Page 1
Owner’s Guide
INTERMEZZO™4.1t
Page 2
IMPORTANT
SAFETY PRECAUTIONS
iii
INTERMEZZO 4.1t
Read First!
1. Read Instructions. All the safety and operating
instructions should be read before the product is
operated.
2. Retain Instructions.The safety and operating
instructions should be retained for future
reference.
3. Heed Warnings. All warnings on the product
and in the operating instructions should be
adhered to.
4. Follow Instructions.All operating and use
instructions should be followed.
5. Cleaning. Unplug this product from the wall
outlet before cleaning.Do not use liquid cleaners
or aerosol cleaners. Use a damp cloth for
cleaning.
6.Water and Moisture. To reduce the risk of fire
or electric shock, do not use this product
outdoors or near water–for example, near a
bathtub,wash bowl, kitchen sink or laundry tub; in
a wet basement; near a swimming pool;or the
like.
7.Accessories. Do not place this product on an
unstable cart, stand,tripod,bracket or table.The
product may fall,causing serious injury to a
child or adult, and serious damage to the
product. Use only with a cart, stand,tripod,
bracket or table recommended by the
manufacturer, or sold with the product.Any
mounting of the product should follow the
manufacturer’s instructions, and should use a
mounting accessory recommended by the
manufacturer.
8. Power Sources. This product should be
operated only from the 230 AC power source
indicated on the marking label. If you are not
sure of the type of power supply to your home,
consult your product dealer or local power
company.
9. Power-Cord Protection. Power-supply cords
should be routed so that they are not likely to be
walked on or pinched by items placed upon or
against them, paying particular attention to cords
at plugs, convenience receptacles, and the point
where they exit from the product.
10. Nonuse Periods. The power cord of the
product should be unplugged from the outlet
when left unused for long periods of time.
11. Overloading. Do not overload wall outlets or
extension cords,this can result in a risk of fire
or electric shock.
12. Object and Liquid Entry. Never push objects
of any kind into this product through openings,
as they may touch dangerous voltage points or
short-out parts that could result in a fire or
electric shock. Never spill liquid of any kind on
the product.
13. Servicing. Do not attempt to service this
product yourself, as opening or removing covers
may expose you to dangerous voltage or other
hazards.
Unplug this product from the wall outlet and
refer servicing to qualified service personnel.
14.Wall or Ceiling Mounting.The product should
be mounted to a wall or ceiling only as
recommended by the manufacturer.
15. Heat. The product should be situated away
from heat sources such as radiators, heat
registers,stoves or other products (including
amplifiers) that produce heat.
Page 3
iii Important Safety Precautions
1 Technology
1 Ceramic Metal Matrix Diaphragms
™
(C.M.M.D.)
1 Transducers
1 Room-Friendly Acoustical Design
2 Amplifier
2 Completing the Experience
2 Unpacking the Product/Included Accessories
3 Placement
4 Controls and Connections
5 Connection Methods 1–4
8 Room Adaptive Bass Optimization System
™
(R.A.B.O.S.)
9 Contents of the R.A.B.O.S.Test CD
9 R.A.B.O.S.Sound-Level Meter (RSLM)
14 What You Measure, What To Do
17 Adjusting the R.A.B.O.S.Equalizer
18 Final System Balance
19 Maintenance and Service
20 Specifications
21 R.A.B.O.S. Measurement Templates
23 Notes
Table of Contents
INTERMEZZO 4.1t OWNER’S GUIDE
iv
INTERMEZZO 4.1t
Page 4
1
INTERMEZZO 4.1t
Infinity Intermezzo 4.1t
This loudspeaker system represents a refinement of the principles that have guided Infinity’s loudspeaker designs for more than
30 years. Loudspeaker development is generally an evolutionary
process.New models usually perform slightly better than the ones
they replace.Over time,the subtle improvements add up and, when
the latest model is compared to a loudspeaker that is ten or
twelve years old,the disparity is unmistakable.
Every once in a while, a loudspeaker is developed that transcends
this pattern – its performance so remarkable, its design so stunning, its technology so advanced, it can truly be described as revolutionary.The new Infinity Intermezzo 4.1t loudspeaker system is
an elegant case in point.
The Intermezzo 4.1t system is a 4-way loudspeaker with its
mid-bass, midrange and high-frequency-driver array mounted atop
a 12", 850-watt powered subwoofer. With its proprietary Ceramic
Metal Matrix Diaphragms™, powerful BASH
®
amplifiers and
sophisticated, yet refined, dividing networks, the Intermezzo 4.1t
will breathe life into any musical or cinematic performance and
touch the soul of the listener.
The Intermezzo 4.1t is the consummation of Infinity’s quest to
apply “science in the service of art.”
The Intermezzo 4.1t system incorporates several innovative technologies that, when implemented by exceptional engineering talent
after hours upon hours of subjective listening evaluations,result in a
loudspeaker that realistically and accurately reproduces the signal
source with minimal distortion and coloration.
Ceramic Metal Matrix Diaphragms™(C.M.M.D.)
For decades, loudspeaker engineers have known that the ideal
transducer should be stiff,yet light, and have high internal
damping (damping is a material’s ability to absorb energy).
Infinity’s C.M.M.D. transducer is a significant advance in
transducer technology.Ceramic,a class of material new to
loudspeakers, offers better performance than that of other
materials. Ceramic is stiffer than metals and lighter than plastics
and typical composite materials; it also offers improved damping.
These ceramic-based transducers take us a giant step closer to
the ever-elusive “ideal transducer.”
In tweeters, C.M.M.D.technology offers stiffness and damping
superior to that of traditional metals and soft-dome materials.
In woofer and midrange applications,it offers accurate pistonic
operation over the entire frequency range of the driver,
completely eliminating coloration due to cone breakup and
dramatically reducing distortion.And when ceramic-metal-matrix
transducers are exposed to moisture, sunlight or extreme
temperatures,their performance does not deteriorate.
Transducers
In addition to ceramic diaphragms,all the transducers incorporate
magnetic shielding and rigid cast-frames that,through our FEA
computer modeling and scanning-laser-vibrometer measurements,
have been optimized to reduce resonances.This ensures minimal
distortion and incomparable performance.
The 12" low-frequency transducer is the embodiment of
uncompromised driver design.The ceramic-metal-matrix cone is
attached to a rigid cast-aluminum frame,through a compressionmolded, butyl-rubber surround.The motor assembly incorporates a
vented polepiece for maximum heat dissipation with negligible air
turbulence.The frame itself is also vented to further improve heat
dissipation.The motor structure uses a 3", edge-wound, copper
voice coil for high power handling and minimal power
compression.
To maximize system performance, the flat-spider assembly and the
cone are mounted to different points on the fiberglass former,
increasing reliability and reducing distortion, especially at high
output levels.An extra-thick top plate and dual-magnet structure
are utilized to allow for huge peak-to-peak driver excursions,with
significantly lower distortion and a more linear frequency
response than is true of typical drivers.
When installed in its heavily braced and reinforced elliptical
enclosure and coupled with a powerful 850-watt amplifier and
Infinity’s proprietary Room Adaptive Bass Optimization System
™
(R.A.B.O.S.),this 12"low-frequency transducer allows the
Intermezzo 4.1t system to deliver bass that will cleanly and naturally reproduce the lowest notes of a pipe organ or the loudest explosions from last summer’s hottest action films.
Room-Friendly Acoustical Design
Driver quality is not the only requirement for exceptional
performance. Infinity’s engineers understand that the room in
which the loudspeaker is placed can greatly affect its
performance.To ensure that Intermezzo 4.1t loudspeakers will
sound exceptional in even the most unexceptional listening
environment,Infinity has developed two ways to solve most roomgenerated problems.The first is its proprietary Room Adaptive
Bass Optimization System™. With a single band of parametric
equalization, the Intermezzo 4.1t can be adjusted to tame any
problematic room bass resonances below 80Hz.
There is a completely different set of room-related problems that
has to do with loudspeaker directivity and that can affect the
reproduction of mid and high frequencies. One characteristic of
forward-facing loudspeakers is that the sound output lessens as
one moves away from the principal axis.This happens both
horizontally and vertically and it means that radiated sounds that
are reflected from the floor, ceiling and side walls will be lower
in amplitude than direct, forward sound.This is usually a good
thing. But, if the dispersion characteristics of the loudspeaker are
different at various frequencies, the sound quality of the reflected
sounds will be very different both from each other and from the
T
ECHNOLOGY
Page 5
Power
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
-11
-13
-15
-18
U-R
Batt
first (i.e.,direct) sound.The ears don’t ignore these differences;
they perceive them as coloration, or as sound quality that’s been
degraded.The Intermezzo 4.1t has been carefully designed to
maintain a directional pattern that is similar at every important
angle, on and off axis.The positive result is that both direct and
reflected sounds arriving at the listeners’ ears have similar timbral
signatures.
Amplifier
BASH®is an amplifier-power-supply technology that increases
efficiency by reducing power dissipation in the output section.The
BASH topology uses a high-efficiency,fast-response,switch-mode
power supply that provides the main voltage rails for a linear ClassAB amplifier. By varying the output of the power supply with the
audio signal being amplified, a constant voltage drop across the
output transistors of the linear amplifier can be maintained.This
means that the power dissipation in the output transistors is greatly
reduced.
The result is an extremely efficient audio amplifier that does not
compromise audio performance.
Completing the Experience
The technology and performance that make Infinity Intermezzo
loudspeakers ideal for music listening also make them the perfect
digital multichannel loudspeaker system.To complete a hometheater system, Infinity has designed, to the same precise standards
as the Intermezzo 4.1t, a matching 3-way center-channel
loudspeaker, the Intermezzo 3.5c. In addition,Intermezzo 2.6
bookshelf loudspeakers are available for use as full-range surround
channels.
We hope you enjoyed this brief introduction to the technology of the
Intermezzo 4.1t loudspeaker system. If you would like to further
explore the technology and design of the Intermezzo loudspeaker
system, please ask your Infinity dealer for the C.M.M.D. and
R.A.B.O.S.White Papers.The White Papers can also be downloaded
from Infinity’s Web site at www.infinitysystems.com.
Unpacking the Product
Finish unpacking the speakers and check the contents.If you suspect damage from transit,report it immediately to your dealer
and/or delivery service.Keep the shipping carton and packing materials for future use.
Included Accessories . . .
R.A.B.O.S. Kit (1) (Included with Left Subwoofer Only)
Sound-Level Meter R.A.B.O.S.Test CD
Graph Templates Bandwidth Selector
Adjustment Key
Grilles (2) Decorative
Side Panels
(2)
AC Cord
2
INTERMEZZO 4.1t
Page 6
3
INTERMEZZO 4.1t
The Infinity Intermezzo 4.1t is designed to offer excellent
performance in any listening room or home-theater system.
However, the following placement guidelines and suggestions will
start you on your way to achieving optimum performance.
Remember, these are guidelines.We suggest you experiment with
positioning the loudspeakers to determine their ideal placement
in your particular listening room.
2-Channel or Front Left and Right
in a Home-Theater System
Generally,the system should be placed at least three feet away
from the side walls. In 2-channel applications, the two speakers
should be equidistant from your primary listening position.We
recommend that the angle formed between the speakers and the
listening area be between 45° and 60°. For example, if the speakers are 8' apart, your listening position should be 8' to
12' from each speaker. See Figure 1.With wider speaker separations, it may be advantageous to slightly angle the speakers, aiming them toward the listening area.
When used as part of a home-theater system, you may find that
you achieve excellent performance with the left and right speakers spread apart even further.Feel free to experiment with the
placement of the speakers to achieve the best possible sound in
your listening room.
Normally,it is recommended that the driver of each subwoofer
face toward the outside,and this is how the subs are packaged.In
some rooms,however, the system may perform better with the
woofers facing the inside.Feel free to experiment.
Surround Channels in a Home-Theater System
When used as part of a Dolby* ProLogic*,THX®, or discrete 5.1channel home-theater system, the surround speakers should be
placed at the sides of,and directed toward,the main listening
area. See Figure 2. If there are several rows of seating, place the
speakers, as described above, perpendicular to,or slightly
behind, the last row of seating.
When used as part of a 7-channel music or home-theater system,
place the side speakers at the sides of and directed toward the
main listening area. If there are several rows of seating, place the
speakers, as described above, perpendicular to the middle row of
seating.The rear speakers should be placed on the rear wall facing the front of the room.Each rear speaker should be about 1/3
of the way into the room, but never to the outside of the listening
area. See Figure 3.
As mentioned earlier, Intermezzo 4.1t offers several ways to finetune the system for optimum performance in any listening room.
These techniques, as well as Infinity’s exclusive R.A.B.O.S.system,
will be discussed in detail later in this manual.
PLACEMENT
➢
➢
SOFA
FRONT
LEFT
LEFT
SURROUND
FRONT
RIGHT
RIGHT
SURROUND
TV
CENTER
➢
➢
➢
➢
SOFA
FRONT
LEFT
LEFT
SIDE
REAR
LEFT
FRONT
RIGHT
RIGHT
SIDE
REAR
RIGHT
TV
CENTER
➢
➢
SOFA
LEFT
CHANNEL
RIGHT
CHANNEL
FIGURE 1
FIGURE 2
FIGURE 3
Page 7
Speaker-Level Input
Low-Level-Input Connector
Low-Level-Output Connector
Bass-Mode Switch
High-Pass Filter Switch
AC-Cord Input
Power Switch
Subwoofer-Level Control
R.A.B.O.S. Controls
Center-Frequency Adjustment
R.A.B.O.S.Level
Bandwidth Adjustment
C
ONTROLS AND CONNECTIONS
Rear Panel
Front Panel
4
INTERMEZZO 4.1t
– +
INPUTS
INTERMEZZO 4.1t
220-240V-50HZ 6A
AC FUSE
6A 250V
POWER
®
ON
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
LOWLEVEL
INPUT
3
2
1
OFF
LOWLEVEL
OUTPUT
BASS
MODE
HIGH-PASS
FILTER
F
L
W
›
Page 8
The Infinity Intermezzo 4.1t offers unprecedented flexibility for
connecting the system to any type of audio or home-theater system.
Consult the table at right to determine which system description
most closely matches your own, then follow the hook-up method
corresponding to that system.
If none of these system configurations seem to match yours,consult
your dealer or Infinity customer service for direction on how best to
hook up your system.
For Methods 2, 3a, 3b and 4,make sure all bass-management features are properly set.The Audio channels should all be set to
“Small”or “High-Pass” and the subwoofer set to “On.”
220-240V-50HZ 6A
INPUTS
POWER
ON
HIGH-PASS
FILTER
BASS
MODE
AC FUSE
6A 250V
OFF
– +
LOWLEVEL
INPUT
LOWLEVEL
OUTPUT
3
2
1
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
®
INTERMEZZO 4.1t
AMPLIFIER/RECEIVER
SPEAKER
OUTPUTS
(ONE CHANNEL SHOWN)
––
LOOSEN TERMINALS
INSERT BARE END;
TIGHTEN TERMINALS
SET BASS MODE
TO POSITION 3
SET HIGH-PASS SWITCH
TO ON
++
1.
2.
3.
4.
BLACK =
–
NO STRIPE = –STRIPE =
+
RED =
+
220-240V-50HZ 6A
INPUTS
POWER
ON
HIGH-PASS
FILTER
BASS
MODE
AC FUSE
6A 250V
OFF
– +
LOWLEVEL
INPUT
LOWLEVEL
OUTPUT
3
2
1
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
®
INTERMEZZO 4.1t
PREAMP OUTPUTS
L
R
(ONE CHANNEL SHOWN)
L
R
AMPLIFIER INPUTS
BLACK = –
STRIPE = +
RED = +
NO STRIPE = –
LOOSEN TERMINALS
INSERT BARE END;
TIGHTEN TERMINALS
SET BASS MODE
TO POSITION 2
SET HIGH-PASS SWITCH
TO OFF
1.
2.
3.
4.
AMPLIFIER/RECEIVER
SPEAKER OUTPUTS
SPEAKER
OUTPUTS
LEFT RIGHT
––
++
System Type Connection Methods
2-Channel receiver or integrated amplifier
that has no subwoofer output or
Pre-out/Main-In connectors 1
2-Channel receiver or integrated amplifier
with preamp output and input connectors 2
2-Channel system with separate preamplifier
and power amplifier 2
Dolby Pro Logic with THX, Dolby Digital,
or DTS
®
receiver with a filtered subwoofer
(or LFE) output connector 3a
Dolby Digital or DTS processor with separate
power amplifiers or multichannel amplifier 3b
Non-THX certified Dolby Pro Logic receiver
with full-range subwoofer outputs 4
Method 1
Method 2
5
INTERMEZZO 4.1t
Page 9
220-240V-50HZ 6A
INPUTS
POWER
ON
HIGH-PASS
FILTER
BASS
MODE
AC FUSE
6A 250V
OFF
– +
LOWLEVEL
INPUT
LOWLEVEL
OUTPUT
3
2
1
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
®
INTERMEZZO 4.1t
SURROUND RECEIVER
SUBWOOFER (LFE)
OUTPUT
TO SECOND 4.1t
Y-Connector
BLACK =
–
NO STRIPE = –STRIPE =
+
RED =
+
LOOSEN TERMINALS
INSERT BARE END;
TIGHTEN TERMINALS
SET BASS MODE
TO POSITION 1
SET HIGH-PASS SWITCH
TO OFF
1.
2.
3.
4.
(ONE CHANNEL SHOWN)
–
+
FRONT SPEAKER
OUTPUTS
220-240V-50HZ 6A
INPUTS
POWER
ON
HIGH-PASS
FILTER
BASS
MODE
AC FUSE
6A 250V
OFF
– +
LOWLEVEL
INPUT
LOWLEVEL
OUTPUT
3
2
1
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
®
INTERMEZZO 4.1t
AMPLIFIER PROCESSOR
SUBWOOFER (LFE)
OUTPUT
TO SECOND 4.1t
SPEAKER
OUTPUT
INPUT
– +
L
R
FRONT CHANNEL
OUTPUT
L
R
(ONE CHANNEL SHOWN)
LOOSEN TERMINALS
INSERT BARE END;
TIGHTEN TERMINALS
SET BASS MODE
TO POSITION 1
SET HIGH-PASS SWITCH
TO OFF
1.
2.
3.
4.
BLACK = –
NO STRIPE = – STRIPE = +
RED = +
Y-Connector
Method 3a
Method 3b
6
INTERMEZZO 4.1t
Page 10
7
INTERMEZZO 4.1t
220-240V-50HZ 6A
INPUTS
POWER
ON
HIGH-PASS
FILTER
BASS
MODE
AC FUSE
6A 250V
OFF
– +
LOWLEVEL
INPUT
LOWLEVEL
OUTPUT
3
2
1
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
®
INTERMEZZO 4.1t
RECEIVER
SUBWOOFER
OUTPUTS
L
R
SPEAKER
OUTPUTS
RIGHT
(ONE CHANNEL SHOWN)
– +
BLACK = –
NO STRIPE = – STRIPE = +
RED = +
LOOSEN TERMINAL
INSERT BARE
END; TIGHTEN
TERMINAL
SET BASS MODE
TO POSITION 2
SET HIGH-PASS SWITCH
TO ON
1.
2.
3.
4.
Method 4
Final Positioning
After correctly connecting the Intermezzo 4.1t and verifying that
both the subwoofer and main section portions are playing,it is
time to optimize the system for your particular listening room.
Earlier, you placed the loudspeakers in their general location.
Finding the exact location for optimum performance sometimes
only involves moving the speakers up to a few inches in any
direction.We urge you, therefore, to experiment with placement
until your speakers deliver their full potential.When the speakers
are moved inward (toward each other) there is generally better
focus of instruments and vocalists;however, moving the speakers
too close together can reduce the spaciousness of the stage
effect and you may need to experiment with the trade-off between
focus and imaging. If your listening room is larger than average
and your listening position is relatively far from the speakers,
wider placement of the speakers may be required.
Page 11
Infinity R.A.B.O.S.is a simple-to-use,yet sophisticated, low- frequency calibration system. It is designed to work in conjunction
with Infinity Intermezzo self-amplified subwoofers. Each
Intermezzo subwoofer contains a parametric equalizer that you
will adjust as indicated by the R.A.B.O.S.test results.Following
these instructions, you will optimize the Intermezzo subwoofers’
response characteristics to complement their environment.This
will dramatically improve the sound of your system.The optimization process takes less than 30 minutes.
The R.A.B.O.S. Kit Includes
the Following Components:
• Specialized Sound-Level Meter
• Test CD
• Instructions
• Measurement Templates
• Width Selector
• Adjustment “Key”
What R.A.B.O.S.Does
The Test CD provides specially designed signals you will use
while performing measurements.The sound-level meter provided
is used to “acquire”the information needed for adjustments.You
will create a response plot on the Measurement Template. Using
the Width Selector, you will then determine the appropriate equalizer settings.The “Key” is used to adjust the parametric equalizer
built into each Intermezzo subwoofer. After adjustment,the test
sequence is repeated to confirm your settings.
The R.A.B.O.S. Goal
It is a fact of audio that what we hear at low frequencies is determined as much or more by the listening room than by the loudspeaker itself.Placement of the loudspeakers and listeners and
the acoustical characteristics of the room surfaces are all important determinants of bass quantity and quality.In most practical
situations, there is little that can be done about this, except for
patient trial-and-error repositioning of the loudspeakers and listeners. Usually,the practical constraints of a living space and the
impracticality of massive acoustical treatment mean that equalization is the only practical solution.
Professional sound engineers routinely employ sophisticated
measurement systems and equalizers to optimize speakers to the
installation.This has never been practical for the home audiophile.This is why R.A.B.O.S. was created. R.A.B.O.S. enables you to
identify the dominant low-frequency response characteristic of
your room. Once you know the problem, R.A.B.O.S. provides the
tools needed to optimize the low-frequency characteristics of the
speakers to the room they are in,exactly as the professional
sound engineers do it.
Performing R.A.B.O.S.Tests
These instructions assume you have already installed your
Intermezzo speakers according to the information provided in the
Owner’s Guide.It is also assumed that all equipment in your
entertainment system is interconnected properly and is in good
operating condition.
Preparations
Before beginning R.A.B.O.S. tests, please check the following:
• Make sure all three R.A.B.O.S. controls on the Intermezzo 4.1t
are turned fully clockwise.
• Make sure the loudness contour (if any) on your receiver/
processor/preamp is turned off.
• Set the tone controls (Bass and Treble) to their center or
flat positions.
• Bypass all surround and effects features of your receiver/
processor/preamp or set to Stereo Bypass.
• If you are using a multichannel surround processor or receiver,
make sure all bass-management features are properly set.The
Audio channels should all be set to “Small” or “High-Pass” and
the subwoofer set to “On.”
You must have a CD player in the system.A CD player remote control is quite convenient but not essential.
For best results,it is recommended that all major furnishings are
in place and that all doors and windows in the listening area are
in their normal positions.That is, if you normally listen to music
with all doors closed, then this is how they should be during this
procedure.
Try to minimize ambient noise while running tests.Turn off all
major appliances and any air conditioning or furnace fans.These
can create significant subsonic noise that may be barely perceptible but which can wreak havoc on low-frequency measurements.
Critical information is highlighted with this mark:
Helpful hints are marked with this symbol:
ROOM
ADAPTIVE B
ASS OPTIMIZATION SYSTEM
8
INTERMEZZO 4.1t
Page 12
9
INTERMEZZO 4.1t
Power is switched on or off by pressing the button directly below the
bar-graph window.When the unit is on, one or more LEDs will always
be illuminated.The function of the LEDs is described in the following
section.
• Power-On/Low Signal: This is indicated by the illumination of
any LED on the bar graph. If the sound level in the room is below
the measurement range of the instrument,a green LED near the
bottom of the bar graph will be illuminated.
• Normal Measurements:When the sound level is within the range
of the RSLM, the green LED will be off and one of the red LEDs in
the bar graph will be illuminated, indicating the relative sound
level,in decibels (dB).
• Over-Range: If the sound level exceeds the range of the meter,
0dB through -5 will all light simultaneously.
• Low Battery: When the battery voltage is too low for accurate
measurements,an LED at the bottom of the bar graph will be illuminated. Replace the battery.
Do not attempt measurements when this light is on.
RSLM Placement
Determine where in the room you are most likely to sit when listening to music or watching a movie.This is where you will want
to hold the RSLM during measurements.The RSLM should be oriented so it can be easily read and held at your seated ear level
during tests.
You must use this same position for all tests.
The RSLM can be mounted on a standard camera tripod.
This will ensure the best results.
Tracks 53–62 of the R.A.B.O.S.Test CD are test tones that can be
used for general diagnostics of your system.They are not used
for R.A.B.O.S.settings.
THE R.A.B.O.S. SOUND-LEVEL METER (RSLM)
The RSLM is a battery-operated, handheld, acoustic measurement
device specifically designed for Infinity R.A.B.O.S. On the face of
the instrument is a light-emitting diode (LED) bar graph that indicates relative sound level.There are also indicators for
power-on,out-of-range signals and a low battery.
Track Title
1 Welcome
2 Set System Test Level
3 Set Subwoofer Test Level
4 100Hz Test
5 95Hz Test
6 90Hz Test
7 85Hz Test
8 80Hz Test
9 77Hz Test
10 72Hz Test
11 66Hz Test
12 63Hz Test
13 56Hz Test
14 52Hz Test
15 49Hz Test
16 46Hz Test
17 43Hz Test
18 40Hz Test
19 38Hz Test
20 35Hz Test
21 30Hz Test
22 26Hz Test
23 24Hz Test
24 22Hz Test
25 21Hz Test
26 20Hz Test
27 Intro to Quick Retest
28 Quick Retest 100Hz
29 Quick Retest 95Hz
30 Quick Retest 90Hz
31 Quick Retest 85Hz
Track Title
32 Quick Retest 80Hz
33 Quick Retest 77Hz
34 Quick Retest 72Hz
35 Quick Retest 66Hz
36 Quick Retest 63Hz
37 Quick Retest 56Hz
38 Quick Retest 52Hz
39 Quick Retest 49Hz
40 Quick Retest 46Hz
41 Quick Retest 43Hz
42 Quick Retest 40Hz
43 Quick Retest 38Hz
44 Quick Retest 35Hz
45 Quick Retest 30Hz
46 Quick Retest 26Hz
47 Quick Retest 24Hz
48 Quick Retest 22Hz
49 Quick Retest 21Hz
50 Quick Retest 20Hz
51 Final System Level Adjustment
52 Final Subwoofer Level Adjustment
53 Wide Band Pink Noise,Left
54 Wide Band Pink Noise,L+R
55 Wide Band Pink Noise,Right
56 Wide Band Pink Noise,L-R
57 Wide Band Pink Noise,Uncorrelated
58 1 to 4kHz Pink Noise,Left
59 1 to 4kHz Pink Noise,L+R
60 1 to 4kHz Pink Noise,Right
61 1 to 4kHz Pink Noise,Left-R
62 1 to 4kHz Pink Noise,Uncorrelated
FIGURE 4
R.A.B.O.S. Sound-Level Meter
Power
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
-11
-13
-15
-18
U-R
Batt
FIGURE 5
RSLM bar-graph indications
Contents of the R.A.B.O.S.Test CD
On
Under-range
Measurement
In-range
Over-range
Low
Battery
Page 13
Initial System-Level Setting
The following steps will set the playback level of the system to the
correct level for all tests that follow.
Turn the system volume to minimum.
Cue the R.A.B.O.S.Test CD to Track 2 and press Pause II.This
track will produce band-limited pink noise in both the left and
right channels.
Press Play
›
With the RSLM positioned as described above,
increase the system volume until the RSLM display indicates -10dB.
See Figure 6.
When you have completed this
adjustment, press Pause II.
Setting the Subwoofer Test Level
Each of the following test tracks is about one minute
long.This is normally much longer than required. Press Pause II
or advance to the next test as soon as you are ready.
This step will set the subwoofer levels for measurement purposes.The objective is to scale the subwoofers’output to make full
use of the RSLM indicator range. Scaling is optimum when a 0dB
reading is observed on the highest peak without triggering the
over-range indication. Later,you will rebalance
the subwoofers to the main speakers.
The Intermezzo subwoofers should be shipped with the three
R.A.B.O.S.controls,, & , set to fully clockwise positions,
and all measurements should be conducted with their level controls in this position. Confirm this setting before you begin this
test.The level control should be set to the mid position (5).
Cue Track 3 and Pause II. Track 3 continuously steps through all
subwoofer test tones for approximately 1 minute.Each tone will
play just long enough for the RSLM to give a stable reading.
To get accurate measurements, it is necessary to play
the woofers quite loud.The 0dB indication is about 94dB.
At this level,frequencies below 100Hz can cause doors, windows,
furnishings and other objects in the room to vibrate.This frequently results in clearly audible buzzes and/or rattles that come
and go as each test tone plays. Strong buzzes not only sound bad,
they can cause measurement errors.
If you hear a buzz or rattle during this test, it is highly recommended that you locate the source and eliminate its effects.This
is actually a valuable room-diagnostic tool.
Press Play G.As Track 3 plays,watch the RSLM carefully. Watch
for peak readings.The peak reading may be no more than a brief
flash. Readjust the subwoofers’ level control until the peak
level observed is 0dB without triggering the over-range indication. See Figure 7.
When finished, press Pause II.
Performing Low-Frequency Measurements
Read the following instructions fully before beginning tests.
For the following steps,you will need a Measurement Template
and a pencil.
FIGURE 8
R.A.B.O.S. Measurement Template
F
IGURE 6
RSLM indicating the correct system level to begin tests (-10dB)
FIGURE 7
Adjusting the subwoofer levels for a 0dB peak
10
INTERMEZZO 4.1t
Page 14
11
INTERMEZZO 4.1t
Each of the following tracks produces a low-frequency test tone.
The range of these tests is from 100Hz down to 20Hz.The frequency of each test is announced before it begins.The first test is
the highest frequency (100Hz); therefore,you will be marking the
template from right to left. Each frequency point is listed across
the bottom of the Measurement Template (this is called the Xaxis). See Figure 8 on the previous page.The vertical scale on the
left side of the template indicates relative level, in dBs (the Yaxis).The template’s vertical scale matches that of the RSLM bar
graph.
Cue Track 4 and Pause II .
From now on, you will want to keep your CD player’s
remote control handy.
Press PlayG.As Track 4 plays, observe the level indicated on
the RSLM.
EXAMPLE:The test frequency is 100Hz and the level indicated is
-2dB. Find the intersection of 100Hz (X-axis) and -2dB (Y-axis).
Place a dot at that point. See Figure 9.
It takes a few seconds for the RSLM reading to stabilize,
especially at very low frequencies.Don’t rush.Give each test adequate time for the meter to stabilize.
At the bottom of the bar graph is a green “ON”LED.This LED is
illuminated whenever the sound level is below the measuring
range of the RSLM. If this occurs during a test, place a dot at the
intersection of the test frequency and the bottom frame of the
template. See Figure 10.
When finished, press Skip to advance to the next test. Repeat
the process described above for Tracks 5 through 26.
When you have completed the 23 measurements, you are ready to
analyze the data and make corrective adjustments.The completed
Measurement template will look something like the example in
Figure 11.
Now connect the dots as shown in Figure 12.
This will make interpretation of the data much easier.
FIGURE 9
Locating a test point
FIGURE 10
Indicating an under-range test
FIGURE 11
Completed R.A.B.O.S.template
FIGURE 12
Test example with dots connected
2
Page 15
What Does a Parametric Equalizer Do?
The R.A.B.O.S.system uses one band of parametric equalization
for response correction. Parametric equalizers are the most versatile class of filters.The effect an equalizer will have on the signal is dependent on three parameters.
Frequency:The equalizer will have maximum effect at one frequency,usually described as the center frequency.
Level: This refers to the amount of cut (in dBs) the equalizer
is set for.
Bandwidth: Defines the range of frequencies over which the
equalizer will have an effect.On the Intermezzo,this adjustment is
abbreviated as “Width.”
Only parametric equalizers allow independent adjustment of all
three parameters.
These will be explained more fully in the sections that follow.
Completing the Measurement Template
Along the bottom of the Measurement Template are three fields
where you will enter the equalizer settings needed to complete
system optimization.
These instructions are based on the example in Figure 12. Use
this tutorial to become familiar with the process. Strategies for
several other test results will be presented later.After you have
completed these three entry fields,you will be ready to perform
the adjustments, completing R.A.B.O.S. optimization.
Frequency
The frequency of the R.A.B.O.S. equalizer may be adjusted to
any one of nineteen frequencies from 20Hz to 80Hz.This defines
where you are going to apply equalization.
Width
The frequency range of the R.A.B.O.S. equalizer may be set from
5% to 50% of an octave in 21 steps.This setting defines
how much of the subwoofers’output will be equalized.
Width is expressed as a percentage of an octave. For example, a
width setting of 25% means the equalizer will affect a frequency
band of 1/4 of an octave; 1/8 of an octave above and 1/8 of an
octave below the center frequency.
The octave is a logarithmic expression. From any point in
the spectrum, one octave above or below that point is always double or half the frequency.Therefore, one octave above 100Hz
would be 200Hz. One octave below 100Hz is 50Hz.
In the section that follows, we will discuss the use of the
Width Selector.
FIGURE 13
Effect of adjustable width
12
INTERMEZZO 4.1t
Page 16
Using the Width Selector
Read the following instructions carefully.The example
presented may not look like the graph you just created.
Focus on the concepts and techniques presented. Specific
cases will be discussed later.
You will use the Measurement Template just completed and the
Width Selector to determine the correct width setting.The Width
Selector graphically depicts a single resonant peak.The peak
looks similar to a slice of a pie. See Figure 14.At the top of the
Selector is a pull tab.When you slide the tab up and down,the
width of the pie slice becomes narrower and wider, respectively.
The pointers on the sides of the button point to the bandwidth that
corresponds to the width of the slice.
Place the Width Selector over the Measurement Template, positioning the center rivet of the Selector over the response peak, as
shown in Figure 15.Be sure to align the horizontal lines of the
Width Selector with those of the Measurement Template.
Apply pressure to the upper and lower left corners of the Selector
using the thumb and forefinger of your left hand.Now gently slide
the tab up or down until the adjustable slice most closely fits the
response data. See Figure 16.
FIGURE 14
Width Selector
FIGURE 15
Placement of the
Bandwidth Selector
FIGURE 16
Selector adjusted for
the “best fit”
INTERMEZZO 4.1t
13
Page 17
The pointer on the slider will indicate the correct width setting.
Enter this number in the Width field of the Measurement Template.
In our example, the width is 12.5%.
It is not realistic to expect a perfect fit.Acoustic measurements encompass the behavior of not only the speakers but
of the room and its contents as well. Reflected energy,standing
waves and ambient noise all add their part. Determining the best
width setting nearly always requires compromise.
Level
This setting will define the amount (level) you want to reduce the
peak, in decibels.
The R.A.B.O.S.level adjustment is limited to attenuation only, and
is adjustable from 0dB to -14dB.After optimization, the R.A.B.O.S.
equalizer will eliminate the largest low-frequency peak;therefore,
the broadband bass level can be increased without overpowering
the midrange frequencies.R.A.B.O.S. applies this compensation
automatically.
You will use the Width Selector as an aid in determining the correct level setting. Place the Width Selector as described above
and adjust it to the correct width.Observe the first frequency point
on the high-frequency side of the peak that no longer follows the
slope of the Width Selector. In this example this is 56Hz.Calculate
the average level of the readings from 56Hz up to 100Hz;that is,
10 data points in this example.
Whenever your answer has a remainder,always round down (disregarding the negative [-]) to the next whole number.
In our example, you would enter 9 in the attenuation field.
This may not be the best method in all cases.The next section
contains several other examples.
What You Measure,What To Do
As stated earlier, it is not possible to anticipate the effect of every
possible listening environment.However, most residential sound
rooms share many characteristics, and their dimensions fall into
a range that make some response irregularities far more likely
than others.On the following pages are examples of what you may
encounter. Following each example is a strategy for correction.
Compare your measurement results with the following examples.
Find the one that best fits your graph and follow the instructions
presented for that scenario.
Remember, when looking for a match, look at the
descriptive characteristics, not any specific frequency or level.
Each of these examples can occur at any frequency, bandwidth
and level.It is unlikely that your test results will be exactly as
depicted in these examples.
Example 1. Single Dominant Peak:
This is the most common result of speaker/room interaction.
Apply the Width Selector as described in Figure 15. Align the center-line of the Selector over the center of the peak, as shown in
Figure 16.Now adjust the Selector until you have achieved the “best
fit.”The slider now points to the correct bandwidth setting. In this
example, the frequency is 43Hz and the best-fit width is 12.5%. Fill
in the Width and Frequency fields provided on the template.
Determine the appropriate level using the technique described
earlier. In this example, -9dB would be best.Enter the level in the
field provided.
Skip to the “Adjusting the R.A.B.O.S.Equalizer”
section on page 17.
FIGURE 17
Single dominant peak
56Hz 63Hz 66Hz 72Hz 77Hz 80Hz 85Hz 90Hz 95Hz 100Hz
-9 -10 -8 -9 -10 -9 -8 -10 -10 -9 -
92 ÷ 10 = -9.2
14
INTERMEZZO 4.1t
Page 18
15
INTERMEZZO 4.1t
Example 2. Two Response Peaks:
Characterized by two response peaks, approximately equal in
amplitude and width.This requires that you make a choice
between the two peaks. In situations like this, the higher frequency peak will always be more audible and objectionable.Response
peaks below 45Hz, unless extreme, can actually be beneficial
toward achieving visceral impact. Perform corrections on the
upper frequency peak.
Apply the Width Selector as described above.Align the center-line
of the Selector over the center of the higher frequency peak.Now
adjust the Selector until you have achieved the “best fit.”The slider
now points to the correct width setting.In this example,this is at
52Hz.The best-fit width is 28%. Fill in the Width and Frequency
fields provided on the template.
Determine the appropriate level using the technique described
earlier.This calculation will indicate a -8dB setting. However, this
peak does not reach the 0dB level as the lower peak does.
Therefore, a -8dB setting would be excessive.The 52Hz peak
stops at -2dB. Subtracting 2 from 8 yields the correct setting,
-6dB. Enter -6 in the Level field.
Skip to the “Adjusting the R.A.B.O.S.Equalizer”section on page 17.
Example 3. Peak Adjacent to a Dip:
Response dips can occur at any frequency, sometimes immediately adjacent to the peak you want to correct.Two examples are
shown, one immediately above and one immediately below the
peak. Deep response dips such as these are caused by destructive
wave interference. Destructive interference dips occur only in one
spot within the room. It is not uncommon to completely eliminate
the effect by moving the RSLM to a different location. Note that
this does not eliminate the dips.We have simply moved away from
them. Sometimes only a few inches are required.
Do not attempt to correct this condition with equalization.
If you encounter dips like this, take the following steps:
FIGURE 18
Two response peaks
FIGURE 19
Dip above or below peak
Page 19
1. Select a new test position: Cue the test track corresponding to
the center frequency of the dip.In the first example in Figure 19,
you would play Track 13 (56Hz). Press Play G.You will see a
reading very close to what you had before. Now, slowly move the
RSLM around the area,if possible remaining within about a foot
of the original test point.As you move the RSLM, watch the bar
graph.You will observe large level fluctuations. Find a position
that restores the level to approximately that of the adjacent test
points.You may find it helpful to move the RSLM vertically. Dips
can be oriented in any axis.The position that restores the level to
about that of the adjacent test points is your new test position.
2. Reset the test level: Return to the section “Setting the
Subwoofer Test Level”on page 10.Perform the procedure
as described.
3. Repeat the measurements: Now that you are familiar with the
measurement process,you can go much faster by using Tracks
27–50.These tracks contain all the test tones necessary for measurement. However, each test is only about three seconds,and there
is no frequency announcement.The first test is 100Hz. Just place
each test mark in order until finished.Connect the dots.
Your second measurement will no longer exhibit the deep
response dip.However, the peak will still be evident. Without the
influence of the response dip,the amplitude and center of the
peak may have changed.Compare your new data to the examples
given in this section of the manual. Follow the instructions for the
example that most closely matches your new measurement.
Example 4. Narrow Response:
Although it looks as though this speaker is quite bass-deficient,
this is actually indicative of a single,very narrow peak in excess
of 10dB high.
Apply the Width Selector as described above.Align the center-line
of the Selector over the center of the peak,as shown in Figure 15.
Now adjust the Selector until you have achieved the “best fit”.The
slider now points to the correct width setting.In this example, the
frequency is 40Hz and the best-fit width is 10%. Fill in the Width
and Frequency fields provided on the template.
Determine the appropriate level using the technique described
earlier. In this example, -13dB is indicated.Enter 13 in the field
provided.
Skip to the “Adjusting the R.A.B.O.S.Equalizer”section on page 17.
Example 5. One or More Narrow Dips:
Response dips can occur at any frequency, sometimes immediately adjacent to the peak you want to correct. In this example, there
are two such dips on either side of the peak. Deep response dips
such as these are caused by destructive wave interference.
Destructive interference dips occur only in one spot within the
room. It is not uncommon to completely eliminate their effect by
moving the RSLM to a different location.Note that this does not
eliminate the dips.We have simply moved away from them.
Sometimes only a few inches are required. Do not attempt to correct this condition with equalization. If you encounter dips like
this, take the following steps:
F
IGURE 20
Narrow Response
F
IGURE 21
Example of two narrow dips
16
INTERMEZZO 4.1t
Page 20
17
INTERMEZZO 4.1t
1. Select a new test position: Cue the test track corresponding to
the center frequency of the dip.In the example in Figure 21 you
would play Tracks 14 (52Hz) and 18 (40Hz). Press Play G.You
will see a reading very close to what you had before. Now, slowly
move the RSLM around the area, if possible remaining within
about a foot of the original test point.As you move the RSLM,
watch the bar graph.You will observe large level fluctuations.
Find a location for the subwoofer or a test location that raises the
response at these frequencies.You may find it helpful to move the
RSLM vertically.Dips can be oriented in any axis.The position that
restores the level to about that of the adjacent test points is your
new test position.
2. Reset the test level: Return to the section “Setting the Subwoofer
Test Level”on page 10. Perform the procedure as described.er
until finished. Connect the dots.
3. Repeat the measurements:Now that you are familiar with the measurement process,you can go much faster by using Tracks 27–50.
These tracks contain all the test tones necessary for measurement.
However, each test is only about three seconds, and there is no frequency announcement.The first test is 100Hz. Just place each test
mark in order until finished.Connect the dots.
Your second measurement will no longer exhibit the deep
response dips.However, the peak will still be evident. Without
the influence of the response dips,the amplitude and center
of the peak may have changed.
4. Interpret the new data: Compare your new data to the examples
given in this section of the manual. Follow the instructions for the
example that most closely matches your new measurement.
Example 6. Ideal Response:
If your test data looks similar to the example in Figure 22,you
have a very favorable setup.Skip to the “Final System Balance”
section, page 18.
Adjusting the R.A.B.O.S.Equalizer
Now that you have performed the measurements and interpreted
the data, you have the information needed to adjust the subwoofer
equalizers.
There are three equalizer adjustments on each Intermezzo 4.1t.
Top to bottom, they are marked “F” (frequency), “L” (level) and
“W” (width). Each control has 21 positions.These are numbered from left to right.Therefore,Position 1 is the full counterclockwise position.The following table illustrates all switch
positions.
FIGURE 22
Ideal response, no EQ needed
Position F (Hz) L (dB) W
1 CCW 20 -14.1 4.5%
2 20 -13.9 5%
3 20 -13.5 7.5%
4 21 -13.1 10%
5 22 -12.7 12.5%
6 24 -11.7 16.5%
7 26 -11.0 20.5%
8 30 -10.2 23%
9 35 -9.5 26%
10 38 -8.9 28%
11 40 -8.3 29.5%
12 43 -7.9 31%
13 46 -6.4 34%
14 49 -4.4 39%
15 52 -2.9 41.5%
16 56 -1.9 43.5%
17 63 -1.1 45%
18 66 -0.5 46.5%
19 72 0.0 48%
20 77 0.0 49%
21 CW 80 0.0 49.5%
Page 21
You must use the R.A.B.O.S. key to adjust these controls.Always
adjust both subwoofers together. Using the adjustment key,adjust
the controls as indicated by the Measurement Template.Each
value shown in the table is represented by detents in the
R.A.B.O.S.controls.Simply count the number of detents necessary,indicated by the results of your R.A.B.O.S.Test.
Intermezzo 4.1t R.A.B.O.S.Controls
After performing these adjustments, you may skip forward to
the “Final System Balance”section. It is recommended that you
perform a second measurement to confirm that the settings
are correct.
If you are going to retest the system after EQ adjustments,
repeat the “Setting the Subwoofer Test Level”section on p. 10.
Retesting the system will go much faster if you use
Tracks 27–50.These tracks contain all the same test tones you
just used. However, each tone plays for only a few seconds and
there is no frequency announcement.If you are uncomfortable
operating at this pace, you may,of course,perform measurements with the original test tracks.
Your first interpretation of the data and choice of settings may
not be optimum.You can repeat the test-adjust-test cycle as often
as needed to get the desired results.To do this, return to page 10,
“Setting the Subwoofer Test Level.” You may prefer to retest using
the same template. Doing so makes it easy to evaluate
the improvement.
When you are satisfied with the results, go to “Final System
Balance.”
Final System Balance
Cue Track 51 of the R.A.B.O.S.Test CD.Press Play G.Increase
the system volume until the RSLM indicates -10dB. Now play Track
52.Adjust both subwoofer gain controls until -10dB is indicated
on the RSLM. Of course, you may fine-tune the subwoofer gain
control to your listening preference.
This concludes the R.A.B.O.S. process. It is recommended that you
remove the battery from the RSLM. Store the Test CD, Width
Selector,Adjustment Key and the RSLM together.
18
INTERMEZZO 4.1t
F
L
W
›
Page 22
19
INTERMEZZO 4.1t
The Intermezzo 4.1t may be cleaned using a soft cloth,dampened
with water only,to remove fingerprints or to wipe
off dust.
The grille may be gently vacuumed.Stains may be removed with
an aerosol cleaner, following its instructions.Do not use any solvents on the grille.
All wiring connections should be inspected and cleaned or
remade periodically.The frequency of maintenance depends on
the metals involved in the connections, atmospheric conditions,
and other factors,but once per year is the minimum.
If a problem occurs,make sure that all connections are properly
made and clean. If a problem exists in one loudspeaker, reverse
the connection wires to the left and right system. If the problem
remains in the same speaker, then the fault is with the loudspeaker. If the problem appears in the opposite speaker, the
cause is in another component or cable. In the event that your
Intermezzo 4.1t loudspeaker system ever needs service, contact
your local Infinity dealer or Infinity directly at 1-800-553-3332
or www.infinitysystems.com.
M
AINTENANCE AND
SERVICE
Page 23
Intermezzo 4.1t System
Frequency Response: 23Hz – 22kHz (±3dB)
30Hz – 20kHz (±1.5dB)
Impedance: 6Ω
Sensitivity: 87dB
(2.83V @ 1 meter)
Recommended
Amplifier Power Range: 25 – 500 watts
Subwoofer Amplifier Output: 850 watts continuous
(In to 8Ω from 20Hz – 100Hz 2,600 watts peak
with no more than 0.1% THD)
2nd- and 3rd-Order
Harmonic Distortion: <1%
(20Hz – 20kHz @ 95dB SPL)
Crossover Frequencies: 80Hz, 500Hz, 2800Hz
24dB/Octave
Dimensions: 51-1/2" x 12-1/2" x 27-1/8"
(1308mm x 318mm x 689mm)
Weight: 93 lb
(42.3kg)
Infinity continually strives to update and improve existing products,as
well as create new ones.The specifications and construction details
in this and related Infinity publications are therefore subject to
change without notice.
SPECIFICATIONS
20
INTERMEZZO 4.1t
Page 24
21
INTERMEZZO 4.1t
Frequency
Hz dB
Width
%
Frequency
Hz dB
Width
%
Page 25
22
INTERMEZZO 4.1t
Frequency
Hz dB
Width
%
Frequency
Hz dB
Width
%
Page 26
23
INTERMEZZO 4.1t
NOTES:
Page 27
© 2000 Infinity Systems, Inc.,250 Crossways Park Drive,Woodbury, NY 11797 USA (800) 553-3332 (USA Only)
www.infinitysystems.com
*Trademarks of Dolby Laboratories.THX is a registered trademark of Lucasfilm, Ltd.DTS is a registered trademark of Digital Theater Systems, Inc.BASH is a registered trademark of Indigo Corporation.
Infinity is a registered trademark of Infinity Systems, Inc.Printed in USA 3/00
Part No. 336205-001
Loading...