Tannoy PRECISION PASSIVE User 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.