PSB Custom Sound m6x6.1, Custom Sound m6.1s, Custom Sound m6x1, Custom Soundm6.1r Installation Manual

A New Standard of Sonic Performance, Setup Flexibility, and Installability

Installation Guide

This Installation Guide is intended to be accompanied by and used with the CustomSound Series Data
Sheet which includes detailed specifications and drawings: sections, exploded views, and front and rear
plans.

I. MATERIALS AND TOOLS

A. CustomSound Parts
B. Other Materials
C. Required Tools
D. Other Tools

E. Tools of the Trades—Disposable, Specialized, and Power

II. LAYOUT

A. Listening Locations
B. Speaker Locations

C. System and Supply

D. Obstructions

E. Weather Resistance

F. Tricks of the Trades—Nothing’s Plumb, Square, or True

III. BACK FRAME INSTALLATION

A. New Construction with SlideOn Mounting Bars
B. Retrofit Remodeling

C. Enclosure Volume, Back Boxes and Insulation

D. Back Frame Bracket Alternatives—Dog Ears, Longer Back Frames, and Longer Bars
E. New Construction Bracket Alternatives

IV. WIRING

A. Rough-in Wiring
B. Finish Wiring

C. Tricks of the Trades—Drilling

V. FINISH FRAME AND BAFFLE INSTALLATION

A. Separate Finish Frame and Baffle
B. Wallboard Bead Finish Frame Option
C. Combined Finish Frame and Baffle
D. Construction Dust and Paint Shield

E. Saving Time—Screw Time and Elongated Holes

VI. GRILLES

A. Installing and Removing

B. Grille Alternatives—Scrims, Hole Shapes and Sizes

1. Front Template

1. Volume Control

2. Infrared Receiver

1. Structural

2. Mechanical

3. Furnishings

1. Back Template

1. Biamplification and Biwiring

2. Phase and Dispersion

VII. PAINTING

A. Painting Finish Frames
B. Painting Grilles

VIII. SETUP

A. Swivel Tweeter
B. High and Mid Frequencies Switches

C. Listening—Tonal Balance, Range, and Imaging

www.psbspeakers.com [phone]

I. MATERIALS AND TOOLS

A. CustomSound Parts

Each CustomSound speaker includes the following parts (please see the exploded view drawings in
the accompanying CustomSound Series Data Sheet):

M6x6.1 M6x1 M6.1S M6.1R

Baffle with Driver 6x6.1 6x1 w/Finish Frame w/Finish
Frame
Finish Frame 6x6 6x6 6.1S 6.1R
Grille Rectangular Rectangular Square Round
Paint Mask Rectangular Rectangular Square Round
Back Frame Rectangular Rectangular Square Round
Mounting Bars 2 x 16” 2 x 16” 2 x 16” 2 x 16”
Screws 6+8=14 #8x1” 6+8=14 #8x1” 4 #8x3” 4 #8x3”
Short Cut Guide CustomSound CustomSound CustomSound CustomSound
Installation Guide CustomSound CustomSound CustomSound CustomSound
Data Sheet CustomSound CustomSound CustomSound CustomSound
Carton Templates M6x6.1 M6x1 M6.1S M6.1R

New Construction Kits, including a SplitRing Back Frame and 2 SlideOn Mounting Bars, are avail­able for each speaker—for use before receipt of the complete speaker. (With a New Construction
Kit, the Back Frame and Mounting Bars which are included with the complete speaker are duplicate
and should be saved for the next pre-construction installation). [FUTURE—For the M6x6.1 and
M6x1, a rectangular Finish Frame with Wallboard Bead edge is intended, as an option, which is
compounded or plastered into the surrounding wall to eliminate visibility of the Finish Frame.]
Additionally, the longer 3” screws are available—6 per speaker—to fasten Rectangular Finish
Frames to the Back Frame in thicker than normal walls (standard #8 pan head sheet metal screws
may also be used—stainless steel if appropriate). If any of these materials are missing or desired,
please contact your PSB Dealer or PSB directly.

B. Other Materials

The only other materials necessary to install CustomSound speakers are standard drywall screws
to fasten the Mounting Bars to the neighboring wooden studs in new construction installations and
paint (and extra fine sandpaper) if you wish to change the color of Grills and/or Finish Frames from
their standard white. Of course, wire cable of appropriate length and size will be necessary to con­nect speakers to amplifiers (or volume controls) in the music system.

C. Required Tools

The following tools are needed for normal, simple installations:

Tape Measure, Pencil, and Level
Utility Knife and Wallboard Saw (and extra blades)
Phillips-Tip (#2) Screwdriver and Putty Knife
Drill and Bits (smaller for lead holes and larger for cabling)
Probe Wire (a heavy coat hanger can substitute for a short fish-tape)
Flashlight

D. Other Tools

Particularly when installing a quantity of speakers, or installing in wood paneling or other wall mate­rials, the following tools are desirable for neater and more efficient installations:

Stud Finder (frustrating, but helpful—particularly with simple, wallboard-on-studs construction)
Metal Straight Edge (Ruler or Framing Square) and Masking Tape
Wallboard Rasp/Sanding Block (or a piece of wire lath around a block)
Awl or Worn Screwdriver (for initial, exploratory holes) and Hammer
Wire Cutters/Strippers and Electrical Tape
Battery Screwdriver and Power Drill and Extensions (with extra bits)
Jig Saw and Blades
Wallboard Router and Cutout Bits

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E. Tools of the Trades—Disposable, Specialized and Power

Sharp knife blades, saw blades, drill bits, and screwdrivers/bits—replaced when they become
dull—are necessary for neat cuts and to avoid slipping and damage to the speaker materials, the
surrounding finish materials, and the installer’s flesh! Masking tape is useful to temporarily mount
templates and to provide some protection between wall coverings/finishes and tools during layout
and installation. Blue, painter’s tape can be removed more easily over a longer time. Handles with
replaceable reciprocating saw blades are preferred for cutting wallboard. Lineman’s side-cutting
pliers cut, strip, crimp, hammer, and grip. Jig saws with appropriate blades (sometimes with
reverse cut teeth to minimize splintering and chipping) are used to cut wood, veneers, and lami­nates. Threaded, auger bits are self-feeding through wooden studs. Longer electricians’ bits, fish­tapes, leaders, and rods snake wires over distances and around corners. Cutout routers with
appropriate bits are used by wallboard installers to quickly cut around back frames. A putty knife is
a very useful tool, particularly to help ease Baffles and Grilles into and out of Finish Frames.

II. LAYOUT

A.Listening Locations

Consider the desired, intended, and probable locations of listeners when considering speaker
locations. Ideally, listeners should have a clear line-of-sight/hearing to all speakers in their listening
area—not too far off axis and not obstructed by structure or furnishings—for most balanced fre­quency response. Where will listeners be—primary and secondary? Where will listeners’ ears be—
sitting, standing, walking? No installation is absolutely ideal, but considering listener locations with
speaker locations can greatly improve the final result—and simplify the effort and expense to
achieve it.

B.Speaker Locations

Here are three simple ideals, which are never fully satisfied:

1. Locate speakers equidistant to listeners, preferably at ear level.

2. Locate speakers closer to each other than their distance from listeners.

3. Locate speakers symmetrically to each other and to their physical surroundings.

Ideally, listeners will be equidistant from front right and left and center channel speakers and from
rear (or side) left and right surround channels for most accurate spatial imaging. If listeners are too
close to front or to rear channel speakers the image cannot come together and flow seamlessly
across. While ear-level mounting is ideal, the swivel tweeters can be aimed towards the listeners,
increasing the accuracy of frequency response when speakers are located further off axis from lis­teners’ ears. Most importantly, a center channel speaker should be located centered on the TV
screen—to keep center channel sound coming from the center of the screen.

Balance adjustment can compensate for some physical location difference between left and right.
Time-delay adjustment of surround sound can compensate for some physical location difference
between front and rear. With mono signals equidistant, symmetrical location is still desired to mini­mize balancing requirements. Proximity to additional side wall, ceiling or floor surfaces will cause
increases and decreases in frequency response which are very difficult to electronically equalize for
smooth response overall—particularly when only some of the speakers are affected.

Ceiling locations are generally good locations, particularly for rear channel and secondary listening,
allowing symmetrical layouts and the increased volume between floor joists for improved bass
response. Some sound output will transmit through the wall behind (or floor above) a speaker; and,
while this can be lessened with insulation and other installation techniques, it should be considered
in finalizing locations.

All CustomSound models have common drivers and are balanced to maintain the same tonal bal­ance when different models are mixed in a system. The same model should be used in symmetri­cal listening locations in a system—front left and front right; rear left and rear right.

The carton of every CustomSound speaker includes a full-size drawing of the front of the speaker
on the front of the carton and of the rear of the speaker on the rear of the carton. These plans can
be cut out and used as templates when initially locating speakers and then when marking and
cutting out speaker locations. We strongly encourage temporarily taping templates in the intended
locations and then sitting in the primary listening location and considering the above guidelines

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again—also realizing that behind-the-wall conflicts will probably require some adjustment to the
intended locations before they are final.

C.System and Supply

Typically, a cable with a wire pair must connect every speaker to the sources. This amplified and
controlled source supply may go directly from a power amplifier or through a local, supplemental
volume control. In some, mono-only systems, a single wire may “daisy chain”, entering and exiting
from one speaker to another—beginning and ending at the amplifier.

Increasingly, different source signals may be provided to different rooms/zones/speakers—at the
same time. Increasingly, control systems allow adjustments from locations different/remote from the
signal sources, switching, tone control, and amplification. All CustomSound speakers include a
knockout in the baffle into which an infrared signal remote receiver can be installed. With increas­ing levels of multi-zone and remote control sophistication, it is increasingly desirable to have a sim­ple volume control local to speakers distant from the main equipment. This control—for volume up
and down and off and on—may be in a small, freestanding box or flush-mounted in a wall.

Overall, a musical source—audio or video—is fed first through a preamplifier with switching and
tone controls—and then through a power amplifier and onwards to each speaker. The preamplifier
provides a level of tone controls—bass, treble, and balance left to right. Surround processors, oper­ating between the preamplifier and amplifier stages, can provide surround decoding and another
level of channel balancing—front left, right, and center; surround left and right; and subwoofer. An
equalizer before the amplifier can provide some adjustment to smooth response for field conditions
and preferences. Multiple amplifiers may be used for multiple zones and speaker loads.

D. Obstructions

With tentative speaker locations determined, potential obstructions must be explored and the con­flicts resolved: Structural; Mechanical—Electrical, Plumbing, and HVAC; and Furnishings.

Temporarily mark and view tentative speaker locations and the existing construction carefully to
determine the existing structure and mechanical installations and potential obstructions. Adjust the
speaker layout, the furnishings, the mechanical, and/or the structural to resolve the conflicts.
Layout, review, and resolution on building plans can be a very efficient process. However, some
conflicts will inevitably appear and need to be resolved as actual conditions are reviewed and as
installation proceeds.

Most typically and very basically, residential walls are constructed of wooden studs—nominally 2” x
4”, but measuring 1½” x 3½” (sometimes, particularly on exterior walls 2” x 6”, measuring 1½” x
5½”) and normally located on 16” centers—with 14½” between studs. This stud pattern usually
begins from one, exterior corner and results in a smaller than normal spacing at the other corner.
The full height “common” studs extend from a flat “sole” plate on the floor to a “top” plate (often dou­bled) at the top of the wall. Top headers of doubled 2” x 4”s (or larger) are placed on edge span­ning over doorways and windows, and doubled sill headers run under window openings.
“Trimmer/jack” partial studs run under the ends of all headers, doubled against full studs against the
ends of all headers. Shorter partial “cripple” studs run over headers to the top plate and under sills
to the bottom plate—at nominal spacing. Blocking may be between studs about mid-wall, behind
cabinets and other fixtures mounted to the wall, and over and under ductwork through the stud cavi­ty. Electrical receptacles and switches are mounted in electrical boxes, usually mounted to a stud.
Removing electrical cover plates in finished walls is a good initial step to determine where studs are
located.

Floors typically are constructed of wooden joists—nominally 2” x 8” or deeper, but measuring 1½” x
7¼” or deeper and normally located on 16” centers (but not uncommonly on 12” centers). Roofs
typically are constructed of wooden rafters—nominally 2” x 6” or deeper, but measuring 1½” x 5½”
and located on 16” centers (but not uncommonly on 24” centers. Ceilings are usually backed by 1”
x 3” strapping leveled beneath the floor joists or roof rafters and located on 16” centers.

Electrical cables run to, and most often from, all electrical boxes—which are grouped on circuits.
Plumbing supply, drain and vent lines run to and from all plumbing fixtures—which are grouped on
vertical risers. Heating supply lines circulate through radiation fixtures—which are grouped in
zones off vertical risers. HVAC ductwork runs to all supply grills and from all return grills. Control
wiring (sometimes tubing) runs to all controls.

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Corner bay locations should be avoided since at least one corner bay is usually smaller than nor­mal, which will decrease bass response, and closeness to the side wall will cause some uneven­ness in frequency response. Mechanical activity that occupies volume in the speaker wall cavity will
decrease bass response and may transmit sound to other, unintended areas. Electrical power
wiring should not run close to the speaker or it’s audio supply; crossing away from the speaker and
its supply has minimal effect.

E. Weather Resistance

CustomSound speakers are designed for outstanding durability as well as outstanding sonic per­formance. Polypropylene cones with rubber surrounds, stainless steel fasteners, aluminum grills,
and ABS plastic frames with UV resistance increase the range of locations where CustomSound
speakers can continue to satisfy. It should be remembered that nothing is fully weatherproof (or
soundproof or fireproof). Salt water, driving rains, direct sunlight, and freeze and thaw cycles will
degrade all materials—even granite—over time. Almost any interior locations other than sub­merged, baked, or frozen are fine. Good exterior locations provide some protection from the weath­er, and these are usually also better locations for improved sonic performance. Porch ceilings and
walls are fine. On exterior walls, some weather shelter is desirable—under overhanging eaves is
fine. Totally exposed, unsheltered locations will not sound as good and will deteriorate over time.

F. Tricks of the Trades—Nothing’s Plumb, Square, or True

All people in construction realize that it is an exacting but inexact craft—nothing is exactly, absolute­ly plumb, square, or true. The craft is to understand and respect the tolerances of materials, tools,
makers, and users—what will look right to the eye, is reasonably possible to build, and will retain it’s
position over years—within the budgets of money and time. Planning, measuring, and coordinating
are important; but conflicts, tradeoffs, and imperfections are inevitable in the final construction.
Pre-construction drawings are very valuable to further the process mentally before the physical
begins. Post-construction, as-built drawings are valuable to assure performance and aid modifica­tion. However, no drawings will be entirely complete or consistent with the construction. Proceed
with an open and responsive mind. Prepare to be surprised, challenged, and rewarded—to solve
the many small riddles along the path to completion.

III. BACK FRAME INSTALLATION

A. New Construction with SlideOn Mounting Bars

At the new construction rough-in phase only the SplitRing Back Frames and SlideOn Mounting Bars
are required, which are included with every CustomSound speaker. They can also be ordered sep­arately as New Construction Kits—each with a rectangular, square, or round back frame—and the
back frames and bars included with the complete speakers will then be duplicate and can be used
to rough-in a following job.

All CustomSound models have common dimensions—9 3/8” and 15” Finish Frame, 8 3/8” and 14”
Rough Opening, and 9 5/8” and 15¼” Back Frame. Adding the SlideOn Mounting Bars to a Back
Frame adds about 1/8” overall, and moving in to the bar mounting holes subtracts ½”. So, the
rough-in dimensions to fasten the Mounting Bars are 9 1/4” and 14 7/8”. All Back Frames have
hairlines around the midpoint on each side to aid layout and alignment.

At each intended speaker location, mark the intended center of the speaker on an adjacent stud
and mark the Mounting Bar hole locations above and below this center—4 5/8” or 7 7/16”. With a
level, carry all three dimensions across to the stud on the opposite side of the speaker. Slide the
Mounting bars onto the top and bottom of the Back Frame, and screw the Mounting Bars to the
studs at each end, bottom and top using standard drywall screws. Check the positioning of the
Back Frame with a measuring tape and level, using the mid-point hairlines as aids. To secure the
Back Frame in position, screw through the Back Frame at holes in the Mounting Bars top and bot­tom. You may also wish to crimp the Mounting Bars with electrical pliers at each side of the Back
Frame, top and bottom. Mounting all of the Back Frames and having their positions reviewed and
approved by all concerned before proceeding to the final alignment, screwing, and crimping is rec­ommended—to allow for final shifts in locations.

If the desired speaker location is right next to a stud, the Back Frame can be screwed directly to the
stud, through the holes in the Back Frame flange; it is recommended to also use the Mounting Bars
to stiffen the mounting. When mounting rectangular Back Frames across a bay, the Back Frame
can be screwed directly to the studs on both sides; and the Mounting Bars are not required.

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