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The Tannoy speakers were the only one of the speakers that I had not heard of before the evaluation. I was really looking forward to seeing the concentric tweeter design and giving these a listen.

As far as the finish on the Tannoys, they have a gloss black finish on them that is really well done – I could not detect any defects in the finish. I really like the look of the front baffle with the design and coloration of the drivers really offsetting them from the gloss black finish. The concentric design of the tweeter is really neat as well – I took a couple pictures to try to give a visual.

Once we set them up close to the wall, I was surprised by how well they imaged in both the toed-in and straight orientations. There was a little bit of smearing, but you really had to be listening for it. As with every other speaker in this location, soundstage depth really degrades.



Track 1 - Ode to a Butterfly

Image pretty well although the harpsichord is slightly right of where I expected it. Excellent detail on the plucks.

Track 2 - Chant

Excellent panning with the rainsticks. Pretty decent low end impact with just slight lack of precision. Love the snare drum snap. Good blend of volume levels for vocals and instruments. Excellent piano clarity – delicate. Love the guitar vibration at 3:00.

Track 3 - Reasons Why

Image perfectly – the pluck from the harpsichord is right inside the left speaker. Very delicate female vocals – normally what I expect from a ribbon/planar.

Track 4 - Strange Fruit

Image separation is spot on. Can hear the height difference in the lap guitar and her vocals here as well. Excellent trumpet – not fatiguing or screechy at all.

Track 5 - Struttin' with some Barbeque

Deep soundstage – the horn player sounds further back that the rest of the instruments. Not fatiguing here either. Nice high hat splash

Track 6 - One

Much better low end impact here – much more precise. Guitar images just outside speakers. These just do not seem to be struggling to hit higher SPL levels. Excellent bass drum roll off.

Track 7 - Hells Bells

Great bell resonant ringing. Image perfectly. Great high hat splash. Low end has great impact and it is really precise.

Track 8 - Let It Go

Image perfectly here too. She seems to be deeper in the soundstage. Very light airy piano. Excellent vocal detail. Handles dynamic swings in vocals very well. Sibilance does not bother me here at all.

Track 9 - Where Do The Children Play

Love the guitar pluck here too. Picking up more vocal detail than I recall from previous listening. No signs of compression at all at the 3:00 minute mark.

Track 10 - Tricycle

Much better dynamic swing on this – even expecting the higher sequence, it caused a jump.

Track 11 - Just One Of Those Things

Like the piano better here – seems more lively to me. Images perfectly. Definitely has a very lively sound overall.

Track 12 - Walking On The Moon

Image perfectly here. Bass pluck easily heard and has some impact too. Great high hat splash.




Overall, this was a great experience for me. It has really good low end impact and is very precise. The vocals, piano, and strings seemed so effortless. The imaging was a bit compressed, but that was due to our placement as we had them closer together. We moved them to the position Sonnie had the Montis in when we arrived and listened for a short bit. The soundstage was wider, but the image was not quite as precise.

On Sunday, we placed them in that second position and ran Audyssey. The mandolin seemed to float a bit. Reasons Why vocals were still deep in the soundfield. Spatial imaging is better for Strange Fruit as there is better separation between lap guitar, stand up bass, and Cassandra’s vocals. The kick drum sequence in One sounded tighter.
 

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Tannoy Precision 6.4






Optimal Placement
No code has to be inserted here.


Wayne Myers (AudiocRaver)

Specifications

  • 3-way System, Concentric Midrange-Tweeter Driver
  • Frequency Response: 29 Hz – 35 kHz -6dB
  • Dispersion: 90 degrees conical
  • Continuous power handling: 100 Watts Peak RMS
  • Peak power handling: 400 Watts
  • Sensitivity: 90 dB (2.83 V/1 m)
  • Impedance: 8 Ohms Nominal
  • Subwoofer Size: 6"
  • Auxiliary bass radiator: 2 x 6”
  • Midrange Size: 6"
  • Tweeter Size: 1"
  • Crossover: 170 Hz, 1.6 kHz
  • Tuning Port: n.a.
  • Dimensions: 41.42" H x 12.20" W x 13.86" D
  • Weight (Each): ~48 lbs.
  • MSRP (Pair): $3,192
Configuration

The Tannoy Precision 6.4 features one Dual Concentric™ high frequency 25 mm (1”) Titanium dome driver with Tulip WaveGuide, one Dual Concentric™ mid frequency 150 mm (6”) treated paper pulp cone driver with rubber surround and 44 mm (1.75”) edge-wound voice coil, one Bass 150 mm (6”) treated paper pulp cone driver with rubber surround. 44 mm (1.75”) edge-wound voice coil, and two Auxiliary Bass 6” treated paper pulp cone radiators with rubber surround, mass loaded.

Tannoy Website

Setup and Placement Flexibility

The Precision 6.4 was not very hard to get placed well. In fact they impressed us with how readily they created a nice soundstage with varying amounts of toe-in. A very flexible speaker in this regard, the concentric midrange/tweeter driver undoubtedly helps make this possible.

Following a setup suggestion that applies to concentric driver designs, the Precision 6.4 started out fairly close together and "crossed," their zero-axis lines crossing just in front of the Listening Position (LP). Imaging was very good, but the soundstage was narrow and not very deep, After several moves, they ended up widely spaced and angled well outward of the LP, where we got more the kind of soundstage we were looking for.

Impressions

Tannoy, long known for their concentric midrange/tweeter drivers, was a speaker I really looked forward to hearing. The Precision 6.4 was a speaker with sparkle and zip, a lively speaker, with a tight, crisp sound. I was hoping they would exhibit an especially focused high end, and was not disappointed. The concentric driver design was exceptional at contributing to sharp imaging within a broad soundstage, with wide placement flexibility and with a liveliness that never got out of control.

Frequency Response, Bass Extension



Room EQ Wizard MDAT file for download:

The Precision 6.4 were lively but managed to never get harsh or overly bright. They were controlled enough that this never happened for my taste. The fiddle on Ode to a Butterfly had a wonderfully lively tone. The stand-up bass, though, was a bit uneven on certain notes. The descriptors that came to mind for the overall tonal balance of the Precision 6.4 were: solid, natural, easy, and even, with adequate - although not impressive - extended bass response. The booming deep drum on Chant had a round tone, you could really feel its size and volume. All of the percussion on that track had a very pure and crisp tonality. The piano had a nice tinkle that I really enjoyed.

Reasons Why, one of my favorite test tracks, sounded so easy and natural -- fiddle, guitar, mandolin, and vocals. I could not imagine wanting to hear that song any differently.

My notes for the track Struttin' With Some Barbecue said "natural, no issues." No issues? On more than one occasion I noted that the Precision 6.4 did their jobs as expected, sounded natural, easy, and accurate. There was something crisp about their handling of upper mids and highs, yet they never impressed me as sounding harsh or overly bright. Joni's vocals on California had me noting that the high frequencies were not harsh yet still could "blast" a little if they really had to. The crunchy guitar on Shallow was also crisp but avoided becoming harsh.

The synthesizer on Rhinestone Eyes was rich and complex while remaining accurate and true.

Soundstage and Imaging

Imaging and soundstage were both very good. Image clarity was very solid, depth acuity was not quite as crisp as it could have been but was in evidence.

It seemed like part of that crisp quality of the Precision 6.4 was actually due to the quality of the soundstage. A concise soundstage can give the impression of speed that is sometimes thought of as coming from a "fast" speaker. The final result, I believe, has as much to do with acoustical alignment of wavefronts in the sound field as the rise time of the speaker itself. Leonard has a much better ear for things like this than I do, though, and may have other thoughts on the matter.

On Baby I'm a Fool, the depth positioning of Melody Gardot's voice is very stable in the soundstage. A lot of speakers have trouble controlling her voice that way, and on lower notes where her voice resonates, that sense of depth in the soundstage can become come vague. The Precision 6.4 kept that positioning right on target for every note.

Chant and Mmm Mmm Mmm Mmm, the two tracks on my list with the most spacious and complex soundstages, were handled in stellar fashion by the Precision 6.4. The soundstage was natural, very open and wide, just plain huge. The specifications state a conical dispersion pattern, one you do not hear of very often. The hugeness of the soundstage had me impressed that the conical approach had some serious merit, at least in our well-treated room with its fairly high ceiling.

Clarity & Power Handling

The Precision 6.4 handled the Star Trek bass impacts cleanly, although not with the depth we would have liked. This track goes really deep. The Precision 6.4 seemed on many tracks to provide sufficient depth, but not quite what this track called for. As expected with the concentric design the tight definition of cymbals and high percussive sounds were absolutely perfect to my ears. The clarity of cymbals on Mmm Mmm Mmm Mmm was absolutely yummy. The synthesizers on Rhinestone Eyes were very clean and concise, very rich.

Performance at Final Position With Audyssey MultEQ XT32

Using Audyssey MultEQ gave the soundstage and imaging a definite boost in clarity and conciseness. The depth acuity was also improved. The low-frequency unevenness was flattened out nicely also.

Performance Close to the Front Wall

The bass was emphasized but quite well controlled close to the wall. There were a few peaks that stood out on certain notes on several tracks, were more boomy and loose but not overly so, and there was a hollow quality to the tonal balance.

Imaging and soundstage were best in the zero-toe-in configuration, respectable but not terrific. On axis, the images were soft, lacked solidity, and the soundstage was not deep but was large, although somewhat lacking in clarity.

Physical and Visual

The Precision 6.4 look with grille removed was all drivers, tightly packed, almost a bit busy and crowded, but very functional too, compact and efficient. It was an all-business look. They are small speakers for all they do. Our pair was finished in high gloss black, a high-quality finish. Construction quality appeared very solid and flawless.

The Precision 6.4 features include a plinth with threaded-through spikes so they can be adjusted from above the plinth, a welcome approach. There are five hookup terminals, allowing for optional bi-wiring, with the fifth terminal being a separate ground to the crossover assembly for shielding and noise control.

Overall Listening Experience

I enjoyed my Tannoy Precision 6.4 listening session. There crisp presentation remained controlled and accurate while adding a little sparkle and zip and extra life to our tracks. They ride a fine line between accuracy and enhancing the sound with that extra sparkle. I liked the Precision 6.4 and could easily see myself living with a pair.


Leonard Caillouet (lcaillo)

Here


Joe Alexander (ALMFamily)

The Tannoy speakers were the only one of the speakers that I had not heard of before the evaluation. I was really looking forward to seeing the concentric tweeter design and giving these a listen.

As far as the finish on the Tannoys, they have a gloss black finish on them that is really well done – I could not detect any defects in the finish. I really like the look of the front baffle with the design and coloration of the drivers really offsetting them from the gloss black finish. The concentric design of the tweeter is really neat as well – I took a couple pictures to try to give a visual.

Once we set them up close to the wall, I was surprised by how well they imaged in both the toed-in and straight orientations. There was a little bit of smearing, but you really had to be listening for it. As with every other speaker in this location, soundstage depth really degrades.



Track 1 - Ode to a Butterfly

Image pretty well although the harpsichord is slightly right of where I expected it. Excellent detail on the plucks.

Track 2 - Chant

Excellent panning with the rainsticks. Pretty decent low end impact with just slight lack of precision. Love the snare drum snap. Good blend of volume levels for vocals and instruments. Excellent piano clarity – delicate. Love the guitar vibration at 3:00.

Track 3 - Reasons Why

Image perfectly – the pluck from the harpsichord is right inside the left speaker. Very delicate female vocals – normally what I expect from a ribbon/planar.

Track 4 - Strange Fruit

Image separation is spot on. Can hear the height difference in the lap guitar and her vocals here as well. Excellent trumpet – not fatiguing or screechy at all.

Track 5 - Struttin' with some Barbeque

Deep soundstage – the horn player sounds further back that the rest of the instruments. Not fatiguing here either. Nice high hat splash

Track 6 - One

Much better low end impact here – much more precise. Guitar images just outside speakers. These just do not seem to be struggling to hit higher SPL levels. Excellent bass drum roll off.

Track 7 - Hells Bells

Great bell resonant ringing. Image perfectly. Great high hat splash. Low end has great impact and it is really precise.

Track 8 - Let It Go

Image perfectly here too. She seems to be deeper in the soundstage. Very light airy piano. Excellent vocal detail. Handles dynamic swings in vocals very well. Sibilance does not bother me here at all.

Track 9 - Where Do The Children Play

Love the guitar pluck here too. Picking up more vocal detail than I recall from previous listening. No signs of compression at all at the 3:00 minute mark.

Track 10 - Tricycle

Much better dynamic swing on this – even expecting the higher sequence, it caused a jump.

Track 11 - Just One Of Those Things

Like the piano better here – seems more lively to me. Images perfectly. Definitely has a very lively sound overall.

Track 12 - Walking On The Moon

Image perfectly here. Bass pluck easily heard and has some impact too. Great high hat splash.



Overall, this was a great experience for me. It has really good low end impact and is very precise. The vocals, piano, and strings seemed so effortless. The imaging was a bit compressed, but that was due to our placement as we had them closer together. We moved them to the position Sonnie had the Montis in when we arrived and listened for a short bit. The soundstage was wider, but the image was not quite as precise.

On Sunday, we placed them in that second position and ran Audyssey. The mandolin seemed to float a bit. Reasons Why vocals were still deep in the soundfield. Spatial imaging is better for Strange Fruit as there is better separation between lap guitar, stand up bass, and Cassandra’s vocals. The kick drum sequence in One sounded tighter.
 
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