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OWNER S MANUAL
AAD 7001 Owner s Manual
Thank you for choosing the 7001 loudspeaker system. This is our most advanced high
performance loudspeaker ever to come out of the AAD stable, a true thoroughbred based
on the design philosophy of Phil Jones, a loudspeaker that produces a corresponding
acoustic output to exactly the electrical signal it is fed: no more, no less.
As this speaker is so revealing, any changes with equipment associated in the signal path
will result in considerable audible differences in the speaker. Any character of the speaker
will be from the recording of the music you are listening to. The 7001 will only perform at
its best with the purist audio signal possible. Small power amplifiers are out of the
To assemble stands please read the separate instruction manual on stand assembly. If you
have difficulty in assembling stands, contact your dealer who will be able to assemble these
Make sure that the speakers are bolted firmly on the stand. The dedicated ST-7001 stand is
designed to give 7001 maximum performance.
This is the first step in obtaining the most realistic sound possible. The 7001 frequency
response goes well beyond any other similar size high-performance monitor speaker. The
ultra wide dispersion of high frequencies is so superior that even at 20KHz (The upper limit
of human hearing), this speaker can still deliver almost its full energy at 90 degrees of axis.
No other speaker we know of is capable of achieving this feat.
Ideally speakers should be out at same distance from
rear wall. Left and right speaker should also have the
same distance off side walls from each other.
Your listening position should be at the apex of a
triangle 40-60 degree angle.
YOUR HEAD SHOULD BE AT SAME HEIGHT AS
CENTER OF SPEAKERS
WIRING UP YOUR SPEAKERS
Speakers and electronics terminals have corresponding (+) and (-) terminals. It is important
to connect both speakers identically: (+) on the speaker to (+) on the amplifier and (-) on the
speaker to (-) on the amplifier. The hole in the center of each speaker terminal is intended
for use with banana-type connectors. We recommend that you use this type of connection to
avoid any potential of connections being shorted out on the back panel.
For maximum transfer of energy from amplifier to the speaker, you should use as short a run
of speaker cable as possible. Try to use the best quality cable available. It is difficult to say
what brand or model cable offers the best performance since the overall result is also
dependent on source of electronic you are using along with your particular room set up.
The 7001 speaker stand offers the best
performance with the speaker. The optimum
height of a listener’s head should be the same
as the speaker baffle center.
For single-wire connection, leave the shorting bars in place
and connect only a single set of speaker wires (two
conductors). The positive conductor connects to the upper
positive terminal and the negative conductor to the lower
How to get the most out of your 7001s
No matter how good all your audio components are, their performance will only reach
whatever condition the room they dictate.
Apart from the qualities of room acoustics, one of the major contributors to audio
degradation is room noise which will not only affect dynamic range of your system but also
How do you measure noise?
This can be done with a Sound Pressure Level (SPL) meter. (Low cost ones are available
from Radio Shack.) Typically the noise floor in a domestic environment is around 35-40dB
(A Weighting) and 50-55dB (C Weighting) The difference between A and C weighting is that
A weighting is full frequency noise and therefore this will be a lot higher reading than C
weighting which is bandwidth limited.
The bi-wire connection method requires one amplifier and
two sets of speaker wires. By removing the shorting bars,
connections may be made to the individual network
sections using four conductors, one for each of the four
terminals. Depending on what cable you are using this
method of wiring can improve the resolution of your audio
The A-curve is a wide band-pass filter centered
at 2.5 kHz, with ~20 dB attenuation at 100 Hz,
and ~10 dB attenuation at 20 kHz, therefore it
tends to heavily roll-off the low end, with a more
modest effect on high frequencies
The C-curve is "flat , but with limited
bandwidth, with -3 dB corners of 31.5 Hz
and 8 kHz, respectively.
Many recordings boast a dynamic range of 100dB or more but this is meaningless if you are
using your playback system in a typical room. If you are playing a speaker with a high
sensitivity of say 90db/watt/meter, the SPL will be at least 6dB down at a typical listening
distance from the speaker (about 8-10 feet), reduced to 84dB. If you are using 100watts into
this speaker and that it has virtually no power compression ,the output will reach peaks of
104dB. Dynamic range is the sound level from the lowest to the highest. Since a typical
room has noise level at 55dB(C), total dynamic range will be 49dB, about that of a low cost
cassette player in the 1970s.
Reducing the noise floor by isolating external noise from the room by a factor of 10dB will
give you the equivalent of having a 1000 watt amplifier instead of 100 watts. You could
always go for a 1000 watt amp but then you probably wont care for noise after that since you
may end up deaf instead!!
One of the secrets of great sound is to start with a room that has a low noise floor. As a result
you will enjoy music at lower sound levels because your dynamic range has increased, and
your electronics and speakers will be running with far lower distortion levels. (Amplifiers
and speakers tend to play with lower distortion at lower power levels).
Rooms tend to have parallel walls and dimensions corresponding to certain frequencies
from the music program. These frequencies tend to be at the lower range of the audio
spectrum and can enhance or diminish those notes being played. To the listener it can make
the bass tones sound boomy or ill defined. Some audiophiles tend to be concerned about the
transient response of different types of bass loading. Ideally sealed box alignment would
have the most perfect response but all this is again meaningless when the speaker is situated
in a real life situation of a typical listening room. Any kind of speaker loading is lightening
fast when compared to the acoustics of a room.
As a rule of thumb rooms that have ratios of dimensions to the following numbers will tend
to have a more linear spread of room modes therefore be more neutral sounding.
1 : 1.14 : 1.39
1 : 1.28 : 1.54
1 : 1.6 : 2.33
Reverberation Decay of listening rooms (Rt60)
In simple terms, reflectivity is the apparent "liveliness" of a room. Professionals prefer the
term reverb time or Rt-60. Rt-60 defined, is the amount of time (in seconds) it takes for a
pulsed tone to decay to a level 60dB below the original intensity. A live room has a great
deal of reflectivity, and hence a long Rt-60. A dead room has little reflectivity and a short
Rt-60. An ideal room needs some reflections. The upper frequencies should have an Rt60 of
about 0.5 seconds whereas the low mid and bass frequencies can be over 1 second. High
frequency reflections are easily controlled by absorptive materials and furnishings such as
sofas, carpets and heavy curtains. It is much harder to control low frequencies due to the
much longer wavelengths. Some degree of control can be achieved by using "bass traps" in
room corners. World class recording studios spend thousands of dollars in one studio
control room to keep bass frequencies tamed. So in a domestic environment it is almost
impossible to get perfect acoustics in a listening room.
There are ways of measuring Rt60 of a room with computer analyzers but the simplest and
most intuitive way is to use the "hand clap" approach. If you clap you hands once you will be
able to hear the sound of the clap reflection back, this is reverberation of the room. If the
room has a lot of hard surfaces such as wood, stone or glass, then the sonic reflections of the
hand clap will be more intense. The more intense the reflections are, the more they will
interfere with the sound emanating from the speakers. This will deteriorate the sound
quality. A typical environment with bad acoustics such as a railway station can reduce sound
quality so much as to make the dialogue of an announcer almost unintelligible.
Sound bounces or reflects off all solid surfaces, so that when the sound source such as a
loudspeaker stops producing sound, the reflections continue for a period of time until the
energy is absorbed. Or to put it another way, the room functions as an energy store, returning
the acoustic energy to the air at some point after the initial event.
Rigidity and Mass
Rigidity and mass both play significant roles in determining how a given space will react to
sound within. They have a strong relation to the low frequencies - both qualitatively and
quantitatively. Low frequencies can be tremendously powerful, capable of flexing walls,
ceilings and occasionally, floors. Flexure of this type is termed diaphragmatic action.
To illustrate this concept, think of the room as a small box. If the box is made of cardboard,
the walls vibrate easily. The same box made of concrete would exhibit little movement.
Diaphragmatic action dissipates low frequencies, robbing the bass of both impact and
Therefore, the more rigid/massive walls, floor and ceilings are in your listening room, the
less diaphragmatic action and the tighter, more defined and powerful the bass will be.
This is another form of unwanted reflection. This condition is created when a speaker is
placed near a reflective surface (wall, floor, furniture etc.). The result is image smear and/or
frequency response anomalies. The comb filter effect occurs when the direct sound and the
reflected sounds arrive at the listeners' ears out of phase, thus canceling each other. This
problem can be avoided by placing your speakers well away from reflective surfaces, or by
treating nearby problem areas with absorptive and/or diffusive materials. For best results
keep the 7001 speakers at least 3 feet away from side walls.
The Listening Position
For best results the listening position should be about 1/3 of the length of the room from the
back wall and should be equidistant from the side walls. It may be necessary to have some
form of acoustic control in the proximity of the listening position. For example if you have a
wood floor, it may be beneficial to have a thick rug placed in front between you and the
speakers. This can control some of the unwanted reflections from the floor causing
interference on the mid and high frequencies. Experimentation with moving your listening
position may be necessary to find the best location.
Playing your 7001 speakers
Like a new pair of shoes, high-performance speakers need a break in time. Out of the box
your 7001s will not be optimum. They will need a period of time for the sound to mature to a
full bodied, smooth, sweet sound. The speaker's acoustic tuning is based on a fully run in
unit. It would not make sense for the speaker to sound its best out of the box and then go
downhill from there.
In fact the 7001s will not only improve over a short break in time but will continue to
improve on a daily basis and this will go on and on for as long as you own these speakers.
There is simply nothing to fail or wear out in them. Given care they deserve, these speakers
will last a lifetime.
We recommend that you use an amplifier with power rating at least a 100watt RMS or
ideally 300watts plus per channel. These 7001s have a vast dynamic range and using a large
power amplifier to power them will allow them to reach their full potential.
Amplifiers with up to 1000 watts RMS output can produce lifelike dynamics on transients
without stress or strain.
Headroom is not audible but a lack of it certainly is.
Each time you run your system you may need about 15minutes of initial playing before the
sound starts to take on a dimension of breathtaking clarity.
The 7001s will even reveal how your amplifier sounds whether it is just turned on cold or
been running warm for a while.
Speakers Cables, Interconnects & Power Cords
Due to their revealing nature, the 7001 speakers will discriminate between speaker cables
and interconnects with ease. It will bring a new palette of colors to what you have ever heard
before to your recordings. So even changing between cables will bring changes to you
sound. You should experiment to what is sounding to your idea of transparency.
The 7001 is neutral when it comes to producing sound. It is not slanted to any side of the
audio spectrum. It will therefore reveal more about the recordings and the process of how
they were recorded more than the producer and artist who created them know.
System Type: 2 way loudspeaker 5 inch cone woofer, horn loaded ribbon tweeter.
Bass Loading: 6.5 inch critically tuned passive radiator.
Crossover: 12dB/Octave at 3 KHz
Low-Frequency Transducer: Cast magnesium alloy frame, High Flux Neodymium-Iron-
Boron magnet system, High Excursion 2-inch Copper Clad
aluminum voice coil. Aluminum cone, Butyl-Rubber
High Frequency Transducer: Neodymium magnet system. Horn loaded Aluminum ribbon
Cabinet: 1.5 inch thick MDF side panels with lead damping.0.5 inch Aluminum front and
Frequency Response: 25Hz-50KHz +/- 3dB (dependant upon room acoustics).
Impedance: 8 Ohms Nominal.
Recommended Amplifier Power: 100 watts minimum 1000 watts maximum.
When cleaning the 7001 speakers, use clean, lint free and slightly damped soft cloth
to remove surface dust from cabinets. Use a very clean and dry soft cloth to carefully
remove dust from drivers. Make sure there are no abrasive particles in the cloth, or
they may leave scratch marks on cabinets or cause damage on drivers.
Never use any solutions with chemical ingredient to clean the speakers.
8509 Mid County Industrial Dr.St Louis,
MO 63114, USA
The 7001 speakers come with warranty period of 3 years, starting from the date of
purchase. This warranty is provided to original owner, and covers defect in materials
or workmanship that occurs in normal use. This warranty excludes damage that
results from abuse, mis-use, accidents, shipping, or repairs or modifications by
anyone other than authorized representatives. The warranty is void if serial
number has been removed.
Should you need service on your speakers, please bring it to the dealer whom you pur-
chased from along with sales slip.
If this is not possible, call or write to:
American Acoustic Development LLC