Vandersteen audio Treo User manual

Congratulations on your purchase of the Vandersteen Model Treo loud-

speaker. With proper care your new speaker system it will provide many years

of trouble free, high quality musical enjoyment.

We recommend that you read this entire manual prior to connecting or us-

ing your Model Treo Loudspeakers. Vandersteen Audio

The Vandersteen Audio

Model Treo is a floor-standing, dy-

namic loudspeaker developed and

refined by thirty years of advanced

research into loudspeaker design.

The engineering, construction and

materials of the Model Treo far ex-

ceed conventional industry standards

and have resulted in a level of musi-

cal performance unmatched by larger

and more costly designs.

The Model Treo is a worthy

addition to any high quality music

system. The innovative first order

crossover supports bi-wiring or

mono wiring. Superb dynamic and

transient response guarantees supe-

rior performance from records, tapes,

CDs and video sources. Custom en-

gineered drivers, built exclusively

for Vandersteen Audio, are mounted

in special baffles designed to maxi-

mize each drivers accuracy and mu-

sicality. An aesthetically pleasing

appearance, incorporating an acous-

tically transparent grille (required)

allows the Model Treo to compli-

ment the décor of your home.

The Vandersteen Audio

Model Treo is designed and built in

the United States of America.

MODEL TREO

LOUDSPEAKER

OPERATIONS

MANUAL

CONNECTIONS 2

OVERVIEW 2

MONO-WIRE 2

ENHANCED MONO-WIRE 3

BI-WIRE 3

VERTICAL BI-AMP 3

BI-WIRE THEORY 4

BI-AMP THEORY 4

SPEAKER SETUP 5

SPEAKER PLACEMENT 5

ODD DIMENSIONS 5

THIRD DIMENSIONS 7

ACOUSTIC CENTER 7

TOE-IN7

ACOUSTIC TREATMENTS 7

LISTENING HEIGHT 8

CONTOUR CONTROLS 8

SET-UPHINTS 9

ASSOCIATED EQUIP. 9

AMPLIFIER REQUIREMENTS 9

COMPONETS 9

CABLES 9

SPEAKER CARE 10

MAINTENANCE 10

SERVICE 10

PACKING INSTRUCTIONS 10

SPEAKER INFO. 11

REFERENCE INFORMATION 11

Treo SPECIFICATIONS 11

WARRANTY 12

CONTENTS

CONNECTIONS

TRUE BI-WIRE CONNECTIONS

As part of the upgrades an improvements that elevate the

performance of the Treo they are outfitted with a four termi-

nal barrier strip. This may require different cable termina-

tions and connection methods. Spades or ring terminals are

recommended.

Please follow the appropriate instructions below when

connecting your Treo Loudspeakers.

With all the connection methods, the input

screws should be snug, but not over tightened.

True bi-wiring is recommended for all systems using a

single stereo amplifier or two mono amplifiers. Four identi-

cal runs of equal length cable are required. (Two per

speaker).

1. Crimp and solder spade lugs to the speaker ends of the

cables being used to connect the Treo.

2. Choose one of the cables as high-frequency cable. Con-

nect this cable to the two terminals on the right carefully

observing proper polarity.

3. Connect the remaining cable to the two left terminals

carefully observing proper polarity.

4. Connect both cables in proper polarity to the same set of

outputs on your amplifier. If possible, use only one

spade lug to connect both cables to each terminal on the

amplifier as shown in the amplifier connection.

INTERNAL BI-WIRE CONNECTIONS

If your domestic situation dictates the use of a single ca-

ble per speaker, you should use a multiple-conductor single-

sheath cable to internally bi-wire the speakers. Some of

these cables use different types of wire for the upper and

lower ranges of the speaker and may affect the blend be-

tween the woofer and midrange drivers. They should only

be used after you audition them in your system and verify

that they do not affect the woofer to midrange blending and

that you like their sonic characteristics.

1. Crimp and solder spade lugs to the speaker ends of the

cable from the amplifier.

2. Connect one positive and one negative wire to the high-

frequency terminals on the right carefully observing

proper polarity.

3. Connect the remaining positive and negative wires to

the low-frequency terminals on the left carefully observ-

ing proper polarity.

4. Connect the wires in proper polarity to the same set of

outputs on your amplifier. If possible, use only one

spade lug to connect both positive wires and one spade

lug to connect both negative wires to the amplifier as

shown in the diagram.

With all the connection methods, bare wires

should never come into contact with the alumi-

num plate while the amplifier in on. Amplifier

damage could result.

Carefully verify cable polarity at both speaker

and amplifier before using the bi-wire or verti-

cal bi-amp connection methods.

True

Bi -Wire

Internal

Bi -Wire

Amplifier

Terminal

Amplifier

Terminal

The performance of the Model Treo is com-

promised by a mono-wire connection. For op-

timum performance you should bi-wire the

speakers.

ENHANCED MONO-WIRE CONNECTION

Mono-wiring should only be used with the Treo as a tem-

porary connection method. The speakers should be bi-wired

as soon as possible.

1. Cut two sections of insulated wire about 2½ inches

long to make two jumper wires. Crimp and solder

spade lugs to all four ends of the two jumper wires.

2. Connect one end of a jumper wire under the high -

frequency negative terminal screw and one end of the

other jumper wire under the high-frequency positive

terminal screw.

3. Crimp and solder spade lugs to the speaker ends of

the cable from the amplifier.

4. Connect the negative side of the speaker cable and the

jumpper cable from the high-frequency negative

terminal screw under the low-frequency negative

terminal screw.

5. Connect the posite side of the speaker cable and the

jumper cable from the high-frequency positive

terminal screw under the low-frequency positive

terminal screw.

6. Connect the speaker cables to your amplifier. Verify

proper polarity.

VERTICAL BI-AMP CONNECTIONS

Amplifier

Terminal

VERTICAL

BI-AMP

Caution: Some solid state amplifiers are not stable driv-

ing a capacitive load. Listen for high frequency oscillation

(brightness) and higher amplifier operating temperature.

We only recommend bi-amplification when every com-

ponent in the system is the best available and there is no

other path to improving the system, otherwise, you are bet-

ter off investing in the best single amplifier within your

budget rather than dividing your budget between two less

expensive, inferior sounding amplifiers.

Vertical Bi-amplification uses a stereo amplifier to drive

each speaker. Four identical runs of equal length speaker

cables are required (Two per speaker).

1. Connect two cables to each speaker as described in

steps 1-3 of the true bi-wire section on the previous

page.

2. Designate one stereo amplifier as the left channel am-

plifier and the other identical stereo amplifier as the

right channel amplifier.

3. Connect the preamp’s left channel output to both inputs

of the left amplifier using two sets of preamplifier out-

puts and two cables or one cable and a high quality sin-

gle female to dual male “Y” connector. Use the same

method to connect the preamplifier's right channel out-

put to both inputs of the right amplifier.

4. Connect the low-frequency cable from the left speaker

to one channel of the left amplifier. Connect the high-

frequency cable from the left speaker to the other chan-

nel of the same amplifier. Verify proper polarity.

5. Repeat step 4 for the right speaker and the right ampli-

fier.

Left Channel

Outputs Right Channel

Outputs

Amplifier

MONO-WIRE

With the separate inputs for the midrange/tweeter and

woofer on the Treo’s, you may be tempted to bi-amplify the

speakers using a powerful amplifier or an amplifier known

for superb bass performance on the woofer input and a

smaller amplifier or an amplifier renowned for middle and

high frequency performance on the midrange/tweeter input.

But rather than improving the sound of your system with the

addition of a second amplifier, you will have taken a signifi-

cant step backwards in coherence, accuracy and musical re-

alism.

The reasons for this sonic penalty are simple. One of the

strongest aspects of the Model Treo’s performance is the

seamless transition between the drivers. Whether the music

is in a range being reproduced by the woofer, by the mid-

range, or equally by both drivers, there is no audible change

to the characteristics of the instruments or voices.

But, when the midrange driver is being driven by a different

amplifier than the woofer, (and in these cases by amplifiers

not chosen for the similarity in their sounds, but rather for

the difference in their sounds), the blending between the

drivers is compromised and the sonic consistency of the

speaker is inhibited.

Even if the levels of the two amplifiers are matched for

one volume level, the amplifiers will still exhibit different

dynamic characteristics, different imaging characteristics,

different degrees of detail and instrument texture and differ-

ent tonal balances. With the crossover between the woofer

and midrange occurring in a range where the ear is very sen-

sitive to any sonic changes, these differences will create con-

siderable sonic confusion through the important midrange.

The only way to properly bi-amplify the Model Treo is

passively, with two identical amplifiers in a vertical configu-

ration. (one stereo amplifier per channel) An electronic

crossover cannot be used since the crossover in the Model

Treo is not bypassed. The result would be two crossovers in

series creating severe phase shift. The use of two different

amplifiers or an electronic crossover will negatively affect

the sound of the speakers and reduce their overall perform-

ance level. Note: one stereo or two mono amplifier will usu-

ally out perform bi-amplification.

The effects of bi-wiring are not subtle. The improve-

ments are large enough that a bi-wire set of moderately

priced cable will usually sound better than a single run of far

more expensive cable.

All the cables in a bi-wire set must be the same. There is

often great temptation to use a wire known for good bass

response on the woofer inputs and a different wire known

for good treble response on the midrange/tweeter inputs.

This will cause the different sonic characteristics of the two

wires in the middle frequencies to interfere with the proper

blending of the woofer and midrange driver through the

600Hz crossover point. The consistency of the sound will be

severely affected as the different sounding woofer and mid-

range drivers conflict with each other in the frequency range

where our ears are most sensitive to sonic anomalies. The

disappointing result is a vague image, a lack of transparency

through the midrange and lower treble and loss of detail and

clarity.

Some of the benefits of bi-wiring seem to come from the

physical separation of the high current bass and low current

midrange/tweeter wires. Cables that combine the wires in

one sheath do not offer the full advantages of bi-wiring.

The cables should all be the same length. This is not due

to the time that the signal takes to travel through a cable, but

rather that two different lengths of the same cable will sound

different. If the cables connecting one speaker are a differ-

ent length than the cables connecting the other speaker, the

resulting difference in sound between the two speakers will

compromise the imaging and coherence of the system. If

different lengths of cable are used for the bass and midrange/

tweeter inputs of the speakers, the effects will be similar to

those experienced when using two different cables as de-

scribed above.

Since short runs of speaker cable sound better than long

runs, consider placing your electronics between the speakers

rather than off to one side. If for convenience or aesthetic

considerations, the electronics must be located a consider-

able distance from the speakers, it is usually preferable to

place the amplifier between the speakers and use long inter-

connect cables and short speaker wire.

BI-WIRING THEORY AND PRACTICE

BI-AMPLIFICATION THEORY AND PRACTICE

When you vertically bi-amplify with two identical amplifi-

ers, almost every aspect of the Model Treo’s performance

is enhanced compared to bi-wiring with just one of the am-

plifiers. In most cases however, bi-wiring with a single,

twice-as-expensive, better sounding amplifier will offer

greater performance improvements for the same invest-

ment.

WE RECOMEND

A. All speaker cables in bi-wired or bi-amped systems

should be the same type and length. While certain dif-

ferent cables may work well together, identical cables

on both inputs insures perfect blending.

B. If your amplifier has “A” and “B” outputs, use the “A”

outputs for both cables in bi-wired systems. The two

sets of outputs may not be electrically identical.

C. If your amplifier has multiple impedance taps, try the 4

ohm and 8 ohm taps to see which sounds better. (They

will sound different). The 2Ce Signature II is an easy

load so there is no danger of damaging your amplifier

or the speakers by using either set of taps. In bi-wired

and bi-amped systems, both cables must be connected

to the same rated taps on the amplifier.

216 divided by 3 is 72 (all to the nearest inch)

216 divided by 5 is 43

216 divided by 7 is 31

216 divided by 9 is 24

216 divided by 11 is 20

216 divided by 13 is 17 (and so on; eventually

the lines pile on top of each other or the speaker runs into

the wall.) The results are the distances in inches that the

center of the speakers can be placed into the length of the

room, away from the wall behind them, to minimize the

nodes and anti-nodes.

Now we can graph these odd dimensions distances on a

drawing of the room. We only need to graph them for the

wall where we intend to place the speakers.

SETTING-UP THE SPEAKERS

The Model Treo requires a break-in period of at least 100 hours at a moderate

volume level before its performance stabilizes. Higher volume levels will not

shorten this break in period.

Vandersteen speakers will produce excellent, satisfying sound placed almost

anywhere in a room. With all the possible variables in room layout, there are

no magical formulas for determining the best speaker placement in every room.

Since every room is different, we recommend that you try the speakers in every

domestically acceptable location to find where they sound the best in your par-

ticular listening environment. The following sections contain suggestions that

may be helpful in your placement experiments.

SPEAKER PLACEMENT

ODD DIMENSIONS PLACEMENT

Research on speaker placement has produced a method

for reducing the nodes and anti-nodes in many rooms by

positioning the loudspeakers on the odd dimensional inter-

sections of the room. The odd dimensional intersections

are the intersections of the imaginary lines you would

draw if you divided the length of your room and the width

of your room by odd numbers.

As an example, we will use a rectangular room measur-

ing 14 feet wide by 18 feet long. We’ll assume that you

want to set the speakers on one of the short walls, al-

though this method works equally well for long wall

placement.

The first step is to take the length of the room, (18 feet

in our example) convert it from feet to inches, (18 X 12 =

216) and divide the result by odd numbers.

24314372

We use the same method to figure how far the centers of

the speakers should be from the side walls. We take the

width of the room, (14 feet) convert it from feet to inches,

Problems can arise when you attempt to place a given

loudspeaker, either front radiating or dipole, into a typical

domestic environment. These problems are a function of

the physical dimensions of the room. The room’s dimen-

sions dictate where in the room a node or anti-node will

occur. Frequency response dips and peaks caused by

nodes and anti-nodes can easily overwhelm the inherent

accuracy of a loudspeaker.

If, for example, you place a loudspeaker with excellent

frequency response characteristics in the corner of a room,

you will increase response below about 200Hz by 6dB.

This particular condition is a worst case example but simi-

lar conditions apply throughout the room to some extent.

The Treo is not magnetically shielded and

should be positioned at least 10 inches away

from a direct view television set.

By overlaying the width and length graphs, we can see

the intersection points of the lines. These points represent

where the centers of the speakers should be placed to mini-

mize nodes and anti-nodes.

(14 X 12 = 168) and divide the result by odd numbers.

168 divided by 3 is 56 (all to the nearest inch)

168 divided by 5 is 34

168 divided by 7 is 24

168 divided by 9 is 19

168 divided by 11 is 15

The results of these odd number divisions are the dis-

tances in inches that the center of each speaker can be placed

into the width of the room, away from the side wall, to mini-

mize nodes and anti-nodes.

Now we can graph these odd dimensions distances on a

drawing of the room.

As you can see, we now have quite a few intersections to

choose from in our example room. Some of the intersections

in your room will probably be eliminated by aesthetic or

room function considerations, so you probably will not have

as many.

As you try different placements for your speakers, always

place both speakers on the same length line. For example,

both speakers would be placed on the 24 inch line. The

speakers can be placed on different width lines, for example

one on the 34 Inch line and the other on the 56 inch line.

24314372

Placing the speakers on different rather than matching

width lines will require that the listening position be offset

to center it between the speakers. Often, the bass response

of the system will be slightly more linear with the speakers

placed on different width lines, (asymmetrical placement)

while the imaging will often be better with the speakers

placed on matching width lines (symmetrical placement).

Listening Position

Symmetrical Placement

Asymmetrical Placement

After listening to the speakers centered on the charted

intersections, you should listen with the speakers a couple

of inches away from the intersection points in each direc-

tion. In some cases, the speakers will sound better

slightly off the intersections due to the particular charac-

teristics of your room or a slight error in your original

room measurements. Both speakers should be moved the

same amount forward or backward when fine-tuning

placement.

Several factors influence how speakers interface with a

room other than the room’s basic dimensions so it is pos-

sible that none of the placement options on the wall you

initially place the speakers on will sound quite right. The

sound may have too much or too little bass or be too for-

ward or too withdrawn. If you are unable to achieve satis-

factory sound with the speakers placed on one wall, try

placing the speakers on another wall of the room. Even in

a rectangular room, the speakers will interface differently

with the room depending upon which of the four walls

they are placed. In some rooms the speakers will sound

If your listening position is close to the wall behind

you, mount some sound absorbent material, such as a

hanging tapestry, directly behind your head. As with the

material for the side walls, experiment with a folded natu-

ral-fiber blanket to verify the results before you acquire or

mount the material.

Bass problems that cannot be corrected with placement

adjustments may be helped by the addition of bass traps or

other bass control devices. Follow the instructions of the

bass control devices as to their proper set-up and place-

ment to correct the problems you are experiencing.

In our 14 by 18 foot example room, the thirds are 72

inches in the long dimension and 56 inches in the short di-

mension. The intersections of these measurements are used

for third dimensions placement. In addition, the listening

position is placed 72 inches from the rear wall of the room.

Both speakers should be tried up to two inches ahead and

behind the intersections to determine if this improves the

sound. Both speakers should be moved the same amount

forward or backward.

Third dimensions placement reduces the interaction of

the speakers with the room to an absolute minimum, but can

create aesthetic or room function problems due to the speak-

ers and listening position being so far out in the room. (The

lower the odd number used to divide the room dimensions

the lower the interaction between the speakers and the

best placed on a short wall while in other rooms the speakers

will work better on a long wall.

THIRD DIMENSIONS PLACEMENT

A placement method that provides some unique effects is

to place each speaker on the thirds of the room measure-

ments and the listening position on the third of the length.

The speakers are placed one third the length of the room

from the wall behind them and one third the width of the

room from the walls along side them. The listening position

is then placed one third the length of the room from the wall

behind it.

ACOUSTICAL CENTER

The Model Treo's acoustical center is the physical center

of the loudspeaker. In a perfectly rectangular room with

absolutely rigid walls and no doors or windows, the

acoustical center of the loudspeaker would be placed exactly

at the point where the two dimensions inter-

sect to realize the full benefits of odd dim-

ensions or third dimensions placement. In a

real room, the actual best placement may

vary from the intersection by as much as two

inches or so. Fine-tuning the placement by

moving the speakers a couple of inches of the

Odd dimensions intersections takes these real

World conditions into account.

You should not use any placements that

put the acoustical center of the loudspeaker

the same distance from the rear and side

Listening

Position

walls. The measurement from the center of the loud-

speaker to the two walls should differ by at least two

inches. If any of the odd dimension intersections are

within two inches of the same distance from both the side

and rear wall, you should not use them.

SPEAKER TOE-IN

The degree of toe-in can affect the imaging and re-

sponse characteristics of the speakers. In most rooms, the

speakers will work well facing straight ahead or with a

slightly toe-in. Speakers that are placed close to the side

walls or in rooms with very reflective side walls may re-

quire additional toe-in to avoid a confused image and/or a

forward midrange and treble.

If the speakers need an excessive amount of toe-in to

image properly or achieve good center fill, there may be a

problem with the set-up or connection of the speakers or

some part of the system may not be functioning as in-

tended. To determine why the speakers require excessive

toe-in, check all your speaker wire connections for correct

phase and verify that the electrical components in the sys-

tem are connected and functioning properly.

ACOUSTIC TREATMENTS

If the speakers are close to the side walls and you hear a

brightness in the midrange/treble or a problem with the

imaging that toeing-in the speakers does not help, some

sound absorbent material should be mounted on the side

walls to control reflections.

to determine where the sound absorbent material should

be placed, imagine that the walls are mirrors and mount the

material on the walls where you would see the reflections

of the speakers when you are sitting in your normal listen-

ing position. Before you actually mount anything on the

side walls, experiment with folded natural-fiber blankets to

verify that you will get the results you desire.

Speaker

Listening

Position

VANDERSTEEN AUDIO 8

INSTALLING THE CONES & LISTENING

HEIGHT ADJUSTMENTS

The Quatro is supported by two cones, one in each front

corner and one spike in the rear center. The cones and spike

thread directly into the bottom of the speaker and provide

stability and proper coupling to the floor. Two people are

required to safely install the cones and spike. Do not attempt

to install them by yourself.

All properly aligned loudspeakers have a vertical listening

window where their sound is optimized. The Quatro’s six

inch high optimum listening window is centered at 351/2

inches when the speaker is vertical. If your ear height is

above or below 351/2 inches at your normal listening position,

the speakers should be tilted to center the optimum listening

window at your ear height. The chart to the right shows how

many spacers should be inserted between the rear spike and

the speaker to tilt the speaker for different ear heights and

listening distances.

1. Measure the distance from the listening position to the

speakers and the height of your ears when you are seated

at your listening position. (Ear height is roughly equal to

the height of the tip of your nose).

2. Find the values closest to your actual measurements on

the chart to the right.

3. Follow the horizontal line across from your listening

distance and the vertical line up from your ear height to

the point where they intersect. The heavy lines are num-

bered to indicate how many spacers should be inserted

between the rear spike and the bottom of the Quatro to

center the listening window at your listening height and

distance.

4. Lean the speaker to one side as one person supports the

main body of the speaker. Do not touch the front grille

to support the speaker.

5. Install two cones into the threaded holes on each front

corner. Be careful not to cross-thread the cone, it

should go in easily. By hand, tighten the cone snug up

against the bottom of the speaker. Do not adjust right

or left tilt on a uneven floor without some kind of shim.

The weight of the speaker must not be on the threads of

the cone.

6. Place the number of washers indicated for the rear spike

on a cone and tread it into the rear center of the speaker.

Hand tighten it against the bottom of the speaker.

7. Set the speaker up-right.

8. Sight across the front of the speaker’s woofer boxes and

verify they are both tilting at the same angle. Some ad-

justments of the washers on one speaker may be

needed. It is important that both speakers are perfectly

parallel with each other.

9. The two small holes (1/4 -20) at the rear flanking the

center spike are for stability. Install the small spikes but

do not allow them to touch the floor. If the tilt chart calls

for significant tilt, the outrigger spikes are not required.

Improper listening height can cause

the speakers to sound extremely

bright or dull.

Two people are required to safely in-

stall the cones and spike. Do not at-

tempt to install the cones by yourself.

Be careful not to cross thread the

cones as you install them into the bot-

tom of the Quatro. The cones should

turn easily by hand. Damaged

threads can be repaired with a 1/4-20

thread tap.A stuck cone can be re-

moved by turning it with a nail or

small screwdriver inserted through

the cross hole.

ANEXAMPLE

In a room where the listening position was 15 1/2 feet

away from the speakers and your ear height was 39 1/2

inches, the lines would intersect as shown by the

dashed lines on the graph. Since the intersection is

closest to the 6 line, you would place 6 spacers on the

rear spike.

33 3534 36 37 38 39 40 41 42 43 44

10 987

HEIGHT IN INCHES TO EAR

DISTANCE FROM EARS TO FRONT OF SPEAKER TOP

HELPFUL SET-UPHINTS

A. To try the speakers on different walls, set your equip-

ment in the middle of the room so the speaker cables

can reach each position.

B. When you change the placement of the speakers, listen

to several different pieces of music before judging the

results.

C. If you set the speakers on a wood floor, place a set of

Spikes Shoes under the cones to prevent damage to the

floor.

D. Double check the tilt and use a laser pointer on top of

the speaker to verify they both point at the same height

on the rear wall.

E. Check polarity of all the wires in the system and clean

all connections.

E. When you have discovered the optimum speaker posi-

tioning in your room, mark it with tape so you can move

the speakers to vacuum without loosing your placement

reference.

F. If the bass is ill-defined in your room regardless of

where you place the speakers, check your windows for

loose panes of glass. Loose glass will vibrate and can

seriously impair the low frequency detail of the system.

G. Keep notes on the sound at the different placements you

try. Its easy to get mixed-up and forget which place-

sounded the best.

H. Don’t over-analyze sound of each placement. When the

sound is right, it will be obvious.

AMPLIFIER REQUIREMENTS

The Model Treo is designed for use with amplifiers

rated at 40 to 200 watts per channel into 8 ohms. Amplifi-

ers in this power range will provide ample power for realis-

tic listening levels in most situations. Amplifiers with less

than 40 watts may not be able to drive the Model Treo to

realistic listening levels without stress, while amplifiers

with more than 200 watts must be used with caution due to

the increased potential for speaker damage if they are mis-

used or an accident occurs.

The Model Treo’s are very revealing speakers and are

easily capable of showing subtle sonic differences between

amplifiers. They will perform well with a tube,

transistor, or hybrid amplifier, allowing each design to real-

ize its full potential. The amplifier can be a quality re-

ceiver, integrated amplifier or separate amplifier. The sta-

ble impedance of the Model Treo reduces load induced

amplifier problems, expanding the possible amplifier

choices.

The stability of the amplifier to be used should be con-

sidered, as it will affect the current capability and therefore,

the dynamics and realism of the music. A stable transistor

amplifier will be able to deliver twice the wattage into 4

ohm load as is does into an 8 ohm load. Amplifiers with

this ability should perform well with the Model Treo.

COMPONENTS

To maximize the performance of your system, you

should properly set-up your components according to the

manufacture’s instructions. Each component should be

placed on a piece of furniture or in a stand that is stable and

not prone to vibration or rocking. An isolation base or iso-

lation feet will improve the sound of some electronics.

Allow sufficient air space around the electronics for

needed air circulation. Excessive heat can both shorten the

the life of electrical components and impair their perform-

ance.

Preamplifiers and CD players should be left on all the

time. Amplifiers should be turned off when the system is

not being used. Once broken in, modern amplifiers sound

good after only 20 minutes of warm-up. Leaving the ampli-

fier on all of the time exposes the speakers to possible dam-

age from power line anomalies or electrical component

failure while the system is unattended

CABLES

Our evaluations and tests have convinced us the inter-

connect and speaker cables should be considered an inte-

gral part of the music system. Each brand and model of

cable has its own sonic characteristic and contributes to the

overall presentation of the music as much as any active

component. The Model Treo easily passes the amount of

information required to hear these differences between ca-

bles.

The testing also confirmed the importance of keeping

speaker cables as short as possible. In repeated trials, short

runs of moderate to inexpensive speaker cable consistently

out performed long runs of the same cable as well as much

more expensive cable. If your speakers must be placed a

long distance from your electronics, we recommend that

the amplifier be placed between the speakers and long in-

terconnect cables be used between the amplifier and power

amplifier so that short speaker cables can still be used. Cur-

rently, long interconnect cables seem to compromise the

sound of a stereo system less than long speaker cables.

When you evaluate different interconnect or speaker

cables, remember that the dielectric in most quality cables

takes many hours to fully form. These cables will not reach

their full potential until they have been used for several

weeks.

ASSOCIATED EQUIPMENT

SPEAKER CARE

The appearance and performance of the Model 2Ce Signa-

ture II can be enhanced by observing a few precautions and

performing some simple maintenance.

The input jacks on the Model 2Ce Signature II and the

banana plugs should be cleaned periodically with alcohol or a

solution made specifically for cleaning electrical contacts. A

cotton swab with a small amount of cleaning solution on it

can be used to clean inside the input jacks. Other connection

points in the system should be cleaned as recommended by

the equipment’s manufacturer.

The grille cloth on the Model 2Ce Signature II can be

vacuumed using a brush attachment that will not snag the

cloth. The top should be treated as a piece of fine furni-

ture. The wood veneers are oiled at the factory and can

be maintained with a light application of Pledge or a

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