Ellipse Manual (8) A/W
o w n e r ’ s
m a n u a l
1.1 Applications
1.2 Power requirements and safety info
1.3 Design philosophy
2.1 Unpacking and visual checks
2.2 Preliminary recommendations
3.1 Positioning
3.2 Orientation
3.3 Connecting your speakers
3.4 Console Reflections
3.5 The string analyser
4.1 Amplifier stages
4.2 ASP
4.3 The VLF indicator
4.4 Active crossover
4.5 Bass Ports
4.6 Sensitivity controls
4.7 Trim controls
8.1 Cabinet finish
8.2 Driver removal
8.3 Crossover
8.4 List of spare parts
For those who know what an active nearfield monitor is, and have used broadly similar technology before, please at least read
the following sections 1.2, 2.2 and 3.4 before doing anything else. We want you to be able to successfully unpack, set up and
turn on your Ellipse Monitors without damaging them or your ears. Please do read all the other information and advice sections
when you get around to it, to get the most from this very capable system.
The Ellipse 8 is a state of the art studio monitor of immense ability, designed by Tannoy to exceed the performance expectations
of the audio professional, integrating unique technology with such acoustic benefits as to ensure that there is much more to
Ellipse than innovative styling.
The incorporation of the exceptional point source Tannoy Dual Concentric™ driver, leading edge electronics and the Tannoy
SuperTweeter™ ensures that Ellipse represents a unique WIDEBAND™ technology integrated solution, which is aimed at
satisfying the most exacting studio monitoring applications.
Project studios
Broadcast control rooms
TV control rooms
Music studios recording and mixing
CD mastering
Surround mixing
• Check voltage selector is correctly set on the mains input module. The factory set voltage rating is displayed on the IEC mains
input module on the rear panel - See fig 1 (Page 4).
• Check that this setting is correct for your area before powering up the system. If it is incorrect, please change over to the
alternative setting - See fig 2 (Page 4).
• At the same time as resetting the voltage the mains fuse must also be changed to the appropriate current rating that matches
the operating voltage - See fig 3 (Page 4).
Fig. 1.
IEC input module showing voltage setting viewing window with
rating set at 100V - 120V.
Fig. 2.
IEC input module showing fuse location and input voltage selector
orientated for insertion at 100V - 120V usage.
Fig. 3.
IEC input module showing fuse location and input voltage selector
orientated for insertion at 200V - 240V usage.
A mains cable is supplied with an IEC moulded socket at one end and a moulded mains plug, appropriate to the country of
use, at the other end. Where the moulded plug is fitted with a mains fuse, always replace with the same 5A rated fuse. If the
fitted plug is unsuitable for your type of power sockets, it should be cut off and disposed of safely ensuring that it cannot be
mistakenly inserted into a live socket.
The wires in the mains cable are coloured in accordance with the following code:
Green and Yellow
The internal wires of the mains cable may not correspond with the coloured markings identifying the terminals in your mains
plug, if that is the case then please proceed as shown below. Ensure that the terminals are tightened securely, and that no loose
strands of wire are present.The cord grip is clamped over the outer sheath of cable, rather than over the wires.
Green and Yellow must be connected to the terminal in the plug marked by the letter E, the earth safety symbol, or
coloured Green or Green and Yellow.
Blue must be connected to the terminal in the plug marked by the letter N or coloured Black.
Brown must be connected to the terminal in the plug marked by the letter L or coloured Red.
Additional mains fuses are provided in the voltage selector section of the IEC mains module. These can only be accessed once
the power supply cable has been unplugged. Fuses must only be replaced with those of the same type and rating. Anti-surge
type with spiral-wound element is recommended.
• For 100V - 120V use 5mm ( 3/16“) x 20mm ( 13/16“) Time Delay rated at 3.15A (T3.15A).
• For 200V - 240V use 5mm ( 3/16“) x 20mm ( 13/16“) Time Delay rated at 1.6A (T1.6A).
• Store the complete packaging in case it is needed for re-use.
• Never expose the unit to moisture, water and extremes of temperature or humidity. Specifically, the unit shall not be exposed
to dripping or splashing and that no objects filled with liquids, such as vases, shall be placed on the unit. Allow 150mm (6”)
behind the unit to allow for sufficient ventilation. Efficient ventilation must not be impeded.
• Never remove the rear panel of the unit, as there is a risk of electric shock.
• There are no user serviceable parts inside the unit. Always refer servicing to your Tannoy dealer or authorised service agent.
• Avoid violent shocks to the unit during packing or transportation.
• Do not plug the unit into the mains until all other connections have been made and checked.
• Terminals marked with the flash symbol are hazardous live and the external wiring connected to these terminals requires
installation by an instructed person or the use of a ready-made lead or cord.
The design of an active monitoring system encompasses many interdependent components: drive units, enclosure, amplifiers
and so on. For the Ellipse development programme, each element has been re-examined, looking for new ways of doing things,
free of the limitations imposed by accepted techniques, and finding solutions with imagination and flare.
Setting new standards for quality in reference monitoring, the Tannoy Ellipse represents a new generation of active reference
monitors featuring wide bandwidth technology. By linking the Tannoy Dual Concentric™ driver with a time-aligned Tannoy
WIDEBAND™ SuperTweeter™ in a tri-amped active system, carrying on the consistent frequency response and dispersion
up to and beyond 40kHz, a true wide bandwidth monitoring system has been created for use with contemporary high rate digital
Considerable design effort has gone into finding ways to move away from the conventional rectangular enclosure with its
uninspiring appearance, resonant flat panels, internal standing waves and high-frequency diffraction problems. The resulting
elliptical cabinet has a lot of advantages, and not just in the looks department.
The critically designed amplifier module provides high power output, low distortion and a dedicated package of ASP to optimise
the full acoustic potential of the driver and enclosure technology in Ellipse.
A complex driver design principle in itself, the Dual Concentric™ loudspeaker unit was first patented by the company in 1947.
The continuous process of acoustic and materials development has brought us to the compact, sophisticated unit used in Ellipse
- comprising dual magnet assembly, high frequency Tulip WaveGuide™ and injection moulded polypropylene low/mid frequency
The clear acoustic advantages of the Dual design are not trivial matters to get right. For example, the cone is required to
simultaneously reproduce the lower six octaves of the frequency spectrum, whilst acting as a continuation of the hyperbolic high
frequency horn. The high frequency driver itself has to cover 4 octaves from midrange to 20kHz, with consistent amplitude, phase
and dispersion.
However, the design effort is worth it, as the intrinsic advantages of the Tannoy Dual Concentric™ are numerous.
• There is a coincident point source across the frequency spectrum, high, mid and low.
• The high sensitivity of the HF low-pressure horn driver gives excellent headroom and freedom from thermal compression.
• The intrinsic near time-alignment of the two component parts of the driver design allows true time-alignment to be achieved
with a limited amount of electronic phase / time manipulation in the active crossover filters.
Continuing the frequency response to 50kHz, the pod-mounted SuperTweeter™ uses a specially developed aluminium alloy and
carbon fibre dome with a rare earth magnet, and is driven by a dedicated 30W IC power amplifier with 80kHz bandwidth. The
SuperTweeter™ is time-aligned to the Dual Concentric™, over a wide horizontal dispersion, using a fourth order Gaussian hipass filter and critical physical positioning.
The crossover frequency is very high at 14kHz, well away from the mid frequency band where sensitive stereo location information
is concentrated. Listening at 1 metre on axis with the high frequency horn, the precise point where the signals synchronise, the
SuperTweeter™ is undetectable as a separate source.
Along with drive units, the enclosure design plays a major role in the acoustic performance of the monitoring system. A wide
variety of shapes, techniques, and materials were researched, to arrive at the elegant, functional and eye-catching elliptical
cabinet design. The form of the Tannoy Ellipse is significant. Conventional rectangular, sharp cornered boxes tend to suffer from
diffraction and reflection problems caused by the cabinet boundaries - the often overlooked cause of many irregularities heard,
and emitted sound field degradation measured, in the higher frequency areas.
With Ellipse however, these side diffraction anomalies have been minimised, and the SuperTweeter™ housing shape and position
facilitate consistent, wide dispersion and accurate time-alignment, both on and off axis. The overall cabinet design concept is
so effective at minimising diffraction effects because the distance from the centre of the driver to the smoothly rounded edge of
the cab is constantly changing, as is the angle of the diffracting edge, so these unwanted diffraction products are diffused in
both time and direction.
The laminated birch construction, with its massive MDF front and rear baffle panels, is inherently stiff. This results in an enclosure
that is non-resonant, both acoustically and mechanically, while providing the optimum volume for the Dual Concentric™ drive
unit for accurate low frequency reproduction.
Given the increased accuracy and flexibility of active crossover and equalisation circuits, meaning that flatter frequency responses
and better phase alignments are possible, it's understandable the integrated active type of speaker system has become the
standard in near-field monitoring. This format is the basis of the Ellipse. ASP is employed to optimise frequency response and
phase / time alignment, and provide extensive user equalisation to compensate for a range of installations and applications.
Premium grade components lie at the heart of the amp module, with 350 discrete components and 28 integrated circuits mounted
on a compact surface mount technology PCB. The power amplifiers incorporated are compact, reliable and high quality, tailored
to their drive units, with high dynamic damping of diaphragm overshoot and ringing.
To remove the speakers from the carton without damage, open the box in the upright position and fold back the four flaps.
Remove the top foam packaging and power cable then lift the unit out by gripping the cabinet, not the tweeter pod. Place the
speaker on a stable surface and inspect for signs of transit damage - please note that nothing on, or in, your speakers should
rattle. In the unlikely event of transit damage inform the carrier and supplier; keep all the damaged packaging, as this will show
evidence of any careless handling.
A word of warning on high sound levels - these speakers are capable of generating high output levels over sustained periods
of time and such levels, over 95dBspl for 8 hours per day, can eventually cause permanent hearing loss. Since Tannoy monitors
have a natural-sounding flat frequency response and low distortion, it's possible not to be aware just how high the sound level
is high while working with them.
For continuous exposure we recommend the occasional use of a sound level meter. This should be capable of integrating the
sound level over a period of exposure according to noise control standards and used just to check that noise levels are always
within safety limits. It is usually accepted that 80dBspl is a safe level for continuous exposure.
Speaker placement, and the listening environment itself, can completely compromise the performance of any loudspeaker. It is
important to understand some of the positional limitations of near-field speakers, and the operating environment, in order for
you to gain maximum performance.
Your Ellipse monitors have an integral rubber base that will allow non-slip, vibration free mounting on the near-field platform
on your desk or a dedicated speaker stand. Alternatively the rubber base may be removed and an "Omnimount" wall bracket
attached, increasing the range of mounting and location possibilities.
The construction of the Ellipse incorporates magnetic shielding for the drive units. These monitors can therefore be used in close
proximity to TV screens without any picture distortion. The greatest stray magnetic field is radiated from the front of the main
driver, but it's unlikely you'd put your VDU right in front of the speaker. Side-by-side placement should be OK virtually touching,
and, of course, modern non-CRT flat screens are unaffected by magnetic field.
Where do you aim the speakers to give you the smoothest and most consistent sound?
How far apart do you place them to give you a good stereo image?
The basic rule is to arrange an equilateral triangle. The distance between the two monitors should be roughly the same as the
distance between one monitor and your ears, this in the listening position where you are leaning forward on the console armrest.
This distance translates into a usual listening distance, for a near-field system, of around 1.3m (4'3") from each speaker, implying
that the speakers will be around 1.3m (4'3") apart to create the normal equilateral arrangement applied in most stereo set-ups.
The speaker horizontal axis should be aimed at a point halfway between the two extremes of the listening positions (furthest
forward and back) used when working. This is typically a range of about 600mm (24"). If possible, line up the vertical axis on
a level with your ears referencing to the very centre of the Dual Concentric™ drive unit.
You can now confirm that you are on axis in both planes. First ensure that your head is in your normal listening position, look
into the centre of the Dual Concentric™ high frequency unit wave guide, if you can see the gold colour of the HF driver dome
in the centre of the WaveGuide, then you are close to the ideal listening position. Also, having the monitors angled in towards
the user minimises high frequency reflections from walls and outboard gear. Keeping close to this height, while moving around
horizontally to access extremes of the desk and so on, will maintain a consistent frequency response; experienced as a wide
"sweet spot" in which to work.
Before hooking up and switching on, ensure that the sensitivity control is set to minimum (+4dB). Connect the IEC plug on the
mains power cord into the mains socket/switching module on the amplifier panel. To prevent overload risk it is advisable to
check there is no signal present prior connecting a source to the monitor input. Connect the audio signal source (console output)
to the input XLR connector at the back of the monitor.
Once the power has been switched on the Multi function LED on the front panel will illuminate RED for two seconds before
turning GREEN.
The connectivity of the balanced input is:
Ground (screen)
pin 1
Signal (+) (hot)
pin 2
Signal (-) (cold)
pin 3
If the source itself has a balanced output, use a standard screened (shielded) twin conductor microphone cable, connected as
Pin 1 female to pin 1 male (using the screen)
Pin 2 female to pin 2 male
Pin 3 female to pin 3 male
If the source has an unbalanced output, a single conductor screened cable can be used as follows: Signal and ground (screen) wired
as normal at the source connector; at the XLR end, the signal should be connected to pin 2, and the screen to pins 1 AND 3.
However, rejection of EMI (Electro-Magnetic Interference, such as radio breakthrough) can be improved by using a screened
twin conductor cable even with an unbalanced source, with male XLR connection as described above, as follows: At the source
end, whether a phono (RCA) or jack type of connector, the signal (+) should be connected to the centre pin, and the screen
and signal (-) should be linked and connected to the signal ground. (See fig.4)
Jack (unbalanced) - XLR
Pin 1 - Pin 1 (Ground)
Pin 2 - Pin 2 (Hot)
Pin 3 - Pin 3 (Cold)
Sleeve - Pin 1 (Ground)
Tip - Pin 2 (Hot)
Sleeve - Pin 3 (Cold)
Jack (balanced) - XLR
Sleeve - Pin 1 (Ground)
Tip - Pin 2 (Hot)
Sleeve - Pin 3 (Cold)
Fig. 4.
XLR signal input socket - Sensitivity control and Lo. Mid and Hi Trim adjuster pots
The sensitivity control allows for use with a wide range of equipment. Although the two signal levels widely used are nominally
+4dBu and -10dBu, the whole area of reference levels is highly confused, with different levels being adopted by different
manufacturers, broadcasters, countries, types (e.g. pro or semi-pro) etc. etc. One well-known and high quality mixer manufacturer
uses the 0dB meter indication to denote 0dBu output signal level (0.775V). The control room monitor level control can then add
up to 10dB gain; so that, with the control room level control set to maximum, 0dB on the meters would mean sending +10dBu
(2.45V) to the monitors.
Fortunately, there is a simple way to ignore all that and set the sensitivity control to suit your own mixing desk / workstation etc.
Basically, when running with a healthy level on the master output meters, peaking at around, say +3dB (on some thumping
dance music for instance), your Ellipse monitors should be able to reach full output in their +4dB setting (minimum). If not,
although your monitor level control is turned up to maximum, increase the sensitivity gradually (clockwise towards the -10dB
end) until you see short flashes of the red clip indicator.
You can now turn down the volume knowing that max output from your equipment results in flat-out running of your monitors,
so they are correctly matched. A little fine-tuning to ensure the left and right are set equally is the only other thing to check.
Another area of confusion is around the meaning of the term "near-field". Here's one interpretation:
"In physical acoustics, the near-field is defined as the region of space within a fraction of a wavelength away from a sound source.
According to this definition, the outer boundary of the near-field region varies inversely with frequency. In terms of human localisation,
we will designate the near-field as region of space within 1 m of the centre of the listener's head, and the "far-field" as the region
at distances greater than 1 m".
In this interpretation, only frequencies below 170Hz are a fraction of a wavelength @ 1m (3’ 33/8“)( 1/2 wavelength). 1m (3’ 33/8“)is
/4 wavelength @ 85Hz 1/10 wavelength @ 34 Hz etc. At high frequency you are lots of wavelengths away from the speakers, e.g.
30 wavelengths @ 10kHz.
That is mostly to do with understanding how you sense the direction of the source of sounds, which is a complex subject. For the
rest of us, the near-field is a sufficient proximity to the sound source for the room reflections to become negligible. Clearly, the closer
you get to the source, the indirect sound bouncing off all the reflective surfaces in the room will be reduced in proportion to the
direct sound coming straight from the speakers; but it will never be totally eliminated.
The nearest, and therefore the most significant, reflective surface in a near-field monitoring set-up is the working surface of the
console. Its delayed reflection interferes with the direct sound in a particular way to do with the path-length difference between direct
and indirect. If the path from the speaker to your ears via the surface of the desk is 340mm (1’ 13/8“)longer than the direct path, for
example, then the indirect sound will arrive one millisecond after the direct. The direct and indirect sounds will, therefore, be in phase
@ 1kHz, and will add or reinforce, but @ 500Hz the two signals will be half a wavelength out of sync, so they will partially cancel.
Partially, because the indirect sound is lower in magnitude than the direct, and so is too weak to cancel totally the direct sound.
This strong, single delay gives rise to "comb filtering", so called because the repetitive peaks and dips in the frequency response
look like a comb. Peaks will appear at multiples of 1kHz and dips at odd multiples of 500Hz. The weaker the reflection, and the
further away the listener is from the "angle of reflection equal to the angle of incidence", the less the effect will be. With careful
placement it can be minimised, one major tip can be to use stands behind the desk, rather than site the monitors on the Meter Bridge
or small platform
The input XLR is directly connected to the chassis with a grounding pin on pin 1. Pin 2 is the non-inverting input and pin 3 is the inverting
input. Pins 2 & 3 connect to an electronically balanced, variable gain instrumentation amplifier, which has identical gain and impedance
on each input pin for high CMR (common mode rejection). This circuit also contributes very low noise and distortion, while allowing
infinitely adjustable sensitivity between +4dBu and -10dBu for full output; two-stage RF filtering further reduces interference.
The signal then flows via a mute circuit for switch-on delay or fault conditions, to the variable EQ (section 4.5). Before reaching the
crossover frequency-dividing filters, the signal passes through a complex set of active CL filters (capacitor / inductor), whose purpose
is to add finely tuned emphasis or de-emphasis in various narrow frequency bands, to augment the frequency response shaping built
into the EQ and crossover circuits.
These help create a more neutral system, diminishing the main sources of colouration. To describe something as characterless and
colourless normally wouldn't sound all that attractive; but these are good qualities in a monitor. It means it won't superimpose its own
sound-fingerprint onto the signal, but will let you hear the sounds you are creating, neutrally, naturally.
The crossovers are based on Rauch filters, with additional first order and all-pass sections to arrive at symmetrical acoustic transfer
functions and optimum phase relationships. Finally, the signal passes to the power amplifiers. Two 150W power amps drive The Dual
Concentric™ driver in the Ellipse. A monolithic 30W wide bandwidth amplifier powers the SuperTweeter™ giving ample headroom for
the minute signal in this very high frequency band.
4.2: ASP
The Analogue Signal Processing used in Tannoy Ellipse comprises high and low order frequency dividing networks, fixed and
variable equalisation, and tuned LC correction filters. This elaborate circuitry is used to achieve a flat frequency response and
exceptionally accurate time-alignment across the frequency spectrum. It's easy to appreciate that flat frequency response is
desirable in a monitor, but why time alignment?
Different musical sounds are largely distinguished by their attack; the first instants of the dynamic envelope let you identify what
instrument is playing. This is transient, non-repetitive information; it requires a system with a clean impulse response to deliver
the transients in the right time order, so that a recording of a triangle will sound like a guy standing in front of you playing a
Also, in a Stereo mix, or a multi-channel mix for that matter, the apparent position of sounds - voices, instruments, reverberation
etc. - is dependent on complex phase / time relationships between the components of those sounds emanating from each
channel, as much as their relative magnitude. In other words, the stereo image is a time-domain phenomenon. The better the
time-domain data is preserved, the more precisely stereo position can be created and resolved. Witness the striking stereo
imaging of a pair of correctly set-up Ellipses. You can locate the central phantom image much more firmly, and the sensation
of sounds, especially reverbs, seeming to come from far outside the stereo pair will be pretty noticeable, even distracting when
you're not used to it.
Furthermore, the fact that the Tannoy Dual Concentric™ is effectively a point source of sound, means that the flat frequency
response and time-alignment of frequency bands don't just happen on axis, but are well maintained off-axis. It's very important
that the reverberant field is also free from peaks and cancellations in the response.
Compression and limiting have been consciously omitted to preserve dynamics. That means that it is possible for you to drive
Ellipse systems into clipping, or drive unit over-excursion; and abuse can result in damage. But, it is a professional system and
you want to hear the true dynamics of your work, so Tannoy's view is that any limiting should be applied by the engineer and
not imposed by the monitors. That's the only way to assess whether you need it.
The front baffle houses a multi function LED below the Dual Concentric™. This LED can give three colours of indication:
LED Coloured RED:
• The system is powering up (2 seconds on switch-on).
• The LF power amp is clipping (short flashes only please) or:
• Fault condition, such as a blown output transistor (rare); or the internal heatsink temperature has exceeded 70° C., (possible
through insufficient ventilation). In the case of overheating, switch off for 10-15 minutes and resume, making sure plenty of
cool air can get to the back of the speaker. If the system repeatedly gets hot and shuts down under moderate use, a fault
must have developed. Please contact your supplier.
LED Coloured GREEN:
Switched ON; the monitor is operating normally.
LED Coloured YELLOW:
Subsonic, or Very Low Frequency signal is present. The Ellipse's 6th order low frequency alignment incorporates a steep lowcut filter (LF hi-pass) to stop excessive cone movement and waste of available amplifier power.
That's a fairly common arrangement in integrated active near field monitors, because it's great for making best use of available
amplifier power and conferring some protection to the LF driver, but what if you want to be aware of what's going on below
the turnover frequency of the LF hi-pass? The downside of this kind of alignment is that you may be working with signals in the
mix that have subsonic VLF content. In a conventional passive speaker and external amplifier set-up, you'd know about it because
of the excessive slow cone movement that would be pretty obvious to see.
This kind of unwanted VLF content saps amplifier power and can cause damage to whatever speakers out in the world will be
reproducing the track. It can happen on dialogue, music or whatever - think about a spoken "P" causing trouble because of
inadequate pop-shielding, a subway train passing under the studio during a big symphonic moment and no-one noticing, or
even a drum loop sampled from warped vinyl. There are plenty of subsonic signals waiting to disrupt your work, but you don't
want to impose a blanket remedy by inserting a 50Hz hi-pass filter on the entire mix.
That is where the VLF indicator in the Ellipse comes into play - any sub 20Hz signals above an innocuous level will cause the
LED indicator to flash yellow on every positive and negative half cycle of the offending signal component. You may want to look
into eradicating the problem at source, but at the very least, you can set about finding which track is culpable and filter it out.
The integrated active crossover, which splits the input signal into LF and HF separate amplification channels, has been designed
using a dedicated computer simulation program. The result is an unconventional topology giving optimum electronic transfer
functions, i.e. achieving the desired target response when combined with the acoustical responses of the LF and HF units in the
actual cabinet.
Thanks to the advantages of the Dual Concentric principle, filters with low phase variations in the overlap frequency range can
be used without the detrimental effect on the spatial dispersion that occurs with conventional multi-way speakers. As a result
the group delay can be maintained practically constant over the whole frequency range, essential to provide a good transient
response and an accurate stereo image. Such a degree of optimisation and accuracy in matching the crossover to the drive unit
cannot be achieved passively, without inducing significant loss of sensitivity and resulting in highly inconsistent performance due
to the variations in the impedance of the drive units.
Ellipse monitors have bass ports located on the front baffle. You should keep the back panel of the monitors at least 150mm
(6") away from the nearest wall surface to avoid the monitor coupling with the surface and increasing the bass response in a
manner that results in a bass light mix.
If you cannot avoid being close to the wall or if you're using a separate subwoofer, you may wish to consider plugging the port
tubes with closed cell foam-rubber plugs supplied. Because the ports aren't needed if the monitors are coupled to the wall or
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.
The sensitivity control on the rear panel provides input gain adjustment, and it may seem strange that you turn it clockwise
towards a negative figure (-10dB) or anticlockwise towards a positive one (+4dB). That's because it tells you the nominal signal
level needed to drive the system to full power at each end of the range. We kept the conventional operation of a volume control
- it gets louder when you go clockwise - but resisted the temptation to calibrate from 0 - 11. The sensitivity control allows the
monitor to be used with any professional or semi-professional equipment, with a balanced or unbalanced output signal. See
section 3.4, Setting the Level.
+Ve : Pin 2
-Ve : Pin 3
Gnd : Pin 1
Lo Trim
Hi Trim
Mid Trim
Fig. 5.
XLR signal input socket - Sensitivity control and Lo. Mid and Hi Trim adjuster pots
The primary function of the trim controls is to compensate for room effects. How a monitoring system sounds and measures is
obviously affected by room acoustics, a major factor being the monitor's proximity to boundaries. If placed close to a wall the
main effect is a low frequency boost. In a common set-up, where the mixing desk and monitors are located close to a wall or
studio window, the LF boost can be as high as 6dB (relative to free space), and this boost happens progressively from 400Hz
To enable precise compensation for room related effect, and to correct slight variations in drive unit sensitivity, a three-band
equalizer precedes the crossover section, allowing fine adjustment at a low Q. For example, the mid trim has a +/- 2dB range
of adjustment centred at 1.4 kHz. Yet because of the low Q factor this is still providing a +/- 1dB adjustment at 330Hz and
There is a further option to reduce LF output using the foam bungs provided to disable the bass reflex ports. In a ported enclosure
system such as the Ellipse, the ports add to the LF acoustic output, but they do this by resonance. With the ports disabled, the
enclosure becomes an "infinite baffle" system, which has a superior transient response. So there is a trade-off to experiment with.
For example, some users will prefer the sound with the ports disabled and the low trim turned up, rather than the ports enabled
and the low trim turned down. Minimum and maximum levels of LF output are achieved with the low trim turned to -3dB and
the ports disabled; versus having the low trim turned to +3dB and the ports enabled. But as suggested above, it is possible to
get similar (but not identical) output curves with ports disabled or enabled, using the low trim adjustment.
Frequency response measurements have been measured in Tannoy's anechoic chamber @ 1 metre on-axis (apart from dispersion
traces). Some measurements taken with ports disabled by use of port bungs - see individual captions.
In common with all conventional anechoic chambers, the benefits are limited by the physical size of the space, hence the
irregularities in the traces below 200Hz. To maintain anechoic performance down to 20Hz would require a space maybe 100
times larger, which becomes unfeasible. Also, a true full bandwidth anechoic chamber would show much reduced output at low
frequency, a factor of the wider dispersion of longer wavelengths. Virtually all real-world acoustic spaces will show higher low
frequency levels than our anechoic chamber.
Fig. 6.
Horizontal dispersion - measured at 0° - 15° - 30° - 45°.
Fig. 7.
Mid Trim - Minimum & maximum.
Fig. 8.
LF reduced by bungs (bold) and by Lo-Trim minimum setting
Fig. 9.
Hi & Lo Trims - Minimum & maximum + flat (min. LF trace with port bungs).
Fig. 10.
Full bandwidth + LF, HF & ST pass-bands
Fig. 11.
Impulse response using MLSSA.
Frequency response (1):
40 Hz - 50 kHz
Maximum SPL (2):
118 dB Distortion < 0.8%
Amplifier Input:
22 kΩ balanced on combined XLR/jack
0.775 Vrms (0 dBu)
Crossover frequencies:
1.7 kHz & 14kHz
Amplifier output power:
LF 150 W / HF 150 W / ST 30W
Output noise:
80 dBV
Power supply:
Fixed mains voltage - IEC inlet with detachable power cord
Power consumption:
10 to 160 VA
Low frequency design optimised bass-reflex loaded, 12 litres
Drive unit:
Tannoy shielded 160mm (6.5") bass driver
Tannoy shielded:
25mm (1") soft dome tweeter
Laminated birch / MDF baffle.
Grey suede paint finish - Black on SuperTweeter™
Dimensions H x W x D:
340mm (133/8“) x 210mm (82/8“) x 260mm (102/8“)
Cabinet weight:
15 kg (33lbs)
Pack dimensions H x W x D:
440mm (173/8“) x 620mm (243/8“)x 290mm (113/8 “)
Shipping weight:
18.5 kg (40.7lbs)
(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.
No maintenance of the Ellipse Monitor 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:
Customer Services, Tannoy Ltd, Coatbridge, Strathclyde ML5 4TF
T: +44 (0) 1236 420199 F: +44 (0) 1236 428230 www.tannoy.com
This warranty in no way affects your statutory rights.
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.
Remove the two port tubes from the front baffle panel. Remove the silver trim plate by hooking your fingers into the holes left
by the port tubes and carefully pulling the trim panel towards you. This will disengage the studs that hold the panel in place
and allow you to remove it to gain access to the driver itself. Undo the four chassis mounting screws and 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
To refit the driver, connect the cables from the crossover to the chassis 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 driver.
A fuse is located just under the mains input (location 2 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.
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.
9900 0385 Cabinet assembly
7900 0495 Driver kit - Type 1690
7900 0457 High Frequency Unit - Type 1205
7300 0682 Amplifier- complete unit 100v - 120v
7300 0683 Amplifier- complete unit 220v - 240v
The following apparatus is manufactured in the United Kingdom by 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.
Details of the Apparatus:
Tannoy Active Loudspeaker
Model Number: Ellipse 8
Associated Technical File:
EMC-Ellipse 8
Engineering Director - Professional Products
Certifying Competent Body:
Nemko Ltd
EMC Compliance Services
Certificate Number:
Test Methods/Procedures:
EN 55103 - 1: 1996
EN 55103 - 2: 1996
Applicable Standards:
EN 55103 - 1: 1996
EN 55103 - 2: 1996
EN 61000-3-2: 1995 + A1/A2/A14
EN 61000-3-3: 1995
EN 61000-4-2: 1995 + A1: 1998
EN 61000-4-3: 1996 + A1: 1998
EN 61000-4-4: 1995
EN 61000-4-5: 1995
EN 61000-4-6: 1996 + A1
EN 61000-4-11: 1994
10th September 2002
For Tannoy Ltd
T: +44 (0) 1236 420199
F: +44 (0) 1236 428230
E: enquiries@tannoy.com
Tannoy North America
T: (519) 745 1158
F: (519) 745 2364
E: naenquiries@tannoy.com
Tannoy adopts a policy of continuous improvement and product specification is subject to change.
6481 0374
Tannoy United Kingdom
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