XTZ Divine 100.49 User manual

Divine 100.49
User manual
© 2010 XTZ AB , www.xtz.se

Table of contents – XTZ Divine
Page:
Contents
3
About XTZ
3
Technical presentation
4
Preparations
6
Practice of sound / Installation and placement tips
7
Mounting /Area of usage
9
Sound adjustment
13
Technical specifications
15
Ser ice & Support
16

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Contents
Contents
Congr tul tions to your purch se of the
XTZ Divine 100.49
When combined with hifi nd udio equipments;
you will experience motion pictures or music
records reproduced very deeply nd n tur lly. Now
when you w
tch your f vourite movies or listen to
your reference music CDs, you will he r nd feel
the sound surrounding you in the s me w y s
origin lly intended by m stering engineers.
Re d the m nu l before using the product nd use
ll possibilities c refully.
About XTZ
Philosophy
Our reference nd st rting point is to recre te
n tur l sound, t king into ccount th t coustics
lw ys is m tter of t ste.
XTZ Goal
Our main goal is to pro ide the best alue
for money.
Our concept:
- Cut down the numbers of middlemen
- Put more money on product qu lity
nd less on dvertising.
- M nuf cture cost-effective in l rge volume
- Provide perfect technic l solutions
Contact
Website: www.xtz.se
E-m il: [email protected]

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Technical presentation
Cabinet design
The box design is designed in speci l w y.
Everything is optimized for it’s re son nd only the
best solutions were chosen to obt in the best
possible construction for sound reproduction.
The c binet w ll is built with du l l yers of MDF,
using sound repressive glue between the l yers. A
convex w ll construction is much stronger th n
norm l fl t one, nd this me ns th t the convex
w lls c n be thinner without loosing strength. Still,
the w lls re 28 mm thick. The intern l modes re
reduced gre t de l if the w lls re not fl t nd
p r llel. The result is n extremely silent
construction with no inner reson nces. The front
b ffle is 38 mm, m de using du l l yer technique.
The top of the spe ker is m de from 30 mm
m ssive MDF plus intern l b rs. The c binet h s
tot l of 7 intern l b rs. The integr ted
found tion/feet construction is glued in du l
l yer design nd is 75 mm thick. The b ck of the
spe ker is full 90 mm thick nd glued together of
two pieces of MDF.
The Midr nge h s its own sep r te enclosure.
The intern l box of the midr nge h s “v” sh ped
design to void p r llel w lls nd to suppress the
intern l reson nces to n bsolute minimum. The
d mping m teri l in the midr nge box is
combin tion of miner l wool nd synthetic
bsorbing m teri l. The combin tion is n optim l
blend of these m teri ls.
Both woofers re pl ced in the s me box, so they
c n be fully used in our Room Tuning concept.
The volume nd bsorbing m teri ls re completely
optimized. We put lot of effort into obt ining the
best mix of n tur l nd synthetic wool to optimize
reson nce reduction.
Tweeter dri er
We h ve chosen n ultr f st cer mic tweeter,
m de for reproducing cryst l cle r sound, even t
high SPL levels without ny distortion.
The tweeter is produced by the Germ n comp ny
Vis ton, nd is n bsolute reference cl ss unit.
It is shielded, with n intern lly d mped c vity nd
ventil ted voice coil. The tweeter offers n
extremely fl t frequency response nd low
reson nce frequency.

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Midrange dri er
Thiel & P rtner, lso c lled Accuton, is one of the
most f mous m nuf ctures of loudspe ker drivers.
XTZ Divine 100.49 uses T&P C173N-T6-90, one of
the best (if not the best) midr nge driver in the
world nd c n only be found in extreme High End
loudspe kers.
T&P C173N-T6-90 is cer mic driver with light
cone, equipped with neodymium m gnet.
The driver is extremely stiff nd t the s me time
light, which contributes to the high sensitivity.
The two bl ck dots re f r from design gimmick.
Thiel & P rtner h s put them there for re son.
They suppress reson nce from the cone.
The Accuton driver offers the highest qu lity nd
highest resolution; this is the re son th t this driver
is put in the best spe kers in the world.
Woofer dri er
As woofers we selected two luminium 10” drivers
from the Norwegi n comp ny SEAS; which h s
been producing drivers the l st 60 ye rs. It is with
this knowledge th t Se s h s built this driver.
The woofer h s cone, m de out of pure
luminium. The moulded met l b sket is "high
flow" type th t is coustic lly tr nsp rent nd
offers high precision s the b sket is sh ped ex ctly
th nks to the moulding process. This m kes sure
th t the b sket is very st b
le nd efficiently reduces
reson nces. The b sket is bsolutely none
m gnetic lly, which contributes to higher
efficiency of the driver.
A strong m gnet combined with the light cone
yields high efficiency nd good tr nsient
response. Gold pl ted termin l reduces cont ct
resist nce nd serves s nti-corrosion.
L rge windows in the b sket both bove nd below
the spider reduces sound reflection, ir flow noise
nd c vity reson nces.

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Crosso er/Terminal
When XTZ produced the Divine 100.49 gr
e t de l
of effort w s put into the crossover filter. All
p ssive components re the highest qu lity to
minimize the influence on the sign l. The
crossover is pl ced in sep r te enclosure.
We use n optim l selection of ir wound coils
(with low intern l resist nce) nd coils with steel
cores (these ccept high level of m gnetic
s tur tion), MKP c p citors nd MOX resistors.
The termin l is divided into two input re s. One
for p ssive (norm l) nd one for ctive drive. All
termin l screws nd inputs re gold pl ted.
The ctive inputs h ve direct connection with the
drivers. The thought behind this is th t the spe ker
c n be used fully ctively in the future to get the
most out of the system.
When using the byp ss jumpers in the middle of
the termin l, the spe ker is in “p ssive mode” nd
connected to the p ssive cross over
It is possible to drive the woofers ctively nd g in
the possibility to use DSP b sed room correction.
There re three links/jumpers th t c n be used to
lter the ch r cter of the spe ker.
One link/jumper for the tweeter (0 or +3dB)
One link/jumper for the midr nge (0 or -2dB)
One link/jumper for the woofers (0 or +3dB)
Preparations
Unpacking
C refully unp ck the spe ker, nd p y ttention so
you d
on't bre k nything. If possible, s ve the
c rton box for future tr nsport tions. If there
should be d m ge on the loudspe ker, ple se
cont ct your ret iler.
Accessories
B ss reflex plugs (4 pcs)
User m nu l
Links/Jumpers for level djustment nd
ctive/p ssive connection (18 pcs)

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Practice of sound / Installation and placement tips
This ch pter cont ins gener l inform tion bout
loudspe ker pl cement nd inst ll tion.
These re gener l rules, so there re exceptions in
some c ses.
In which room do
you achie e the best
sound?
No m tter how good the equipment is, in the wrong
listening environment it will inevit bly sound b d.
There re some b sic rules concerning proper
loudspe ker inst ll tion:
Reflections
C rpet
s, curt ins nd soft furniture bsorb mid
r nge nd high frequency sound, nd this is
prefer ble. Big empty re , on the contr ry, reflects
it nd produces h rd reflections th t m y le d to
blurry di logue. Ap rt from colouring the sound,
lso the perspect
ive of the sound will deterior te.
Reflections in the room c n roughly be comp red to
the reflections th t yield ghost pictures on TV
screen.
Amplification of bass
frequencies
A loudspe ker th t is pl ced ne r w ll, ceiling or
floor will mpli
fy lower frequencies in sometimes
not desir ble w y (since it m y le d to n indistinct
sound recre tion). This mplific tion becomes even
more obvious if the loudspe ker is pl ced ne r
corner. Thus, for sound s cle r s possible, the
loudspe ker sh
ould be pl ced t le st 30 cm ( bout
12 inch) w y from the w ll
Some constructions re m de to be pl ced closed to
w ll.
Furniture
Be w re th t furniture m y vibr te nd thus cre te
b d sound t loud b ss.
Room dimension
Qu dr tic ro
oms or rooms where the length is
ex ctly twice s long s the width should be
voided, since they m y cre te unw nted
reson nce.
Placement of the
subwoofer
The pl cement of the subwoofer in the room
dr m tic lly ffects the over ll frequency resp
onse
nd sound level of the system. At low frequencies
the effect of the room is strong. Even slight
ch nge in the subwoofer's loc tion c n m ke
signific nt difference in the frequency b l nce.
P tience nd methodic l experiment tion is needed
to find
n optim l pl cement. The pl cement
ffects the ph se difference between the m in
loudspe kers nd the subwoofer.
One b sic rule is to pl ce the subwoofer together
with or ne r the front system (especi lly import nt
if the front loudspe ker lso prop g t
e b ss
frequencies) s this will minimize the risk of ph se
elimin tions in the room.

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Cables
Try to keep them s short s possible. By its
electric l p r meters, long conductor will h ve
bigger influence on the sound th n short one. It
m y l
so work s n ntenn nd thus receive
v rious sign ls th t m y become const nt noise in
n ctive subwoofer.
M ke sure th t ll connections re cle n nd not
oxidized. All connections should be mech nic lly
st ble, both power, sign l nd loudspe ker c
bles.
Sign l c bles should be sep r ted from other
c bles.
Front speakers
To get the best result the front spe kers should be
pl ced symmetric l in front of the listener. The
dist nce between the front spe kers should be
round 80% of the dist nce
to the listener. In other
words, the recommended ngle between the front
spe kers should be 45°.
Why use 2
Subwoofer
There re more then one
benefits of h ving 2
subwoofers inste d of one.
The sound pressure level will be higher.
Less dips nd
st nding w ves in the room nd
better frequency response in the room ( nd on
sweet spot)
The need of power is less, to re ch the s me SPL s
with one subwoofer
Finally
Ple se remember th t good sound is m tter of
t ste, so you h ve to experime
nt to obt in your
f vourite one.
We wish you best of luck!

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Mountin and connectin tips
Mounting
alternati es
XTZ Divine 100.49 c n be pl ced st nding by
w ll. The w ll behind nd beside the loudspe ker
influences both the b ss level nd the b ss
ch r cteristics, so ple se be p tient nd try
different dist nces to the re r nd side w lls.
To pl ce the spe ker with dist nce to the w ll is
often best, to decre se influence of the w ll (room)
Connect using the
correct phase
Alw ys connect using the correct ph se, from the
+-pole on the mplifier to the +-pole on the
loudspe ker nd corresponding for minus (-).
If you by ccident connect the other w y,
there is no risk of d m ge. However, the
sound will not be correct, especi lly in the
lower frequencies.
O erload
At high lo d during extensive time periods, there is
lw ys the risk of overlo ding the driver nd
mplifier.
All loudspe kers h ve limited h ndling
c p city for high power, so be c reful not
to pl y extremely loud nd
not to incre se
treble or b ss settings to much.
By incre sing the b ss or treble from 0 to
m x you will incre se the power by bout
16 times.
The initial playing
time
It t kes bout 50 to 100 hours of initi l pl ying
time, for the drivers to sound optim l. During this
time, the spe ker m y be used norm lly.

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Connecting
Passi e cross-o er
The termin l is divided in two p rts, one for the p ssive
drive nd one for the ctive drive.
It is important that the connection is done
in a correct way. An incorrect connection
can destroy the dri ers.
Passi e connection
When using p ssive drive, the spe ker c ble should be
connected to “+” nd “-“ to the upper p rt of the
termin l. When the met l pl tes re connected between
the termin l screws, only one p ir of spe ker c ble is
needed.
Bi-wire or Tri-wire
When using bi-
wiring, remove the met l pl tes between
midr nge nd woofer termin l screws.
Using Tri-wiring, lso remove the met l pl tes between
midr nge nd tweeter termin l screws.
Below is dr wing of how to connect the spe ker when
using single wire.
BI-AMPING
When bi-
mping, the met l pl tes between the termin l
screws MUST be removed.
See dr wing below
N.B!!!
A broken speaker that is caused by a
connected in an incorrect way is
NOT co ered by warranty.
Be c reful when connecting the spe kers
with the mplifier.
Passi e dri e is connected to the
upper part of the terminal.
Bi- nd Tri- mping is p ssive
connection, but e ch r nge is powered by
sep r te mplifier.
It is import nt th t ll mplifiers h ve the
s me output level; else there will be non
correct frequency response curve.
Make sure that the metal plates are
remo ed from the terminal screws
when bi- or tri-amping.
See the different between single, bi- nd
tri- mping.