Genesis G7 Owners Manual And Set-up Manual

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READ THIS FIRST

Genesis loudspeakers in general are heavy and slippery. This is
due to the high gloss finishes that we put on the speakers to make
them beautiful and an object of art. They have a luxurious feel as
well as an elegant look.

The cabinet is solidly made of high-quality mdf and/or composite
material. Transducers have large magnetic assemblies and the
crossovers use large, high grade components. All this results in a
very heavy object for its size. We always recommend a minimum of
two people to unpack, move around, and set up the Genesis 7.2f.

Your speakers will come wrapped in a fabric “sock” inside a double­corrugated cardboard carton. Examine the carton for shipping
damage. Dented corners are an indication of something having
gone wrong during shipping.

Lift the speaker in its sock out of the shipping carton. Do NOT just
grab the sock to lift the loudspeaker. The sock is to protect finish,
not a sack to lift the speaker with. It may tear! Be careful that you
do not inadvertently put a finger through a driver and dent a cone.

Examine all the foam inserts as the speaker grills may be hidden
away in a recess. A power cord is also included with each
loudspeaker.

Collapse the shipping carton, and store it in a safe, dry place
together with the sock and the foam inserts. You will need this if
you need to ship the speakers in the future.

Read this owner’s manual, fill in your warranty registration, and get

started.

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Owners Manual and Set-up Guide:

Genesis 7.2 floor-standing loudspeaker

Contents

1 A QUICK START SET-UP GUIDE 4

1.1 UNPACKING 4

1.2 PLACEMENT 4

1.3 CONNECTIONS 5

1.4 ADJUSTMENTS 5

2 SETTING UP AS STEREO PAIR 7

2.1 POSITIONING 7

2.2 LOUDSPEAKER CONTROLS 7

2.2.1 TWEETER CONTROL 7

2.2.2 BASS GAIN 8

2.2.3 TWEETER DEFEAT 8

2.3 TUNING THE SYSTEM 9

2.4 ONE CHANGE AT A TIME 9

2.5 IMAGING AND SOUNDSTAGE 9

2.6 DEFINING THE SOUNDSTAGE 11

2.7 ROOM TREATMENT 11

2.8 MASTERING THE REFINEMENTS OF THE SYSTEM 12

3 SETTING UP: MULTI-CHANNEL 14

3.1 POSITIONING AS MAIN LEFT/RIGHT CHANNEL 14

3.2 POSITIONING FOR SURROUND CHANNEL 14

3.3 THE CENTER CHANNEL 14

4 THE TECHNOLOGY USED 15

4.1 DIPOLAR CONFIGURATION 15

4.2 THE SERVO-BASS ADVANTAGE 15

4.3 THE TRANSDUCERS 17

4.3.1 THE GENESIS RIBBON TWEETER 17

4.3.2 TITANIUM MID-WOOFER 17

4.3.3 ALUMINIUM-CONE WOOFER 18

4.4 CROSSOVER 19

4.5 THE ACOUSTIC SUSPENSION 19

4.6 VIBRATION-FREE CABINET 20

5 SPECIFICATIONS 22

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Please write the serial number and purchase details of your Genesis 7f here
for future reference.

Purchased from: _____________________ Date: __________

A Message from Genesis

Congratulations! You are now the owner of one of the finest
loudspeakers in the world. The first Genesis 7 floor-standing tower
loudspeaker, the G7.1f, won the prestigious Best of Innovations
Design and Engineering award with the highest scores in its
category. This award recognizes outstanding design and
engineering in cutting edge consumer electronics products and is
sponsored by the Consumer Electronics Association of the USA
and endorsed by the Industrial Designers Society of America. The
G7.2f that you now own is an evolutionary improvement over its
predecessor.

The G7.2f is designed to be as flexible as possible. It can be used
as a pair of audiophile stereo loudspeakers or, in a multi-channel
system. It features the world’s first solid titanium cone mid-woofer
from the G7.1f improved for the G7.2f with even lower moving­mass for greater dynamics. The G7f also shares technologies
developed for our flagship Genesis 1 loudspeaker system.

So that it will fit into the décor of any home, the cabinet design is a
combination of acoustic, furniture, interior design and architectural
principles.

Sound structural engineering principles have been applied to make
the G7f cabinet rigid and well damped. The construction ensures
that the cabinet is the best environment on which to mount the
transducers. This results in low cabinet coloration, and excellent
soundstaging and imaging. Classic Greek proportions are used for
the cabinet so that it would be visually pleasing and elegant.

Please read this Owners Manual and Set-up Guide to get the
maximum enjoyment out of your purchase. Also, check out our
website at www.genesisloudspeakers.com for the latest updates,
tips & tricks, and support for our owners.

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1 A Quick Start Set-up Guide

Now that you have your new Genesis 7f loudspeaker, we realize that
you can’t wait to hook it up and start playing! However, please read this
quick set-up guide (even if your dealer is setting it up for you) before you
proceed.

1.1 Unpacking

Your loudspeakers will come to you in two shipping cartons weighing
nearly 100lbs (45 kgs) each. Care must be taken when moving the
carton around, and taking the speaker out of the carton. While the
speaker is not large, it is slippery and heavy for its size.

We will not be held liable for damage to either the speakers or your
backs during unpacking and setting up. So, enlist a friend to help!!

Place the carton flat on the floor. It should be obvious which side should
be up. Open the flaps, remove the accessible foam panels and lift the
speaker with out of the carton. Be careful as you may inadvertently
damage the drivers if the cabinet slips and you grab at it and put a finger
into the drivers. Do not try to lift the cabinet by the shield or the acoustic
suspension frame (it is not a handle!). Hold the speaker cabinet (but be
careful not to dent the rear tweeter).

Long spike screws are provided on each corner of the acoustic
suspension to make it easy to adjust the height and alignment of the
loudspeakers. The provided spikes are screwed in all the way for
shipping. Un-screw them up until you can just feel the point at the other
end of the threaded hole with your fingertips. This will make positioning
of the loudspeaker far easier.

A second set of shorter spikes with hole covers are provided which give
you a much better cosmetic appearance. These should be used only
after you have completed set-up and fine-tuning.

Flatten the cartons and put them away together with the foam inserts.
You will need them if you decide to transport the speakers in future.

1.2 Placement

As a stereo pair of speakers, a good starting position for your G7f is
at least 18 inches (45cm) into the room as measured from the front wall
(the wall you look at as you are seated listening to the speakers) to the
back of the speakers, and about six feet (1.8 metres) apart. Point the
loudspeakers straight ahead with no toe-in.

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You will want to sit eight to twelve feet (2.5 to 3.5 metres) away from the
speakers. When sitting further away, you should place the speakers
slightly further apart. When sitting nearer the speakers, move the
speakers closer together or toe them in by a tiny bit – 1 to 3 degrees and
no more. Once you have the speakers about where you want them,

screw the spikes down to “ground” the speakers. You will want to barely

lift the speakers off the surface on which they are sitting. There should
be only about 1/8” (3mm) between the bottom of the suspension frame
and the carpet or floor.

1.3 Connections

The speakers should be connected directly to the speaker-level
output of your power amplifiers using high quality speaker
cables between the power amplifier and the 5-way binding
posts labelled HIGH LEVEL INPUT.

The IEC power inlet supplies power to the built-in servo­controlled bass amplifier. This needs to be plugged into a wall
outlet using the supplied power cord (or we recommend the
Absolute Fidelity Amplifier Power Interface cable). Check that
the voltage select switch is correctly set before plugging the
power cord in.

If a power conditioner is used, please ensure that it is a high­power, non-current limiting one.

1.4 Adjustments

Don’t be too worried with all the knobs and switches on the
back of the G7f. A good starting point is to set the tweeter level

knob and the bass gain knob to the 12 o’clock position pointing

straight up. This is the nominally flat position, and it will work
well in most cases, in most rooms.

If you have at least 8 inches (20cm) of space between the
back of the speaker and the wall, the rear tweeter should be

left ON. Otherwise, turn the rear tweeter off with the tweeter defeat
switch on the back panel.

The G7f will sound great, straight out of the box. As you play your
system for the next few hundred hours, the speaker will settle down and
“break-in” and begin to sound even better. Before the speaker breaks-in,
the drivers will be tight, and the woofer may clip with very bass heavy
music when played loud. If this happens, back off a bit on the volume of
your music, or reduce the gain of the built-in bass amplifier until the
woofer suspension breaks in (about 400 hours).

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If you play a lot of commercially mixed pop or rock recordings, you may
also find that a lot of these have a rising response in the bass because
they are not expected to be played on audiophile loudspeakers with a
flat frequency response. The mastering or recording engineer puts a
boost to the bass frequencies so that they sound good on speakers that
roll off the bass frequencies. On the G7f, you may find that these tracks

“bottom out” the woofers. If it happens only occasionally, it will not

damage the woofers, but long-term exposure will cause the woofer to
prematurely break down, and the sound of the amplifier clipping to
protect the woofer can be scary on first listen.

If this happens much, you will have to reduce the bass gain on the built­in bass amplifier. Once you familiarize yourself with the G7f’s
performance, putting a little bit of additional effort into tuning the speaker
properly for your room and system will give you great long-term
enjoyment and benefits.

1.5 A Word About Grills and Spikes

The grills of the G7f have been engineered to intrude minimally on the
sound. Moreover, the tweeter control allows you to almost completely
overcome the “sound” of the grills. The cover for the woofer does not
affect the sound and should not be removed.

The front grill will “snap” on magnetically, and hence even without the
grills on, you are not presented with ugly post holes on the face of the
loudspeaker. Nevertheless, we encourage you to listen to the G7f with
the grills on. They look better, and at the same time, it will keep little
fingers away from the drivers.

The long spike screws provide an easy means to adjust the height and
tilt of the G7f. They are also long enough to securely spike the speakers
through deep pile carpet. A second set of shorter spikes is also provided
together with a hex key for easy adjustment.

Hole covers are supplied for a much neater
cosmetic. These need to be pressed on firmly, and
this should be done only after all adjustments and
fine tuning is completed.

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2 Setting up as Stereo Pair

2.1 Positioning

Used as a stereo pair, the G7f should be placed at least 18 inches
(0.45m) into the room as measured from the front wall (the wall you look
at as you are seated listening to the speakers), to the back of the
speaker.

Start with the speakers about six feet (1.8m) apart with the tweeters
placed closest together and the woofers firing outwards. Do not toe-in
the speaker as they perform best when firing straight ahead.

You will want to sit 8 to 12 feet (2.5 to 3.5 metres) away from the
speakers (if you have the space). We will experiment with moving the
speakers around later.

As these speakers are dipolar in the high frequencies, they are pretty
room-friendly and you are free to move the speakers closer to, or further
away from the front and side walls. We do recommend, however, that
you give the speakers a little bit of breathing space behind them, so

don’t push them up too tight against the wall.
If you have the speakers too close to the front wall, you will

find that the image depth is not as good - the soundstage
becomes a little two-dimensional. If you have the space to
move the speakers away from the wall, do so. You will be
rewarded with the deep, broad soundstage that this
loudspeaker is capable of.

You should be able to “see” the soundstage behind, as well

as in front of, the loudspeakers. The sound stage will also
extend outside the left and right sides of the speakers when
they are properly set-up.

2.2 Loudspeaker Controls

2.2.1 Tweeter Control

The knob marked TWEETER on the plate on the back of the
speaker tailors the high-frequency response of the G7f. It is a
subtle control with only a +/-2.5 dB range, but it can make a
great difference in gaining that last bit of additional
performance in tuning your speakers for the room in which
you are using them. It can turn your system from very good to
exceptional, so take the time to work through this process.

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Turning this control clockwise will increase the level of the front tweeter.
Use this control if you need a bit more treble in a highly absorbent room,
or to increase the apparent space of the soundstage. Too high a tweeter
level, and you will feel that crashing cymbals are leaping out at you, and
nylon-stringed classical guitars sound like steel-stringed acoustic guitars.
Start with this control at the “nominal flat” 12 o'clock position.

2.2.2 Bass Gain

The BASS GAIN knob is unique to Genesis, and it controls the gain in the
built-in servo-controlled bass amplifier. It allows you tune the bass
performance of the G7f into your system, and your room. As you rotate
the knob clockwise, it will give you more bass.

Again, the 12 o’clock position is the “nominal flat” response and can be

used in most rooms. When you move the speakers closer to walls and
corners, you will find that you need less gain in the bass. When you
move the speakers further out in the room, you will need more gain in
the bass.

The sweet spot for this control is about 9 o’clock to 3 o’clock. Go beyond
4 o’clock at your own risk. Some malicious “speaker killer” tracks could

damage your woofer as the built-in amplifier is far more powerful than an
8-inch woofer needs in order to give a snappy and dynamic response.

We do this in order to give the speaker the speed and dynamics that is
the hallmark of the “Genesis sound”. Just like a sports car with 800
horsepower, if indiscriminately used, having so much power also means
that you could do damage to yourself and your neighbors.

We have resisted putting in power limiters or speed limiters in the bass
amplifier as we found that speed, dynamics, and transparency are
compromised. An over-load current limiter built into the amplifier chops
current off to protect the woofer’s voicecoil from melt-down but it is still
possible to damage the woofer with long, sustained and high levels of
bass.

2.2.3 Tweeter Defeat

The optimal way to use these speakers as a stereo pair is to leave the
rear tweeters on, and run them as dipole and at least 18-inches from the
front wall. However, in some cases, this may not be possible. Should the
speakers have to be placed with their backs less than 12 inches from
the wall, the rear tweeters should be turned off.

With the rear tweeter turned off, the G7f will also behave as standard,
sealed-box point source loudspeakers.

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2.3 Tuning the system

Music is the best way to begin your set-up procedure. We suggest that
video sources be used only after you have set-up the system to properly
reproduce music. There is no “perfect” setting for the G7f. Every
listening room is different, and we recommend that you take the time to
carefully tune the system for the environment in which it is placed.

Your Genesis loudspeakers should sound great straight out of the box. If
you don’t like the sound, several hundred hours of breaking-in will not
change the sound of your speakers, although it may break-in your ears!
Unfortunately, the extreme transparency of the G7f may highlight
deficiencies up the reproduction chain.

2.4 One Small Change at a Time

One rule of thumb that you should always keep in mind: Make one
change at a time! Do not, for instance, change position of the speakers
and make adjustments to the tweeter and bass all at once. Make each
of these changes separately and note the difference - by listening with
each adjustment - then make the next change.

When you make adjustments, make only small changes. For example,

when locking in the “image” and tonality, move the speakers about ¼”

(5mm) at a time. Changes to the tweeter and bass level should be less
than a “notch”.

2.5 Imaging and Soundstage

We suggest that you start with a single vocal with simple instrumental
accompaniment because the sound of the human voice is more easily
recognizable than many instruments and is a less complex sound to
deal with. Use a good recording that you know has atmosphere and
low bass content.

The performer should appear to be positioned behind the loudspeakers
and be at the appropriate height for a standing person. If it is not, there
are several remedies that will address this shortfall.

If the vocal appears to be larger than life, you should first check the
system volume. Is it a volume that would be appropriate for
someone actually singing in your room? If there is too much volume
the artist will appear too big and the opposite is true for too little
volume. If the volume is set correctly and the image is still too big,
place the speakers closer together and re-listen. Place the speakers
no less than 5 feet apart. If the image is still too big, toe the
speakers in a slight amount.

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Conversely, if the image is too small, move the speakers apart. The
speakers should be no more than twelve feet apart. Repeat this process
until you have it right.

The wider apart you have the speakers, relative to your seating
position, the more you will have to toe the speakers in. However, this
may result in “audiophile-titis” if you place the speakers too far apart.
You get a huge soundstage, but only a tiny sweet spot and you have
to sit exactly in between the speakers to enjoy any music, and you
cannot move your head. Also, when the speakers are very far apart,
you may have to play them louder before you can enjoy a realistic
soundstage. The images are more diffuse, and seem larger than life.

If you have the speakers 18 inches into the room, and you are not
getting enough front to back depth (the singer not appearing behind the
speaker enough), pull the speakers away from the front wall a little bit at
a time. However, slightly more than 1/3 of the way into the room is
about as far as you want to go. Pulling them halfway into the middle
of the room or more than 8 feet from the front wall is unlikely to help.

Find the best compromise for your room, your tastes and your space
requirements. If you are not getting proper focus on the voice, you may
angle the left and right speaker up to about 5 to 10 degrees (toe-in)
towards your listening position until you have a properly defined center
image. If the speakers are too far apart, the mid-bass will de-couple and
you will lose the side image. If they are too close together you will have
too small and congested a center stage.

When properly set up, very little sound should appear to come
directly from the speaker. Instead, the sound stage should extend far
beyond the left and right edge of the loudspeakers and they should have
tremendous front to back depth. When the recording is close-miked
(when the instrument or performer is very close to the recording
microphone), the music may appear to come directly from the
loudspeaker. This is normal. Typically, however, the sound should
appear to be detached from the loudspeakers in well engineered
recordings.

A simple rule of thumb to follow is that focus will be achieved by placing
the speakers closer together or farther apart, and front to back depth
can be adjusted by the distance from the rear wall. Further, as the

system “breaks in”, the depth and width of the soundspace will increase
and so will the “smoothness” of the sound.

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2.6 Defining the Soundstage

A common problem is a tendency to separate the speakers too far from
each other. This gives an unnaturally wide soundstage between the two
speakers, and creates problems beyond the unnatural width of the
center stage. It focuses the soundstage in between the two speakers,
and you lose the “space” and “ambience” of the musical performance.

If you find that the sound is not spacious enough, or you are not getting
enough front to back depth, pull the speakers away from the front wall.
This is typically preferable to separating the speakers too far, and will
almost always give you better depth and soundstage information. A
word of caution though: If you move the speakers too far from the front
wall you may lose the focus of the image.

In order to achieve what the speaker is capable of, we suggest you
focus your efforts on a proper balance of soundstage elements that
includes information beyond the left and right sides of the speakers, front
to back depth well behind the speaker, excellent focus of instruments
and voices, with proper vertical information and mid bass fill.

A Genesis loudspeaker system correctly set up, can
and should provide a soundstage that is wall-to-wall,
with pinpoint focus; the speakers disappearing
completely on a recording containing such
information.

Ambience of large acoustic spaces is defined by
low-bass, and the G7f is capable of adding that
critical element when listening to performances
recorded in large venues.

2.7 Room Treatment

No room is perfect. To optimize your sonic
presentation it may be helpful to treat your room.
Here are some guidelines:

Front walls. This loudspeaker is a dipole and
therefore, there is sound coming from both the
front and back of the speaker. How the front
wall (the wall you face while listening), is
treated or not treated is important. Generally
speaking, the Genesis loudspeakers prefer a live
(hard or reflective) front wall to a dead (soft or
absorbent) front wall.

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By these terms, we mean the amount of reflection of sound. A typical
wall of glass, brick, cement or drywall material is a reflective
surface. A heavily curtained or sound-proofed wall would be
considered a "dead wall" or a non-reflective wall. A normal thin
curtain across a window causes only a small amount of absorption.

Sidewalls. Because the speaker is a dipole, it is less sensitive to the
sidewalls. However, as a rule of thumb it is a good idea to keep the
speaker as far away from the sidewalls as is practical. In some
rooms, it may be helpful to add some damping material or diffuser
panels to the point of first reflection. This is a point on the sidewalls
between the listener and the loudspeaker. It is where the sound
from the loudspeaker first hits the sidewall, then bounces to the
listener. This reflection is undesirable because it is slightly delayed
from the original sound. This point on the sidewall can be easily
determined with the help of a second person and a mirror.

Sitting in your listening position, have an assistant hold a mirror up
on the sidewall. Move the mirror until you can see the tweeter. This
is the point of first reflection. A diffuser (see your audio dealer), an
absorptive material, a bookcase, or even a piece of furniture can
help break up this point of first reflection.

Rear wall. In many cases it will be unnecessary to do anything with
the wall behind your listening position. However, you may want to
experiment with diffusers or absorbers behind you for best sound.
Absorption behind the listener is usually beneficial.

2.8 Mastering the Refinements of the system

Fine tuning an audio system is an art that will take time and patience. It
can be one of the more rewarding learning experiences you will have in
the pursuit of music and its enjoyment.

In some problematic rooms a resonance may develop, at one or more
frequencies, that is unnatural to the music. By moving the speakers
closer to the front wall or farther from the front wall, the resonance may
be reduced at the listener’s position. Another solution to try may be to
place the speakers asymmetrically in the room. They could be placed
closer to one side of the room, or even at an angle to the room.

There are no absolute rules concerning problematic rooms, so do not
be afraid to experiment with speaker placement to determine the best
position of the speakers in your room. In a perfectly square room, we
have even had good results by placing the speakers firing down a
diagonal.

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One of the best pieces of advice we can offer is that you take advantage
of your ear's ability to identify similarities in sound. This ability is useful in
fine-tuning your system because, if every recording you listen to has a
similarity of sound (too much or too little of a certain frequency for
instance), then you can be fairly certain that you have yet to perfect your
set-up.

A very detailed process of fine-tuning the speaker set-up is given in the
white paper on the Genesis loudspeaker set-up procedure available
from our website. This paper is attached as an appendix to this owner’s
manual, and the latest version is always available on the Genesis
website.

If you have any questions, feel free to contact us at Genesis. Our
website is the first place you can look to for more information, but you
are welcome to either send us an email, or just give us a call!

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3 Setting up: Multi-channel

3.1 Positioning as Main Left/Right Channel

When positioning the G7f as the main left and right channels of a multi­channel, the same principles as positioning for a stereo system apply.
This will ensure that your system can be used for two-channel as well as
for multi-channel sources.

However, the inclusion of a screen between the speakers may mean
that the speakers have to be put much further apart than ideal. In this
case, you can toe the speakers in a little more. However, if the primary
source of entertainment is multi-channel, more often than not the center
channel will “fill in” the soundstage hole caused by the screen.

On the home theatre processor, the speaker should be set to “LARGE”.

However, due to the limitations of a single 8” woofer in the G7f, do not

use the speaker for the LFE track. The G7f is designed for music, and
not explosions, helicopters, or dinosaur footsteps. You will need either
the Genesis 928 or the ServoSub™ 2/12t for that.

3.2 Positioning for Surround Channel

The G7f can also be used as a surround channel loudspeaker. When
they are used close to the wall, turn the rear tweeters off with the
tweeter defeat switch.

3.3 The Center Channel

The Genesis 7.2c (convertible) plus either the ServoSub™ 4/8 would be
the perfect partnering center channel to the G7f as the center channel

will then have the same driver complement and the same “voice”.

Nevertheless, adding a ServoSub 2/12t corner subwoofer or a Genesis
928 ServoSub will bring into play for LFE a couple of 12-inch woofers.
As 8-inch and 12-inch drivers couple differently with the airload of a
room, having a mix of bass drivers might be highly beneficial in some
rooms and systems.

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4 The Technology used

4.1 Dipolar Configuration

What a lot of people don’t realize is that the room is as big (if not bigger),
a part of their music system as are the loudspeakers. At Genesis, we
strive to get the loudspeakers and the room to work well together and
hence, design loudspeakers that interact with the room and have
enough of adjustment to make them work with most rooms in the world.

All rooms have floors, ceilings and sidewalls that distort sound because
of lateral, early-arriving reflections. We aim to suppress undesirable
contribution by reflected sound from these four surfaces (which is why a
lot of people put sound absorbers or diffusers at the first reflection point
of the room). In order to do that with a majority of rooms, we make our
loudspeakers dipolar.

Dipoles radiate the same, but out-of-phase, waveform from the front and

rear in “push/pull” fashion. Thus, the sound waves from the front and

back of the speakers cancel out as they radiate from the sides and tops
of the speakers, which means that there is minimum radiation of sound
to the sidewalls of the room.

With a rear tweeter, the G7f is a dipole in the high frequencies. Hence, it
uses the wall behind the speaker to give more depth to the soundstage

and “air” to the speaker without detail robbing room reflections from the

sidewalls. Hence, it has the advantages of omni-directional speakers,
without the disadvantages.

With fewer spurious reflections to confuse your hearing, the program
source emerges more clearly. Imaging is stable, sharply focused,
deeper and spacious. Transients are clearer and sharper.

4.2 The Servo-bass Advantage

Very few loudspeakers use servo drive, either because most designers
think that it is too difficult to design, too expensive, or because of the
extraordinary demands a servo system makes on the amplifier and the
transducer.

The concept of the Genesis servo bass system is an easy one to
understand: It employs, an accelerometer mounted on the voice coil as
a sensor, to constantly monitor the movement of the woofer cone, and
instantaneously and continuously compares it to the input signal. This
comparison circuit identifies any deviation from the input and applies a
corrective signal to compensate, thus practically eliminating the inherent
distortion of the woofer.

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As an example, when you have a high-impact, low-bass signal that
starts and stops suddenly (for example a tympani strike), the inertia of
the woofer cone makes it slow to start moving, and then after it is
moving, the momentum of the cone makes it continue moving even after
the signal has stopped. The sonic result is overhang, bloat, lack of
tautness and definition, and a blurring of dynamic impact.

With the servo system, the circuit senses that the woofer is not moving
as fast as it should, and it instantaneously applies much more current to
make it move faster. When the signal stops, it detects that the woofer
will continue to move when it shouldn’t and applies a counter-signal to
stop the woofer faster and more effectively than an open loop woofer
could possibly respond.

Thus, the servo-drive reduces distortion and improves transient
response by making the woofer seem effectively massless. Typical non­servo woofer systems have distortion levels that exceed 10% at even
moderate levels. The Genesis servo bass system reduces this distortion
to below one percent at almost any output level within its operating
range. It also drives the woofer to constant acceleration, which makes its
frequency response totally flat!!

The servo system is a more proactive approach to controlling a
loudspeaker than high-damping factor and high current in the normal
amplifier. However, this also means that the woofer, the wires attaching
the woofer to the amplifier, and the power amplifier has to be designed
as an integrated system. Thus, the G7f is designed with its own a built-in
180W Class-D amplifier for the bass section.

In the G7f, the bass amplifier is “generously” specified for the single 8”

built-in woofer. The resulting benefits include huge dynamics, speed and
micro-tonal detail in the bass. The disadvantage of this is that it is then
possible to over-drive the woofer. Like a driver of a 400hp sports car, a
heavy right foot might wrap you around a lamp post. Nevertheless,
having lots of power gives you tremendous control of the woofer, and
judicious use of the bass gain control is advised.

One side benefit of this powered woofer system is that almost any sized
amplifier can be used to drive the G7f. No longer must one choose
between having an amplifier with enough power to drive the woofers,
and a smaller amplifier having better spatial and tonal characters.
Nevertheless, we generally recommend 45 watts solid-state or 25 watts
tube as an absolute minimum.

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4.3 The Transducers

The transducers in the 3-way G7f are all proprietary Genesis-designed
drivers manufactured to our exacting standards:

4.3.1 The Genesis Ribbon Tweeter

Reviewers in the audiophile press have often remarked that the
Genesis tweeter is the world’s best. It is a one inch circular
planar-magnetic design crafted from an extremely thin

membrane of Kapton® with a photo-etched aluminium “voice
coil” that is a mere 0.0005 inch thick.

The entire radiating structure is a 3mm-wide ring that has less
mass than the air in front of it! The latest version of the Genesis
ring-ribbon tweeter will accurately reproduce frequencies beyond
40 kHz with a true point-source dispersion pattern. (A 1-inch
dome tweeter has a true point-source dispersion pattern only up
to about 13kHz.)

The result of this design is a driver that has a rapid and uniform
response to high frequencies and has the speed of the best
ribbon/electrostatic designs.

The G7f uses two of these tweeters per channel. One is front-firing and
the other rear-firing; each controlled by a separate crossover with the
rear tweeter out of phase to the front tweeter, creating a dipole.

4.3.2 Titanium Mid-Woofer

We sometimes say that the midrange is a window into the mind of a

composer or a singer. And indeed, the midrange is where the “magic” is

in a well-recorded musical event. The G7f uses a Genesis-designed
proprietary 5.5-inch solid titanium-coned transducer to cover this critical
frequency spectrum.

Manufactured out of one of the lightest and stiffest materials known, this
low mass cone driver is one of the best midrange transducers ever
made, with nearly instantaneous transient response, enabling the G7f to
sound lifelike and effortless.

The stiffness of the titanium cone also allows Genesis to use this as a
woofer – hence, mid-woofer. It retains its low distortion, even on long
throw application needed in delivering the lower frequencies. Hence, the
solid titanium cone allows Genesis to develop a driver that is exemplary
in the midrange, as well as deliver the heft and impact of a woofer.

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We often hear that metal drivers sound “metallic”. To an extent, this is
true. Every metal cone, no matter how well designed, will have an oilcan
resonance frequency. This break-up mode frequency is determined by
the material, thickness, shape, and size of the cone, and it is largely well
understood.

However, outside of this resonance frequency, the metal cone acts as a
perfect piston and has zero distortion. When metal drivers sound

“metallic” (or “zingy” in the case of metal tweeters) it is because this

oilcan resonance is excited.
Genesis uses exclusively metal drivers because outside the oilcan

resonance frequency, the driver never sounds distorted or metallic.
Hence, if the oilcan resonance is never excited, the driver has almost
zero distortion. We use metal drivers far below their oilcan resonance,
and hence are able to achieve a warm, distortion-free sound quality, but
with huge macro and micro dynamics.

With metal drivers correctly applied, there is no necessity to place any
damping material on the cones. We feel that damping the transducer
cone is never a good idea as the damping material would not be able to
differentiate between distortion and the micro-details of music. Hence,
indiscriminately damping music as well as cone ringing and distortion.

Without damping, Genesis loudspeakers are able to play softly, and yet
convey all the richness of the music, without losing any detail when you
want to listen quietly in the dead of the night when the rest of the family
are asleep.

4.3.3 Aluminium-cone Woofer

The transducer used in a servo system must be strong enough to
withstand the high current approach of the servo, and yet delicate and
light enough to react extremely quickly. The G7f features a single 8-inch
aluminium cone long-throw woofer per channel.

While the servo system is able to ensure that the driver works linearly as
a perfect piston, it is unable to correct for distortion caused by cone
wobble, bending, and break-up. Hence, the drivers were designed to
minimize these non-linear distortions, allowing the servo system to most
effectively eliminate the linear distortions.

The woofers are a uniquely designed metal cone driver made for the
Genesis servo system. Made of a cone of solid aluminium, the
suspension and voice-coil have been maximized for long distortion-free
excursion so as to increase dynamic range. Our aluminium cones are a

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magnitude stiffer than any plastic or paper cone on the market, and
virtually eliminate the problems caused by cone bending and break-up.

The oilcan resonance frequency on the 8-inch aluminium woofer (where
there can be any chance of distortion at all) is at 2,000Hz – far above the
16Hz to 120Hz frequency range at which these drivers operate.
Therefore, the driver is a perfect piston within the frequencies used.
Thus, low cone break-up distortion is inherent in the driver designed for
the G7f.

4.4 Crossover

We believe that the crossover is the brain of the loudspeaker. In order to
manage and maximize the performance of the extensive complement of
transducers used in Genesis loudspeakers, we spend more time and
effort on the crossover than many other manufacturers put in their entire
speaker.

Each crossover is designed by computer modelling plus years of
knowledge and experience. The inductors are custom designed and
made for Genesis with OFC copper windings. The capacitors used are
also custom made for Genesis, using high-quality polypropylene-film
and tin-foil.

More importantly, the crossovers are designed with many, many hours
of music listening and constant refining, tuning and tweaking of the
circuit. Out of this comes the “magic” that is a Genesis-designed
loudspeaker system.

4.5 The Acoustic Suspension

The suspension for the speaker comprises three elements:

1) The neoprene vibration absorbers are tuned to isolate and

decouple the loudspeaker cabinet for optimal bass response no
matter what surface the loudspeaker sits on. The result is that
the loudspeaker sways like a skyscraper in an earthquake so
that it is rigid in the frequencies that enhance clarity, imaging and
dynamics, and yet passing the frequencies that detract from the
bass.

2) The skeletal frame acts as a tuned absorber. Made of a

sandwich of Baltic birch ply with a constrained vibration
absorbent material, no two parts of the frame will resonate at the
same frequencies. This ensures that all midrange frequencies
are “dumped” below the base of the cabinet so that floor-borne

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vibrations do not affect the imaging and soundstage of the
loudspeaker.

3) The spikes rigidly couple the suspension system to the floor. If

you have hardwood floors and do not want to make holes in the

wood, use a copper penny (instead of expensive “spike cups”)

under the spike. (If using a US penny, make sure that it was
issued prior to 1982 when pennies were actually made of
copper. New pennies are copper -plated zinc and does not sound
as good!!)

A pin-point suspension system is designed to pass all
frequencies. Using a spike cup under the spike will defeat this
system. A copper penny gets deformed – the spike making an

indentation where it meets the penny, and a little “nipple” on the

other side. This still performs the same function as a pin-point
suspension system, but at the same time protects your
hardwood floor.

4.6 Vibration-free Cabinet

The cabinet was designed for aesthetics, but with an obsession to sonic
quality, vibration control, structural strength and rigidity.

In some parts of the cabinet where vibration would have been the
greatest, 1 ¾ inches (45mm) of multi-layer bonded MDF was used to
provide damping, structural integrity and a rigid platform for the drivers to
be located. For other parts, a thinner 18mm MDF was used that allowed
induced vibrations to dissipate faster. Incidentally, MDF was chosen as
the material of choice for its damping properties and its consistency in
hardness, density and rigidity.

In the G7f, the cabinet is asymmetrically braced to reduce standing
waves inside the cabinet, as well as in the panels. Innovative thinking
reduces the amount of flex and sway caused by the side-firing woofer,
resulting in a stable soundstage and image that would not have been
possible otherwise.

4.7 Class D Bass Amplification

While the servo-bass system and aluminium woofers bring great
advantages, it they require an amplification system with enormous
amounts of current to make the woofer follow the input signal faithfully.

In the G7f, the built-in amplifier was specifically designed and tuned for

low frequencies in order to produce “floorshakingly musical” bass to

power the servo woofer. The G7f also uses the Dynamic Power Delivery

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System and the Silent Running Voltage Supply technologies developed
for the Genesis Reference Amplifiers to deliver quick, clean power to the
servo-control preamplifier and Class D bass power amplifier.

One side benefit of this powered woofer system is that almost any sized
amplifier can be used to drive the G7f. No longer must one choose
between having an amplifier with enough power to drive the woofers,
and a smaller amplifier having better spatial and tonal characters.

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5 Specifications

 Frequency Response: 22Hz to 40kHz,  3dB
 Sensitivity: 89 dB, 1 watt 1 meter
 Min/Max Power (Tube): 25/250 watts per side
 Min/Max Power (Solid State): 45/800 watts per side
 Input Impedance: 8 ohms (Nominal)
 HF Transducers: Two Genesis 1” Ring-Ribbon

Tweeters (front & rear)

 Mid/LF Transducers: Two Genesis 5.5” titanium Cone
 Servo-Subwoofer Transducer: One Genesis 8” aluminium cone
 Controls: Front Tweeter Level

Rear Tweeter Defeat
Bass Gain

 Built-in Bass Amplification: 180W Class D
 Input: High-level with 5-way binding posts
 Dimensions: H 48 ” x W 12 ” x D 14”
 Weight: 82 lbs (37 kg)
 Finishes: High gloss automotive paint

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The Genesis Loudspeaker Setup Procedure

Introduction

This paper describes the procedure used to set up Genesis (or any other) loudspeakers in
a living room. It describes a repeatable and replicable procedure that can be used by
anyone – not just a “Golden Ear’ed” expert. Certain pieces of music are suggested for the
various steps, but these are only suggestions – other similar pieces of well-recorded
music that are familiar to the reader can just as easily be substituted. Please use this paper
as a living document, and feel free to change the tracks to your preferred choice of music.

When listening, trust your instinct as millions of years of evolution has conferred the
human hearing with an acuteness that cannot yet be replicated by measurement devices.
Many readers will not believe the instructions to move the loudspeaker by 2mm (less than

0.1”). However, the loudspeaker set-up procedure has its roots in the physics of sound,
and the physiology of hearing. If you don’t believe it, try this:

Have a friend stand 10 feet in front of you and speak to you. Now, close your eyes, have
him move sideways a couple of inches and speak again. Point at him. You will find that
you will be uncannily close. With some practice, you will find that at about 10 feet, you
can detect a move as small as 4 inches.

Now, let’s say that your friend is a point source, and your head is 6 inches wide, standing
left of center, he is 120.004” from your left ear, and 120.104” from your right ear.
Standing right of center, he is 120.104” from your left ear, and 120.004” from your right
ear. Physically, that is a 1.9 degree angle and a 0.1” distance displacement. (Do the math
as an exercise for yourself.)

The phase difference between the left and right ear at middle C (256Hz and wavelength
52 inches) is about 0.7deg. Hence, by moving one speaker forward by 0.1” or 2.5mm,
you will be able to shift the image of a singer by about 4 inches towards the speaker that
is being moved if the speaker is 10 feet away from the listening position.

If you still do not believe that it is the phase of sound that gives your brain the imaging
clue, close your eyes, and get your friend to speak. Now point at him and open your eyes
to see how accurate you were. Close your eyes again, and fold one ear towards your
friend. Get him to speak and point at him. Because you’ve deformed your outer ear, and
hence changed the phase relationship of the echos in the fold in your outer ear, you will
be less accurate at pointing to him.

However, if you keep your ear folded, and have him speak to you with your eyes open for
a few minutes, your brain will learn the sonic distortion, and when you do it again, you
will be much more accurate.

Copyright Genesis Advanced Technologies, 2009 Page 1

Preliminaries

Set the loudspeakers up at the minimum distance to the front wall and at the minimum
distance apart (as suggested in the owner’s manual). You don’t want the speakers to be
too far out and to intrude into the living space. Too far from the wall, and you have the
possibility of people walking behind the speakers and tripping over the speaker cables.

Point the speakers straight ahead. Genesis loudspeakers are designed to give the correct
tonality when NOT pointed at the listener’s ear. They define a “window” into the
soundstage, and thus accommodate a much larger sweet spot – it means that you can have
a couch or love seat at the listening spot. If space allows, position the listening seat at a
spot that is about 0.618 of the length of the room. Further from the front wall behind the
speaker, then the back wall behind the head of the listener. If there is not enough space,
the listening seat can also be at a position that is 0.382 of the length of the room. Start
with the suspension spikes inserted but retracted so that it is easier to slide the speakers
around.

On the Genesis loudspeakers, also set all the controls to 12 o’clock (pointing straight up)
position. On the models with the external servo-bass amplifiers, start with the
recommended settings in the Owner’s Manual.

Step 1 – define the image

A Song for You, Jacintha/J. Monteiro Trio, First Impression
Music

The plane of the loudspeakers defines a “window” into the
musical event. This means that you should be able to “see”
the individual musical performers with your ears.

First, make sure that the balance control of your preamp is
exactly in the center. Sonic image is defined more by phase
than by loudness, so while this is not critical, a small
difference in balance can make this more difficult.

The sonic image of the singer on this track should be exactly between the two
loudspeakers. If the image is too far to the left, move the right loudspeaker forward by
2mm (1/10th of an inch). If the image is still too far to the left, move the right loudspeaker
forward by another 2mm. If the image now moves too far to the right, move the speaker
back by 1mm.

If the image is to the right, move the left loudspeaker forward. We find this easier than
moving the left speaker back if the image is too far to the left. Make tiny increments. This
is because if you make large movements, the image could swing wildly left and right.

Sometimes, you will also find that you cannot get the image to properly center. If you
move your head side to side, the image should still be stable. If the image swings wildly,

Copyright Genesis Advanced Technologies, 2009 Page 2

it is because the two speakers are at different planes. In this case, you may have to find
that you have to move one speaker forwards or backwards by 100mm (about 4 inches),
and then re-center the image.

If the image is centered, is the image also the size of what you would imagine a female
singer would be in your room? If the image is too large, is the volume higher than a
female singer could be singing in the room? If the volume seems appropriate for a singer
in the room, and the singer is still too large, move the speakers further apart by 12mm
(1/2 inch).

Again, make small increments. You will find that the image shrinks in size, and then
begins to grow again as you push the speakers apart. This is normal. The positioning
when the transition happens is probably the correct positioning of the speakers.

Is the depth of the image appropriate? The singer should be at a spot about on level with
the speakers. If the singer is too far forward, you will have to pull the speakers further
from the front wall. Pull both speakers forward by 5cm (2 inches). If the singer now
seems too far back, push it backwards halfway (2.5cm or 1 inch). You will probably have
to re-center the image again. Then, again check for image size, and depth. Repeat this
until you are satisfied. Screw down the suspension spikes to lock the speakers down to
the floor. If necessary, put a small copper coin under each spike to protect hardwood
floors.

On this track, you will find that the image of the singer is very low in relation to the rest
of the band. It sounds almost like she is standing in a pit with the band members arrayed
around her. This is correct. During the recording session, we think that the microphone
for the vocalist was hung, and the singer facing down when singing (may be reading her
lyrics). From the perspective of the microphone (reproduced by your speakers) it will
seem that the singer is very low.

When the speakers are optimally set-up, you will also hear the singer shift her weight
from one leg to the other during the first two or three lines of the song!

Step 2 – defining the height of the soundstage

Peace in the Heart, FIM SuperSounds! III, First Impression
Music

The loudspeakers define the window to the musical
performance. Hence, not only should individual performers
have sonic images, the entire performance should have a
realistic 3-dimensionality with height, width and depth.

In the first few seconds of this track, there is a shaker that
starts off mid-height and stage left (out to the left side of the

Copyright Genesis Advanced Technologies, 2009 Page 3

left loudspeaker), comes forward towards the listener and down as it flies between the
speakers, then goes away to the right, and disappears off into the top right corner of the
room – like a bird swooping in and flying away.

If the shaker goes away from the listener as it flies stage center, the system is inverting
phase. In this case, reverse the polarity of the speaker cables on both channels either at
the loudspeaker or at the output of the power amplifier (or use the phase invert on your
CD player or preamp if you have this ability).

Use the front-back tilt (caster angle) of the loudspeaker to define the height of the
soundstage. If the shaker does not fly off into the top right rear corner of the room, raise
the back of the right loudspeaker by giving the two spikes at the rear a 180deg twist
clockwise. Because the suspension spikes on Genesis loudspeakers use a #3/8-16 screw
thread, a 180deg twist raises it by 1/32 of an inch (about 0.8mm). Hence, you may need
to make several adjustments.

It may seem counterintuitive that to raise the soundstage you need to raise the back of the
loudspeaker. However, if you think of the plane of the loudspeakers being a window into
the soundstage, if you want to look up, the window will need to be pointing up – hence
the top of the window is leaning towards you. Imagine looking up, and you see that you
will be leaning backward to look up.

To lower the soundstage, you raise the front of the loudspeaker – which would be like if
you leaned forward to look down a downward-facing window.

Changing the caster angle of the loudspeaker will also change the tonality of the
loudspeaker. This is because angling the midrange/tweeter towards the ear of the listener
will make it more forward. After you have correctly adjusted the height of the
soundstage, adjust the midrange/tweeter controls until the children’s choir in this track
sounds like they are about 8 to 12 years old. If the choir sounds too young (5 to 8 years
old), lower the midrange level by turning the control anti-clockwise.

Step 3 – horizontal leveling of the soundstage

La Campanella, FIM SuperSounds! III, First Impression Music

The piece used for this is a close-miked piano. The low notes should be on the left of the
soundstage, and the high notes should be on the right of the soundstage. The piano should
sound leveled, and each higher note should be on the right of the last note. Imagine
looking at a piano keyboard, and each key emitting the note that it plays. However, as the
microphone was placed very close, the piano will sound slightly larger than the entire
space between the two loudspeakers.

If the right side of the keyboard seems to be tilted up (like a hockey stick), raise the left
side of the right loudspeaker (azimuth angle) by giving the two spikes on the left side a

Copyright Genesis Advanced Technologies, 2009 Page 4

90deg clockwise twist. If the entire keyboard seems to be tilted up from left to right, raise
the left side of both the right and left loudspeaker by giving the two spikes on the left side
a 90deg clockwise twist. Repeat until the keyboard sounds level.

If it is the left side of the keyboard that seems tilted up, raise the right side of the speaker.

On some systems, this seems to be impossible to do. The piano seems to be concentrated
in the middle, and the low notes closer to the listener, and the high notes further away.
Or, the note-to-note relationship seems to be confused. Some lower notes are further to
the right of higher notes while the overall relationship of low notes to the left and high
notes to the right seem to be correct. In general, we have found this to be caused by some
network-type cables, and/or CD players/DACs that shift phase at various frequencies.

Step 4 – depth relationship in the soundstage

Canon in D, This is K2HD Sound! First Impression Music

This piece is a percussion band with tympanis behind and
triangles, marimba, chimes, and other percussion
instruments. When correctly set-up, the tympanis can be
heard to be behind, each bar or key of the marimba is
distinct, and each rod of the chimes can also be heard.

When the high frequency instruments seem to be jumbled up
and confused, the bass level is mis-matched. It may sound
counter-intuitive, but bass is the foundation of music and a
problem at 50Hz will affect all harmonics above it – 100Kz,
150Hz, 200Hz, etc. Getting the bass level correct fixes small
problems with smearing of high-frequency information.

Turn the bass gain and crossover frequency up and down by very small increments, first
on the left speaker, and then on the right speaker until you can hear each bar or the
chimes and marimba. Once you have the bass level and crossover frequency correct,
concentrate on the relative positioning between the instruments.

If the tympanis sound forward of the triangles, move the seating position forward or back
in 5cm increments (assuming that you have the phase of the system correct in the first
place). If that does not work, move both loudspeakers forward or backward until the bass
depth is correct, in which case it may be necessary to re-adjust the image starting from
Step 1 again.

With some non-Genesis loudspeakers, it may not be possible to achieve this depth
relationship of bass and high-frequency instruments. This is due to the bass being out of
phase with the mids and highs. In general, these are ported loudspeakers. When listening

Copyright Genesis Advanced Technologies, 2009 Page 5

to a jazz quarter, you might find that the double bass is always in front of the piano player
on some of these speakers.

Step 5 – midrange attack and dynamics

Vivaldi Concerti con molto Strumenti RV560, Ensemble
Matheus

The string quartet can be one of the most difficult sounds for
a pair of loudspeakers to reproduce correctly. Bowed string
instruments, when heard live, have a roughness and grain.
Good string performers are able to impart energy and nuance
into their playing by their bowing technique.

In this piece, the players “attack” the first note of each phrase.
When the attack is missing, the piece sounds boring. Lots of
energy is generated as the string players leans into the strings
with the bow.

With many Genesis loudspeakers, the midrange dynamics and forwardness of the
loudspeaker can be adjusted with the midrange control. If the piece sounds laid back and
boring, raise the midrange level control. At the right setting, you can hear each player
attacking the piece to give it excitement.

If the tweeter control is too high, the sound becomes too glassy. Much too high, and the
strings are grainy due to distortion creeping in. Adjust the tweeter control until the sound
of the strings is correct. Imagine the rough hair of a horse’s tail on the bow being drawn
across the smooth string of a violin to make it vibrate.

If adjusting the midrange and tweeter does not give you the sound you want, it is also
possible to raise or lower the entire loudspeaker by adjusting all four spikes the same
amount. This has the effect of raising the midrange/tweeter level in relation to the ear
level of the seated listener. If the midrange/ear level is closer, the speaker will be more
forward. It is also possible to adjust the caster angle (front/back tilt) of the loudspeaker to
effect the same tonality change, but that will also affect the soundstage height. Adjusting
the height of the loudspeaker makes less of a change to soundstage height.

On non-Genesis loudspeakers without midrange and tweeter controls, it is sometimes
possible to adjust the midrange attack and dynamics with changes in the toe-in of the
loudspeaker. If the loudspeaker is directly pointed to the listener’s ears and the midrange
is too searing, toe the speakers in more so that the speakers point at a spot further in front
of the listener, or toe the speakers in less so that the speakers point at a spot behind the
listener. In this case, a compromise between tonality and image/soundstage will have to
be made.

Copyright Genesis Advanced Technologies, 2009 Page 6

Step 6 – brass, rhythm and pacing

Hernando’s Hideaway, Ros on Broadway, First Impression Music

Assuming that the first 5 steps are correctly carried out, this
piece of music will make your foot tap and your body sway
to the music. If rhythm and pace are a problem by now, it
may be necessary to try different cables and electronics.

As this recording was done in 1958, you may find that some
instruments are panned hard left and hard right. Nevertheless,
the dynamics of the piece are quite astonishing and you may
jump when the trumpets first come on.

The trumpets should sound golden and brassy, but they
should be forward and almost hurt as the sound hits you. If
they sound hard, harsh and steely or glassy, turn UP the
tweeter level. It may sound counter-intuitive, but the tweeter
works only at 3500Hz and above. The major harmonics of the brass is below this level.
Turning up the tweeter will bring more of the upper harmonics into play, and give the
brasses more “body” and more brassiness.

Step 7 – bass balance and crossover frequency

Sway, Michael Gold, First Impression Music

Deep male voices will tend to sway away from the speaker
with the lower bass level. Hence, listen to Michael Gold
sing, and if he seems to lean away from one side at the end
of each line, raise the bass gain on that side by a hair. If that
does not make a difference, raise the crossover frequency
by a hair.

If that gives you too much bass,
turn down the bass gain at the
side that he is leaning towards.

Step 8 – punch and bass dynamics

Don’t Crash the Ambulance, Shangri-La, Mark Knopfler

The mid-bass/woofer crossover point defines the amount of
“punch” you will get from rock music. If you feel a
hollowness between the vocals and bass guitar/drums, raise

Copyright Genesis Advanced Technologies, 2009 Page 7

the crossover frequency. If there is a fatness in the male voice, and/or a slowness in the
bass guitar, lower the crossover frequency.

On non-Genesis loudspeakers, you can sometimes increase the mid-bass punch by
moving the speakers closer to a wall, or move them closer together in order to increase
mid-bass coupling between the two loudspeakers.

Step 9 – bass balance and syncopation

Moonglow, Happy Coat, Shota Osabe Piano Trio, First Impression Music

This track is used to fine tune positioning and integration of a
subwoofer into a system that is not really full-range (like the
G7.1p or G6.1e), or the positioning of the bass towers in the
line source models (G1.2 or G2.2).

The relationship of the individual bass notes played by Ray
Brown helps you position the sub in relation to the side-walls.
Due to reflections with the long wavelengths of the bass,
small changes in the distance of the subwoofer to the sidewall
will change Ray Brown’s syncopated rhythm. It must sound
natural, and at the speed that two fingers can be used to pluck
a single string.

Move the subwoofer left and right in 5mm (1/5 inch)
increments until the bass rhythm sounds right.

The position of the sub in the vertical plane of the loudspeakers will change the way that
the bass frequencies waveform’s foundation relates to the high frequency waveforms.
Listen to Harold Jones’ play of the cymbals. If the relationship is correct, the cymbals
will sound like they are made of brass. If incorrect, the cymbals will sound like they are
made of steel or glass. This is a great illustration of how bass is the foundation of music.

Move the subwoofer forwards and backwards in 5mm (1/5 inch) increments until the
cymbals and high-hat sounds right.

This track can be used to fine-tune positioning of the full-range Genesis loudspeakers in
the room if necessary. There is considerable effort in doing this, as any change made here
will completely obliterate the image, soundstage, and tonality. In some difficult rooms, it
may be necessary to position the speakers asymmetrically. That is, the center line
between the two speakers and the listening seat is not down the center of the room.

Copyright Genesis Advanced Technologies, 2009 Page 8

Step 10 – maximum deep artificial bass levels

No Sanctuary Here, Roadhouses and Automobiles, Chris Jones, Stockfisch Records

Deep bass must have power and articulation. Unfortunately,
with much music (especially pop), the sound engineers have
equalized for speakers that are not truly full-range. Hence,
the bass levels are often tweaked so that the bass level goes
up as the frequency goes down. This can work pretty well
with loudspeakers that do not really have the full bass
frequencies to make them sound larger than they actually are.

With Genesis loudspeakers that have an amplified bass
section (often with up to 500W of power), such music can
often cause the woofers to bottom out and distort. This is one
such track. For the most powerful bass, raise the bass gain
until the woofer starts to distort, then turn it down a bit. This
setting should result in more than enough bass for most
listeners, while keeping things sane and safe to protect the woofers and amplifiers.

Copyright Genesis Advanced Technologies, 2009 Page 9