WILSON AUDIO Sasha W/P Owner's Manual

S a s h a W / P O w n e r ’ s M a n u a l

S A S H A W / P O w n e r ’ s M a n u a l

W i l s o n A ud i o® is a r e gi s t e r e d t r a d e m a r k o f W i l s on Au d io S p e c ia l ti e s, I n c .

W AT T / P u p p y ® , WA M M® , C ub ® , So p hi a ®, S a sh a W /P ™ , M A X X® , a nd A l e x a nd r ia ® a re
r e g i s t er e d t r a d e ma r ks o f W il s o n A ud i o S pe c i a l t i e s , I nc .

W i l s o n G l os s ™, D u et t e™ , W A T C H C en t er ™ , W A T C H S ur r o un d ™, a n d W A T C H D og ™
a r e t r ad e ma r ks o f W il s o n A ud i o S pe c i a l t i e s , I nc .

T h is m a n u a l w as p r o d u c e d by t h e W i l s o n A u di o E n gi n ee r in g a n d th e S a le s a n d Ma r ke t ­i n g De p a r t m e n t . Th e i n f o r ma t io n c o n t a in e d he r e in i s s u b j e ct t o c h a n g e wi t ho u t n o t i ce .
C u rr e n t R e vi s io n 1. 8 . I f y o u a re i n n e e d o f a m o re r e ce n t m a n u a l , p l ea s e c o nt a c t y o u r
d e al e r.

T h e in f or m a t i o n i n th i s ma n ua l i s th e s ol e p ro p e rt y o f W i l s o n A u d i o Sp e ci a l t i e s , In c .
A n y r ep r o du c ti o n , in wh o le or in p a r t , w i t h o u t t h e e x p re s s w ri t t e n p e r m i s s i o n o f W il s on
A u di o S p ec i al t i e s , I nc . , i s p ro h i b i t ed . N o m a t e r i a l c o n t a in e d h er e i n ma y be tr a ns m i t ­t e d i n an y f o rm o r by a n y m e a n s , el e ct r o ni c o r m ec h a n i c a l , f o r an y p u r p o se , w i t h o ut
t h e e xp r e ss wr i t t e n p e rm i ss i o n o f W il s o n A ud i o S p e c i a l t ie s , I nc .

W i l s o n A u d i o S p e c i a l t i e s

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T a b l e o f C o n t e n t s

S e c t i o n 1 – i n Y o u r r o o m � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7

S e c t i o n 1 � 1 – r o o m A c o u S t i c S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 9

F i n a l l i s t e n i n g R o o m s e t u p ( V o i c i n g ) � � � � � � � � � � � � � � � � � � � � � � � � � � 9

S e c t i o n 1 � 2 – 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 ( W A S p ) � � � � � � � 9

Z o n e o f n e u t r A l i t Y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 9

S e c t i o n 1 � 3 – r o o m r e f l e c t i o n S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 1

s l a p e c h o � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 1

s t a n d i n g W a V e s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 3

c o m b F i l t e R e F F e c t � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 5

S e c t i o n 1 � 4 – r e S o n A n c e S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 5

s t R u c t u R a l R e s o n a n c e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 6

V o l u m e R e s o n a n c e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 6

S e c t i o n 1 � 5 – Y o u r r o o m � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 7

R o o m s h a p e s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 7

s a s h a W / p i n a d e d i c a t e d h o m e t h e a t e R � � � � � � � � � � � � � � � � � � � � 1 8

s p e a k e R p l a c e m e n t V e R s u s l i s t e n i n g p o s i t i o n � � � � � � � � � � � � � � 1 9

s p e a k e R o R i e n t a t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 9

s u m m a R y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 0

S e c t i o n 2 – u n c r A t i n g S A S h A W / p � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 3

S e c t i o n 2 � 1 – u n c r A t i n g t h e S A S h A W / p � � � � � � � � � � � � � � � � � � � � � � � � 2 5

i n i t i a l c h e c k � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 5

u n c R a t i n g t h e W o o F e R m o d u l e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 5

u n c R a t i n g t h e u p p e R m i d R a n g e / t W e e t e R m o d u l e � � � � � � � � � � � � 2 6

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 � � � � � � � � � � � � � � � � � � � � � � � � � 2 6

S e c t i o n 3 – A S S e m b l i n g S A S h A W / p � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 9

S e c t i o n 3 � 1 – i n i t i A l A S S e m b l Y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 1

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S A S H A W / P O w n e r ’ s M a n u a l

p R e p a R a t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 1

u p p e R m i d R a n g e / t W e e t e R m o d u l e a s s e m b l y � � � � � � � � � � � � � � � � � � 3 1

m o u n t i n g t h e u p p e R m i d R a n g e / t W e e t e R m o d u l e � � � � � � � � � � � � � 3 2

u m b i l i c a l c o n n e c t i o n s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 4

S e c t i o n 4 – f i n i S h i n g u p � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 7

S e c t i o n 4 � 1 – S p i k i n g t h e S A S h A W / p � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 9

W o o F e R m o d u l e s p i k e s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 9

s p i k e / d i o d e a s s e m b l y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 9

i n s t a l l a t i o n p R o c e d u R e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 1

S e c t i o n 4 � 2 – l e v e l i n g t h e S A S h A W / p � � � � � � � � � � � � � � � � � � � � � � � � � � 4 1

S e c t i o n 4 � 3 – r e m o v i n g t h e p r o t e c t i v e f i l m � � � � � � � � � � � � � � � � � � � 4 2

S e c t i o n 4 � 4 – r e S i S t o r S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 3

W o o F e R d a m p i n g R e s i s t o R � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 4

S e c t i o n 5 – c A r e o f S A S h A W / p � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 5

S e c t i o n 5 � 1 – c A r e o f t h e f i n i S h � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 7

d u s t i n g t h e s a s h a W / p � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 7

c a R e o F t h e g R i l l e s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 8

b R e a k - i n p e R i o d � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 8

S e c t i o n 5 � 2 – e n c l o S u r e t e c h n o l o g Y � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 8

m a t e R i a l s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 8

a d h e s i V e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 9

S e c t i o n 5 � 3 – d e p t h o f d e S i g n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 9

S e c t i o n 6 – t r o u b l e S h o o t i n g � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5 3

S e c t i o n 6 � 1 – t r o u b l e S h o o t i n g � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5 5

S e c t i o n 7 – S Y S t e m S p e c i f i c A t i o n S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5 9

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W i l s o n A u d i o S p e c i a l t i e s

T a b l e o f C o n t e n t s

S e c t i o n 7 � 1 – S p e c i f i c A t i o n S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 1

S e c t i o n 7 � 2 – S A S h A W / p d i m e n S i o n S � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 2

S e c t i o n 8 – p r o p A g A t i o n d e l A Y t A b l e S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 3

S e c t i o n 8 � 1 – p r o p A g A t i o n d e l A Y t A b l e S � � � � � � � � � � � � � � � � � � � � � � � � 6 4

S e c t i o n 9 – W A r r A n t Y i n f o r m A t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 7

S e c t i o n 9 � 1 – W A r r A n t Y i n f o r m A t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 9

l i m i t e d W a R R a n t y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 9

c o n d i t i o n s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6 9

R e m e d y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7 0

W a R R a n t y l i m i t e d t o o R i g i n a l p u R c h a s e R � � � � � � � � � � � � � � � � � � � � 7 0

d e m o n s t R a t i o n e q u i p m e n t � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7 1

m i s c e l l a n e o u s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7 1

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 1 – I n Yo u r R o o m

S A S H A W / P O w n e r ’ s M a n u a l

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S e c t i o n 1 . 1 – R o o m A c o u s t i c s

Section 1.1 – Room Acoustics

You are surely exci ted about setting up Sasha W /P™ loudspeakers and doing some

lis tening, but befor e you begin, we would li ke to discuss some of the important ro om

aco ustical informati on that will help you set up your loudspeakers pr operly.

Final Listening Room Setup (Voicing)

For a speaker system its size, the Sasha W /P i s unmatched in its ability to re-

pro duce the musical event. It i s truly state of the art. However, room acoustics and

bou ndary interactions affect the sound of a louds peak er to such a large degree tha t

poo r setup can serio usly degrade your enjoyment of e ven the fine st loudspeaker.

Therefore, we offer the following section, which w ill present some guid elin es on

roo m acoustics and t heir interac tions with loudsp eake rs. Wh ile we will also outl ine

som e detailed sugges tions on the setup of the Sasha W/P, we st rongly suggest that you

have your local Wilson Audio d ealer perform the fin al speaker “voic ing” with yo u.

Wilson dealers are specially trained in sett ing up Wilson loudspeak ers and will ensu re

tha t you realiz e the full value of your purchase.

Section 1.2 – Wilson Audio Setup Procedure (WASP)

Zone of Neutrality

The “Zone of N eutralit y” i s an area in your room where the speakers wil l so und

mos t natura l. This loc ation is whe re the speakers i nteract the least with adjacent r oom

bou ndaries. It is i mportant to have a clear working space while determining the Zone

of Neutrali ty.

The following is a sim ple method to locate the Zone of Neutrality within your lis-

ten ing envi ronment:

1. Stand against th e wall BEHIN D th e location where you int end to position

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S A S H A W / P O w n e r ’ s M a n u a l

Sas ha W/P. Speaking in a modera tely loud vo ice and at a constant vol­ume , project yo ur voice out int o the room. Your vo ice will have an over­ly heavy, “ chesty” quality because of your proximity to the rear wall.

2. Wh ile speaking, slowly move ou t in to the room, prog ress ing in a direc­tio n parall el to the sidewall. It is helpfu l to have a noth er listener seate d
in the listening pos ition to assist you during this p roce ss. Listen to how
your voice “frees up” from the added bass energy imparted by the rear
wall boundary. Also notice tha t your voic e is quite spatia lly diffuse (to
your assistant, your voice will sound spati ally large and di ffic ult to local­ize ) as you beg in to ease away from the rear wall.

3. At som e point during your progression f orward into the room, you wi ll
obs erve a s onic tra nsition in your voice; it w ill sound more tonall y cor­rec t and less spatia lly diffuse (you r assistant can n ow precisely localize
the exact origin of your vo ice) . When you hear th is trans itio n, you have
ent ered the inner ed ge of the Zone of Neu trality. Place a pie ce of tape
on the floor to mark this location. Although it wil l vary from room to
roo m, the zone in mo st rooms begins betwe en two a nd a half to three fe et
fro m the rear wall.

4. Continue to walk slowly away from the rear wa ll. Af ter some distance,
usu ally one to two feet past the first piece of t ape, you will be gin to hear
your voice lose focus and a ppea r to reflect (echo) in front of you. This is
cau sed by the r eturn of the room ’s boundary c ontribution; you r voice is
now int eracting wit h the opposite wall. A t the point wher e you begin to
hea r the reflected s ound of your voice, you have reached the inner edg e
of the Zone of Neutrality. Place a piece of tape on the f loor and mark
thi s location. The distance bet ween the “inner” and “outer” edge tape
mar ks is usually bet ween eight inche s (for small, int eractive rooms) and
thr ee feet (for larg e, more neutral rooms).

5. Now pos ition yourse lf against the side wall perpendi cula r to the intended
spe aker location. S tand between the two tape mar ks. Using the same
pro cedure as above, begin movin g into the room t owa rd the opposite
sid ewall, progr essing between th e two pieces of tape. As above, listen

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 1 . 3 – R o o m R e f l e c t i o n s

for the point in the room where your voice transiti ons from bass-heavy
and diffuse to neutral. Mar k th is point with tap e. Continue you r progres­sio n until there is an obvio us i nteracti on with the oppos ite wall in fron t
of you and mark this point with tape . The f our pieces of tape now form a
rec tangle that estab lishes the Zone of Ne utrality for the loudspeaker lo­cat ed on that side o f the room. Using th e four marks as your guide, tape
an outline to define the boundaries of th e rectangle.

6. Repeat this proc ess for each spe aker location ind ividually. Thes e are
your Zones of N eutralit y, one fo r ea ch chan nel.

Theoretically, the Zone of Neutrali ty for any r oom runs like a path, paralle l to the

walls all aroun d the room. Adjacent to very large wind ows and open doors, the o uter

edg e of the Zone of Neutrali ty m oves closer to t he wall and beco mes wider. If you

wer e to extend the i nner and outer bounda ries of the Zone for the sidewall s an d the

fro nt wall (beh ind the speakers) , th ey would intersect. After you complete this pro ce-

dur e for the other l oudspeaker, you will now have two rectan gles , one on the floo r on

eit her side of the r oom.

Section 1.3 – Room Reflections

Not e: The f ollowing sec tion contains gen eral inf orma tion on room acou stic s and loud­spe aker/room interaction. The concepts o utlined below are equally rel evant when
dea ling with multi-channel audio or home theater. The careful application of these
con cepts, as yo u evaluate the a cous tical characteristic s of your own room confi gura­tio n, will allow you to optimize the perform ance of Sasha W/P.

Slap Echo

Pro bably the most ob noxious form of refle ction is called “slap echo.” With sl ap-

echo, primarily midrang e and high frequency sounds reflect o ff o f two pa rallel h ard

sur faces. The sound literally reverberates back an d fo rth until it is f inal ly dissipated

over time. You can test fo r slap echo in a ny room by clapping your hands sharply i n

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

the middle of the ro om and listening for the characteristic sound of the echo in the

mid rang e. Slap echo de stroys t he s ound quality of a ste reo system in two ways:

• It adds harshnes s to the upper midrange and t rebl e by storing time-domain

sme aring energy.

• It de stroys t he d elicate phase rel atio nships, which help to es tabl ish an ac­curate soun dstage.

Sla p echo (see Figure 1) is a c ommon acoustical problem in the typica l domestic

lis tening room becau se most of these room s have walls with a hard, r eflective nature,

onl y occasionally in terrupted by cur tains, wall art, or drap es. The best (but least prac-

tic al) solution to e liminate slap echo is nonparallel wa lls. This i s because, rather than

sup port slap-echo, nonparallel wall s al low the sound to diffuse. This appro ach can be

fi gu re 1 – common ro om re fl ectio n pr oblem S

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 1 . 3 – R o o m R e f l e c t i o n s

acc ounted for during the construction pro cess. For exis ting rooms, slap echo can also

be controlled entire ly by the ap plic ation of absorptive mate rials to the hard sur faces.

These are abso rptive materials that ca n be used to ameliorate slap echo:

• Pinta A coustic Sonex®

• Air duc t board

• Cork panels

• Large ceiling to floor drapes

• Carpeting to wall surfaces

In many domesti c listening environments, heavy stuffed furnishings r educe slap

echo somewhat. Unfortunate ly, their eff ectiveness is not pr edic table. Diffusers are

som etimes also used to very good subjective effect, part icularly in quite large rooms.

Sou nd absorbent mate rials such a s de scribed above wi ll a lter the tonal chara cteristic

of the room by making it sound “ dead er,” less “brigh t an d alive,” and “quieter.” The se

changes usually make the room mo re p leasant for conversa tion, but sometim es render

it too dull in the h igh frequencies to be musically involving. S oundtrack effects wi ll b e

mor e localized. However, over-dam ping the room can ren der reproduced sound that is

lacking in musi cal involve ment and “aliveness.”

Dif fusers, on the ot her hand, do not affe ct the tonal balance characteristic of th e

roo m as much. Placed properly, diffusers cre ate a smoother and mo re open sound.

Som e diffusers, due to their construction , create narrow midrange peaks and su ck-out

the warmth regi on. Do not use d iffu sers on the wall behind the speak ers or on the

sid ewalls direc tly beside the sp eake rs. It is our ex peri ence that all of thes e room treat-

men t devices should be used judiciously.

Standing Waves

Ano ther type of refl ection phenomenon is “standing waves.” Standing waves

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

cau se the unnatural boosting or accentuation of c erta in frequencies, t ypically in the

bas s, to be found at certain discreet loc ations in the room. These lo cati ons differ ac-

cor ding to room dime nsion and size. A room gene rating s evere standi ng waves creates

dif ficulty in setup. In these rooms, the speaker will sound radically different as it is

moved around. The effects of s tanding waves on a loud spea ker’s performance ar e pr i-

mar ily in the areas listed.

• Tona l balance

• Resolution of low-level detail

• Soundstaging

St anding waves are more d ifficult to correct t han slap ech o be cause they tend t o

occ ur at a lower frequency. Absorbent material s, such as P inta Acoust ic Sonex®, are

ine ffective at controll ing reflections in th e bass region. Moving speake rs about slightly

in the room is, for most people, their on ly control over stan ding waves. Sometimes a

change of place ment of as little as two or t hree inches can dramatic ally alter the to nal

bal ance of a small s ystem.

Fortunately, minor low frequency s tanding waves are well cont rolled by po sition-

ing AS C Tube Traps™ in the corners of the r oom. Very seri ous low frequency accent ua-

tio n usually require s a custom-designed b ass trap sys tem.

Low fre quen cy standing waves can be p articularly troub lesome in rooms con-

str ucted of concrete or brick. These materi als trap the bass in the room unl ess it is al-

lowed t o le ak out of the roo m th rough windows and doors.

In general, placement of the spe aker in a corner will excite the maxim al number

of standing waves in a roo m and is to be avoi ded for most dire ct radia tor, full-range

lou dspeaker systems. Some benefit is achieved by placin g th e stereo pair of loud speak-

ers slightly asymmet rically in the listen ing room. This is so the sta ndin g wave s caused

by the distance between one spea ker and its adjacent walls and floors are not the same

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 1 . 4 – R e s o n a n c e s

as the standing wave frequ encies excited by the dimensions in t he other cha nnel.

Comb Filter Effect

The “comb filt er” effect is a speci al type of standing wave no ticeable primaril y at

hig her frequencies a nd shorter wavelengths.

Aco ustical comb filt ering occurs whe n sound from a si ngle source, such as a l oud-

spe aker, is direc ted toward a microphone or listener from a di stance. The first sound

to reach the mi crophone is the d irec t sound, followed by a d elayed, reflect ed sound.

At certain frequenci es, cancellation occu rs because the reflec ted sound lags in pha se

rel ative to the direct sound. This cancellation is most apparent wh ere the two frequen-

cie s are 180 degrees out of phase. Furth er, there is a ugme ntation at other freq uencies

where the direc t and the reflect ed s ounds arrive in phas e. Because it is a f unct ion of

wavel engt h, the comb filte r effect will notch out portions of t he audio spectrum at lin-

ear ly spaced intervals. Subjectively, comb filter e ffect evidences itsel f as follows:

• Added rou ghness to the sou nd

• Reduc tion of harmonic richness

• Smear ing of lateral soundstage ima ge f ocus and placemen t

Com b filter effects are often caused by side wal l reflections. They are best con-

tro lled by very careful speaker placement an d by the jud icio us placement of P inta

Aco ustic Sonex® or a ir duct panels applie d to that part of the wall where the reflection

occ urs.

Section 1.4 – Resonances

Res onance in listeni ng rooms is generally caused by two sources:

• Structures withi n the listening room.

• The volume of air i tsel f within the list enin g room.

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

Structural Resonance

Str uctural resonances are fa mili ar to most people as buzzes and rattles, but t his

typ e of resonance us ually only occurs at extremely high volume levels and is usual ly

mas ked by the m usic. In many wood frame rooms the most common type of structural

res onance problem is “booming” of wa lls and floors. You can test for these very easily

by tapping the wall with th e pa lm of your h and or stomping o n th e floor. Most roo ms

exh ibit mid-bass “bo om” when str uck. The loudspeaker playing i n the room also e x-

cit es these resonanc es. To give you an idea of what the perfect wall would sound lik e,

ima gine rap ping your ha nd against the side o f a mountain. Struct ural wall resonances

gen eral ly o ccur in the low to mid-bass f requencies and ad d a false fullness to the ton-

al balance. They, t oo, are more prominen t at louder levels, but their con tribution to

the sound of the spe aker is more progress ive . Rattling windows, picture frames, lamp

sha des, etc., can ge nerally be s ilenced with smal l pi eces of caulk or with blocks of f elt.

However, short o f actually adding add itional layers of sheet rock to flimsy wall s, there

is little that can b e done to eliminate wall resonanc es.

Volume Resonance

The physical dimensio ns a nd volume of air in a room will a lso support stand ing

wave mode s and resonances at frequencies determ ined by the size of that room. L arger

roo ms will resonate at a low er f requency and have more comp lex (better) modal di stri-

but ions than will sm aller rooms. Volume resonances, wall panel reso nances, and low

fre quency standing waves combine to form a low frequen cy coloration in the sound. At

its wor st, it is a grossly e xagg erated f ullness, whi ch tends to obsc ure detail and di stor t

the natural tonal balance of the speaker system.

Occ asionally, however, th ere is just enough re sonance to give a little added

warmth to the s ound – an additio n so me listeners pref er. Careful place ment of loud-

spe akers in the room can dra mati cally reduce the spea kers’ destructive in teractio n wi th

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 1 . 5 – Y o u r R o o m

low fre quen cy modes. ASC Tube Traps™ are effective i n re ducing some of th is low

fre quency room colo ration. Cus tom designed bass traps, such as perforated Helmh oltz

res onators, provide the grea test degree of low frequency con trol.

Section 1.5 – Your Room

Room Shapes

Sta nding waves are pressur e wave s propagated by the interaction of sound and op-

pos ing para llel walls. This interaction cr eates patterns of low and hig h ac oustical pres-

sur e zones that acce ntuate and attenuate particular frequencie s. Thos e fr equencies are

dep endent on room si ze and dimension.

There are thre e basic shapes for mo st rooms: square, re ctangular, and L-s haped

(se e Figure 2).

A p erfectly square r oom is the most diffi cult room in whi ch to set up speakers.

By virtue of its sha pe, a square room is the perfect medium fo r building and su stai n-

ing standing waves. These rooms heavily influence the mus ic p layed by l oudspeakers,

gre atly diminishing the listening experie nce.

Lon g, narrow, rectangular roo ms also pose thei r own sp ecia l acoustical prob lems

for speaker setup. They have the ability t o create several sta nding wave nodes, which

wil l have diff erent standing wave fre quen cy exaggerations dependi ng o n where you are

sit ting. Additionally, these long rooms are often quite lean in the bass near the center

of the room. Rectan gular rooms are still preferred to square rooms because, by hav-

ing two set s of dissimilar l engt h walls, sta nding waves are not as stro ngly reinforced

and will dissipate m ore quickly than in a square room . I n these rooms, th e pr eferred

spe aker position for spatial placement an d midran ge r esolution would be on the lon ger

walls. Bass re sponse would be reinforced by sp eaker placement on th e short wall s.

In many cases, L-shaped rooms (S ee Figure 2) off er the best environment for

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

spe aker setup. Idea lly, spea kers

sho uld be set up alo ng the primary

(lo ngest) leg of the room. They

sho uld fire from the end of the leg

(sh ort wall) towar d the L, or they

sho uld be along the longest wall . I n

thi s way, both speakers are fir ing the

sam e distance to the back wall. The

asy mmetry of the walls in L-shap ed

roo ms resists the bu ildup of stand-

ing waves (see Figure 2).

Sasha W/P In A Dedicated Home
Theater

Hom e theaters can be orga-

niz ed many diff erent ways. So me

use row s of couches. O thers use

rows of mul tiple chairs .

In addition to watching movies,

mos t users want to listen to two-

channel music a t the highest qua lity

pos sible. It is des irable, ther efore,

to choose a sin gle optimum seati ng

pos ition in a home t heater and build

the rest of the seat ing positions

aro und this position .

If your optimum position is

18

fi gu re 2 – poSSibl e loudS pe Aker pl Ac ement W ithin

Ar io uS ro om ShApeS

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 1 . 5 – Y o u r R o o m

loc ated on a couch, you sho uld center the loudsp eakers on the center position of the

cou ch.

If the seating area consists of multiple rows of chairs, the seco nd row s hould be

opt imized for the be st sound quality. Odd numbers of chairs arranged in r ows work

bes t as this will al low a si ngle chair to be positioned in the ce nter. Th is approach will

als o provid e the best overall sound for the greatest num ber of seats.

Speaker Placement Versus Listening Position

The location o f your liste ning position is as i mpor tant as the caref ul s etup of Sa-

sha W/ P sp eakers. The listening positi on should ideally be no more than 1.1 to 1 .25

tim es the distance b etween the tweeters o n each speak er. Ther efore, in a long, rec t-

ang ular room of 12’ x 18’, if the speaker tweeters are going t o be 9’ apart, you should

be sitting 9’11’’ to 11’3’’ from the s peaker. This wou ld be more than h alfway dow n the

lon g axis of the roo m.

Many people pla ce the speakers o n on e end and sit at the other end of the room .

This approach will not yie ld t he finest sound. Car efully consider your listening po -

sit ion. Our experie nce has show n that any l istening position tha t places you r he ad

clo ser than 14” from a room boundary will diminish the sonic r esults of yo ur l istening.

Sit ting directly in the center of the roo m will noticbly reduc e the perception low fre-

que ncies.

Dec ide where you want your favor ite listening positio n to be. Please reme mber

tha t Sasha W/P will fill al most any room wi th the most beautiful sound available. Be-

cau se the propagatio n delay is adjustable on the Sasha W/P, if you take care in p lacing

your new speake rs, you will opt imize Sasha W/P’s performance in your room.

Speaker Orientation

Spe aker placement an d orientation are two of the most important consid erations

in obtaining superio r sound. Th e first thing yo u need to do is e liminate the sidewalls

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

as a sonic influence in your sys tem. Speakers placed too close to the sid ewalls will

suf fer from a strong primary reflection. This ca n ca use out-of-phase canc ellations, or

com b filtering, which will canc el some frequenci es and chang e th e tonal balance o f th e

mus ic. The Wilson Audio Setup Proce dure (Section 1.1 ) is the best method with which

to position you r loudspeakers. S tart with the speaker s ab out 18” from each wall a nd,

if you need to move them relative to t he side wall , move them away from the wall, not

clo ser.

A very impo rtant aspect of s peak er placement is h ow far f rom the back wall to

pla ce the speakers. The closer a loudspeaker is to t he back wall, the more p rono unced

the low bas s energy and cent erin g of the image wi ll b e. Howe ver, this comes at a d efi-

nit e reduction in st age size and bloom as well as a deterioration of u pper bass quality.

You must find the p roper balance of thes e two fa ctors, but remember, if you ar e pa rtial

to bass response or air and bloom, do not overco mpensate you r ad justments to maxi -

miz e these effects. Overcompensated syst ems are sometimes ple asing in the shor t-te rm,

but long-term satisf action is alway s achieved through prope r ba lance.

The Sasha W/P is desi gned for maximum phas e co herence and pulse replication

acc uracy when each speaker is aime d di rectly at the lis tene r or microphone. Thus, Sa-

sha W/ P sh ould be “toed in.” In other wo rds, the listener, when seated in the listening

pos ition looking for ward with hi s/he r head in a reste d po sition, should ju st b arely see

the surface of the i nner side of each Sasha W/P. Toeing i n th e speakers provides mean-

ing ful improvements in resolution of low-level detail in the midrang e as well as appr e-

cia ble improvements in soundstaging perf ormance.

Summary

In summary, for optimal tonal bal ance accuracy, r esolution of low level detail,

and soundstaging per formance, the Sasha W/P shou ld b e positioned as o utlined in

thi s section. Ideal ly, the s peak ers should not be pos itioned too far f rom the listener if

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 1 . 5 – Y o u r R o o m

max imum resolution o f low-le vel detail i s required. If p ossi ble, the speakers sho uld be

pos itioned out into the room, slightly as ymmetrically vis-a-vi s the side and re ar walls.

The speakers s hould be “toed in” towar d the listener, pr eferably so that the listener, at

his seated position, can barely see the s urface of the inner s ide of the Sasha W/P as he/

she faces the speake r. It is recommen ded that a distan ce o f two to three feet, and pos-

sib ly more, be maint ained between the Sas ha W/P and the rear wal ls and that a dis -

tan ce of at least two feet b e ma intained between the front panel of th e Sasha W/P and

ref lective side wa lls. Depending o n th e room, judicious use of sound absorbe nt m ate-

ria ls will reduce th e space requirement.

By followin g the guidelines in t his manual, your new Sasha W/P loudspeak ers can

provide you with a life time of pure music re production.

W i l s o n A u d i o S p e c i a l t i e s

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 2 – U n c r a t i n g S a s h a W / P

S A S H A W / P O w n e r ’ s M a n u a l

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 2 . 1 – U n c r a t i n g t h e S a s h a W / P

Not e: You will have two Upper Midra nge/Tweet er Module enclosu res as well as two
Woofer Mod ule enclosures to unp ack. The two modules will need t o be separat ed into
rig ht and left channels. Clear out two spac es, one for your left and one for your right
channels. Plac e the ODD numbere d mo dules in the LEFT channel section and the
EVE N in the RIGHT channel positi on.

Section 2.1 – Uncrating the Sasha W/P

Initial Check

The Sasha W/P is ship ped in three wooden crates. Upon receiving these crates,

ple ase check their conditio n. I f any of the crates are damaged, please r eport it to the

shi pping company immediately for ins urance verificat ion.

The following items ar e re commended for thi s pr ocedure:

• Electric Screwdriver

• Phill ips head drive bit

• Maski ng t ape (for use in s peaker setup)

Uncrating the Woofer Module

A m inimum of two strong adul ts i s required to set up the Sasha W/P. Locate t he

two lar gest crates labeled “Wo ofer Module.” These contain the woofer enclosures and

are the first compon ents of the system to unpack.

1. With the crate lid facing up, unscrew the wood screws s ecur ing the lid.
Rem ove the lid.

2. Carefully turn t he crate upr ight so that the Woofer Module is n ow verti­cal . With the Woof er Module’s b ottom toward the flo or, reach in and
gen tly slide the Woofer Module out of the crat e, carefully, so as not to hit
the Woofer Module on the crat e and scratch the pa int.

3. Place the Woo fer Module with an od d serial number o n th e left side of
the room and the Woofer Module with an even se rial number on the ri ght

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

sid e of the room.

Not e: These two woofer encl osur es are very heavy and care shoul d be taken to pre ­vent in jury.

Uncrating the Upper Midrange/Tweeter Module

The Upper Midrange/Tweeter Modules are contained in a si ngle cra te. Unpack t he

mod ules using the fo llowing proc edure:

1. With the crate lid facing up, unscrew the wood screws s ecur ing the lid.
Rem ove the lid.

2. The Upp er Module crate contains the owner’s manual and to ol kit. Re­move these.

3. When removing the upper modu les, take care so as not to hit the mo dule s
on the crat e an d scratch the paint. Using t he s mall shelf on the rear of the
mod ule, tilt it so t here is access to the bottom side. Slide t he other hand
und er the Upper Midrange/Tweeter Module f or support, and c aref ully lift
the enclosure out of the cra te.

4. The clo th grilles are attached to the mo dule s. Detach th e grilles from th e
mod ule and remove t he protective plastic covering the grill .

5. Place the Upper Midrange /Tweeter Modu le with an odd se rial number on
the left side of the room and the module with an even serial number on
the right side of th e room.

Section 2.2 – Crate Content Checklist

Now tha t you have unpacked your Sasha W/Ps, you can inventory a ll the addition-

al items in the crates.

1 - Owner’s Manual

1 - Warranty Registration

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W i l s o n A u d i o S p e c i a l t i e s

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

2 - Pin Style Grille s (1 per enclosure)

6 - “A” Sp ikes

2 - #2 Spikes

2 - #3 Spikes

2 - #4 Spikes

1 - 1/8” A llen Wr ench

1 - 1/2” Nut Driver

1 - Polishing Cloth

2 - Pin Style Grille s (1 per enclosure)

8 - Spikes with Nut

8 - Woofer Module Spike assembly (with conical diode)

8 - Bra ss S pike Floor Protec tors

16 - Round Diode Spa cers

1 - 3/8”-16 x 2” Set Screw

1 - 3/8”-16 x 1 1/2” Set Screw

1 - 9/16” Combo Wrench

1 - 1 5/32” Allen Wrench

1 - Polishing Cloth

Not e: Afte r set up of the s yste m, keep the shipp ing crat es i n case of future ship ping
nee ds.

W i l s o n A u d i o S p e c i a l t i e s

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 3 – A s s e m b l i n g S a s h a W / P

S A S H A W / P O w n e r ’ s M a n u a l

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 3 . 1 – I n i t i a l A s s e m b l y

Not e: Before setting up the Sasha W/P, study c arefully Section 1, “ In Your Room.” It
provide s valuable informati on o n determining the ideal room location for your spe ak­ers .

Section 3.1 – Initial Assembly

Preparation

You will nee d the follow ing items:

• Supplied hardware ki t

• Tape measure

• Propagation Delay Co rrection Table s (Section 8)

• Know n li stening position

• Masking Tape

Take a mo ment to familiarize

yourself with t he top of the Woof er

Mod ule. It contains information

tha t will be needed during the set-

up. A com plete set of Prop agat ion

Del ay Correction Tables is located

in Section 8.

Upper Midrange/Tweeter Module
Assembly

The Upper Midrange/Tweeter

Mod ule uses the comb ination of

“A ” Spi ke S

thr ee spikes install ed into the bot-

tom of its enclosure . The spikes

fi gu re 3 – inStAl l “A” S pi keS in fr ont� inStAll A ppro-

pr iAte A li gnment Sp ike i n the reA r of up pe r mid rA ng e/

We et er mo du le�

t

W i l s o n A u d i o S p e c i a l t i e s

31

31

S A S H A W / P O w n e r ’ s M a n u a l

provide pro per coupling of t he U pper Midrange/Twe eter Module to the Woofer Module

and are used to corr ect propagation delay. “A” spikes are always installed in the f ront

two pos itio ns (the threaded hole s located near th e bo ttom front of the enclosure). The

spi ke-type is stampe d in the round top of the spike. These two spikes screw into the

Upp er Midra nge/Tweet er Module as shown in Fi gure 3. The spikes should be scr ewed

in all the way, until they are hand tight. Do n ot over tighten spik es.

Mounting the Upper Midrange/Tweeter Module

• Place the Woofer Module enclosures into the selected room loc atio n (as

det ermined by S ection 1).

• Measure the liste ning distance and ear height (see example on Woofer

Mod ule top).

• Using the Prop­aga tion Delay
Cor rection Ta­ble , select the
req uired A lign­men t Spike.

• Insta ll t he rear­Ali gnment Spike
unt il snug in the
sin gle rear hole.

• Carefully, place

the Upper Mid­range/Tweeter
Mod ule’s two
fro nt spikes into
the rear of the

pA in Ted inne r edg e And

To p of wo ofe r Mod Ul e

Up pe r M id rAn ge /
Tw ee Ter ModU le Sp ik e
pl Ac eMe nT gU id e

ph AS e d el Ay
co rr ecT io n T Ab le

Woofer Mod ule
gui de track (see
Figure 4). Hol d

32

fi gu re 4 – top of th e Woo fe r modul e, With S pike gu id eS An d

re Ar Spik e receptAc le�

W i l s o n A u d i o S p e c i a l t i e s

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 3 . 1 – I n i t i a l A s s e m b l y

fi gu re 5 – Slide t he uppe r midrAng e/tWeet er modu le ’S fron t Spike S Along t he guid eS in the

to p of th e Woofer mo dule, k eepin g th e reA r of th e up per mid rAnge /tWeeter mo dule el evAt ed
to Av oi d Scr Atc hing th e Woo fe r modul e�

the back of the Upper Midrange/Tweet er Module above the Woofer Mod­ule surface such that the rear s pike does not damage the top of the Woo fer
Mod ule. Carefully s lide the Upper Midrange/Tweeter Module for ward,
kee ping the module e levated in the rear, until the fro nt s pikes rest secure ly
in the front recepta cle. Be careful not t o damage the painted edges of the
upp er or lower modules.

• Use the small she lf on the Upper Midrange/Tweeter Modul e an d slide the

W i l s o n A u d i o S p e c i a l t i e s

33

33

S A S H A W / P O w n e r ’ s M a n u a l

mod ule forward until the spikes sli de into the spike rec eptacle (see Figure
5 a bove). The two front spikes will now be res ting in the holes of the re­cep tacle atop the Woofer Module.

Not e: Ensure that th e two fr ont spikes are proper ly i n their receptacl es and that the
Upp er Midra nge/Tweet er Module is not skew ed atop the Wo ofer Module. The Upper
Mid rang e/Tweeter Mod ule
sid es should be parallel
to the sides of the Woofer
Mod ule. Th is will ensure
cor rect propagation align­men t of the drivers.

Umbilical Connections

The correct co nnec-

tio n of the two umbilicals

to the Upper Midrange/

Tweeter Modu le is as fol-

lows:

• There ar e two

set s of con nec­tio ns on the
Upp er Mid­range/Tweeter
Mod ule, one
for the mid­range a nd t he
oth er for the
twe eter.

• Locate the

cab le marked
“MI D FREQ.”
This cable

34

34

fi gu re 6 – connect t he um bi licAlS to the tW o upp er midrAn ge /

We et er mo du le inpu tS , obS erving co rrect p olAritY �

t

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 3 . 1 – I n i t i a l A s s e m b l y

exi ts the Woofer Module just below the appropr iate connector. Co nnect the
RED lug of the cable to the RED (positive) t erminal on the termin al labeled
“Mi dran ge” on the Upper Midrange/Tweeter Module. Connect the black lug

of the cable to the BLACK (negative) terminal.

• Locate the cable marked “TWEETER.” Conne ct the RED lug at the load end

of the tail to the R ED terminal on the te rminal labeled “Tweeter” on th e
Upp er Midra nge/Tweet er Module. Connect t he black lug of the cable to

the BLACK (negative) termi nal.

Not e: Please ensure that you do not invert the polar ity of the umbilicals in

the Sasha W/P. Such an inversi on w ill produce enter tain ing ambient ef­fec ts, but destroys the line arit y and harmonic st ruct ure of the system .

W i l s o n A u d i o S p e c i a l t i e s

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35

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 4 – F i n i s h i n g U p

S A S H A W / P O w n e r ’ s M a n u a l

38

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 4 . 1 – S p i k i n g t h e S a s h a W / P

Section 4.1 – Spiking the Sasha W/P

Your dealer is trained in t he a rt and science of the Wilson Audio Setup P rocedure

(WASP) outline d in Section 1.1. Be fore the spike/diode assemblies are at tached to the

bot tom of Sasha W/P, the s et u p and fine tuning of your lou dspe aker should be co m-

ple ted. Before spik ing Sasha W /P, use masking tape to carefully mar k their location.

Woofer Module Spikes

Included with Sas ha W/P are two sets of Woofer Mod ule spikes, which provide

aco ustical isolation as well as optimal h eight placement for your speakers . There are

thr ee ways of asse mbling the spikes (wi thout spacers, or wit h one or two spacers).

Your choic e wi ll depend on your listening room and personal tastes. Wilson generally

rec ommends no spacer s, for simplicity and rigidity. H owever, the a ddition of spacer s

changes the driver-t o-floor dimension and can sometimes be use d to reduce an ob jec-

tio nable upper-bass/lower mid- range coloration in the sound.

Spike/Diode Assembly

1. Locate the spike ass embly. O n the spike, move th e nut to about two
thr eads from the poi nt. This wi ll allow for greater movemen t when level­ing the loudspeaker system.

2. Screw the spikes int o the diode until the nut is against t he d iode. Be
car eful that the nut does not turn while inserting an d th reading spikes
int o the diode.

Not e: Do not tighte n these assembled spi kes. You will need to unscre w them when
you level the Sasha W/P. This will ensure that if for any reason you have to rem ove
Sas ha W/P spikes, you will be able to withd raw the set screw using the supplied Allen
wre nch.

3. Screw the set sc rew into the diode un til it meets the spik e (see Figur e 7) .

4. Locate either th e 1.5 inch o r 2 inch (See Figure 7) set scre w. The 1.5

W i l s o n A u d i o S p e c i a l t i e s

39

39

S A S H A W / P O w n e r ’ s M a n u a l

inch is used wi th spikes and no spac ers and with one spac er; the 2 inch
is used with spikes and two spac ers. Place the se t sc rew into the othe r
end of the diode wit h the A llen head toward the spi ke. Make sure the Al­len key end is toward t he spike end of the d iode (See Fi gure 7). Th is will
ena ble you to r emove the bolt i f ne cessary.

5. If desired, plac e the corresponding n umber of spacer discs over the bolt.

6. As semb le the rest of th e sp ikes/diodes

op tion 1 – no SpAc erS

Al le n k ey en d

of SeTS cr ew

vA ri ou S Wo ofer module

Sp ik e co nfigurAtio nS

op tion 2 – one SpA cer

1. 5 inc h SeT Scre w

SpA ce r

di od e

lo ck nU T

Sp ik e

op tion 3 – tWo SpA cer S

2 in ch Se T S cr ew

fi gu re 7 – vAriouS Spike/di ode opt io nS, W it h no SpA cerS or W ith o ne or tWo S pAcerS �

40

40

W i l s o n A u d i o S p e c i a l t i e s

W i l s o n A u d i o S p e c i a l t i e s

Installation Procedure

• Remove the Up­per Midrang e/
Tweeter Modu le
fro m the Woofer
Mod ule.

• Carefully lay the

Woofer Mod ule
on its side.

• Insert the diode /

spi ke assemblies
int o the four
hol es located

S e c t i o n 4 . 2 – L e v e l i n g t h e S a s h a W / P

on the bottom
of each Woof er
Mod ule. Tight en
unt il the top
sur face of the

fi gu re 8 – inStAl l the A SS emble d Wo ofer mo dule Sp ik eS bY

re mo ving th e upper midrAn ge /tWeete r modul e And t ur ning
th e Woofe r module on itS Si de�

Woofer Mod ule
Spi ke (or spacer)
tou ches the bot tom surface of th e “X ” material plate.

Not e: The spike receptacles are tapped directly into the “X” material pla te on the
bot tom of the Woo fer Module. Be very careful NOT TO CROS S THREAD the spike s
(se e Figure 8).

Section 4.2 – Leveling the Sasha W/P

• Place a l evel on the left to right ori ented axis in the fla t area atop the

woofer behi nd the Upper Midrange/Tweeter Module. If it is level, move to
the next step.

• You may rotate the spike tip s in place by us ing a vice-grip o r to othed pli­ers .

W i l s o n A u d i o S p e c i a l t i e s

W i l s o n A u d i o S p e c i a l t i e s

41

41

S A S H A W / P O w n e r ’ s M a n u a l

• Lengt hen the appropriate s pike or spikes (not t he Woofer Modu le S pike di­ode on the set screw ) on that lower side until th e Sa sha W/P is leve l.

• If th e sp eaker is leaning to the left, len gthen both Woo fer Module spikes on

the right hand side of the speaker. If the speaker is l eani ng right, lengthe n
the left hand spikes . Lengthen the spike s incrementally, checking and re­checki ng t he level until the Sasha W/P is level left t o ri ght.

• Place a l evel on the front to back oriented axis. If it is level, then Sasha

W/P is leve l. If the Sasha W/P is lean ing one way or the other, following
the same process as above, lengthen the appropriate spike s on the front or
rea r of the Woofe r Module until the Sa sha W/P is leve l.

• To fi nd out which spike to lower, grasp the Sa sha W/P channel and gen tly

rock it back and forth. This will iden tify the spike that i s out of level from
the other three. If there is movement, lengthen the appr opri ate spike until
the Sasha W/P sits solidly on t he floor. Make sure the spike is pe netratin g
the carpet surface a nd is resting on the solid floor beneath.

• Once all adjustme nts have be en m ade, with the 9/1 6” w rench provid­ed, tighten the nut on the spike to the d iode. DO NOT OVERTIGHTEN!
“Sn ug” is tight enou gh.

Section 4.3 – Removing the Protective Film

To protect the f inish of the Sasha W/P durin g fi nal manufacture, shipment, and

set up in your l istening room, we have applied a remova ble layer of pr otec tive film over

the finish. We r ecommend that this fi lm be left in pla ce u ntil the speakers are in their

fin al location in your listening roo m. Once you have deter mine d their final pos ition,

rem ove the film by following this procedure :

1. Ensure the speak er surface is room te mperatur e be fore removing the pro­tec tive film. Removing the prot ective film when th e speaker surface is
col d can damage the paint surface.

2. Slowly remove the film from the top down, large sect ions at a time, gen­tly pulling the film downward and outwa rd. Tear ing the film aggr essively

42

42

W i l s o n A u d i o S p e c i a l t i e s

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 4 . 4 – R e s i s t o r s

can damage the paint .

3. Take care in removing the protective film near edges and corne rs to pre­vent pa int damage in these a reas .

4. The pro tective film should not be left on the pa inte d surface for ext ende d
per iods of time nor exposed to heat sources and d irec t sunlight.

Section 4.4 – Resistors

By removing the large alumin um b ack cover o n the rear of the woofer modu le of
your Sasha W/Ps, you may gain access to t he resistor plate (se e Figure 10) . These resi s­tor s serve several function s.

Not e: Only Wilson Audio replacement resistors should be used in your Sasha W/Ps.
Cha nging the value or brand of resistor will have a deleter ious affect on the so nic per­for mance of you r loudspeakers an d wi ll void your Wilson Audio War ranty.

Midrange and Tweeter Resistors

The Midrange Level, which consists of two 3.2

ohm resistors in parallel, a nd Twe eter Level, which

con sists of two 1.6 ohm resi stor s in parallel, resis-

tor s provid e precise level matching for the midrange

and tweeter drivers cor respondingly. The res istors

als o act as ultra high quali ty f uses which open be-

for e a driver can be da maged by exc ess power. See

Sec tion 6.0 for deta ils in replacing thes e resistors in

the eve nt o ne of these resis tors is damaged.

Add itionally, these resistors can be used to

tai lor the output of the corresponding dr ive r to

overco me t onal balance issu es t hat result from r oom

aco ustics.

fi gu re 9 – the reS iS torS Ar e lo-

cAt ed un de r the p lAte o n the reA r
of t he Wo of er encl oS ure�

W i l s o n A u d i o S p e c i a l t i e s

W i l s o n A u d i o S p e c i a l t i e s

43

43

S A S H A W / P O w n e r ’ s M a n u a l

fi gu re 10 – mid & tW eeter reSiSt or A re AttAche d to heAtS inkS Wi th Alle n hArdW Are�

Woofer Damping Resistor

The Woofer Damping resistor affe cts the way the Sas ha W/P’s woofers couple

to the amplifier. These r esis tors are pre-inst alle d in the base of the Bass Module and

sho uld not be changed.

44

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 5 – C a r e o f S a s h a W / P

S A S H A W / P O w n e r ’ s M a n u a l

46

W i l s o n A u d i o S p e c i a l t i e s

Section 5.1 – Care of the Finish

The Sasha W/P loudspe aker s are

han d painted with Wils onGloss™ paint

and hand polished to a high luster.

Whi le the finish see ms quite dry to the

tou ch, final cu ring and complete har den-

ing takes place ove r a period of severa l

wee ks.

Dusting the Sasha W/P

It is important that the delicate

S e c t i o n 5 . 1 – C a r e o f t h e F i n i s h

pai nt finish of the Sasha W /P b e dusted

car efully with the p rovided dust cloth.

We rec omme nd that the following pro-

ced ure be observed when dusting the

spe akers:

• Blow off all loos e dust.

• Using the special dust clo th as a brush, gently whisk off a ny remaining

loo se dust.

• Shake out the dust cloth.

• Dust the finish, using lin ear motions in one di rection para llel to the floor.

Avoid using circular or vertical moti ons.

Bec ause the paint re quires a period of se veral weeks to f ully cure, we recomme nd

tha t no cleaning flu ids, such as gla ss cleaners, be u sed during this initi al p eriod of

tim e. Whe n the paint is fu lly cured, heavy fingerp rint s and other minor smudges may

be removed with a g lass cleaner. Always u se the dust cloth . S tronger solvents are not

rec ommended under any circumstances. Consul t your deale r fo r further informa tion if

W i l s o n A u d i o S p e c i a l t i e s

47

47

S A S H A W / P O w n e r ’ s M a n u a l

req uired. To maintain the high lu ster of the finis h, p eriodic polishing may be desired.

We rec omme nd a nonabrasive carnauba-based wax and a so ft c loth.

Care of the Grilles

Periodically, you will want to cle an the Sasha W/P’s g rilles. This is best done by

usi ng the round brus h attachment on a vacuum cleaner hos e. Gently vacuum the front

sur face of the grill e. Be careful not to apply too much p ressure. Do not u se a hard

pla stic attachm ent against the g rill e. The gril le cloth is stret ched tightly over the grille

frame. Too much pressure or use of a hard plastic atta chment could cau se the grille ma-

ter ial to tear, e specially in the corn ers.

Oft en Wilson speaker owners de sire to change t he look of their list ening room by

changing the co lor of their spea ker grilles. In addit ion to basic black, Wilson Audio

off ers a variety of grille colors to mat ch most Wilson Glos s finishes. Conta ct your loca l

dea ler for grille cl oth samples or to ord er replacement grille s for Sasha W/P.

Break-in Period

All audio equipment will sound best after its components have been broken in

for some period of u se. Wilson Audio breaks in all woofe rs and mid-range drivers for

app roximately 12 hou rs. All driver s are then tested , ca librated , and matche d for their

aco ustical propertie s. In your l iste ning room, expect 25 to 50 percent of break-in to be

com plete after two hours of playing music at normal list ening levels. Ninety percent of

bre ak-in is complete after 24 hours of pl ayi ng. Playing a CD on repe at overnight can

acc omplish this task quickly. Wilson Audio recomm ends chamber mus ic for this task.

Section 5.2 – Enclosure Technology

Materials

Wilson Audio has conducted many h ours of research on the impact of materia ls on

48

48

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 5 . 3 – D e p t h o f D e s i g n

spe aker enclosure pe rformance. Through this effo rt, Wi lson pioneered th e us e of non-

res onant materials, first with the use of mineral -fil led acrylic in th e Upper Midrange/

Tweeter Modu le and continuing wit h the further development of proprietary mater ials

for X-1 Gra nd SLAMM and the orig inal WATT/Puppy. E ven the best materials are no t

sui ted to all aspect s of enclosure constr uction. The refore, like all Wi lson loudspeakers,

the Sasha W/P is constructe d of several exotic materials ch osen for their specif ic p er-

for mance attributes relevant to differen t portions of the enc losure.

Sas ha W/P is constructed us ing utlra-low-resona nt, high-density, composites which

are then cross-braced to fur ther reduce cabinet r eson ance. Each o f these composite s

mee ts and exceeds th e highest of ANSI test stand ards for its use, while offering very

tig ht tolerances, high hardn ess, uniform density, and dime nsio nal stability.

Adhesive

Wilson Audio has conducted exhaust ive res earch into the best adhe sives to per-

man ently bond our sp eaker enclosures. This is of ten an overlooked el emen t crucial to

the proper performan ce of a loudspeaker. Correct modul us o f elasticity, coefficient of

the rmal expansion, a nd natural f requency respons e are just a few of t he important ele-

men ts of adhesives.

A h ighly cross-linke d, thermo-set adhesive i s used for the constr uction of the

enc losure. It was also cho sen for its excellent bond strength, solvent resis tanc e, hard-

nes s, and optimum vi brationa l chara cteristics.

Section 5.3 – Depth of Design

Sas ha W/P’s compell ingly authentic perfo rmance and lastin g value are ach ieved

thr ough careful impl ementation of cutting edge design and engi neering and then ex-

ecu ted using the hig hest performance mate rials. Wilson Audio’s use of propr ietary

W i l s o n A u d i o S p e c i a l t i e s

49

49

S A S H A W / P O w n e r ’ s M a n u a l

enc losure materials and adhesives are

emp loyed to achieve truly exceptional

spe aker cabinet perf ormance. The use

of these materials i n Sasha W/P results

in an enclosure that is inherently inert

and non-resonant. All of th ese structural

asp ects are combined , allowi ng Wil son

Audio to deliver a product that mai ntai ns

the strictest struct ural tol erances, dura-

bil ity, and reliability. Thi s al so means

tha t the Sasha W/P will have consistent,

rep eatable performan ce, unaffected by

the climatic conditi ons, anywhe re in the

world. Finally, like all Wilson pr oduc ts,

Sas ha W/P is hand-crafted with meticu-

lou s attention to de tail, with an unwav -

eri ng commitment to excellence. Thus, Sasha W/P will impart to her owner beauty and

ple asure for many years to come .

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50

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 5 . 3 – D e p t h o f D e s i g n

W i l s o n A u d i o S p e c i a l t i e s

51

51

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 6 – T r o u b l e s h o o t i n g

S A S H A W / P O w n e r ’ s M a n u a l

54

W i l s o n A u d i o S p e c i a l t i e s

Section 6.1 – Troubleshooting

S e c t i o n 6 . 1 – T r o u b l e s h o o t i n g

One channel is not operating:

Ima ging is off-cente r:

C h e ck t h e i n t e rc o n n e c t s f r o m s o u r c e .

C h e ck t h e c o n n e c t i o n s o n t h e s p e a k ­e r c a b l e s , b o t h a t t h e a m p l i f i e r a n d
s p e ak e r e n d s . W a t c h e s p e c i a l l y f o r
c o n ne c t o r s t o u c h i n g e a c h o t h e r .

C h e ck t h e u m b i l i c a l s t h a t c o n n e c t t h e
t w o m o d u l e s . Yo u m ay h av e f o r g o t t e n
t o c o n n e c t t h e m , o r t h e y m a y h a v e
s h o rt e d o r c o m e lo o s e d u r i n g se t u p .

C h e ck y o u r c o n n e c t i o n s . A c on n e c ­t i o n t o o n e o f t h e m o d u l e s m a y h a v e
c o m e l o o s e . W he n a t w e e t e r o r m i d­r a n g e d r i v e r i s n o t w o r k i n g , o r i s o u t
o f p h a s e , t h e S a s ha W / P w i l l n o t “ i m ­a g e ” p r o p e r l y. D o u bl e c h e c k y o u r
c o n ne c t i o n s f o r r e d - t o - r e d a n d b l a c k ­t o - bl a ck .

A chronic lack of bass ener gy:

Driver out or not playing after connec­tio ns have bee n verifi ed:

P l a y m u s i c a t a l o w l e v e l a n d l i s t e n
t o e a c h d r i v e r i n e ac h c h a n ne l . Yo u
m ay h a v e a d r i v e r t h a t i s n o t o p e r ­a t i ng c o r r e c t l y. I f y o u f i n d a d r i v e r
t h a t i s s i l e n t, p l e a s e g o t o t h e “ D r i v e r
O u t ” s e c t i o n o f t h i s t r o u b l e s h oo t i n g
g u i de .

C h e ck t h e i n p u t c a b l e c o nn e c t i o n s o n
y o u r w o o f e r e n c l o s u r e . I f o n e c h an ­n e l i s o u t o f p h a s e ( c o n n e c t i o n s r e ­v e r s e d ) , b a s s w i l l b e c a n c e l l e d . N o t e :
Tu r n o f f yo u r a m p l i f i er a n d u n p l u g i t
f r o m t h e w a l l .

I f y o u h a v e f o u n d a d r i v e r w i t h n o
o u t pu t , m o v e t o t h e r e a r o f t h i s p a r­t i c ul a r l o u d s p e a ke r.

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

U s i ng t h e a p p r o p r i a t e A l l e n k e y, o p e n
t h e X - m a t e r i a l d o o r o n t h e b o t t o m o f
t h e U p p e r M i d r a n g e / Tw e e t e r M o d u l e
m o d ul e .

Yo u w i l l f i n d s o m e r e s i s t o r c o n n e c ­t i o ns . R e p l ac e t h e r es i s t o r w i t h t h e
s u p pl i e d m a t c h i n g r e s i s t o r . T i g h t e n
t h e n e w r e s i s t o r i n t h e o l d o n e ’s p l a c e .
T h e w o o f e r r e s i s t o r m ay b e r e p l ac e d
i n t h e s a m e m a n n e r a n d i s l o c a t e d b e ­h i n d t h e a c c e s s d o o r i n t h e b o t to m o f
t h e W o o f e r M o d u l e .

N o t e: U s e o n l y W i ls o n A u d i o r e p l a c e ­m e n t r e s i s t or s i n S a s h a W / P. T h e s e
r e s is t o r s w e r e c a r e fu l l y c h o s e n f o r
t h e o v e r a ll s o n i c a n d t h e r m a l p e r f o r ­m a n ce .

Amp lifier shuts off as soon as it is turn ed
on:

If the problem is so lved:

P l u g y o u r a m p l i f i e r i n t o t h e wa l l a n d
t u r n i t o n .

L i s te n t o t h e c h a n n e l a t a l o w l e v e l .
T h e d r i v e r s h o u l d n o w b e o p e r a t i n g
c o r re c t l y.

C h e ck t o s e e i f y o u r s p e a k e r c a b l e s
a r e p r o p e r l y s e c u r e d . L o o k f o r f ra ye d
e n d s, l o o s e c o n n e c t i o n s , o r a c o n d u c ­t o r c o n t a c t i n g t he a m p l i f i e r ch a s s i s .

Tu r n t h e a m p l i f i e r o f f a n d d i s c o n n e c t
i t f r o m t h e A C w a l l o ut l e t . D i s c on ­n e c t t h e p r e a m p l i f i e r l e a d s t o t h e a m ­p l i fi e r. N o w t u r n o n t h e a m p l i f i e r.

T h e r e i s l i k e l y s o m e t h i ng w r o n g w i t h
y o u r p r e am p l i f i e r o r i n t e r c o n n e c t .
C o n ta c t y o u r d e a l e r .

If the problem persi sts:

56

L e a v e t h e p r e a m p l e a d s d i s c o n n e c t e d

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 6 . 1 – T r o u b l e s h o o t i n g

a n d c o n t i n u e t o th e n e x t s t e p .

Tu r n t h e a m p l i f i e r o f f . D i s c o n n e c t t h e
s p e ak e r l e a d s a t t h e m a i n i n p u t t o t h e
s p e ak e r. N o w t u r n o n t h e a m p l i f i e r.

If the problem i s solved:

If the problem persi sts:

If the problem i s solved:

If the problem persi sts:

C a l l yo u r W i l s o n A u d i o d e a l e r . Th e r e
m ay b e a p r o b l e m w i t h t h e c r o s s o v e r
o r th e s p e a k e r ’s i n t er n a l w i r i n g .

C o n ti n u e t o t h e ne x t s t e p .

Tu r n t h e a m p l i f i e r o f f a n d d i s c o n n e c t
i t f r o m t h e A C w a l l o ut l e t . D i s c on ­n e c t t h e s p e a k e r c a b l e l e a d s t o t h e
a m p li f i e r a n d t u r n t h e a m p l i f i e r o n
a g a in .

Yo u h av e a s h o r t i n y o u r s p e a k e r c a ­b l e s. C h e c k f o r f r ay e d en d s , h o l e s
( f r om s p i k e f e e t ) , o r m a k e s u r e t h a t
y o u r s p a d e l u g i s n o t t o u c h i n g t h e
c h a s s i s w h i l e i t i s c o n n e c t e d t o t h e
b i n di n g p o s t .

C a l l t h e d e a l e r w h e r e y o u b o u g h t y o ur
a m p li f i e r. Yo u a p p e a r t o h a v e a p r o b ­l e m w i t h t h i s c o mp o n e n t .

W i l s o n A u d i o S p e c i a l t i e s

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 7 – S y s t e m S p e c i f i c a t i o n s

S A S H A W / P O w n e r ’ s M a n u a l

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W i l s o n A u d i o S p e c i a l t i e s

Section 7.1 – Specifications

S e c t i o n 7 . 1 – S p e c i f i c a t i o n s

Enc losure Type Upper Module:

Enc losure Type Woofer Module :

Woofer s:

Mid rang e

Tweeter:

Sen sitivity:

Nom inal Impedance:

Min imum Am plifier Power:

Freque ncy Response:

Rea r Ported Mi drange

Rea r Ported Woofer

Two – 8 inch (2 0.32 cm)

One – 7 inch (1 7.78 cm)

One – 1 inch inverted dome (2.5 4 cm )

91 dB (one watt at one meter)

4 o hms, 1.8 ohms min imum @ 92 Hz

20 watts per channel

+/- 3 dB 20 Hz - 22 kHz

(wi th port contribut ion)

Overall Dimensions:

Sas ha W/P Weight Per C hannel:

Sys tem Shipping Weight (approx.):

W i l s o n A u d i o S p e c i a l t i e s

Hei ght – 44 inches (111.76 cm)

Width – 14 inches (35.56 cm )

Dep th – 21.25 inches (53.91 cm)

197 lbs (89.36 kg)

605 lbs (274.42 kg)

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S A S H A W / P O w n e r ’ s M a n u a l

Section 7.2 – Sasha W/P Dimensions

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62

fi gU re 9

W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 8 – P r o p a g a t i o n D e l a y Ta b l e s

S A S H A W / P O w n e r ’ s M a n u a l

5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

34 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

36 3 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

38 2 3 3 4 4 4 4 4 4 4 4 4 4 4 4 4

40 2 2 3 3 3 3 3 4 4 4 4 4 4 4 4 4

42 A A 2 2 3 3 3 3 3 3 4 4 4 4 4 4

44 A A A 2 2 2 3 3 3 3 3 3 3 4 4 4

46 A A A A 2 2 2 3 3 3 3 3 3 3 4 4

48 A A A A A 2 2 2 2 3 3 3 3 3 3 3

Table Calculated for use with spike diode and no spacers

Ear Height (inches)

Listening Distance (feet)

5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

34

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4364 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4383 3 3 4 4 4 4 4 4 4 4 4 4 4 4 4402 3 3 3 3 3 4 4 4 4 4 4 4 4 4 4

42

A 2 2 3 3 3 3 3 3 4 4 4 4 4 4 444A A A 2 2 3 3 3 3 3 3 3 4 4 4 446A A A 2 2 2 2 2 3 3 3 3 3 4 4 448A A A A A 2 2 2 2 3 3 3 3 3 3 3

Table Calculated for use with spike diode and one (1) spacer

Listening Distance (feet)

Ear Height (inches)

Section 8.1 – Propagation Delay Tables

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 8 . 1 – P r o p a g a t i o n D e l ay T a b l e s

5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

34

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4364 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4383 3 3 4 4 4 4 4 4 4 4 4 4 4 4 4402 3 3 3 3 4 4 4 4 4 4 4 4 4 4 4

42

A 2 2 3 3 3 3 3 3 4 4 4 4 4 4 444A A 2 2 2 3 3 3 3 3 3 4 4 4 4 446A A A 2 2 2 2 3 3 3 3 3 3 4 4 448A A A A A 2 2 2 3 3 3 3 3 3 3 3

Table Calculated for use with spike diode and two (2) spacers

Listening Distance (feet)

Ear Height (inches)

W i l s o n A u d i o S p e c i a l t i e s

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 9 – Wa r r a n t y I n f o r m a t i o n

S A S H A W / P O w n e r ’ s M a n u a l

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 9 . 1 – W a r r a n t y I n f o r m a t i o n

Section 9.1 – Warranty Information

Limited Warranty

Sub ject to the condi tions set forth herei n, Wilson Audio warrants its loudspeak-

ers to be free of ma nufacturing defects i n material and workmanship fo r the Warranty

Period. The Warranty Per iod is a period of 90 days from the date of p urchase by the

ori ginal purchaser, or if both of the fol lowing t wo requi reme nts are met, the Warra nty

Period is a pe riod of five (5) ye ars from the date of purchase by the original purchaser:

Req uirement No. 1. No later than 30 days af ter product delivery to the

cus tomer, the cus tomer must have returned the Warranty Reg istratio n
Form to Wilson Aud io;

Req uirement No. 2. The product must have b een professionally in stalled

by the Wilson Audio dealer that sold the product to the c usto mer.

FAILU RE TO COMPLY WI TH EITHER REQUIREMENT NO. 1 OR REQUIR EMEN T NO. 2
WIL L RESULT IN THE WARRANTY PER IOD BEING LIMITED TO A PERIOD OF 90 DAYS
ONLY.

Conditions

This Limited Warran ty i s also subject to the followi ng conditions and lim itations.

The Limited Warrant y is void and in applicable if the pro duct has been use d or handled

oth er than in accord ance with the instruc tions in the owner’s manual, or has be en

abu sed or misused, d amaged by ac cide nt or neglect or in b eing tra nsported, or if t he

pro duct has been tam pered with or service or repair of the pro duct has been att empt ed

or performed by anyone other than Wilson Audio, an authorized Wils on Aud io Dealer

Technician or a service or r epai r center authoriz ed by Wilson Audio t o service or re-

pai r the product. C ontact Wilson Audio at (8 01) 377-2233 for info rmation on locati on

of Wi lson Audio Dealers and authorized servic e and repair centers. Most repairs ca n

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

be made in the field . In instances where return to Wil son Au dio’s factory is req uire d,

the dealer or custom er must first obtain a return authorizatio n. Purchaser must p ay for

shi pping to Wilson Audio , and Wilson Audio will p ay for shipping of its choice to re-

tur n the product to purchaser. A RETURNE D PRODUCT MUST BE ACCOMPANIED BY

A WRIT TEN DESCRIPTION OF THE DEFECT. Wilson Audio re serves t he r ight to modify

the design of any product withou t ob ligation to purchase rs o f previously manu fact ured

pro ducts and to change the price s or specifications o f any product wi thout notice or

obl igation to any person.

Remedy

In the even t that the produc t fa ils to meet the a bove Limited Warranty and the

con ditions set forth herein have be en met, the purchase r’s sole reme dy under this Li m-

ite d Warranty shall be to : (1 ) contact an auth orized Wilson Audio Deale r within the

Warranty Per iod for service or re pair of the produ ct w ithout charg e for parts or labor,

which serv ice or repair, at the Dealer’s option, shall tak e place either at the location

where the produ ct is installed o r at the Dealer’s place of busines s; or (2) if purchas er

has timely sought se rvice or repair and t he product cannot be serviced or repai red by

the Dealer, then purchaser may obtain a retu rn authorization from Wilson Audio and at

purcha ser’s expense return the product to Wilson Au dio where the de fect will be rect i-

fie d without ch arge for parts or lab or.

Warranty Limited to Original Purchaser

This Limited Warran ty i s for the sole be nefit of the original purchaser of the cov-

ere d product and sha ll not be transferred to a su bseq uent purchaser of th e product, un-

les s the product is purchased by th e su bsequent purchaser f rom an authorized Wilso n

Audio Dealer who has certif ied the product in ac cordance with Wilson Audi o standards

and requirements and the certification ha s been accepted by Wilson Audio, in which

event t he L imited Warranty for th e pr oduct so purchased a nd c ertified shall ex pire at

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W i l s o n A u d i o S p e c i a l t i e s

S e c t i o n 9 . 1 – W a r r a n t y I n f o r m a t i o n

the end of the origi nal Warra nty Period applicable to the pro duct.

Demonstration Equipment

Equ ipment, whil e used by an aut horized dealer fo r demonstrat ion purposes, is

warran ted to be free of manufacturing defect s in materials and workmanshi p for a pe-

rio d of five (5) years from the dat e of shipment to the deal er. Demo equi pment needing

warran ty service may be re paired on-site or, if necessary, correctly packed and return ed

to Wi lson Audio by the dealer at dea ler’s sole ex pense. Wilson Audio will pay return

fre ight of its choice. A returned product must be accompanied by a written desc rip-

tio n of the defect. Dealer owne d demonstration equipment sol d at retail withi n two

(2) years of da te of shipment to the dealer is warranted to the first retail cust omer to

be free of manufactu ring defects in mater ials and wor kmanship for the same time peri-

ods as if the produc t had originally been bought for immediate resale to the re tail cus-

tom er. Wilson Audio products are war ranted f or a period of 90 days, unless extended

to 5 years, as provided above, by retu rn and filing of comp leted Warranty Registration

at Wi lson Audio within 3 0 days after product del ive ry to customer and th e product wa s

pro fessionally insta lled by the Wi lson Audio Dealer that sold the product to t he c us-

tom er.

Miscellaneous

ALL EXPRESS AND IMPLIED WARRANTI ES NOT PROVIDE D FO R HEREIN ARE
HER EBY EXPRESSLY D ISCL AIMED. ANY LEGALLY IMPOSE D IMPLIED WARRANTIES
REL ATING TO THE PR ODUCT SHALL BE LIMITE D TO THE DURATI ON O F THIS LIMIT­ED WARRANTY. TH IS LIMITED WARRANT Y DO ES NOT EXTEND TO A NY I NCIDENTAL
OR CONSEQUENTIAL COS TS OR DAMAGES TO T HE PURCHASER.

Som e states do not a llow lim itat ions on how long an impli ed warranty lasts or
an exclusion or limi tation of incidental or consequential dama ges, so the above li mi­tat ions or exclusion s may not apply to you. Thi s Li mited Warranty gives you specific
leg al rights, and you may also have other rights, which vary from state t o st ate.

W i l s o n A u d i o S p e c i a l t i e s

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S A S H A W / P O w n e r ’ s M a n u a l

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W i l s o n A u d i o S p e c i a l t i e s