Tannoy TS2.12 powered subwoofer
Ten years sooner, our family was joined by my child in-law, who was brought up in Dublin, and spent his school seemingly forever in London. I was changing this audit during one more involvement in our young woman and grandkids, and Justin became energized by how I was reviewing a subwoofer made by Tannoy. He incited me that, in the UK and Ireland, Tannoy had for a significant length of time been a nonexclusive term for public-address structures, similarly as Hoover had come to depict any vacuum cleaner, paying little mind to producer. Despite the way that Justin gave up that this use was the smartest choice "old school," he prodded me that I was assessing a PA speaker for an audiophile magazine! My child supposedly with Tannoy's status in the British Isles included for me the affiliation's long history in the speaker business: their setting up in 1926, and the essential work they played during the 1940s, giving the British military. Thusly reminded, my encounters with the Tannoy TS2.12 subwoofer took on altogether more splendor! Moderate and Light At 17.2" high by 16.75" wide by 14.75" huge and weighing just 40 lbs, the TS2.12 ($921) is about a similar size as my past humble subwoofer champ, SV Sound's SB13-Ultra, yet a tremendous piece of the weight—and somewhat more than a colossal piece of the expense. Like the Bowers and Wilkins DB-1 subwoofer, the TS2.12 has two conflicting with, 12" drive-units, their combined surface region equalling that of a solitary 18" cone. In any case in the TS2.12, just one of these is driven by the enhancer; the other drive-unit, which Tannoy calls an Auxiliary Bass Radiator (ABR), is removed, and is depended upon to change not actually settled forever cone to confine authority vibrations; both drive-units are made with multi-fiber cones and butyl adaptable incorporates. Within, 500W intensifier is a related class-D plan, constrained by what Tannoy calls their Tri-State Pulse Width Modulated advanced sign processor (DSP). The last decision grants change, in the general locale, of combination rehash, stage, and gain. Perceived evening out licenses the construction to reach under 30Hz. The TS2.12's bureau is made of two layers of 25mm MDF, to diminish colors and add settling mass. As Tannoys says on their site, "The strain made by twin drivers referenced that the TS2 subwoofers be created essentially heavier and surprisingly more liberally [than] fighting subwoofers as conventional 18mm MDF authority improvement would give [an] inadmissible degree of colouration." The TS2.12's blend of dynamic and inactive drivers and its fastidiously fixed nook have been expected to kill the chuffing rackets related for explicit ported subwoofers. On the back board are all of the TS2.12's affiliations and set-and-disregard to recall client changes, including line-level RCA information and result jacks for the right and left stations, a power switch, an IEC jack for the discernable electrical link, Volume and relentlessly factor Phase handles (0–180°), and a combination dial with settings of 50, 100, 150Hz, and Bypass. Right when the TS2.12 is set up, its Auto On/Off fuse takes out the need to get to the sub's controls. Standard climax for the Tannoy TS2.12 is Dark Gray vinyl; add $103 for Black Gloss, which is apparently hand-cleaned to a mirror finish. Room, Setup, Measurement
se Adding the Tannoy TS2.12 to my framework was clear. I moved the sub into the front right corner of the room and ran RCA-completed interconnects from it to the line level outcomes of either my Bryston BP-26 preamplifier or a Mark Levinson No.585 worked with intensifier. The inner edges of my Quad ESL-989 electrostatic speakers were 6' 8" segregated; the left speaker was 18" from its sidewall, the right speaker 18" from a natural divider unit; both were 5' 5" from the front divider.\ I involved various plans of rule speakers and intensifier for this survey. Following attempting several higher settings, I left the TS2.12's low-pass channel at 50Hz. At first I drove the Quads full-range with a Mark Levinson No.334 twofold mono speaker. A brief time frame later, I utilized the ML No.585 created, with its 80Hz, second-request, high-pass standard out channel set to 80Hz and the TS2.12's hybrid set to Bypass. This worked with the Quads from attempting to emulate the most inconceivable bass, permitting them to play more grounded without winding. I also separated the Quad-Tannoy structure with a few Revel Ultima Salon2s: dynamic, full-range, floorstanding speakers that produce exceptional bass, similar to that of a few little subwoofers I've disapproved. Before I turned on the TS2.12 or connected with the No.585's high-pass channel, I evaluated the Quad ESL-989s' full-range room reaction, utilizing Studio Six Digital's iTestMic and the RTA (constant analyzer) module of their AudioTools application to gauge the transfer speed of 25Hz–200kHz. For test tones, I played a general record, given by Revel's Kevin Voecks, of uncorrelated pink disturbance. The in-room rehash reaction evaluated 25Hz–20kHz, with room-mode tops at 80 and 40Hz. From 40 down to 25Hz, the Quads' reaction fell by 15dB (fig.1; the blue line is Audio Tools' discernible quality marker). I then, at that point, exchanged the TS2.12. At first I set the design volume so the Quads alone played the pink racket at a level that, at my listening seat, enlisted as 75dB on the SPL Meter module of the AudioTools application. Following to setting the TS2.12's low-pass channel to 50Hz, I changed its level control until the sub's result matched the Quads': 75dB at 100 and 40Hz, as shown by the AudioTools RTA module. I adjusted the sub's volume involving Stevie Nicks' voice in "Heavy slide," from Fleetwood Mac's Fleetwood Mac (CD, Reprise 46702-2), and tracked down that setting this handle to 7:45 o'clock killed any chesty colors from Nicks' voice, while holding the punch, drive, and clearness of John McVie's bass line.
With the TS2.12 now integrated into my system, I repeated the room-response RTA measurements. Fig.2 shows a flatter response between 40 and 60Hz and slightly higher output at 31.5Hz, just over the blue "Audibility Limit" line superimposed by Audio Tools on the RTA graph.
With both the Tannoy and Quads dynamic, I played the least recurrence tones of the Chromatic Scale track on Editor's Choice (CD, Stereophile STPH016-2). I heard every one of the tones obviously, as I did the 40 and 32Hz tones from the Bass Decade Warble Tones track on that plate. Likewise from the last option track, the 31.5Hz tone played delicately without multiplying; the 25Hz tone was imperceptible. Tuning in Everything that done, I plunked down to pay attention to the Tannoy and Quads. Right away, the profound bass reaction, drive, and elements of the Revel Ultima Salon2 amplifiers extraordinarily surpassed what the Quad-Tannoy combo could deliver. So I went ahead despite any potential risks and corrected the TS2.12's result by ear, utilizing a wide scope of accounts, vocal and in any case. I utilized John Atkinson's computerized recording (24-digit/88.2kHz AIFF) of the Toccata of Widor's Organ Symphony 5, performed by Jonas Nordwall at Portland's First United Methodist Church, to change the Tannoy's result to deliver room lock—ie, when the subwoofer and room cooperate to make a feeling of non-directional strain when notes in the most reduced octaves are played. I managed the volume back a touch so the sound of Michael Arnopol's twofold bass, which opens "Too expensive for me," from Patricia Barber's Café Blue (CD, Premonition 90760-1), was thick and strong, not overfull or swelled. This required resetting the Tannoy's result control, hustling back to my seat to tune in, and afterward rehashing the strategy. Later a few rounds, I'd expanded the TS2.12's volume control from 7:45 to 9 o'clock
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