Wilson Audio Mezzo Convergent Synergy User Manual

Section 1—Introduction

S e C T i O n 1 . 1 — M e z z O C O n v e r g e n T S y n e r g y i n T r O d u C T i O n

Section 1.1—Mezzo Convergent Synergy Introduction

From all of us at Wilson Audio Specialties—thank you for purchasing the Mezzo Con-

vergent Synergy loudspeaker. The information contained within the pages of this manual

will inform and instruct on the proper assembly, set up, and long term care of your Mezzo

Convergent Synergy.

The original Mezzo™ was formulated and engineered with a specific function in

mind: a loudspeaker that possessed the sonic signature of the Wilson’s Sasha W/P®, but in

a low-profile package. When used as a center channel, the Mezzo seamlessly matched the

acoustic signature of Wilson’s original Sasha. Indeed, the Mezzo featured a driver comple-

ment identical to the Sasha, with the exception of the midrange driver, which was borrowed

from the legendary Alexandria XLF®. The Mezzo also provided an unprecedented level of

musical accuracy in music systems and home theaters where its low-profile form solved ar-

chitectural challenges, such as in those installations where a tall loudspeaker would block

wall-to-wall cinema screens, the view afforded by large windows, or wall-hanging artwork.

Whether it was used as a center channel in conjunction with Sasha, MAXX, or Alexandria,

or as a main loudspeaker, Mezzo matched the tonal beauty, dynamic speed, tonal sophisti-

cation, resolution, and sense of “thereness” that were hallmarks of the original Sasha W/P.

With the advent of Wilson’s Convergent Synergy tweeter in the Alexandria XLF, the

Alexia, and now the Sasha W/P Series-2, it quickly became apparent that a Convergent

Synergy tweeter version of the Mezzo was needed.

Among the technical innovations of the Mezzo Convergent Synergy:

The Mezzo Convergent Synergy sources its midrange driver directly from the ground-

breaking Wilson Alexandria XLF. With this midrange driver, Dave and the Wilson engineers

set out to redefine what was possible in cone midrange technology—and to capture cer-

tain qualities of live music heretofore not achieved in any other design. Their efforts were

rewarded. The result was the Wilson midrange driver. One has to hear the clarity, tonal

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density and truthfulness, and dynamic clarity to appreciate the resulting vast improvement

in the midrange over other designs.

The original version of Wilson Audio’s Convergent Synergy tweeter was developed in

conjunction with the Alexandria XLF. It now makes its debut in a new custom form, spe-

cifically designed to meet the needs of the Mezzo Convergent Synergy’s mission. During

the development of the Convergent Synergy tweeter, Dave and the engineers tested a wide

spectrum of tweeters fabricated with exotic materials such as diamond and beryllium. Each

have their own unique qualities and virtues. Many exhibit flat frequency response, or are

extended several octaves above the audible bandwidth. But none matched the dynamic

contrast and harmonic expression of Wilson’s existing titanium design. But most impor-

tantly, none of them were an ideal match to our midrange driver. The Convergent Synergy

tweeter rejects exotic materials in favor of a uniquely constructed silk dome design. With

the Convergent Synergy driver, the design requirement of ultra-low distortion and very

robust power handling down in the lower part of its range are beautifully met. These quali-

ties converge with a much higher resonant frequency and flatter frequency response when

compared to the original inverted titanium design. Wilson’s Convergent Synergy tweeter

is extremely linear. It crosses over synergistically to Wilson’s midrange driver. The noise

floor is much lower than the titanium driver it replaces. The Mezzo Convergent Synergy

crossover features technology that accounts for the formidable performance envelope of-

fered by the Convergent Synergy tweeter.

The Convergent Synergy tweeter’s acoustic and mechanical demands are somewhat

different from the titanium tweeter it replaces. Using the latest version of Wilson’s propri-

etary composite, X-material, Wilson’s engineers designed an all new tweeter module. The

module is extremely inert and non-resonant. It also accounts for the Convergent Synergy

tweeter’s dispersion characteristics. Great care was taken to address diffraction—a type of

time-domain distortion that results from reflections off the speaker cabinet. The shape of

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the module is emblematic of this effort, as is the shape and material of the energy-absorbing pad

that surrounds the tweeter.

Sasha W/P Series 2 woofer. The Mezzo Convergent Synergy sources its woofer di-

rectly from the Sasha W/P Series 2. The speed, dynamic alacrity, and tunefulness that are

all distinctive features of the latest Sasha are in evidence here in similar proportions.

In the main module, Mezzo Convergent Synergy’s two woofers are mounted horizon-

tally, flanking the midrange driver. Achieving near perfect driver-alignment at the listening

position requires the adjustability of the tweeter by changing its relative position in rela-

tion to the midrange and woofer drivers, such that all drivers’ acoustic centers are equidis-

tant from the listener. The tweeter module is adjustable via a provided chart according to

ear height and listening distance—and for a variety of Mezzo Convergent Synergy instal-

lation strategies. Whether the Mezzo Convergent Synergy is installed directly on the floor,

on one-of-two custom designed stands, or in custom cabinets, the Mezzo Convergent Syn-

ergy’s drivers can be properly aligned to accommodate these scenarios.

Just as in the Sasha, the Mezzo Convergent Synergy uses an “S” Material midrange

baffle. S-material is a relatively new enclosure composite designed in conjunction with the

Sasha W/P. The S-material baffle reduces measurable and audible noise and coloration in

the critical midrange. Wilson’s proprietary X-material is used in the balance of the enclo-

sure walls, continuing Wilson’s practice of building ultra-low resonance cabinets.

Two stands: The Hourglass Stand features a solid front plinth, which allows for 2π Ste-

radian support of the midrange and woofer drivers, resulting in more linear and impactful

performance in the upper bass and lower midrange. The second optional stand features

an pedestal, which can be customized for overall height; the Mezzo can be optimized for

the specifics of center channel placement in relationship to large cinema screens.

More on Propagation delay

A musical waveform is a complex overlay of frequencies, amplitudes, and phase

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relationships. With current technology, no single transducer can reproduce the full range

of music at realistic sound pressure levels while maintaining consistent dispersion. The

solution is the multiple driver array, with specific drivers dedicated to various portions

of the frequency range. Multiple drivers introduce their own set of problems. A challenge

typically ignored by speaker designers is preserving the precise time relationships of the

leading edge of the musical waveform.

The key to solving this problem lies in Wilson’s innovative and patented Adjustable

Propagation Delay technology, which employs movable modules that allow the individual

adjustment of the drivers in the time domain. Using this technology, each driver’s wave-

form propagation “matches up” with the other drivers in the system in such a way as to

create the sonic equivalent of a single point source. There are certain loudspeaker makers

other than Wilson that recognize the need to correctly align their drivers, but they do so

for only one theoretical listening position.

The fact is, misalignment of the drivers by fractions of an inch will audibly degrade

transient accuracy, soundstage height, depth, and width. Misalignment of the drivers will

also introduce tonal anomalies that destroy the otherwise convincing “presence” of an in-

strument or a singer’s voice. Wilson’s solution for propagation delay correction has long

set the standard for precise driver positioning in order to insure correct time-alignment for

a wide range of real room listening distances and ear heights.

The Mezzo Convergent Synergy cabinet is a further evolution of Wilson’s philosophy

that truly great forms follow a corresponding function. It is a visual metaphor for the solu-

tion Wilson Audio pioneered to address issues of phase coherence exacerbated by large

speaker systems. Typical of the creative process, the solution itself is an analogy to the

field of optics and the design of wide-angle lenses. The means of maintaining edge-to-edge

sharpness at both close and far focusing distances for a high quality wide-angle lens sug-

gested a solution to the similar problem of time domain accuracy for large speaker systems

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S e C T i O n 1 . 1 — M e z z O C O n v e r g e n T S y n e r g y i n T r O d u C T i O n

at both near and far listening positions.

With Mezzo Convergent Synergy, Wilson Audio takes this concept a logical step

further, addressing the issue of optimal driver dispersion in the large cabinet system. Ideal

driver dispersion for both near and far listening positions requires the drivers be adjust-

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able.

With the Mezzo Convergent Synergy, you and others you listen with, will hear your

favorite recordings and soundtracks with true time coherency, full frequency range, unfet-

tered dynamics, and vanishingly low distortion. The improvement in realism wrought by

Mezzo Convergent Synergy is delightfully revolutionary.

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Section 2—Uncrating

S e C T i O n 2 . 1 — u n C r a T i n g T h e M e z z O C O n v e r g e n T S y n e r g y

Section 2.1—Uncrating the Mezzo Convergent Synergy

Initial Check

The Mezzo Convergent Synergy is shipped in a wooden crate. Upon receiving your

Mezzo Convergent Synergy, please check the crate’s condition. If the crate is damaged,

please report it to the shipping company immediately for insurance verification.

The following items are recommended for this procedure:

• Electric Screwdriver

• Phillips head drive bit

• Masking tape (for use in speaker setup)

Uncrating the Mezzo Convergent Synergy

A minimum of two strong adults is required to set up the Mezzo Convergent Synergy.

1. With the crate lid facing up, unscrew the wood screws securing the lid. Remove the lid.

2. One crate will contain the tool kit.

3. The Mezzo Convergent Synergy is shipped with casters installed. Carefully lift the crate upright so that the Mezzo is now vertical. With the Mezzo’s bottom toward the floor and one person holding the crate, the second person should reach in and gently roll the Mezzo out of the crate, carefully, so as not to hit the Mezzo on the crate and scratch the paint.

Section 2.2—Crate Content Checklist

Now that you have unpacked your Mezzo Convergent Synergy, you can inventory all

the additional items in the crate.

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Mezzo Convergent Synergy Crate

1—Owner’s Manual

1—Warranty Registration (included in the manual)

1—Mezzo Convergent Synergy Midrange/Woofer Grill

1—Mezzo Convergent Synergy Tweeter Grill

4—Nuts

4—Spikes

4—Brass Discs

4—Spacers

4—Diodes

1—Universal Allen Handle

1—1/2” Nut Driver

1—1/8” Allen Head

1—3/16” Allen Head

1—3/32” Allen Head

1—5/32” Allen Head

1—5/16” Allen Head

4—3/8” - 16 x 1 1/2” Set Screws

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2—3/8” - 16 x 2” Set Screws

1—Blue Polishing Cloth

1 – Caster Wrench

1—9/16” Wrench

S e C T i O n 2 . 2 — C r a T e C O n T e n T C h e C k l i S T

fi gur e 2 – Me zz o con Ver gen t sYn er g Y

Mezzo Convergent Synergy Stand Box (Pedestal Stand)

If you purchased a Wilson Audio Mezzo Convergent Synergy Stand on which to

mount your Mezzo Convergent Synergy, you will find the following items in the box with

your stand:

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4—3/8” - 16 x 1 1/2” Socket Head Cap Screws

4—3/8” x 7/8” Stainless Steel Flat Washers

1—5/16” Long Arm Allen Wrench

1—Polishing Cloth

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Section 3—In Your Room

S e C T i O n 3 . 1 — T h e w i l S O n a u d i O S e T u p p r O C e d u r e

Section 3.1—The Wilson Audio Setup Procedure

You are surely excited about setting up your Mezzo Convergent Synergy and doing

some listening, but before you begin, we would like to discuss some of the important room

acoustical information that will help you set up your loudspeakers properly.

Final Listening Room Setup (Voicing)

For Mezzo Convergent Synergy’s size and single-module configuration, it is unmatched

in its ability to reproduce the musical event. However, room acoustics and boundary in-

teractions affect the sound of a loudspeaker to such a large degree that poor setup can

seriously degrade your enjoyment of even the finest loudspeaker.

Therefore, we offer the following section, which will present some guidelines on

room acoustics and their interactions with loudspeakers. While we will also outline some

detailed suggestions on the setup of the Mezzo Convergent Synergy, we strongly suggest

that you have your local Wilson Audio dealer perform the final speaker “voicing” with you.

Wilson dealers are specially trained in setting up Wilson loudspeakers and will ensure that

you realize the full value of your purchase. What follows is an outline of the Wilson Audio

Setup Procedure (WASP). When carefully followed, the process has proven to be the most

effective method for setting up Wilson loudspeakers.

Zone of Neutrality: Main Left and Right Channel

The “Zone of Neutrality” is an area in your room where the speakers will sound most

natural. This location is where the speakers interact the least with adjacent room boundar-

ies. It is important to have a clear working space while determining the Zone of Neutrality.

The following is a simple method to locate the Zone of Neutrality within your listen-

ing environment:

1. Stand against the wall BEHIND the location where you intend to position your loudspeakers. Speaking in a moderately loud voice and at a constant

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volume, project your voice out into the room. Your voice will have an overly heavy, “chesty” quality because of your proximity to the rear wall.

2. While speaking, slowly move out into the room, progressing in a direction parallel to the sidewall. It is helpful to have another listener seated in the listening position to assist you during this process. Listen to how your voice “frees up” from the added bass energy imparted by the rear wall boundary. Also notice that your voice is quite spatially diffuse (to your assistant, your voice will sound spatially large and difficult to localize) as you begin to ease away from the rear wall.

3. At some point during your progression forward into the room, you will observe a sonic transition in your voice; it will sound more tonally correct and less spatially diffuse (your assistant can now precisely localize the exact origin of your voice). When you hear this transition, you have entered the inner edge of the Zone of Neutrality. Place a piece of tape on the floor to mark this location. Although it will vary from room to room, in most rooms the zone begins between two and a half to three feet from the rear wall.

4. Continue to walk slowly away from the rear wall. After some distance, usually one to two feet past the first piece of tape, you will begin to hear your voice lose focus and appear to reflect (echo) in front of you. This is caused by the return of the room’s boundary contribution; your voice is now interacting with the opposite wall. At the point where you begin to hear the reflected sound of your voice, you have reached the outer edge of the Zone of Neutrality. Place a piece of tape on the floor and mark this location. The distance between the “inner” and “outer” edge tape marks is usually between eight inches (for small, interactive rooms) and three feet (for large, more neutral rooms).

5. Now position yourself against the side wall perpendicular to the intended speaker location. Stand between the two tape marks. Using the same pro-

cedure as above, begin moving into the room toward the opposite sidewall, progressing between the two pieces of tape. As above, listen for the point in the room where your voice transitions from bass-heavy and diffuse to neutral. Mark this point with tape. Continue your progression until there is an

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obvious interaction with the opposite wall in front of you and mark this point with tape. The four pieces of tape now form a rectangle that establishes the Zone of Neutrality for the loudspeaker located on that side of the room. Using the four marks as your guide, tape an outline to define the boundaries of the rectangle.

6. Repeat this process for each speaker location individually. These are your Zones of Neutrality, one for each channel.

Theoretically, the Zone of Neutrality for any room runs like a path, parallel to the

walls all around the room. Adjacent to very large windows and open doors, the outer edge

of the Zone of Neutrality moves closer to the wall and becomes wider. If you were to ex-

tend the inner and outer boundaries of the Zone for the sidewalls and the front wall (be-

hind the speakers), they would intersect. After you complete this procedure for the other

loudspeaker, you will now have two rectangles, one on the floor on either side of the room.

Section 3.2—Room Acoustics

Note: The following section contains general information on room acoustics and loudspeaker/room interaction. The concepts outlined below are equally relevant when dealing with multi-channel audio or home theater. The careful application of these concepts, as you evaluate the acoustical characteristics of your own room configuration, will allow you to optimize the performance of your Mezzo Convergent Synergy.

Slap Echo

Probably the most obnoxious form of reflection is called “slap echo.” With slap-echo,

primarily midrange and high frequency sounds reflect off of two parallel hard surfaces. The

sound literally reverberates back and forth until it is finally dissipated over time. You can

test for slap echo in any room by clapping your hands sharply in the middle of the room

and listening for the characteristic sound of the echo in the midrange. Slap echo destroys

the sound quality of a stereo system in two ways:

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• It adds harshness to the upper midrange and treble by storing time-domain smearing energy.

• It destroys the delicate phase relationships, which help to establish an accurate soundstage.

Slap echo (see Figure 3) is a common acoustical problem in the typical domestic lis-

tening room because most of these rooms have walls with a hard, reflective nature, only

occasionally interrupted by curtains, wall art, or drapes. The best (but least practical)

solution to eliminate slap echo is nonparallel walls. This is because, rather than support

slap-echo, nonparallel walls allow the sound to diffuse. This approach can be accounted

for during the construction process. For existing rooms, slap echo can also be controlled

entirely by the application of absorptive materials to the hard surfaces. These are absorp-

fi gur e 3 – co MM on ro oM ref le cti on pr obl eM s

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tive materials that can be used to ameliorate slap echo:

• Illbruck Sonex®

• Air duct board

• Large ceiling to floor drapes

• Carpeting to wall surfaces

In many domestic listening environments, heavy stuffed furnishings reduce slap echo

somewhat. Unfortunately, their effectiveness is not predictable. Diffusers are sometimes

also used to very good subjective effect, particularly in quite large rooms. Sound absor-

bent materials such as described above will alter the tonal characteristic of the room by

making it sound “deader,” less “bright and alive,” and “quieter.” These changes usually

make the room more pleasant for conversation, but sometimes render it too dull in the high

frequencies to be musically involving. Soundtrack effects will be more localized. However,

over-damping the room skews the tonal balance unnaturally toward the bass, and also com-

presses dynamics, robing the system of musical life excitement.

Diffusers, on the other hand, do not affect the tonal balance characteristic of the

room as much. Placed properly, diffusers create a smoother and more open sound. Some

diffusers, due to their construction, create narrow midrange peaks and suck out the warmth

region. Do not use diffusers on the wall behind the speakers or on the sidewalls directly

beside the speakers. It is our experience that all of these room treatment devices should

be used judiciously.

Standing Waves

Another type of reflection phenomenon is “standing waves.” Standing waves cause

the unnatural boosting or accentuation of certain frequencies, typically in the bass, to be

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found at certain discreet locations in the room. These locations differ according to room

dimension and size. A room generating severe standing waves creates difficulty in setup. In

these rooms, the speaker will sound radically different as it is moved around. The effects

of standing waves on a loudspeaker’s performance are primarily in the areas listed.

• Tonal balance

• Resolution of low-level detail

• Soundstaging

Standing waves are more difficult to correct than slap echo because they tend to oc-

cur at a lower frequency. Absorbent materials, such as Illbruck Sonex®, are ineffective at

controlling reflections in the bass region. Moving speakers about slightly in the room is, for

most people, their only control over standing waves. Sometimes a change of placement of

as little as two or three inches can dramatically alter the tonal balance of a small system.

Fortunately, minor low frequency standing waves are well controlled by positioning

ASC Tube Traps™ in the corners of the room. Very serious low frequency accentuation

usually requires a custom-designed bass trap system.

Low frequency standing waves can be particularly troublesome in rooms constructed

of concrete or brick. These materials trap the bass in the room unless it is allowed to leak

out of the room through windows and doors.

In general, placement of the speaker in a corner will excite the maximal number of

standing waves in a room and is to be avoided for most direct radiator, full-range loud-

speaker systems. Some benefit is achieved by placing the stereo pair of loudspeakers

slightly asymmetrically in the listening room. This is so the standing waves caused by the

distance between one speaker and its adjacent walls and floors are not the same as the

standing wave frequencies excited by the dimensions in the other channel.

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Comb Filter Effect

The “comb filter” effect is a special type of standing wave noticeable primarily at

higher frequencies and shorter wavelengths.

Acoustical comb filtering occurs when sound from a single source, such as a loud-

speaker, is directed toward a microphone or listener from a distance. The first sound to

reach the microphone is the direct sound, followed by a delayed, reflected sound. At cer-

tain frequencies, cancellation occurs because the reflected sound lags in phase relative

to the direct sound. This cancellation is most apparent where the two frequencies are 180

degrees out of phase. Further, there is augmentation at other frequencies where the direct

and the reflected sounds arrive in phase. Because it is a function of wavelength, the comb

filter effect will notch out portions of the audio spectrum at linearly spaced intervals. Sub-

jectively, comb filter effect evidences itself as follows:

• Added roughness to the sound

• Reduction of harmonic richness

• Smearing of lateral soundstage image focus and placement

Comb filter effects are often caused by side wall reflections. They are best controlled

by very careful speaker placement and by the judicious placement of Illbruck Sonex® or

air duct panels applied to that part of the wall where the reflection occurs.

Section 3.3—Resonances

Resonance in listening rooms is generally caused by two sources:

• Structures within the listening room.

• The volume of air itself within the listening room.

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Structural Resonance

Structural resonances are familiar to most people as buzzes and rattles, but this type

of resonance usually only occurs at extremely high volume levels and is usually masked by

the music. In many wood frame rooms the most common type of structural resonance prob-

lem is “booming” of walls and floors. You can test for these very easily by tapping the wall

with the palm of your hand or stomping on the floor. Most rooms exhibit mid-bass “boom”

when struck. The loudspeaker playing in the room also excites these resonances. To give

you an idea of what the perfect wall would sound like, imagine rapping your hand against

the side of a mountain. Structural wall resonances generally occur in the low to mid-bass

frequencies and add a false fullness to the tonal balance. They, too, are more prominent

at louder levels, but their contribution to the sound of the speaker is more progressive.

Rattling windows, picture frames, lamp shades, etc., can generally be silenced with small

pieces of caulk or with blocks of felt. However, short of actually adding additional layers

of sheet rock to flimsy walls, there is little that can be done to eliminate wall resonances.

Volume Resonance

The physical dimensions and volume of air in a room will also support standing wave

modes and resonances at frequencies determined by the size of that room. Larger rooms

will resonate at a lower frequency and have more complex (better) modal distributions

than will smaller rooms. Volume resonances, wall panel resonances, and low frequency

standing waves combine to form a low frequency coloration in the sound. At its worst, it is

a grossly exaggerated fullness, which tends to obscure detail and distort the natural tonal

balance of the speaker system.

Occasionally, however, there is just enough resonance to give a little added warmth

to the sound – an addition some listeners prefer. Careful placement of loudspeakers in the

room can dramatically reduce the speakers’ destructive interaction with low frequency

modes. ASC Tube Traps™ are effective in reducing some of this low frequency room col-

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Wilson Audio Mezzo Convergent Synergy User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual