And if ultimate weight and extension is somewhat limited, that's hardly unexpected in a compact standmount. The bass is smooth, clean, even and fast, with no evidence of thickening or overhang. This Tannoy isn't perfect by any means, but it does the most important things very well indeed.
There is, perhaps, an associated reduction in stereo-image depth, but this is only mild in degree and did little to spoil the party (especially since such depth is usually an artificial studio construct). With their backs to the wall, the DC6s somehow seemed to dissociate themselves entirely, sonically speaking, from the stereo soundfield they were creating. Close-to-wall siting normally leads to a clearly audible increase in voice band coloration, but that didn't seem to be the case here. These measured findings were clearly reflected in the listening results. When the speakers are mounted on open 60cms stands well clear of walls, relative output rolls off very gently and progressively below 200Hz.Ĭlose-to-wall siting fills in the midbass zone very nicely, lifting it up to match the broad, slightly projected and impressively smooth and even upper midband and presence, though there remains some lack of output through the upper bass and lower midband. However, the pair match between our two examples was not particularly close, which is a little disappointing.Īlthough the port tuning is 50-55Hz (depending on the sample), a frequency which usually leads to some mid-bass excess in our test room, our measurements reveal a surprisingly dry bass alignment. Under our in-room far-field measurement regime, the DC6 comfortably met its 88dB sensitivity rating and did so alongside a relatively straightforward nominal impedance of 8 ohms, with an easy-to-drive minimum at around 200Hz. The crossover point is set at 1.8kHz, with a second-order roll-off feeding the bass/mid section and a simple first-order feed to the tweeter. The 25mm diameter tweeter has a titanium dome just 25 microns thick, with a claimed extension to 54kHz.
Tannoy's famous dual-concentric driver began life way back in 1948 and, in various forms, has been a cornerstone of the company's loudspeaker technology ever since.Ī co-axial drive unit, which places a horn-loaded tweeter down the 'throat' in the middle of a bass/mid cone, shows how the concept continues to be refined and developed with a shorter tulip waveguide and much modified tweeter.īuilt on a 150mm cast alloy frame, the flared doped paper bass/mid cone is 115mm in diameter, driven from a high-power-handling 44mm edge-wound voice-coil. Like a similar feature found on Tannoy's more upmarket Dimension and Prestige models, the idea is to allow the chassis to be earthed back to the amplifier in order to reduce RF interference.īut there's little evidence of cable brands making appropriate five-conductor speaker cables available, so the feature's practical relevance must be questioned.
The five terminals? One pair feeds the bass/mid, another pair the tweeter, while the one left over is connected to the drive unit chassis. This has the multiple advantages of stiffening the sides, spreading out the horizontal standing waves and dispersing reflections. Although the front panel is wide enough to accommodate the 150mm drive unit, the back panel is exceptionally slim - only just wide enough to accommodate the strip of five terminals.Īlthough the front and back are flat and parallel, with the top and base likewise, the sides are formed into a tight curve so the depth corresponds quite closely to the width. The cabinet encloses a volume of 11 litres, and is loaded by a port at the front, below the solitary dual-concentric drive unit. Speaking personally, I think this type of surface treatment (probably originating from Eastern Europe) looks much more natural than the typical high-gloss approach that seems to be favoured by Far Eastern sources. 'Espresso' might well be the height of current cabinetwork fashion, but the same cannot be said for a wood veneer which has a resolutely matt finish.