User manual TANNOY REVEAL PASSIVE

[. . . ] 6 & 66 PASSIVE STUDIO MONITORS OWNERS MANUAL Tannoy United Kingdom Tannoy North America Tannoy Deutschland T: +44 (0) 1236 420199 T: (519) 745 1158 T: (04102) 888 393 F: +44 (0) 1236 428230 F: (519) 745 2364 F: (04102) 888 959 E: enquiries@tannoy. com E: inquiries@tannoyna. com E: info@tannoy. com 6481 0413 Tannoy adopts a policy of continuous improvement and product specification is subject to change. CONTENTS 1. 0: INTRODUCTION 2. 0: THE BASICS 2. 1 2. 2 2. 3 2. 4 2. 5 Unpacking and visual checks Preliminary recommendation Connecting your speakers Observing polarity Power Amplifiers Orientation Positioning Console Reflections Speaker Mounting Bass Ports Equalisation higher than 20kHz are inaudible in all but a few human beings, by extending the high frequency response to 35kHz and beyond we can correct the phase response within the audible band up to 20kHz. Both drive units are mounted on a massive 40mm thick baffle, curved to minimise diffraction and creating the loudspeakers distinctive styling. The drive units are magnetically shielded to reduce stray magnetic fields and allow the system to be used close to video monitors. Don't put potted plants on top of your speakers, don't plug them into AC outlets, or hook them up out of phase. [. . . ] As a general rule for this application, you should never need more than 6dB of control range, and you should never see two adjacent filters with more than 6dB of difference between them. Over equalisation can reduce system headroom, and introduce phase distortion resulting in greater problems than cures. Always check out the result of equalisation by listening to well recorded vocals or speech. This same concern about reflecting surfaces applies to all nearby widgets such as computer monitors, outboard gear, coffee cups, rolls of tape, the producer's wooden leg and all the other usual paraphernalia found in a studio environment. Cleaning up this short sound path between the speaker and your listening position is like using a cotton bud on your ear. You can repeat the process with an extra 3000mm (10 feet) of string to see which surfaces will influence the timbre and imaging of your mix. This exercise is not just about finding places to stick fuzzy or foamy absorbers to, the last thing you want to do is make your room completely dead. What this process will show you is which surfaces you should try to angle to redirect reflections away from your mix position. If there are surfaces that you cannot move or shift, you can apply a small amount of absorbent material to specific surfaces, rather than covering the entire room in absorbers. You may want to consider a speaker placement other than the console meter bridge, perhaps on an elevated mounting arm attached to the wall, or on a mid-field monitor stand, just behind the console. Keep your ears open for other problem reflections, like between the sloped connector panel on the back of the console and the baffle of the speaker, which will find its way back to the mix position a bit too late to be useful. The string trick works just fine for locating these reflecting surfaces. It's important that you listen to the effect of speaker placement on the sound character of your speakers, and understand what those changes are going to do to your mix. To make the point here's are some more things to consider: - 4. 0: REVEAL 6 DIMENSIONS 210. 0mm 81/4" 319. 0mm 121/2" 50. 8mm 2" 107. 9mm 41/4" 340. 0mm 133/8" 3. 4: SPEAKER MOUNTING You've probably got your monitors delicately balanced on your console meter bridge, or sitting on a counter top beside your hard disc editor. Try listening to this music with the speaker sitting directly on the mounting surface and then with it sitting on a thin piece of rubber pad. Depending on the type of mounting surface, you may find it beneficial to use a thin layer of flexible material (eg: Blu-takTM) beneath the enclosure. This not only absorbs some vibration, but will help prevent the monitor from vibrating off of its mounting surface. 179. 0mm 7" 3. 5: BASS PORTS The Reveal monitors' bass port is located on the back panel. You should keep the back panels at least 150mm (6") away from the nearest wall surface to avoid an overblown bass sound. If you cannot avoid being close to the wall or if you're using a separate subwoofer, you may want to consider plugging the port tubes on your near-fields with a closed cell foam-rubber plug, friction fit for a full seal. Because the ports aren't needed if the monitor speakers are being used with a high pass filter, you won't be losing any bass performance and you can improve the mid-bass response by plugging the ports. 8 9 5. 0: REVEAL 6 PERFORMANCE DATA 6. 0: REVEAL 6 TECHNICAL SPECIFICATIONS LOUDSPEAKER Frequency response (1) 63Hz - 51kHz 50 to 100 W rms into 8 Average (2) 50 W rms Programme 100 W 6 (3) Recommended amplifier power Power handling Nominal Impedance Sensitivity SPL / 1 W @ 1 m Distortion Crossover frequency Dispersion (@ -6dB) Drive unit LF/MID WideBandTM HF Shielded CABINET Low frequency design Cabinet construction Cabinet finish Fittings Cabinet dimensions (HxWxD) Total Cabinet weight Shipping dimensions (HxWxD) Shipping weight NOTES 90 dB < 0. 6% 2. 9kHz 90 degrees 165mm (6") multi fibre paper pulp cone 25mm (1") titanium dome neodymium magnet system Yes Optimised bass-reflex loaded MDF cabinet and front baffle, Tongue and groove front and back Maroon satin texture finish front, Grey vinyl sides and back 4 x M6 inserts for OmnimountTM 30 series bracketry 340mm (133/8") x 210mm (81/4") x 319mm (121/2") 7. 8kg (17. 16lbs) 622mm (241/2") x 287mm (111/4") x 440mm (173/8") 16 kg (1) +/- 3 dB, measured at 1m in an anechoic chamber. (2) Long term power handling capacity as defined in EIA standard RS426A. The introduction of new materials or manufacturing methods will always equal or exceed the published specifications which Tannoy reserve the right to alter without prior notice. Please verify the latest specifications when dealing with critical applications. 7. 0: SERVICING 7. 1: CABINET FINISH To remove marks and scuffs use a soft brush. [. . . ] Even with the equaliser set flat, it does not behave like a straight piece of wire in the time domain. If you don't need to equalise your monitors, then don't hook an equaliser up to them at all. A subtle bit of reduction in the mid bass where the console or table top will give you a rise, perhaps a bit of tailoring to taste here or there. As a general rule for this application, you should never need more than 6dB of control range, and you should never see two adjacent filters with more than 6dB of difference between them. [. . . ]