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T h o r ’ s H a m m e r O w n e r ’ s M a n u a l
T h o r ’ s h a m m e r 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
W i l s o n A u d i o ® i s a r e g i s t e r e d t r a d e m a r k o f W i l s o n A u d i o S p e c i a l t i e s , I n c .
S o p h i a ® , W AT T / P u p p y ® , M A X X ® , a n d A l e x a n d r i a ® a r e r e g i s t e r e d t r a d e m a r k s o f W i l -
s o n A u d i o S p e c i a l t i e s , I n c .
W i l s o n G l o s s ™ , D u e t t e b y W i l s o n A u d i o ™ , W AT C H ™ C e n t e r S e r i e s 2 , X S ™ , W AT C H
S u r r o u n d S e r i e s 2 ™ , a n d T h o r ’s H a m m e r ™ a r e t r a d e m a r k s o f W i l s o n A u d i o S p e c i a l -
t i e s , I n c .
T h i s m a n u a l w a s p r o d u c e d b y t h e W i l s o n A u d i o E n g i n e e r i n g a n d t h e S a l e s a n d M a r-
k e t i n g D e p a r t m e n t . T h e i n f o r m a t i o n c o n t a i n e d h e r e i n i s s u b j e c t t o c h a n g e w i t h o u t
n o t i c e . C u r r e n t R e v i s i o n 1 . 0 . I f y o u a r e i n n e e d o f a m o r e r e c e n t m a n u a l , p l e a s e
c o n t a c t y o u r d e a l e r.
T h e i n f o r m a t i o n i n t h i s m a n u a l i s t h e s o l e p r o p e r t y o f W i l s o n A u d i o S p e c i a l t i e s , I n c .
A n y r e p r o d u c t i o n , i n w h o l e o r i n p a r t , w i t h o u t t h e e x p r e s s w r i t t e n p e r m i s s i o n o f
W i l s o n A u d i o S p e c i a l t i e s , I n c . , i s p r o h i b i t e d . N o m a t e r i a l c o n t a i n e d h e r e i n m a y b e
t r a n s m i t t e d i n a n y f o r m o r b y a n y m e a n s , e l e c t r o n i c o r m e c h a n i c a l , f o r a n y p u r p o s e ,
w i t h o u t t h e e x p r e s s w r i t t e n p e r m i s s i o n o f W i l s o n A u d i o S p e c i a l t i e s , I n c .
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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
3
C o n t e n t s
S e c t i o n 1 – i n t r o d u c t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7
S e c t i o n 1 � 1 – t h o r ’ S h a m m e r i n t r o d u c t i o n � � � � � � � � � � � � � � � � � � � � � 9
D e s i g n C o n s i D e r a t i o n s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 9
a p p l i C a t i o n s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 0
C o n C l u s i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 0
S e c t i o n 2 – u n c r a t i n g y o u r t h o r ’ S h a m m e r � � � � � � � � � � � � � � � � � � � � � � � � 1 3
S e c t i o n 2 � 1 – P r e P a r a t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 5
u n C r a t i n g t h e t h o r ’ s h a m m e r � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 5
S e c t i o n 3 – i n y o u r r o o m � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 7
S e c t i o n 3 � 1 – i n y o u r r o o m � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 9
i n t r o D u C t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 9
S e c t i o n 3 � 2 – r o o m a c o u S t i c S a n d S u b w o o f e r S � � � � � � � � � � � � � � � 1 9
r o o m r e s o n a n C e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 9
s t r u C t u r a l r e s o n a n C e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 9
V o l u m e r e s o n a n C e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 0
S e c t i o n 3 � 2 – i n i t i a l P l a c e m e n t o f t h o r ’ S h a m m e r � � � � � � � � � � � 2 0
S e c t i o n 3 � 3 – t h o r ’ S h a m m e r i n a m u S i c S y S t e m S � � � � � � � � � � � � 2 1
B y p a s s i n g t h e h i g h p a s s F i l t e r � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 3
u t i l i z i n g t h e h i g h p a s s F i l t e r � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 4
S e c t i o n 3 � 4 – t h e t h o r ’ S h a m m e r i n a h o m e t h e a t e r � � � � � � � � 2 4
C o n n e C t i o n W i t h a s u r r o u n D p r o C e s s o r � � � � � � � � � � � � � � � � � � � � � 2 5
S e c t i o n 3 � 5 – S e t u P S u m m a r y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 5
s u m m a r y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 6
S e c t i o n 4 � 1 – S P i k i n g t h o r ’ S h a m m e r � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 9
a s s e m B l y - V e r t i C a l i n s t a l l a t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2 9
T h o r ’ s h a m m e r 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 p i k e i n s t a l l a t i o n - h o r i z o n t a l p l a C e m e n t � � � � � � � � � � � � � � � � � � 3 0
a s s e m B l y a n D C a r e o F t h e g r i l l s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 2
S e c t i o n 5 – c a r e o f t h e f i n i S h � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 3
S e c t i o n 5 � 1 – c a r e o f t h e f i n i S h � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 5
D u s t i n g t h e t h o r ’ s h a m m e r � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 5
C a r e o F t h e g r i l l s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 5
B r e a k - i n p e r i o D � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 6
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 � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 7
m a t e r i a l s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 7
a D h e s i V e � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 7
S e c t i o n 5 � 3 – d e P t h o f d e S i g n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 8
S e c t i o n 6 – S P e c i f i c a t i o n S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 9
P a S S i v e t h o r ’ S h a m m e r S P e c i f i c a t i o n S � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 1
t h o r ’ S h a m m e r d i m e n S i o n S � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 2
S e c t i o n 7 – w a r r a n t y i n f o r m a t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 3
S e c t i o n 7 � 1 – w a r r a n t y i n f o r m a t i o n � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 5
l i m i t e D W a r r a n t y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 5
C o n D i t i o n s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 5
r e m e D y � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 6
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 � � � � � � � � � � � � � � � � � � � � 4 6
D e m o n s t r a t i o n e q u i p m e n t � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 7
m i s C e l l a n e o u s � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 7
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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
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 t r o d u c t i o n
T h o r ’ s h a m m e r 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 1 . 1 – T h o r ’ s h a m m e r i n T r o d u C T i o n
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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
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Section 1.1 – Thor’s Hammer Introduction
The Thor’s Hammer subwoofer is the culmination of over thirty years of experience
at Wilson Audio in building ultra-high output, low distortion woofer and subwoofer
products. It was designed to further extend and enhance the bottom octave perfor-
mance of music and theater systems without compromising speed, tonal accuracy, or
phase coherency. Thor’s Hammer will seamlessly and coherently integrate with any
loudspeaker, whether you are augmenting a two-channel system or using the Thor’s
Hammer as the LFE channel in a home theater surround system.
The Thor’s Hammer was designed to take advantage of today’s multi-channel for-
mats. The unique tune-ability of the Thor’s Hammer is greatly enhanced when used with
the Wilson Controller active crossover. The Controller’s comprehensive control allows
the Thor’s Hammer to be optimized for both music and multi-channel applications,
even within the same system. The Controller’s adjustments allow critical setup, ensur-
ing the best possible performance in a wide range of rooms and with a variety of speak-
ers.
You haven’t truly experienced home theater until you’ve felt the impact, power,
and passion of a film score the way the director intended it, and no company will
deliver this passion like Wilson Audio. That’s why, in the past fifteen years, so many
blockbuster hits have been mixed, composed, or recorded using Wilson Audio loud-
speakers.
Design Considerations
The Thor’s Hammer is unmatched in its ability to reproduce the deep bass region
musical event. Like the legendary XS subwoofer before it, Thor’s Hammer is designed to
reproduce the deep bass region with no added equalization. In the region between 15
Hz and 80 Hz, it is truly state-of-the-art in terms of speed, ultra-high output, and ex-
tremely low levels of distortion. The benchmark in designing Thor’s Hammer was sim-
T h o r ’ s h a m m e r 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
ple: create a subwoofer that would be, in every measure, a worthy addition to a music
system built around Wilson’s flagship loudspeaker, the Alexandria X-2 Series 2. That
meant primarily two things: the subwoofer had to perform with the same alacrity and
dynamic range as the Alexandria. Secondly, it was critical that the Hammer not intro-
duce out-of-band distortion that would rob the X-2 of its singular glory: the most reve-
latory and seductive midrange in the world.
It goes without saying that, having built a subwoofer that integrates seamlessly
with Alexandria, Thor’s Hammer, without question, enhance systems built around
MAXXs, WATT/Puppies—or even, if you’re into physical extremes, Duettes! Thor’s Ham-
mer performs equally well positioned upright or horizontally.
Applications
One of Wilson Audio’s most important criteria in speaker development is that a
speaker meets the accuracy and dynamic demands of studio monitoring, analytical
hardware and software evaluation, and of course, critical music and theater soundtrack
listening. The Thor’s Hammer has been designed to deliver all of the speed, dynamics,
and musical accuracy to satisfy even the most demanding music lovers.
The Thor’s Hammer has been engineered to take full advantage of today’s multi-
channel surround formats, including the latest AC-3 (Dolby Digital) and DTS (Digital
Theater Systems) formats.
It will provide years of satisfaction whether listening to two-channel audio, multi-
channel audio, or to the latest movie sound track.
Conclusion
Finally, a subwoofer designed and manufactured with the same commitment to
excellence that has characterized all products from Wilson Audio. The Thor’s Hammer
combines Olympian structural, design, and finish considerations with superior sonic
quality. It is this approach that distinguishes Wilson Audio products. As a part of a truly
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s e C T i o n 1 . 1 – T h o r ’ s h a m m e r i n T r o d u C T i o n
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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
high-end multi-channel system, or in a music system, the Thor’s Hammer offers unpar-
alleled performance, quality of build, and longevity. Wilson Audio delivers a product
that maintains the strictest structural tolerances, durability, and reliability. You will
have consistent, repeatable performance, unaffected by the climatic conditions, any-
where in the world. The Thor’s Hammer will provide an experience with film or music
only obtainable through Wilson products.
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figure 1 – thor ’S hammer in theater SySt em
T h o r ’ s h a m m e r 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
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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 y o u r T h o r ’ s H a m m e r
T h o r ’ s h a m m e r 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 – P r e P a r a T i o n
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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 2.1 – Preparation
You will need the following items:
• Suppliedhardwarekit
• Knownlisteningposition
• Electricscrewdriver
• Phillipsheaddrivebit
Uncrating the Thor’s Hammer
A minimum of two strong adults are required to set up the Thor’s Hammer. The
Thor’s Hammer weighs over four hundred pounds, and care should be taken to prevent
injury.
1. With the crate lid facing up, unscrew the wood screws securing the lid.
Remove the lid. Remove the foam packing material that is positioned be-
tween the casters (on the bottom of the Thor’s Hammer). The Thor’s Ham-
mer will not roll out of the crate with this packing material in place.
2. Carefully rotate the crate so that the Thor’s Hammer is upright.
3. While one person holds the crate, another person should gently roll the
Thor’s Hammer out of the crate. Be careful not to scratch the sides of the
painted enclosure.
4. Move the Thor’s Hammer into the desired location. It is recommended
that you leave the casters attached to the bottom of the Thor’s Hammer
during the positioning process.
Note: Be careful not to touch the driver elements when you are moving your Thor’s
Hammer!
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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 – I n Yo u r R o o m
T h o r ’ s h a m m e r 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
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s e C T i o n 3 . 1 – i n Y o u r r o o m
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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
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Section 3.1 – In Your Room
Introduction
Thor’s Hammer is unmatched in its ability to reproduce the deepest portion of the
bass region in any musical event. However, room acoustics and boundary interactions
affect the sound of a loudspeaker to such a large degree that poor setup can seriously
degrade your enjoyment of Thor’s Hammer.
Therefore, we offer the following section, which will present some guidelines on
room acoustics and their interactions with subwoofers. While we will also outline some
guidelines on the setup of the Thor’s Hammer, we strongly suggest that you have your
local Wilson Audio dealer perform the subwoofer’s setup and crossover settings - as
well as the final “voicing” of your primary loudspeakers. If you are using Thor’s Ham-
mer with Wilson loudspeakers, our dealers are specially trained in setting up Wilson
loudspeakers and will ensure that you realize the full value of your purchase.
Section 3.2 – Room Acoustics and Subwoofers
Room Resonance
Resonance in listening rooms is generally caused by two sources:
•Structureswithinthelisteningroom.
•Thevolumeofairitselfwithinthelisteningroom.
Structural Resonance
Structural resonances are familiar to most people as buzzes and rattles, but this
type of resonance usually only occurs at extremely high volume levels and is usually
masked by the music. In many wood frame rooms the most common type of structural
resonance problem is “booming” of walls and floors. You can test for these very easily
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by tapping the wall with the palm of your hand or stomping on the floor. Most rooms
exhibit mid-bass “boom” when struck. The loudspeaker playing in the room also ex-
cites these resonances. To give you an idea of what the perfect wall would sound like,
imagine rapping your hand against the side of a mountain. Structural wall resonances
generally occur in the low to mid-bass frequencies and add a false fullness to the ton-
al balance. They, too, are more prominent at louder levels, but their contribution to
the sound of the speaker is more progressive. Rattling windows, picture frames, lamp
shades, etc., can generally be silenced with small pieces of caulk or with blocks of felt.
However, short of actually adding additional layers of sheet rock to flimsy walls, there
is little that can be done to eliminate wall resonances.
Volume Resonance
The physical dimensions and volume of air in a room will also support standing
wave modes and resonances at frequencies determined by the size of that room. Larger
rooms will resonate at a lower frequency and have more complex (better) modal distri-
butions than will smaller rooms. Volume resonances, wall panel resonances, and low
frequency standing waves combine to form a low frequency coloration in the sound. At
its worst, it is a grossly exaggerated fullness, which tends to obscure detail and distort
the natural bass balance in the system. Careful tuning with the Wilson Controller can
minimize the interaction with the room and the subwoofer.
Section 3.2 – Initial Placement of Thor’s Hammer
The Thor’s Hammer is shipped with casters installed on the bottom of the cabinet.
Leave the casters on the Thor’s Hammer as you move it to its desired location. Thor’s
Hammer can be installed either vertically or horizontally. If the intent is to install it
vertically, leave the castors on as you proceed with the setup.
Note: If you are installing the Thor’s Hammer horizontally, remove the castors before
tipping it onto its side. Also, make sure you orient Thor’s Hammer such that the con-
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