WILSON AUDIO WATT / Puppy Series 7 Owner's manual

Wilson Audio 

is a registered trademark of Wilson Audio Specialties Inc.

WATT/Puppy is a registered trademark of Wilson Audio Specialties Inc.

This manual was produced by the Wilson Audio Engineering Department in cooperation with Sales

and Marketing. The information contained here in is subject to change without notice. Current Revi-

sion 1.0, if you are in need of a more recent manual please contact your dealer.

The information in this manual is the sole property of Wilson Audio Specialties Inc. any reproduction in whole

or in part without the express written permission of Wilson Audio Specialties Inc. is prohibited. No material

contained here in may be transmitted in any form or by any means, electronic or mechanical, for any purpose,

without the express written permission of Wilson Audio Specialties Inc.

WATT Vi e W s A n d MA g n e T i c Fi e l d s ........................................iii

WATT in T r o d u c T i o n .....................................................1

Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1

Design Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Enclosure Materials Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Care of the Finish of your WATTs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-5

Connection of your WATTs ........................................1-6

Selection of Interchangeable Tuning Ports .............................1-7

Mounting Heights ................................................1-8

Pu P P y - sT A n d A r d Vi e W s .................................................2-1

Pu P P y in T r o d u c T i o n ....................................................2-2

Cabinet Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2

Design Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3

Care of the Finish of your Puppy ....................................2-3

..................................................................

in yo u r ro o M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

 RoomReections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

Resonances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-5

Room Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

Effect of Room Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-8

Speaker Placement/Listening Position ...............................3-13

Choosing a Listening Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-13

Speaker Orientation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-14

Summary ......................................................3-14

sy s T e M se T u P . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1

Setup ..........................................................4-2

Puppy Tail Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-5

Puppy Paws .....................................................4-6

Al i g n M e n T TA b l e s .......................................................5

T a b l e o f Co n T e n T s

Fi g u r e 1-WA T T de s i g n co n s i d e r A T i o n s ....................................1-2

Fi g u r e 2-bi n d i n g Po s T co n n e c T i o n .......................................1-6

Fi g u r e 3-WA T T o n Fl o o r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-9

Fi g u r e 4-WA T T o n 18 i n c h sT A n d ........................................1-10

Fi g u r e 5-WA T T o n 24 i n c h sT A n d ........................................1-11

Fi g u r e 6-WA T T o n Pu P P y .............................................. 1-12

Fi g u r e 7-co M M o M re F l e c T i o n Pr o b l e M s ..................................3-1

Fi g u r e 8-re F l e c T i V e co M b Fi l T e r eF F e c T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-4

Fi g u r e 9-co M M o n ro o M sh A P e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

Fi g u r e 10-WA T T Po s i T i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-9

Fi g u r e 11-WA T T s T o e d i n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-10

Fi g u r e 12-id e A l WA T T se T u P . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-12

Fi g u r e 13-WA T T /Pu P P y re s P o n s e ........................................3-15

Fi g u r e 14-To P o F Pu P P y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1

Fi g u r e 15-WA T T sP i k e i n s T A l l A T i o n .......................................4-2

Fi g u r e 16-Pl A c e M e n T o F WA T T o n Pu P P y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-3

Fi g u r e 17-WA T T Al i g n M e n T sP i k e Pl A c e M e n T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4

Fi g u r e 18-Pu P P y PA W As s e M b l y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-7

T a b l e o f Gr a p h i C s

ii

WATT System 7:

C o m p o n e n T s a n d di m e n s i o n s

WaTT/ pu p p y oW n e r ’s ma n u a l

iii

11

1

/

4

”

4

3

/

4

”

14

1

/

8

”

16

1

/

2

”

Low Frequency

Driver

Interchangeable

Port

Serial Tag

Alloy Handle

High Frequency Driver

Do not remove

any screws not on

the Access Panel

Alignment Spike

Resistor Replacement

Access Panel

Front Spike

iv

m a G n e T i C fi e l d s - si d e Vi e W

WaTT Vi e W s

WATT System 7:

m a G n e T i C fi e l d s - To p Vi e W

v

WaTT/ pu p p y oW n e r ’s ma n u a l

WATT System 7:

1

W a T T in T r o d u C T i o n

1-1

Although they are two separate products, the Wilson Au-

dio WATT and Puppy are almost invariably used together.

Thus, it seems appropriate to combine information regard-

ing their use into one convenient manual.

Ap p l i c A t i o n s

Your WATT (Wilson Audio Tiny Tot) precision loudspeaker system was de-

signed and developed by David A. Wilson to serve as a highly accurate yet portable

professional monitor for on-location recording work. Microphone pattern selection and

placement as well as master tape evaluations may be quickly and correctly performed

using the WATT. The extraordinary transparency, coherence, and dynamic linearity of

the WATT also make it ideal for the sonic evaluation of audio hardware and software,

includingassociatedelectronicaudioequipment,suchas,amplicationsystems,D/A

converters, passive circuit components, signal cables, solders, and contact treatments.

Its capabilities of high resolution, accurate tonal and harmonic integrity, and unsur-

passed sound-stage recreation make it an ideal system for the most demanding music

lovers. In the application as a center channel for video systems the WATT (usually with

A.V. Puppy), provides unrivaled dialogue intelligibility and convincing dynamics. The

WATT’s size and color options allow it to be integrated harmoniously into a wide vari-

etyofneinteriordecors.

de s i g n co n s i d e r A T i o n s

W a T T in T r o d u C T i o n

The WATT is designed around a massive, yet compact, enclosure utilizing pro-

prietary polymer materials technology. The enclosure material exhibits excellent inter-

nal damping and a correct mechanical impedance match to the frames of the drivers.

Additional mechanical tuning is provided by null point placement of lead alloy ingot

blocks, bituminous surface treatment and rigid cross-bracing.The acoustical tuning of

the low frequency system is modeled after the quasi-third order Butterworth response,

(seegure1below),whichprovideslinearityintheupper-bass(withouttheusualmid-

bass hump) with superior transient performance. The low-frequency range of the system

is normally extended with a Wilson Audio Puppy high speed woofer. The crossover

network uses multiple slopes to achieve acoustical phase linearity. Minimum energy/

time-storagebehaviorinthecrossoverisachievedbyusingonlythenestaudio-grade

W A t t De s i g n co n s i D e r A t i o n s :

Thiele & Small Alignments

WaTT/ pu p p y oW n e r ’s ma n u a l

Figure 1

1-2

1-3

propylene capacitors, OFC air-core inductors, and time coherent wire. The components

are matched to better than 0.1% tolerance. The drivers were selected because of their

frequency response linearity, impulse stability, and most important, their intrinsic musi-

cal quality.

en c l o s u r e MA T e r i A l s Te c h -

n o l o g y

The original WATT established the textbook standard for sonically inert

loudspeaker enclosures. It pioneered the use of exotic cabinet materials coupled with

a new benchmark for construction quality, achieving a speaker enclosure that remains

unsurpassed to this day. The System 7 employs the strategic use of a new cabinet mate-

rial that, in conjunction with existing “X” material, serves to reduce cabinet colorations

to levels below that of the already extraordinary System 6. Distortion, noise, and audible

enclosure resonance are all substantially reduced in the System 7. This results in much

greater clarity, resolution and tonal correctness as well as an enhanced sense of effort-

lessnessandease.Dynamicsaremoreclearlydenedanddelineated.Musicowsfrom

a blacker background. This material has been chosen because it provides a nearly ideal

blend of rigidity, mass, and internal vibration damping.

THE WATT ENCLOSURE MATERIAL SHOULD

BE TREATED AS THOUGH IT WERE CERAMIC!

THE MATERIAL WILL NOT BEND, BUT INSTEAD

WILL CRACK. FOR THIS REASON USERS OF THE

WATT SHOULD NOT TO ATTEMPT DISASSEMBLY OF

THE SYSTEM.

W a T T in T r o d u C T i o n

THE WATT: A TEXTBOOK IDEAL

The following is an excerpt from Martin Colloms’ book High Performance Loudspeak-

ers , (4th Edition, pp.297-299. Pentech Press, London, 1991):

“Where price is no object, costly materials and techniques can be employed to generate

the nest results. In one system example, the WATT by Dave Wilson, the enclosure ben-

ets from many techniques to achieve a remarkably inert result. The following details are

all considered inuential, including the small size (approximately 9 liters) which naturally

improves strength and also results in a small enclosure surface area with reduced acous-

tic radiation. The enclosure itself is a truncated pyramid; as a result the panels are non-

rectangular and the internal surfaces anti-parallel. The latter minimizes internal standing

wave modes while the former helps to disperse and moderate the usual plate resonances

present in conventional enclosure panels. In addition the interior is lined with anechoic

grade foam supplemented by a volume lling of polyester ber.

The enclosure panels are cut from a dense, naturally inert composite - an acrylic, heav-

ily loaded with ceramic and a mineral powder - which may be machined like marble.

Higher frequency panel modes are controlled by a highly resistive bituminous laminate on

the inner surface while the remaining fundamental resonances are handled by heavy, 20

mm thick lead slabs bolted into position with elastic mountings to provide tuned, seismic

damping. Furthermore, the side panels are extended at the rear to form small triangu-

lar ‘wings’. A massive alloy bar is bolted up between these wings, horizontally disposed

and providing a stressed reinforcement for these largest radiating surfaces. Finally the

nished mass of approximately 25 kg provides a heavy inert foundation for the two-way

driver lineup to perform at its best. The performance attained in this enclosure design is

an object lesson in the continuing importance of enclosure coloration in box speaker de-

sign.

Both mechanical impulse tests and listening have shown that this quality of enclosure has

a dramatic effect in improving sound quality, particularly with transients, subjective dy-

namics, stereo focus and depth; as such it shows that despite considerable improvements,

we still have a long way to go in the eld of commercial enclosure design. However, this

performance is achieved at high cost, approximately 15 times that of a normal enclosure

1-4

WaTT/ pu p p y oW n e r ’s ma n u a l

1-5

of this size.”

cA r e o F T h e Fi n -

i s h o F yo u r WATTs

Your WATT loudspeaker enclosures are hand-painted with Wilsongloss

™

paint

and hand-polished to a high luster. While the paint seems quite dry to the touch, nal

curing and complete hardening takes place over a period of several weeks. To protect

the nish of the WATTs during nal manufacture, shipment, and setup in your listening

room, we have applied a removable layer of protective lm over the nish. We recom-

mend that this lm be left in place until the speakers are in their nal location in your

listening room. Once you have determined their nal position, remove the lm by peel-

ing it off. Do not leave this lm on indenitely, as it will leave impressions on the

paint. It is important that the delicate paint nish of the WATT be dusted carefully with

the dust cloth, which has been provided. We recommend that the following procedure

be observed when dusting the speakers:

  • Blowoffallloosedust

  • Usingthespecialdustclothasabrush,gentlywhisk 

off any remaining loose dust

  • Shakeoutthedustcloth

• Dustthenish,usinglinearmotionsinonedirectionparallelto

   theoor.Avoidusingcircularorverticalmotions.

W a T T in T r o d u C T i o n

1-6

Because the paint requires a period of several weeks to fully cure, we recommend

that no cleaning uids such as glass cleaners be used during this initial period of time.

When the paint is fully cured, heavy nger prints and other minor smudges may be removed

with a glass cleaner. Always use the dust cloth. Stronger solvents are not recommended

under any circumstances. Consult your dealer for further information if required. Periodic

polishing may be desired over the years to maintain the high luster of the nish. We recom-

mend a non-abrasive carnuba-based wax and soft cloth.

co n n e c T i o n o F yo u r WATT sP e A k e r s

The very high current input terminals located on the rear of your WATT 7 loud-

speaker are color coded with a small plastic plug, so that RED corresponds to positive and

black to negative, or common, or ground on the amplier output. Be sure to connect the

loudspeakers in phase with each other. We recommend the use of the very highest quality

loudspeaker cables, particularly those designed for high frequency propagation correction

and phase linearity. Beware of “zip cord” type speaker cables which will smear the sound

from your WATTs, and limit their effective bandwidth. Also, do not use braided litz type

loudspeaker cables as they will cause an unnatural brightness to the sound, compromise

Figure 2

WaTT/ pu p p y oW n e r ’s ma n u a l

1-7

W a T T in T r o d u C T i o n

sound staging performance, and may cause instability, oscillation and damage in wide

bandwidth solid state ampliers.

The spade lugs of some of the high quality cables often used with the WATT/

Puppy are angled to reduce pressures on the cable during installation. Avoid the instinct

to push the cable’s spade lug ends all the way into the WATT/Puppy’s connectors (see

gure 2 ). Partial insertion of these angled spade lugs will actually improve the reli-

ability of the connection. Flat lugs may be fully insert to connectors before tightening.

se l e c T i o n o F in T e r c h A g e A b l e Tu n i n g Po r T s

The damping factor of an amplier is a function of the amplier’s output imped-

ance into a given load impedance. Solid state ampliers, due to their intrinsically low

output impedance, tend to have a higher damping factor than vacuum tube ampliers.

Vacuum tube ampliers typically are transformer-coupled in their output stage and the

secondary windings of the output transformer present a relatively high source imped-

ance. This source impedance is a parameter which must be considered in the tuning of

the air volume of the loudspeaker enclosure. An interesting theoretical consideration

is that if a loudspeaker is designed around a solid state amplier and then used with a

vacuum tube amplier, it will tend to sound loose and tubby in the mid-bass regions.

The WATT loudspeaker system allows you to precisely tailor the air volume tuning of

the enclosure to the amplier of your choice.

Your WATT loudspeaker comes equipped with two sets of interchangeable tun-

ing ports. The ports connect on the back of the loudspeaker system and are afxed

with three (3) button-head stainless steel screws. An allen key is provided which can

be used to remove these screws to facilitate exchange of the ports. Typically, WATTs

are shipped with the “D.F. 100-400” ports installed. This range encompasses the major-

ity of high performance solid state amplier types. Most vacuum tube ampliers have

damping factors of from 20 to 80, and we recommend the port which is labeled “D.F.

20-80.”

TECHNICAL NOTE

Mo u n T i n g he i g h T s

The acoustical center of the WATT speaker system is at a point near the top edge of the

woofer, which we are referring to as “Point A.” The system’s phase coherence, as well as

its upper midrange and high frequency amplitude response, are most linear when measured

on axis with Point A. Placing the speakers above the listener’s head displaces the alignment

of the woofers’ output in front of the tweeter. Such placement is possible, but ideally, the

WATT should be angled down, toward the listener. Contact your Wilson Audio dealer for

more information. The more common placement of the WATT is at or below ear level.

TheeffectofdifferentmountingheightsontheresponseoftheWATTsisexamineding-

ures 3 through 6.

WATT-

o n Fl o o r

 Intherstexample(gure3),weseetheWATTplacedontheoor.Inthiscongu-

ration the WATTs low frequency response will be quite linear down to its lower band pass

limit.Midrangetoupperbassresponseisparticularlysmooth.Iftheooriscarpeted,the

high frequency response will be somewhat depressed in amplitude, but clean. The sound-

stagingperformanceofthesystemwillbehamperedbycomb-ltereffectsintheupper

midrange and lower treble, which will also create a somewhat hollow-sounding coloration.

Somelistenerswillpreferthemellowover-alltonalbalanceofthisconguration,andin-

deed, several WATT systems incorporate essentially this placement with the WATTs mount-

ed in consoles.

1-8

WaTT/ pu p p y oW n e r ’s ma n u a l

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WILSON AUDIO WATT / Puppy Series 7 Owner's manual

WILSON AUDIO WATT / Puppy Series 7 Owner's manual

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