Tannoy Precision 8, Precision 6 Owner's Manual

6481 0415

Tannoy adopts a policy of continuous improvement and product specification is subject to change.

Tannoy United Kingdom T: [phone] F: [phone] E: [e-mail]

Tannoy North America T: [phone] F: [phone] E: [e-mail]

Tannoy Deutschland T: [phone] F: [phone] E: [e-mail]

6 & 8 PASSIVE STUDIO MONITORS

OWNERS MANUAL

2 3

1.0: INTRODUCTION

2.0: THE BASICS 2.1 Unpacking and visual checks

2.2 Preliminary recommendation

2.3 Connecting your speakers

2.4 Observing polarity

2.5 Power Amplifiers

3.0: INSTALLING & POSITIONING 3.1 5.1 Surround Monitoring

3.2 Bass Ports

3.3 Equalisation

4.0: PRECISION 6 AND 8 DIMENSIONS

5.0: PERFORMANCE DATA

6.0: TECHNICAL SPECIFICATIONS

7.0: SERVICING 7.1 Cabinet finish

7.2 Driver removal

7.3 Crossover

7.4 List of spare parts

8.0: WARRANTY

9.0: DECLARATION OF CONFORMITY

CONTENTS

1.0: INTRODUCTION

Thank you for purchasing Tannoy Precision Monitors.

Designed and manufactured by Tannoy and incorporating new Dual Concentric™ designs these monitors are suitable for desk-top or 5.1
surround situations at near and mid field monitoring positions. Unlike discrete systems with separate low frequency and high frequency drive
units mounted on the front baffle the Dual Concentric™ single point source properties and characteristics eliminate horizontal and vertical dead
spots around the crossover region and maintain flat phase and amplitude performance across the audible band. A WideBand™ SuperTweeter™
extends the amplitude response beyond the range of human hearing resulting in an extended phase response within the audible band to 20kHz.

Both models share the same acoustic balance and dispersion characteristics and can be mixed in a 5.1 surround monitoring situation. For
example the 8 can be used as a centre channel and the 6 as surround channels. During mixing and playback both models provide a very
natural soundstage retaining natural voicing to ensure that aural effects and speech localisation pan from left to right and front to rear seamlessly.

The Precision 6 and 8 are magnetically shielded, permitting use in close proximity to TV monitors without causing colour-fringing effects.

This manual is intended to provide the user with some useful advice on how to install and use the loudspeakers, as well as more technical
information about how the system is designed, and its detailed specifications. The goal being that it will help you get the best results from these
monitoring systems.

2.1: UNPACKING AND VISUAL CHECKS

The Precision 6 are packed in pairs and the Precision 8 is packed singly. To remove the speakers from the carton without damage open the
end flaps fully and bend them right back. Turn the package upside-down on the floor and lift the carton vertically upwards to leave the speakers
resting on their packing tray. Inspect each speaker for signs of transit damage. Nothing on or in your speakers should rattle about. In the unlikely
event of damage having occurred, inform the carrier and the supplier. Keep all the packaging as this will show evidence of excessive handling
forces. It is also a good idea to keep the packaging if possible for future transportation.

2.2: PRELIMINARY RECOMMENDATION

Initially we would like to give a word of warning on high sound levels, which these speakers are capable of generating over sustained periods
of time. Levels over 95 dB for 8 hours per day will eventually cause permanent hearing loss. Because Tannoy monitors have very low levels of
time, amplitude and frequency distortion it is not always obvious that the sound level is high while working with them.

For continuous exposure we recommend the occasional use of a sound level meter capable of integrating the sound level over a period of
exposure according to noise control standards. This should be used just to check that noise levels are always within safety limits.

2.3: CONNECTING YOUR SPEAKER

The types of cable used to connect the speakers to the power amplifier will marginally affect the sound. The cross-sectional area of the cable
should be large enough so as not to affect the damping factor, generally a cable with a cross-sectional area of 2.5 mm2, or greater is recommended.

The lower the resistance of the cable between the amplifier and the speakers, the better the damping factor acting on the speaker. This has been
covered in every audio magazine that has ever been written about speakers, so we won’t beat it to death here. You don’t need to buy speaker
wire that costs as much as your speakers to get some benefit from wire size, select a finely stranded speaker cable, and dress the cable ends to
prevent "hairs" or stray conductors from shorting across the terminals. If your amplifier will not directly accept that size of cable, you can trim down
the cable size at the amplifier end. Ensure that the binding post retaining nuts are screwed down firmly without stripping or over tightening them.

2.4: OBSERVING POLARITY

You already know about connecting the positive terminal on the amplifier to the positive terminal on the speakers, and ensuring that both
channels are "in phase" by checking to ensure that there’s more bass with both speakers on and not less bass. Absolute polarity is a bit trickier
to confirm. Absolute polarity is the maintenance of a positive pressure wave from the microphone capsule to the listening room. A kick drum,
for instance, has the drum skin whacked by the foot pedal, and it pushes the air, which pushes the microphone diaphragm, which goes through
the electronics and should eventually come out of the speakers as a positive pressure wave, which should have the speaker cones moving towards
you, just like the drum skin. It turns out that you can’t trust a conventional recorded source to test this because there is no way to confirm that
absolute polarity was maintained, it can even change from track to track. This isn’t a trivial thing, especially when you’re using a true stereo
microphone setup, or trying to accurately place things in your mix. This is something that should be rigorously checked with every microphone
and every signal line in a studio, but the first step would be to use the kick drum test described above with a few microphones. If you don’t
believe it can make a difference, set up a little test using a mix you know and flip the polarity of both channels at the same time, while listening
to the same program...imaging, vague imaging, imaging, vague imaging. Hear-Believe!

2.5: POWER AMPLIFIERS

The power amplifier should be reasonably well matched in power to the power rating of the speakers (see specifications). The use of a powerful
amplifier (i.e. in excess of the recommended figure) provides headroom, which is useful especially for highly dynamic programme materials.

Due of the high peak power handling of Tannoy monitors, responsible use of even more powerful amplifiers should not represent a danger to
the speakers if the amplifiers are not overdriven.

2.0: THE BASICS

The Precision 6 and 8, are designed and made by Tannoy, a company with unrivalled experience in studio monitoring. They have an extremely
detailed, dynamic sound with a wide, flat frequency response – essential requirements for monitoring with reliable accuracy.

The Dual Concentric™ drivers contain both low frequency and high frequency drive unit components aligned along the same axis and positioned
to generate an acoustic point source. A titanium dome SuperTweeter™ extends the amplitude response of the acoustic radiation above 20kHz,
beyond the limit of human hearing to above 50kHz. Extending the amplitude response in this way corrects the phase response of the system
within the audible band below 20kHz.

The Dual Concentric™ components and the SuperTweeter™ are seamlessly matched by a precision low-loss crossover network. The drive units
are mounted on a massive 40mm thick baffle, curved to minimise diffraction and creating the loudspeakers distinctive styling. All drive unit
magnets are fully shielded to allow the system to be used close to video monitors.

3.0: INSTALLING AND POSITIONING

When choosing a suitable location for the monitors, bear in mind that the physical mounting of loudspeakers can have a large influence on
performance. For best results the monitors should be mounted on a rigid structure, supported on four pads making contacts with the laminated
panel. The use of soft pads (rubber, Sorbothane, or Blu-Tak) is recommended.

Ensure that the console position does not obscure the direct sound radiation from the loudspeakers when sitting down. The engineer and producer
should have a clear, uninterrupted view of the monitor loudspeakers.

3.1: 5.1 SURROUND MONITORING

In order to ensure a uniform acoustical environment, the room should be symmetrical about the centre loudspeaker axis; room treatments should
be applied symmetrically throughout the room. Mixed "Live end/Dead end" environments should be avoided. If the lateral speakers are positioned
close to walls then the constitution of the wall surfaces should be identical.

When using either Precision 6 or 8 as the main effects speaker for the front soundstage, placement is a critical factor for good performance. In
all cases the centre channel speaker should be placed as close to the viewing screen as possible. The viewing position when seated determines
the ideal mounting height, but in all cases this should be as close as possible to ear height, if this is not possible the monitor should be tilted
towards ear height in the mix position. The centre speaker should be positioned along the centre axis of the picture and the left/right monitors
just outside the picture, ideally the three front effects speakers would be placed with the front baffles in line with the screen surface. If an
acoustically transparent screen is used, the left/right monitors should be placed just inside the edges of the picture. The surround speakers should
be positioned at the same distance to the mix position as the main front speakers. As the subwoofer/LFE channel only produces low frequencies
it is difficult to localise its position by ear. As a result it could effectively be situated anywhere in the room, though optimum performance will
be gained by placing the subwoofer in the same plane as the main front speakers. The LFE channel is set at a level 10dB higher than the other
channels when mixing therefore it is important to apply the same in any playback situation.

4 5

3.2: BASS PORTS

The Precision monitors’ bass ports are 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 you may want to consider plugging the port tubes
on your loudspeaker with a closed cell foam-rubber plug, friction fit for a full seal. This will overdamp the speakers making them more suitable
for a 2Pi environment, for example against a wall.

3.3: EQUALISATION

Our feeling is that you shouldn’t need to equalise monitors at all in a well designed monitoring environment, apparent variations in the monitor
response should be fixed through room design or placement. But we realise that equalisation is sometimes a necessary evil. If you have a choice
of equalisers for monitor applications, less is more. The fewer the number of filters, the better the equaliser will sound. A stereo five band
parametric is better than a stereo 15 band that is better than a stereo 1/3 octave. You may not realise that in all but one or two brands of 1/3­octave equalisers, all 30 filters are in series. There is a minimum transit time through each filter of some 25 microseconds, plus just a bit of
decay time for each filter. 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. 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.

4.0: PRECISION 6 AND 8 DIMENSIONS

220.0mm 260.5mm

356.0mm

107.9mm

186.0mm

50.0mm

PRECISION 6

5.0: PERFORMANCE DATA

272.0mm 287.5mm 50.8mm

107.9mm

220.0mm

440.0mm

PRECISION 8

85/8”10

1

/4”

14”

2”

4

1

/4”

7

3

/8”

10

3

/4”11

3

/8”

4

1

/4”

8

5

/8”

PRECISION 6

PRECISION 8

173/8”

2”

6 7

9.0: DECLARATION OF CONFORMITY

The following apparatus is/are manufactured in China for Tannoy Ltd of Rosehall Industrial estate, Coatbridge, Scotland, ML5 4TF and conform(s)
to the protection requirements of the European Electromagnetic Compatibility Standards and Directives relevant to Domestic Electrical Equipment.
The apparatus is designed and constructed such that electromagnetic disturbances generated do not exceed levels allowing radio and
telecommunications equipment and other apparatus to operate as intended, and, the apparatus has an adequate level of intrinsic immunity to
electromagnetic disturbance to enable operation as specified and intended.

This equipment conforms to the requirements of the EMC Directive 89/336/EEC, amended by 92/31/EEC and 93/68/EEC and the requirements
of the Low Voltage Directive 73/23/EEC, amended by 93/68/EEC.

Details of the Apparatus: Tannoy Monitor Loudspeaker

Model Number: Precision 6
Model Number. Precision 8

Applicable Standards: EN55103-1:1996 Emission

EN55103-2:1996 Immunity
Electrical Safety EN60065:1993

Signed:

Position: Technical Director
Date: 1 March 2005
For Tannoy Ltd

8.0: WARRANTY

NO MAINTENANCE OF THE PRECISION MONITORS IS NECESSARY.

All components are guaranteed for a period of five years from the date of manufacture, subject to the absence of, or evidence of, misuse,
overload or accidental damage.

For further information please contact your dealer or the distributor in your country.

If you cannot locate your distributor please contact:

Customer Services, Tannoy Ltd., Coatbridge, Strathclyde, ML5 4TF, Scotland
Telephone: [phone] (UK) [phone] (International)
Fax: [phone] (UK) [phone] (International)
Internet: http://www.tannoy.com

DO NOT SHIP ANY PRODUCT TO TANNOY WITHOUT PREVIOUS AUTHORISATION

This warranty in no way affects your statutory rights.

7.0: SERVICING 7.1: CABINET FINISH

To remove marks and scuffs use a soft brush. If necessary, a little warm water and detergent can be used but under no circumstances use a
solvent or abrasive cleaner.

7.2: DRIVER REMOVAL

Lay the cabinet on its back. Remove the ten hexagonal screws and set aside. Ease the driver from the front of the cabinet taking care not to
mark the front surface. Remove the driver, note the polarity of the internal connections and disconnect the internal wiring. Take care not to
damage the moving parts of the LF driver. To refit the driver, connect the cables from the crossover to the LF terminals. Fit the driver into the
mounting hole, making sure that the internal connecting cables are not trapped or able to touch the LF cone. Fasten the screws finger tight and
then progressively tighten them down with the appropriate Allen key.
Repeat the same procedure for the HF driver.

7.3: CROSSOVER

The crossover is mounted on the rear of the terminal panel. To inspect it, remove the panel by releasing the hexagonal screws. Take care to
avoid undue stress on the cables and components.

To remove the crossover completely the cables must be disconnected from the drive unit. Please proceed as above to remove the drive unit.

6.0: TECHNICAL SPECIFICATIONS

(1) +/- 3 dB, measured at 1m in an anechoic chamber. (2) Long term power handling capacity as defined in EIA standard RS426A.
(3) Averaged over specified bandwidth for half-space environment.

Tannoy operates a policy of continuous research and development. 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.

NOTES

Frequency response (1)

Recommended amplifier power

Power handling

Nominal Impedance

Sensitivity SPL / 1 W @ 1 m

(3)

Distortion

Crossover frequency

Dispersion (@ -6dB)

Dual Concentric™ LF/MID

Dual Concentric™ HF

WideBand™ HF

Shielded

LOUDSPEAKER

62Hz - 51kHz

60 to 120 W rms into 8Ω

Average

(2) 60 W rms

Programme 120 W

6Ω

91 dB

< 0.7%

2.5kHz

90 degrees

165mm (6") Dual Concentric™ constant directivity
driver with multi fibre paper pulp cone

25mm (1") titanium dome neodymium magnet
system

25mm (1") titanium dome neodymium magnet
system

Yes

PRECISION 6

54Hz – 51kHz

80 to 160 W rms into 8Ω

Average

(2) 60 W rms

Programme 160 W

6Ω

93dB

< 0.5%

2.2kHz

90 degrees

200mm (8") Dual Concentric™ constant directivity
driver with multi fibre paper pulp cone

25mm (1") titanium dome neodymium magnet
system

25mm (1") titanium dome neodymium magnet
system

Yes

PRECISION 8

Low frequency design

Cabinet construction

Cabinet finish

Fittings

Cabinet dimensions (HxWxD)

Total Cabinet weight

CABINET

Optimised bass-reflex loaded

MDF cabinet and front baffle, Tongue and groove
front and back

Black cabinet Grey painted baffle with brushed
aluminium inlay

4 x M6 inserts for Omnimount™ 30 series bracketry

356mm x 220mm x 260.5mm
14” x 8

5

/8” x 101/4”

8.9kg (19.6lbs)

Optimised bass-reflex loaded

MDF cabinet and front baffle, Tongue and groove
front and back

Black cabinet Grey painted baffle with brushed
aluminium inlay

4 x M6 inserts for Omnimount™ 30 series bracketry

440mm x 272mm x 287.5mm
17

3

/8” x 103/4” x 113/8”

12.7kg (28lbs)

7.4: LIST OF SPARE PARTS

DESCRIPTION PRECISION 6 (Part No)

Type 1603 -7900 0747

Type 0294 – 7900 0891B

Type 1464 – 7300 0937

PRECISION 8 (Part No)

Type 1603 -7900 0747

Type 0294 – 7900 0891B

Type 1465 – 7300 0938

Driver Kit

High Frequency Unit

Passive Crossover