User manual TANNOY REVACMAN

[. . . ] Reveal Active Nearfield Monitors User Manual CONTENTS 1. 0 2. 0 2. 1 2. 2 2. 3 INTRODUCTION THE BASICS Unpacking and visual checks Preliminary recommendation Connecting your speakers 3. 0 3. 1 3. 2 3. 3 3. 4 3. 5 3. 6 PLACEMENT OF THE SPEAKERS Orientation Positioning Console Reflections Speaker Mounting Bass Ports Equalization 4. 0 5. 0 6. 0 6. 1 6. 2 6. 3 6. 4 PERFORMANCE DATA TECHNICAL SPECIFICATIONS SERVICING Cabinet finish Driver removal Crossover List of spare parts 7. 0 8. 0 WARRANTY Declaration of Conformity 1. 0 INTRODUCTION You're thinking, "Come on, a user's manual for speakers?That's like a user's manual for a toothbrush. " You know you should hook them up in phase and then you listen to them. We know these speakers are headed for the professional or semiprofessional studio market, so we know we don't need to tell you about putting your potted plants on top of the speakers, or to avoid putting the right one on the bookshelf, and the left one on the floor behind the sofa. We know you are serious listeners or you wouldn't have bought Tannoy monitors. [. . . ] If this would have you resting your chin on the console, you could tilt the monitor back slightly. This keeps your head in the sweet spot whether you're leaning forward adjusting level or EQ, or leaning back and listening to the mix. Don't go crazy trying to get this exact to three decimal places, within a few inches will suffice. Your Tannoy monitors have a wide sweet spot both horizontally and vertically to reduce the variations in sound quality as you move around doing your recording engineer stuff. Turning the monitors in like this has an added benefit of keeping the high frequencies from reflecting off the walls and outboard gear. 3. 3 Console Reflections The number one killer of smooth near-field monitor response is the mixing console. Most people park their near-field monitors on top of the meter bridge, which makes the console top the most influential reflecting surface for the sound you hear when you're mixing. If it were such a big deal, wouldn't people have done something different by now?Let's face it, this industry is not exactly quick to acknowledge a situation that makes it apparent we've ignored a problem for the ten years or so since near-fields became popular. So you still have reservations as to the significance of this reflection?OK, dig out your pink noise generator, it's time for an experiment. Have your assistant hold your monitor up in the air about 600mm (24") from the top of the console while feeding pink noise through it. Make sure you're listening right on the speaker axis (that line between the woofer and tweeter), and have your assistant slowly lower the monitor onto its perch on the meter bridge. Hear that change in midrange character as it gets within the last foot of the console?The first problem is comb filtering (interference) caused by the reflection from the console top taking a fraction of a second (and a tiny fraction!) longer to get to your ear than the sound directly from the speaker. You can do this at great expense by using a real time analyser, and spend a few months learning to use it, OR, you can grab a length of string, some gaffer tape, and a mic stand, and get set for another experiment. For unblemished stereo imaging and frequency response you would want to listen in a completely reflection free environment, like an anechoic chamber, where all you would hear is the image and the direct sound produced by the speakers, no nasty reflections anywhere. Next best thing, if you can establish a listening position free of reflections arriving within 2 milliseconds after the direct sound (that's the time it takes sound to travel about 24" or 600mm or less which represents all frequencies from 500 Hz and up), and minimize reflections arriving within 10 milliseconds of the direct sound, you can maintain a remarkably stable stereo image, and uniform response throughout the mix area. The "direct sound" is just that, it is the shortest straight-line path that sound can take from the speaker to your ear, no bounces, no reflections. The 2 millisecond reflection window really affects the character of the sound at the mix position, drastically altering the response of the speaker in the critical audio bands of 500Hz and above. The 10 millisecond reflection window does some more subtle things to the speaker's response, because the ear/brain reads reflections arriving within 10 milliseconds of the direct sound as being part of the speaker's response, these reflections can pull the stereo image around in different directions at different frequencies. Attach one end of the string to the top of the mic stand, and stretch the string out to the front of one of the monitors. To locate all the surfaces that will contribute reflections within that magic 2 millisecond window, add 600mm(24") to the string you have stretched out. [. . . ] Over equalization can reduce system headroom, and introduce phase distortion resulting in greater problems than cures. 4. 0 PERFORMANCE DATA Fig 1. On axis anechoic frequency response 5. 0 TECHNICAL SPECIFICATIONS System Frequency response (1) Maximum SPL (2) Distortion Electronic section Input Sensitivity Crossover frequency Amplifier output power Output noise Power supply 32 k balanced on combined XLR/jack 0. 775 Vrms (0 dBu) 3000 Hz LF 50 W rms (4 ) HF 50 W rms (4 ) - 80 dBV Fixed mains voltage IEC inlet with detachable power cord Power consumption 10 to 160 VA 62 Hz - 20 kHz 114 dB < 0. 8% Cabinet Drive unit Low frequency design Cabinet construction Cabinet finish Cabinet dimensions Cabinet weight Shipping dimensions Shipping weight Tannoy shielded 6. 5" bass driver Tannoy shielded 1" soft dome tweeter Optimised bass-reflex loaded, in 12 litres 40 mm MDF front baffle, 16 mm high density particle board. Azure blue satin finish front Grey suedette vinyl sides and back (HxWxD) 340 mm x 210 mm x 260 mm 8. 5 kg (HxWxD) 440 mm x 620 mm x 290 mm 18. 5 kg NOTES : (1) +/- 3 dB , measured at 1m in an anechoic chamber. (2) Peak SPL at mix position for 1 pair driven Tannoy operates a policy of continuous research and development. [. . . ]