Tannoy Speaker 66D User Manual

6D 66D & 8D ACTIVE STUDIO MONITORS  
O W N E R S M A N U A L  
Tannoy United Kingdom T: +44 (0) 1236 420199 F: +44 (0) 1236 428230 E: [email protected]  
Tannoy North America  
Tannoy Deutschland  
T: (519) 745 1158  
T: (04102) 888 393  
F: (519) 745 2364  
F: (04102) 888 959  
Tannoy adopts a policy of continuous improvement and product specification is subject to change.  
Download from Www.Somanuals.com. All Manuals Search And Download.  
AS THE COLOURS OF THE WIRES IN THE MAINS CABLE MAY NOT CORRESPOND WITH THE COLOURED MARKINGS  
IDENTIFYING THE TERMINALS IN YOUR PLUG, PROCEED AS FOLLOWS:  
1.1: INTRODUCTION  
The Tannoy Reveal Digital range of near field monitoring speakers builds upon the success and worldwide reputation of the  
famous original Tannoy Reveal Active. Since the launch of the original Tannoy Reveal Active in 1998 there have been significant  
advances in digital speaker measuring techniques, acoustic CAD design and simulation, and precision manufacturing processes.  
The Tannoy Reveal Digital range now provides greater bandwidth, significantly lower levels of distortion, smoother responses,  
more accurate phase control, and higher sensitivity levels; all within compact cabinet sizes. Also, much has been learnt about  
the near field listening environment - the effects of boundary walls, acoustic reflections from mixing console surfaces and the  
acoustic properties of often sparsely prepared PC/Mac post production editing situations.  
The wire which is coloured GREEN AND YELLOW must be connected to the terminal in the plug which is marked either by the  
letter E, the earth safety symbol, or coloured GREEN or GREEN and YELLOW.  
The wire which is coloured BLUE must be connected to the terminal in the plug which is marked by the letter N or coloured BLACK  
The wire which is coloured BROWN must be connected to the terminal in the plug which is marked by the letter L or coloured RED.  
Ensure that the terminals are tightened securely, and no loose strands of wire are present. Ensure cord grip is clamped over  
outer sheath of cable, rather than over the wires.  
The Tannoy Reveal Digital range of monitoring speakers can be optimised for far field, mid field and near/close field free space  
situations right through to far field, mid field and near/close field situations in difficult acoustic spaces such as meter bridge  
positions, adjacent to walls or reflecting surfaces and space restricted PC/Mac based sound editing environments.  
FUSE PROTECTION  
Acoustic space environments are referred to as 4pi, 2pi and pi representing the solid angle in space (steradians) into which the  
speaker is radiating. These environments are frequently referred to as free space, half space and quarter space listening  
conditions . The type of acoustic space into which a speaker radiates, defined by nearby solid boundaries, affects the acoustic  
air load presented to the speaker and so the relative radiating efficiency at various frequencies. In different pi spaces the linearity  
of the amplitude response changes, especially within the band 50Hz to 800Hz.  
An additional mains fuse is provided in the IEC power inlet on the back of the loudspeaker, which can only be removed with  
the power cord unplugged. This must be replaced by a fuse of the same type and ratings (see Specifications or refer to rear  
panel).  
INSTALLATION  
Varying distances encountered between the monitors and the listener are generally referred to as far field (greater than 3m or  
10 feet), mid field (2 to 3m or 6 to 10 feet), near field (1 to 2m or 3 to 6 feet) and close field (around 0.5m or 1.5 feet). The  
proximity of the listener to the speaker changes the way the listener perceives the sound balance from the speaker. At large  
distances from an acoustic source plane waves are perceived. At small distances from an acoustic source the waves appear  
spherical.  
Do not install this equipment in an enclosed space. Do not limit free ventilation and movement of air around the back panel.  
Do not install this equipment in a cupboard with a closed door. Allow for a distance of 150mm (6 inches) of free air space  
around all sides, top, bottom and the back panel of this product. The user must be able to see the blue coloured front panel  
of this product when in use.  
EMC  
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC  
Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This  
equipment generates uses and can radiate radio frequency energy and, if not installed and used in accordance with the  
instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not  
occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can  
be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of  
the following measures:  
2.0: THE BASICS  
2.1: UNPACKING AND VISUAL CHECKS  
The Reveal 6D’s are packed in pairs and the Reveal 8D and 66D’s are packed singly. To remove the speakers from the carton  
without damage open the end flaps fully and bend them right back (remember they are packed in pairs). Turn the package  
upside-down on the floor and lift the carton vertically up to leave the speakers resting on their packing tray. Nothing on or in  
your speakers should rattle about. Inspect each speaker for signs of transit damage. In the unlikely event of this having occurred  
inform the carrier and the supplier. Keep all the packaging if damage has occurred, as this will show evidence of excessive  
handling forces. It is also a good idea to keep the packaging if possible for future transportation.  
Reorient or relocate the receiving antenna.  
Increase the separation between the equipment and receiver.  
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.  
Reorient or coil cables.  
2.2: PRELIMINARY RECOMMENDATION  
If necessary, consult the dealer or an experienced radio/television technician for additional suggestions.  
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 can 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.  
Any cables the user adds to the device must be shielded to be in compliance with the FCC standards. Any unauthorised modification  
to this device could result in the revocation of the end user’s authority to operate this device.  
This device complies with Part 15 of FCC rules. Operation is subject to the following two conditions: (1) This device may not  
cause harmful interference, and (2) This device must accept any interference received, including interference that may cause  
undesired operation.  
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.  
Canada  
Industry Canada Class B emission compliance statement. This Class B digital apparatus complies with Canadian ICES-003.  
Avis de conformite a la reglementation d'Industrie Canada. Cet appareil numerique de classe B est conforme a la norme NMB-  
003 du Canada.  
3.0: REVEAL D SERIES FEATURES  
A set of DIP switches on the rear panel of each speaker can be set to choose the optimum speaker response for these real life  
and often difficult situations, so that the frequency response from the speaker is always substantially flat. We are not equalising  
the room modes due to standing waves or resonant structures, we are equalising the speaker to take account of the varying air  
load presented by the room and surrounding large structures such as the mixing desk.  
The switches are arranged in groups according to their function and each switch can be set to the 'on' (down) or 'off' (up) position  
in various combinations to achieve a flatter, more balanced response within a wide variety of acoustic spaces and with far, mid,  
near and close field monitoring positions.  
Figure 1 shows the range of equalisation available in the 50Hz to 800Hz region and also shows the degree of trim available  
in the bass, upper midrange and high frequency areas,  
4
5
Download from Www.Somanuals.com. All Manuals Search And Download.  
An A/V 80Hz high pass filter switch provides instant conversion to 5.1 and higher order systems where a separate subwoofer  
below 80Hz is required. Filter characteristics are according to the international standards for this setup. This response is also  
shown diagramatically in Figure 1.  
3.4: USER CONTROLS  
A/V (80Hz): a switch to the bottom left of the bank of DIP switches sets the system high pass filter to either flat or –6dB at 80Hz.  
The 80Hz setting is used when the speakers are in combination with a subwoofer for low frequency effects such as Dolby Digital,  
AC3, DTS etc playback situations. For all other situations set this switch to flat. This response can be seen in Figure 1 above.  
Listening to well recorded male or female spoken word or vocals at the normal listening position is a good way to check and  
optimise the available settings. Difficult environments and variable listening distances produce varying degrees of boost from  
the flat position in the 50Hz to 800Hz area. Graphical representations of the responses available by setting the switches are  
shown below. The linear or flat response positions for the DIP switches are always clearly shown in the diagrams below and  
also on the rear panel of the speaker.  
Left/Right/Mono: a switch at the bottom left of the bank of DIP switches sets the SPDIF DAC to sense the left, right or combined  
stereo information (mono) from the digital stream. Set the left hand speaker to ‘Left’ and the right hand speaker to ‘Right’ for  
2 channel stereo, or to ‘mono’ for single speaker monitoring.  
The Tannoy ActivAssistsoftware package is available to help with the DIP switch settings. Using a standard laptop with the  
microphone and cables supplied in the pack, the performance of the speaker in a particular environment can be assessed and  
a recommended set of switches set up.  
Analogue/Digital: a switch adjacent to the XLR/Jack combi socket selects whether the speaker is receiving a signal from the  
balanced/unbalanced analogue input combi socket, or, from the SPDIF phono (RCA) digital input. Both may be connected  
simultaneously but only one can be selected at any one time.  
4.0: EQUALISATION POSSIBILITIES  
+3dB  
+2dB  
+1.5dB  
+1.5dB  
Flat  
Large  
Medium Normal  
Note: In the diagrams which follow, the corner frequency shown as 50Hz will vary according to the specification relating to  
the particular model which has been chosen. Please refer to the detailed specification section at the end of this manual for more  
details. Smaller models will have a slightly higher corner frequency and larger models will have a lower corner frequency. The  
diagrams have been prepared to make the visualisation of the EQ possibilities easier to understand. The transitions of the  
speaker amplitude response bewteen frequency bands will be gradual and not as sharp as the diagrams show. Note the +10dB  
and -10dB calibrations on the charts. EQ settings should never be at opposite extremes eg -8dB low mid contour with -2dB  
mids and +3dB highs.  
+0.75dB  
Flat  
-0.75dB  
+1dB  
Flat  
0dB  
Flat  
-2dB  
-4dB  
-6dB  
-1dB  
-1dB  
-2dB  
-3dB  
-2dB  
-3dB  
-1.5dB  
-8dB  
( AV 80Hz HiPass on slide switch)  
There are 4 basic frequency bands that can be adjusted. The range of adjustment is purposely restricted so that although effective  
in the majority of environments, it is difficult to set the speaker to have a totally unacceptable response. A 'flat' setting means  
flat within specification as measured in an anechoic chamber, on axis, under free field conditions in the far field (3 metres away).  
The frequency bands are:  
Fig. 1. Full range of equalisation and trim available.  
Bass Corner Frequency: The 'Q' value of the bass unit and cabinet volume alignment can be altered giving +3dB, flat, -  
1.5, -3, and -4.5 dB relative to the -3dB point shown in the specification. This provides a degree of boost and cut in the 45Hz  
to 65Hz area. Figure 2 shows the range of adjustment available together with the DIP switch settings for the first 4 DIP switches.  
All other DIP switches are shown in the anechoic flat positions.  
3.1: ANALOG INPUT  
XLR:  
2= +ve (hot), 3= -ve (cold), 1= screen, shield or signal ground.  
3 way Jack:  
tip=+ve (hot), ring= -ve (cold), sleeve= screen, shield or signal ground.  
For unbalanced XLR connection short pin 1 to pin 3 and use 2= +ve (hot), 3= -ve (ground).  
For unbalanced 3 way Jack short ring to sleeve and use tip= +ve (hot), sleeve= -ve (ground).  
Diagramatic View of EQ Dip Switches: LF EQ + Av Filter  
20 way DIP Switch Bank (4+4+2+4+6)  
LF EQ  
Low Mids  
Hz  
Up Mids  
Highs  
3.2: DIGITAL SPDIF INPUT  
The input impedance is the SPDIF specification at 75 ohms and the 24 bit DAC supports 44.1, 48 and 96kHz sampling rates.  
Please use a high quality* SPDIF coaxial phono (RCA) cable to connect the source equipment (eg CD player, DAT/ADAT or PC  
sound card) to one of the speakers. Connect a second (phono to phono) high quality cable from this speaker to the second  
speaker of the stereo pair. Select whether each speaker converts left channel or right channel audio as appropriate using the  
switch adjacent to the SPDIF input connector. For true mono requirements set the switch to mono. If volume can be controlled  
from the source equipment, set the source equipment volume level to minimum and the speaker volume control to maximum  
(fully clockwise). If volume cannot be controlled by the source equipment (eg a simple CD or DAT etc) set the volume control  
on the speaker to minimum (fully anticlockwise) to prevent excessive sound levels. The volume control adjusts the analogue  
level after the DA converters to preserve the full digital dynamic range.  
+10dB  
1 1 1 1  
1 1 1 0  
1 1 1 0  
1 1 1 0  
0 0  
0 0  
0 0 0 0  
0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
0dB re 2.8v  
@ 1 metre  
1 1 0 0  
1 0 0 0  
0 0 0 0  
1 1 1 0  
1 1 1 0  
1 1 1 0  
0 0  
0 0  
0 0  
0 0 0 0  
0 0 0 0  
0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
-10dB  
* In order to comply fully with EMC regulations, the SPDIF input and SPDIF thru should be connected using metal-shelled  
connectors and good quality shielded cable suitable for digital audio.  
80Hz AV Filter (AV on/off)  
3.3: CONNECTING YOUR SPEAKERS  
Having chosen an appropriate location for your monitors and arranged them accordingly, connect the power cord to the mains  
socket and turn the power on. The LED on the front panel will now glow red. Push the Tannoy logo on the front panel to operate  
the switch to bring the amplifier out of standby mode and into operational mode. Set the volume control on the rear panel to  
zero (fully anticlockwise). Connect the audio signal source (console output) to the input connector (combined XLR/jack socket)  
or SPDIF at the back of the monitor.  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
500Hz  
1Khz  
2kHz  
5kHz  
10kHz  
20kHz  
Fig. 2. Range of adjustment available and settings for the first 4 DIP switches. All other DIPs set to 'Flat'  
6
7
Download from Www.Somanuals.com. All Manuals Search And Download.  
Low Mid Contour Frequency: A shelving filter can be set to the flat anechoic response or set to shelve at frequencies of 800Hz,  
400Hz, or 200Hz in combination with the low mid contour amplitude (below) to correct half space (pi/2), quarter space (pi/4)  
and very difficult close field boundary conditions (pi/8 space).  
Diagramatic View of EQ Dip Switches: Baffle Step Filters, Low Mids, 400Hz  
20 way DIP Switch Bank (4+4+2+4+6)  
LF EQ  
Low Mids  
Hz  
Up Mid  
Highs  
Low Mid Contour: a shelving filter can be set to a flat anechoic response or to -2dB, -4dB, -6dB or -8dB in combination with  
the low mid contour frequency (above) to correct mid, near and close field listening positions compared with free space, far  
field conditions.  
+10dB  
Figures 3, 4 and 5 below show the range of amplitude settings at 800Hz, 400Hz and 200Hz and the DIP switch settings. DIPs  
5 to 8 (inclusive) control the amplitude responses and switches 9 and 10 control the frequency at which the shelving starts. All  
other DIPs are shown in the 'Flat' position.  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 0 0 0  
0dB re 2.8v  
@ 1 metre  
Baffle Step Effect: Both low mid frequency and low mid contour are used together to correct for the baffle step effect. the baffle  
step effect is a well known property of speakers and is caused by a change in air load on the moving diaphragm at a frequency  
dependant on the effective size of the baffle or cabinet frontal area compared with the wavelength of the sound being reproduced.  
Most speakers are designed to have a flat amplitude and phase response over the audio band in anechoic or 'free field'  
conditions where there are no boundary walls close to the bass drive unit. When the speaker is placed against a wall, in a  
corner, on a mixing console or on a table adjacent to a PC editor the wall boundaries effectively increase the baffle size. This  
produces a boost in the frequency band around 100 to 800 Hz depending on the effective size and proximity of the boundary  
surfaces, the size of the bass driver and the distance of the listener from the source.  
-10dB  
1 1 1 0  
1 1 1 0  
1 1 1 0  
0 1 1 0  
0 0 1 0  
0 0 0 0  
1 0  
1 0  
1 0  
0 0 0 0  
0 0 0 0  
0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
1 1 1 0  
0 0 0 1  
500Hz  
1 0  
0 0 0 0  
2kHz  
0 0 0 0 0 0  
5kHz  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
1Khz  
10kHz  
20kHz  
More at: Olson, H. F. "Direct Radiator Loudspeaker Enclosures" Journal of the Audio Engineering Society Vol. 17, No. 1, 1969  
Fig. 4. DIP switches 5 to 8 control amplitude, 9 & 10 control frequency - set here to 400Hz. All other DIPs set to 'flat'.  
October, pp.22-29  
There are many more references to these effects by searching the web for 'Baffle Step Effect'.  
Diagramatic View of EQ Dip Switches: Baffle Step Filters, Low Mids, 800Hz  
Diagramatic View of EQ Dip Switches: Baffle Step Filters, Low Mids, 200Hz  
20 way DIP Switch Bank (4+4+2+4+6)  
LF EQ  
Low Mids  
Hz  
Up Mid  
Highs  
20 way DIP Switch Bank (4+4+2+4+6)  
LF EQ  
Low Mids  
Hz  
Up Mid  
Highs  
+10dB  
+10dB  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 0 0 0  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 0 0 0  
0dB re 2.8v  
@ 1 metre  
0dB re 2.8v  
@ 1 metre  
-10dB  
-10dB  
1 1 1 0  
1 1 1 0  
1 1 1 0  
0 1 1 0  
0 0 1 0  
0 0 0 0  
0 0  
0 0  
0 0  
0 0 0 0  
0 0 0 0  
0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
1 1 1 0  
1 1 1 0  
1 1 1 0  
0 1 1 0  
0 0 1 0  
0 0 0 0  
1 1  
1 1  
1 1  
0 0 0 0  
0 0 0 0  
0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
1 1 1 0  
0 0 0 1  
500Hz  
0 0  
0 0 0 0  
2kHz  
0 0 0 0 0 0  
5kHz  
1 1 1 0  
0 0 0 1  
500Hz  
1 1  
0 0 0 0  
2kHz  
0 0 0 0 0 0  
5kHz  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
1Khz  
10kHz  
20kHz  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
1Khz  
10kHz  
20kHz  
Fig. 3. DIP switches 5 to 8 control amplitude, 9 & 10 control frequency - set here to 800Hz. All other DIPs set to 'flat'.  
Fig. 5. DIP switches 5 to 8 control amplitude, 9 & 10 control frequency - set here to 200Hz. All other DIPs set to 'flat'.  
8
9
Download from Www.Somanuals.com. All Manuals Search And Download.  
Hi-Mid Shelf Boost/Cut: a shelving filter between 1kHz and 3KHz can be set to +2, +1dB, flat, -1dB, -2dB, to take account  
of room characteristics and personal preference. Editing news broadcast material is often easier with an increased output in  
this band. Figure 6 shows the range of adjustment in this area controlled by DIP switches 11 to 14.  
5.0: A GUIDE TO SETTING THE EQUALISATION  
Assess the monitoring conditions and consider these 4 main factors:  
1. The environment: free space (4pi), half space (2pi), quarter space (pi) and in the extreme, a "Difficult Space" (pi/2)  
2. The distance from the speakers: far field (2 to 3m), mid field (1 to 2m), near field (0.5 to1m) or close field (less than 0.5m)  
3. The room: absorbent or reflective surfaces, estimate the RT 60 decay time above 1kHz  
Diagramatic View of EQ Dip Switches: Upper Midband Filter Settings  
20 way DIP Switch Bank (4+4+2+4+6)  
LF EQ  
Low Mids  
Hz  
Up Mid  
Highs  
4. The nature of the source material: prolonged sessions working on editing bright or forward material can produce fatigue.  
Free Space (4Pi): An example of free space conditions would be with the speakers mounted on tall (0.5m to 1.2m) speaker  
stands well away from the wall at one end of a room and with the listener 2 to 3 meters away. Under these conditions set all  
the DIP switches to the 'flat anechoic' position. This then provides a high quality high fidelity installation operating in good  
acoustically treated environments.  
1 1 1 0  
1 1 1 0  
1 1 1 0  
1 1 1 0  
0 0  
0 0  
1 1 0 0  
0 1 0 0  
0 0 0 0 0 0  
0 0 0 0 0 0  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 0 0 0  
+10dB  
0dB re 2.8v  
@ 1 metre  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 0 0 0  
1 1 1 0  
1 1 1 0  
1 1 1 0  
1 1 1 0  
0 0  
0 0  
0 0 1 0  
0 0 1 1  
0 0 0 0 0 0  
0 0 0 0 0 0  
-10dB  
+10dB  
0dB re 2.8v  
@ 1 metre  
-10dB  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
500Hz  
1Khz  
2kHz  
5kHz  
10kHz  
20kHz  
Fig. 6. Range of EQ available for DIP switches 11 to 14. All other DIPs set to 'Flat'.  
High Frequency Shelf Boost/Cut: a shelving filter between 5kHz and 50kHz can be set to +3dB, +2dB; +1dB, flat anechoic,  
-1dB, -2dB, -3dB to take account of RT60 decay times for the environment within this band and to allow a degree of personal  
preference. Figure 7 shows the range available diagramatically.  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
500Hz  
1Khz  
2kHz  
5kHz  
10kHz  
20kHz  
Diagramatic View of EQ Dip Switches: High Frequency Filter Settings  
20 way DIP Switch Bank (4+4+2+4+6)  
LF EQ  
Low Mids  
Hz  
Up Mid  
Highs  
Half Space (2Pi): An example of half space would be with speakers against a wall mounted on stands as above, or on the  
meter bridge with the console in the centre of a room. Follow the DIP settings in the diagram below for half space (Pi/2) and  
adjust for the listening distance accordingly. Adjust the LF-Q settings to balance the system.  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
1 1 1 0 0 0  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 1 1 0 0 0  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 1 0 0 0  
+10dB  
1 1 1 0  
0 1 1 0  
0 0  
0 0 0 0  
0 0 0 0 0 0  
+10dB  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 0 0 0  
0dB re 2.8v  
@ 1 metre  
0dB re 2.8v  
@ 1 metre  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 1 0 0  
-10dB  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 1 1 0  
-10dB  
1 1 1 0  
1 1 1 0  
0 0  
0 0 0 0  
0 0 0 1 1 1  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
500Hz  
1Khz  
2kHz  
5kHz  
10kHz  
20kHz  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
500Hz  
1Khz  
2kHz  
5kHz  
10kHz  
20kHz  
Fig. 7. The range of upper HF EQ controlled by DIP switches 15 to 20. All other DIPs set to 'Flat'  
10  
11  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Quarter Space (Pi): An example of quarter space would be with speakers mounted on stands in a corner, or on the meter  
bridge against a wall or mounted on small stands or shelves against a wall. Also typical PC/Mac editing in a confined space  
on a desk near a wall. This is usually also a close field situation. Follow the DIP settings below for Quarter Space and adjust  
for the listening distance accordingly. Adjust the LF-Q settings to balance the system.  
Notes  
1 1 1 0  
0 0 1 0  
1 0  
0 0 0 0 0  
0 0 0 0 0 0 0  
+10dB  
0dB re 2.8v  
@ 1 metre  
-10dB  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
500Hz  
1Khz  
2kHz  
5kHz  
10kHz  
20kHz  
"Difficult Space" (pi/2): An example of a difficult space would be with speakers against a wall, mounted on the same surface  
as the PC/Mac machine tilted upwards towards the listener with one or other (or both!) speakers in a corner. This is also a close  
field situation and demands extreme EQ to make the speakers measure reasonably flat. Typical examples might be a mobile  
or temporary sound booth set up during an outside broadcast or live field event. Follow the DIP settings in the diagram below  
for "Difficult Space" for the speakers in corners and adjust for the listening distance accordingly. Adjust the LF-Q settings to  
balance the system.  
1 1 1 0  
0 0 0 0  
1 1  
0 0 0 0 0  
0 0 0 0 0 0  
+10dB  
0dB re 2.8v  
@ 1 metre  
-10dB  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
500Hz  
1Khz  
2kHz  
5kHz  
10kHz  
20kHz  
12  
13  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MID AND HIGH EQ SETTINGS  
RT60 Decay Time: An estimation of the RT60 decay time above 1kHz within the monitoring environment will help to set the  
mid and high frequency equalisation. Hard surfaces in general and particularly if close to the speakers will increase the amount  
of reverberent energy to direct energy above 1kHz (RT60 above 500mS) and may justify setting the mid or high EQ (or both)  
to -1dB. Absorbent surfaces in general and particularly if close to the speakers (RT60 below 200mS) will reduce the reverberant  
to direct energy and may justify setting the mid or high (or both) EQ to +1dB. In both cases the LF-Q may be adjusted to  
compensate the overall balance. If the monitor environment is well designed with a flat RT60 time of around 200 to 250mS  
then no LF-Q, mid or high EQ should be required.  
Source Material: For prolonged sessions working on bright, forward or difficult news/location material where the content of  
material is being edited rather than control of the sound quality the full range of mid and high EQ can be used to prevent fatigue.  
This is a matter of individual taste and the EQ can be set accordingly. Alternatively, boosting mid and high frequencies can  
make decisions during editing easier with limited bandwidth material.  
+10dB  
0dB re 2.8v  
@ 1 metre  
All two way component systems have to live with some listening position dependent compromises at the crossover point. The  
crossover frequency of all of these small systems falls into the center of the midband (2.0kHz to 3.0kHz), where we are most  
capable of recognising frequency/phase response deviations.  
-10dB  
1 1 1 0 0 0  
0 1 1 0 0 0  
0 0 1 0 0 0  
0 0 0 0 0 0  
0 0 0 1 0 0  
0 0 0 1 1 0  
0 0 0 1 1 1  
1 1 0 0  
0 1 0 0  
0 0 0 0  
0 0 1 0  
0 0 1 1  
In the diagrams below we have a graphical representation of the speaker systems operating at the crossover point where both  
high and low frequency drivers produce the same output level. The first one shows a pair of two-way loudspeakers lying on their  
side. Note that each driver is producing sound, and because there is a physical distance separating them on the baffle, there  
is also a time difference separating the drivers, and the result is what you see here. Around the crossover point, the speaker  
will produce numerous lobes, producing changes in midrange sound character as you move across the horizontal listening plane.  
1 1 1 0  
1 1 1 0  
0 0  
HORIZONTAL  
10Hz  
20Hz  
50Hz  
100Hz  
200Hz  
500Hz  
1Khz  
2kHz  
5kHz  
10kHz  
20kHz  
6.0: PLACEMENT OF THE SPEAKERS  
Now here’s the truly critical stuff. Speaker placement and the listening environment can completely compromise the performance  
of any loudspeaker, no matter how much it costs. It is important to understand some limitations of near-field speakers, and the  
operating environment, in order for you to gain the maximum performance from the pair sitting in front of you.  
6.1: ORIENTATION (R6D & R8D)  
Two-way speakers have a correct orientation for the serious listener. Two way systems use a separate woofer and tweeter mounted  
in a vertical line on the baffle. There is a fixed vertical distance between the centre of the two devices on the baffle, and there  
is fixed distance between the apparent acoustic center of each device and the plane of the baffle at the crossover point. By  
stacking the woofer and tweeter vertically, we minimise the problems caused by these physical offsets. The near-field listening  
conditions magnify the effects of the driver offsets, so we really need to optimise the speaker orientation. When you are very  
close to a speaker system, vertical head movements are significant because your movement represents a large change in angle  
of arc, and therefore the number of degrees above and below the axis (that’s the line between the woofer and tweeter). In other  
words, bob your head up and down a few centimeters within a metre of the cabinet, and your ear moves through a larger angle  
relative to the speaker axis than it does with the same vertical motion 4 or 5 metres away. Need proof? Put on some music,  
not loud, and get really close, about 500mm (20") away. Move your head up and down now, and you can actually get the  
musical image to break into a separate high frequency and low frequency source. This is a wildly exaggerated example of what  
we’re talking about. It isn’t that bad out here in the normal listening position, but the variations are still there.  
Stereo occurs from left to right, so that is the listening plane in which we try to minimise the changes in physical/time offset  
between the woofers and tweeters. And we have to be honest, it’s not perfect, the driver offset is still there, but by stacking the  
woofer and tweeter vertically on the baffle we can give the mix engineer the widest range of movement in the horizontal plane.  
You can roll your chair across the length of your mixing console and not change the relationship between the woofer and tweeter  
(just don’t bob your head up and down while you do it).  
14  
15  
Download from Www.Somanuals.com. All Manuals Search And Download.  
The speaker axis (shown on the diagram) should be aimed at the halfway point between your furthest forward and the furthest  
back listening positions (as indicated by the two heads on the diagram). This is typically a range of about 24" (600mm). If you  
can, you should line your ears up with the vertical speaker axis (half way between the woofer and the tweeter). Remember the  
earlier drawings showing your ears and the speaker, these were to get your normal listening position lined up in the best spot  
possible. 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.  
Now, if you were to follow the all too common practice of lying your two way monitors on their side to give you better sight lines  
over your meter bridge, you can see (and hear) what will happen. With the monitor on its side, moving your head horizontally  
means you are now moving through all those rays, or lobes, where the wavefronts from the woofers and tweeters interfere with  
each other. The midrange frequency response will be different for each head position. All two way component monitors, no  
matter who manufactures them, need to be used with the multi-driver axis vertical (that’s just the way it has to be when you’re  
in the near-field). And if you’re wondering how three-way near-fields work with a whole bunch of speakers stuck all over the  
baffle, well... you’ll quickly realise why we stopped at two way speaker systems.  
6.3: POSITIONING (R66D)  
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.  
As the main effects speaker for the front soundstage, the Reveal 66D’s placement is a critical factor in its performance. In all  
cases the centre channel speaker should be placed as close to the TV screen as possible. The Reveal 66D is fully magnetically  
shielded, permitting use in close proximity to TV monitors without colour-fringing effects.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.  
4.4: 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. Find some music with some real solid low end that you know well. 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. Hear a difference? Which one  
sounds more like the recording should? Does one get tubby, or muddy? Depending on the type of mounting surface, you may  
find it beneficial to use a thin layer of flexible material (i.e. Bluetack) beneath the enclosure. This not only absorbs some vibration,  
but will help prevent the monitor from vibrating off of its mounting surface.  
BAD  
GOOD  
4.5: BASS PORTS  
6.2: POSITIONING (R6D & R8D)  
All Reveal monitor 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 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.  
This is the monitor equivalent of a wheel alignment. Where do you aim the speakers to give you the smoothest and most consistent  
sound, and how far apart do you place them to give you a good stereo image? The basic rule is to follow the layout of an  
equilateral triangle. The distance between the two monitors should be roughly the same as the distance between one monitor  
and your nose in the listening position where you are leaning forward on the console armrest. See the following diagram.  
16  
17  
Download from Www.Somanuals.com. All Manuals Search And Download.  
7.0: PERFORMANCE DATA  
R6D ON AXIS ANECHOIC FREQUENCY RESPONSE @ 1m  
R66D ON AXIS ANECHOIC FREQUENCY RESPONSE @ 1m  
R8D ON AXIS ANECHOIC FREQUENCY RESPONSE @ 1m  
18  
19  
Download from Www.Somanuals.com. All Manuals Search And Download.  
8.0: TECHNICAL SPECIFICATIONS  
9.0: DIMENSIONS  
SYSTEM  
R6D  
R8D  
R66D  
381.0mm  
15”  
Frequency response (1)  
Maximum SPL (2)  
Distortion  
60Hz – 51 kHz  
115dB  
46Hz-51kHz  
118dB  
47Hz-51kHz  
117dB  
210.0mm  
339.5mm  
133/8  
81/4  
R6D  
<0.5%  
<0.4%  
<0.4%  
Dispersion (@-6dB)  
Drive unit LF/MID  
90 degrees  
90 degrees  
90 degrees  
165mm (6") multi fibre paper  
pulp cone  
2 x 165mm (6") multi fibre paper 200mm (8") multi fibre paper pulp  
pulp cone  
cone  
340.0mm  
133/8  
WideBandHF  
25mm (1") titanium dome  
neodymium magnet system  
25mm (1") titanium dome  
neodymium magnet system  
25mm (1") titanium dome  
neodymium magnet system  
Shielded  
Yes  
Yes  
Yes  
ELECTRONIC SECTION  
Input  
600balanced on combined  
XLR/jack  
600balanced on combined  
XLR/jack  
600balanced on combined  
XLR/jack  
Sensitivity  
0.775 Vrms for Full Output  
2.6kHz  
0.775 Vrms for Full Output  
2.5kHz  
0.775 Vrms for Full Output  
2.6kHz  
363.5mm  
145/16”  
Crossover frequency  
Amplifier output power  
User Controls  
262.0mm  
105/16”  
330.5mm  
13”  
LF 75 W rms HF 35 W rms  
Front panel mounted  
LF 120 W rms HF 60 W rms LF 100 W rms HF 50 W rms  
Front panel mounted Front panel mounted  
R8D  
on/standby/mute LED indicator on/standby/mute LED indicator on/standby/mute LED indicator  
Rear Trim +6/-12dB  
80Hz High-Pass switch (for AV  
use)  
Rear Trim +6/-12dB  
80Hz High-Pass switch (for AV  
use)  
Rear Trim +6/-12dB  
80Hz High-Pass switch (for AV  
use)  
16-way DIP switch selection for 16-way DIP switch selection for 16-way DIP switch selection for  
response optimisation  
Fixed mains voltage  
response optimisation  
Fixed mains voltage  
response optimisation  
Fixed mains voltage  
Power supply  
425.0mm  
163/4  
IEC inlet with detachable power IEC inlet with detachable power IEC inlet with detachable power  
cord  
cord  
cord  
Region Specific (to order)  
110/220/230v  
Region Specific (to order)  
110/220/230v  
Region Specific (to order)  
110/220/230v  
CABINET  
Low frequency design  
Cabinet construction  
Optimised bass-reflex loaded  
MDF cabinet and front baffle,  
Optimised bass-reflex loaded  
MDF cabinet and front baffle,  
Optimised bass-reflex loaded  
MDF cabinet and front baffle,  
tongue and groove front and back tongue and groove front and back tongue and groove front and back  
408.5mm  
161/16”  
Cabinet finish  
Grey cabinet with blue painted  
baffle  
Grey cabinet with blue painted  
baffle  
Grey cabinet with blue painted  
baffle  
527.0mm  
203/4  
375.5mm  
143/4  
Cabinet dimensions (HxWxD)  
340mm x 210mm x 381mm  
425mm x 262mm x 363.5mm  
230mm x 527mm x 408.5mm  
133/8” x 81/4” x 15”  
163/4” x 105/16” x 145/16”  
91/16” x 203/4” x 131/16”  
R66D  
Total Cabinet weight  
7.8kg (17.15lbs)  
16kg (35.2lbs)  
17.3kg (38lbs)  
NOTES  
230.0mm  
91/16”  
(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. 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.  
20  
21  
Download from Www.Somanuals.com. All Manuals Search And Download.  
10.0: SERVICING 10.1: CABINET FINISH  
11.0: WARRANTY  
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.  
NO MAINTENANCE OF THE REVEAL 6D, 8D & 66D MONITORS IS NECESSARY.  
All components are guaranteed for a period of one year 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:  
10.2: 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.  
Customer Services, Tannoy Ltd., Coatbridge, Strathclyde, ML5 4TF, Scotland  
Telephone: 01236 420199 (UK) +44 1236 420199 (International)  
Fax: 01236 428230 (UK) +44 1236 428230 (International)  
DO NOT SHIP ANY PRODUCT TO TANNOY WITHOUT PREVIOUS AUTHORISATION  
This warranty in no way affects your statutory rights.  
10.3: AMPLIFIER  
A fuse is located just under the mains input (fig 1). Replacement is simple and a spare fuse is provided inside the fuse housing  
itself. Always use the correctly rated fuse, as indicated on the silk screen-printing. Only qualified and authorised personnel should  
undertake any other servicing regarding the amplifier section.  
12.0: DECLARATION OF CONFORMITY  
In case of any malfunction of the unit, the first thing to check should be the input connection, more especially if the source has  
unbalanced outputs (see "Connecting your speakers" section) as improper connection can result in significant level reduction  
and affect the response.  
The following apparatus is/are manufactured in China by Tannoy Ltd of Rosehall Industrial Estate, Coatbridge, Scotland, ML5  
4TF. The following equipment is marked with the CE label and conform(s) to the protection requirements of the European  
Electromagnetic Compatibility Standards and Directives. 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.  
10.4: LIST OF SPARE PARTS  
Details of the Apparatus: Reveal 6D Studio Monitor  
Reveal 8D Studio Monitor  
REVEAL 6D (PART NO)  
Type 1603 -7900 0747  
Type 0294 – 7900 0891B  
7300 0932 (230V)  
7300 1026 (110V)  
7600 1550  
REVEAL 8D (PART NO)  
Type 2076 -7900 0748  
Type 0294 – 7900 0891B  
7300 0933 (230V)  
7300 1027 (110V)  
7600 1551  
REVEAL 66D (PART NO)  
Type 1603 -7900 0747  
Type 0294 – 7900 0891B  
7300 0934 (230V)  
7300 1028 (110V)  
7600 1552  
DESCRIPTION  
Reveal 66D Studio Monitor  
Driver Kit  
The equipment listed above is covered by this certificate and marked with the CE-label conforms to the following standards:  
High Frequency Unit  
Amplifier Complete  
Amplifier Complete  
Filter Board Assembly  
Power Board Assembly  
Digital I/O Board Assembly  
Features Board Assembly  
Transformer  
EN 60065  
Safety requirements for mains operated electronic and related  
apparatus for household and similar general use  
(IEC 60065)  
EN 55103-1  
Product family standard for audio, video, audio-visual and entertainment lighting control apparatus  
for professional use. Part 1: Emission.  
7600 1556  
7600 1557  
7600 1557  
7600 1558  
7600 1558  
7600 1558  
EN 55103-2  
Product family standard for audio, video, audio-visual and entertainment lighting control apparatus  
for professional use. Part 2: Immunity.  
7600 1409  
7600 1409  
7600 1409  
3212 0132  
3212 0133  
3212 0132  
With reference to regulations in following directives:  
73/23/EEC, 89/336/EEC  
Passive Crossover  
Type 1509 – 7300 1044  
Signed:  
Position:  
Technical Director  
1 March 2005  
Date:  
For Tannoy Ltd  
22  
23  
Download from Www.Somanuals.com. All Manuals Search And Download.  

Sennheiser Network Card HME 25 KA 2 User Manual
Sharp Calculator QS 2130 User Manual
Sharp DVD Recorder TINSE0568AWZZ User Manual
Sharp Fax Machine FO 11 User Manual
Shure Musical Instrument FP24 User Manual
Shuttle Computer Group Personal Computer 74RKD20005SHU001 User Manual
Sonos MP3 Player Digital Music System User Manual
Sony CD Player CDP C661 User Manual
Sony GPS Receiver XNV 660BT User Manual
Swann Camera Lens SW C LM358 User Manual