (19mm)
5 1/4” (133mm)
7 13/16” dia. x 2 15/16”
(198mm dia. x 75mm)
6 ½” dia.
(165mm) dia.
11/16” (18mm)
CK-50R
2-way
Swinging tweeter
CW60R
6.5” Coaxial
55-20,000Hz
86dB
8 Ohms
20-75 Watts
3/4” (19mm)
6 1/2” (165mm)
9 7/16” dia. x 3”
(240mm dia. x 76mm)
8” dia.
(203mm) dia.
11/16” (18mm)
CK-60R
2-way
Swinging tweeter
160R/S
6.5” Coaxial
51-21,000Hz
87dB
8 Ohms
10-100 Watts
3/4” (19mm)
6 1/2” (165mm)
Treble and midrange level
switches
9 1/2” x 9 1/2” x 3 11/16”
(241mm x 241mm x 94mm)
8 3/8” (212mm) dia. for Round
8 3/8” (212mm) sq. for Square
5/8” (16mm)
CK-6R/CK-6S
2-way
Rotating & Swinging
SonicGuide
CW80R
8” Coaxial
45-20,000Hz
87dB
8 Ohms
20-100 Watts
1” (25mm)
8” (203mm)
11 1/16” dia. x 3 5/8”
(281mm dia. x 92mm)
9 11/16” dia.
(246mm) dia.
11/16” (18mm)
CK-80R
2-way
Swinging tweeter
PSB Speakers
633 Granite Court
Pickering, Ontario L1W 3K1
CANADA
www.psbspeakers.com
888-772-0000 (North America)
905-831-6555 (International)
Fax: 905-837-6357
PSB CW OM/INT Rev. 7, August 06
