TMS SERIES USEES MANUAL

CONTENTS

UNPACKING 3

WARRANTY 3

INTRODUCTION 3-4

OVERVIEW 4

AMPLIFICATION & SYSTEM PROTECTION 5-6

CABLING 6

CONNECTIONS 7-9

CROSSOVERS 9-IO

EQ UALISATION 10-11

POLARITY CHECKING 11-12

PHASE ALIGNMENT 12

operation h applications 13-16

GLOSSARY 17-18

FIGURES 19

TMS SERIES OPTIONS AND ACCESSORIES 20

2
UNPACKING

As part of our system of quality control, every

Turhosound product is carefully inspected before packing
to ensure flawless appearance- After unpacking your
andosure, please inspect for any physical damage, and
save the shipping carton and all relevant packing
materials in case the unit again requires packing and
shipping, In the event that damage has been sustained,
notify your dealer immediately so that a written claim
to cover the damages can be initiated-

WARRANTY
■ 1 “ 11 1 l1 ilk

This enclosure is warranted by Turbosound to the

original purchaser, against defects in workmanship or
faulty materials used in manufacture, for a period of
two years from the date of shipment- Faults due to
purchaser misuse, unauthorised modifications or
accidents, are not covered by this warranty- Mo other
warranty is expressed or implied.

In the unlikely event that your unit is faulty, it

should be sent, shipping prepaid, to an Authorised
Dealer, or direct to Turbosound, stating the faults as
found. The serial number must be quoted in any
correspondence relating to this warranty.

INTRUDE PCTIO.N
■ ■ 1 " "Bran

Thank you for purchasing a Turbosound system,

Over the last few years, there has been an

ever-increasing awareness of the availability of high
quality sound (F.M, car radios, compact discs)- Concert
and theatre-goers and indeed audiences in generaL eh all
types of functions where music or speech is involved,
are coming to expect 4s high quality of sound
reproduction.

Ac Turbosound we have always felt that the audio quality

of a high power sound system must be such that the
system becomes "transparent" and does not detract from
the quality of a performance- Indeed, the performer’s
abilities should be augmented by the facility to reach
larger audiences whilst maintaining the intimate psycho
acoustic quality of closeness to the stage. There are a
number of factors inherent in the design of Turbosophd

3
enclosures that allow the system designer to maximise
this approach to sound reinforcement.

Turbosound sound reinforcement products include a itumbei

of Unique, patented features which enable these
enclosures to offer a combination of high-power
capability with extremely low distortion, exceptional
frequency response arid transient-handi iug, in unusually
compact enclosures.

To make the best use of these capabilities, the system

must he operated correctly* The intention of this user
manual, therefore, is to indicate system considerations
which will enable you to maximise the performance of
your Turbosound product.

If you have any questions which are not covered in this

manual, or you have observations which you feel would
bo useful to other Turbosound users, please
contact your dealer.

OVERVIEW

Your Turbosound enclosures are only one link in the

chain which forms the entire system. Each of the
liuks in that- chain must reach the same, h igh
standard, and should Complement the standards of the
enclosure *

Two fundamental concepts should be borne in mind when

setting up a Turbosound system:

Firstly, Turbosound units are basically of the "point

and shoot” variety, offering carefully-tailored
dispersion characteristics. Whilst bearing in mind the
fact that adjacent enclosures will influence each
other, the idea of aiming the cabinets more-or-less
where the sound is .required to go, will provide a
good starting point for the setting-up of these
enclosures.

Secondly, Turbosound systems do have some

unconventional qualities which set them apart from
ordinary loudspeakers. Although this manual advises the
use of various test instruments, listening to the
system II,e* using your earsJ} is probably the best
final assessment*

4
AMPLIFICATION fi SYSTEM PROTECTION

Turbosound enclosures should be driven by

professional-quality amplifiers capable of providing
adequate headroom when, operating at high levels, to
preserve the transient response of the enclosure. An
amplifier with insufficient drive capability wili not
aLlow the full performance of the unit to be realised.

it is difficult to overdrive a Turbosound enclosure,

and within reasonable limits the recommended
ampiilier power can be exceeded without fear of
damaging the units. However, damage will certainly be
sustained if the amplifier is driven into clip for any
extended period of time,

FIG 1 mmuQw*Vt*Dliia
VEMMHRml

aEKmHHAL

figure 1 shows clipping caused by overdriving the

amplifier. If this clipped signal is fed to a
loudspeaker, it will not only detract from the sound
quality, but may cause permanent damage (clipped wave
forms are like short bursts of D.C, and tend to heat up
the speaker voice coil by driving it out of the magnet
gap). Some amplifiers have "soft clip" characteristics
which round off the edges of clipped, wave forms,,
However, a limiter or crossover with limiting built in
will stop amplifier clipping and ensure a Long life from
your enclosures.

Note: Limiters must be adjusted to suit amplifier

sensitivity. Refer to limiter or crossover
manufacturers' literature.

The amplifier requirements for the TMS Series are as

follows:

TMS 1

The TMS-t is passive and should be driven by a

professional-quality amplifier capable of supplying
250 watts RMS continuously into an G ohm load.

TH5-2
1

The TMS-2 is designed for bi-amping and should be driven

by a professional-quality amplifier capable of
supplying 2S0 watts RMS continuously into an 3 ohm
load, and ISO watts RMS continuously into a 16 ohm

5
load. If fitted with an optional external XFX-2 passive
crossover system, the TMS-2 should be driven by a
professional-quality amplifier capable of supplying 300
watts RMS continuously Into an 8 ohm load*

TMS - 3

The TMS-3 Is designed for tri-amplification, and should

be driven by professional-quality amplifiers capable
of performing as follows:

Priver section Amp power Impedence

(RMS Watts) (Ohms)

Bass 500 4
Mid 250 5
High 100 a
TMS - 4

The TMS—4 is designed for bi-amping and should be driven

by a professional-quality amplifier capable of
supplying 300 watts RMS continuously into an 0 ohm
load, and 150 watts RMS continuously into a 16 ohm
1 oa d.

CABLING

The recommended wire size for the majority of

applications is 2.5 sq. mm (12 gauge). This will be
perfectly satisfactory under normal conditions. For
reference* acceptable performance will be obtained with
an absolute minimum of 1.5 sq, mm <14 gauge !'„ assuming
that the amplifiers are in close proximity to the
speakers. In the ease of runs in excess of 100 feet or
So, the wire size should exceed this. See following
table for further information.

h
 L ?> TO ?& *OkA ^ CAkiS
~ fe>tfL
-SMBS T© At - S PtA -tefL
CROSS SECTIONAL CABLE
CABLERUN AREA OF EACH RESISTANCE
IN METRES CONDUCTOR (mm) IN OHMS flfiLO AD (%) 4JJ LOAD (%)
2-3 10 0096 1 ^T^f)
15 0056 73 liHW)
2^ 0043
25 0035 044 yHC'FHj
40 0021
10 0 173
1-5 (Ml 5
20 0036
25 crag
4-D 0-0413
ID 1-5 0230
20 0173
25 0-130
40 0066
60 0056
?5 ■ b 0575
20 0431
2-5 0345
■10 0216
60 0144
50 20 0663
2-5 0690
40 0431
60 0266
100 0173
too 20 1 73
25 1-36
40 0663
60
100 aa-is

OOHHECTIO-MS

There is a great deal of controversy as to the

"correct" firing of XLR-typa connectors, especially
when they are used for amplifier output- applications ■
several wiring conventions are used/ Turbosound
have followed the method most comJtionly found in the
sound reinforcement industry Internationally, but
special care should he given to this area. See Figure

7
In the Turbosound TM3-1/2/4 enclosures the connectors
are wired as follows:

Pi n Name Polarity Colour

i Ground/Common —
Black/Blue

2 Hot + Rsd/Brown

3 Not connected n/a N/A

TMS-1

The TMS-1 is a passive 3-way enclosure and is fitted

with two 3-pin XLR-type connectors, one male and one
f encia 1 e *

TMS-2

The TMS-2 is a bi-amped* 3-way system.

Each section -[JJassj Mid/Highl of the enclosure is fitted

with two 3-pin XLR-type connectors, one male and one
female.

* There is an optional passive add-on unit, the XPX-2,

which fits on to the outside rear of the tms-2
enclosure,

TMS-3

The TMS-3 is tri-amped 3-way and is fitted with two

6-pin Cannon EP-6 connectors; one male fitted to a fi r
six-way cable, and one panel-mount female.

The Ep-6 connectors are wired as follows:

Pin 1: Bass - Pin 2: Bass +

Pin 3: Mid Pin 4: Mid +
Pin 5: High - Pin 6: High +

THE - A

The Tjvj£-4 is a bi-amped 3-way system.

Each section (Bass; Mid/High) of the enclosure is fitted

with two 3-pin XLR-type connectors, one male and one
female.

8
MB In all cases the male and female connectors wired
in parallel, so that either may be used as the input
to- the system, the second then being available for
"daisy-chaining" to a second enclosure. See Figure 3.

TMS 1

The TMS 1 has an internal passive network, optimised for

minimum phase shift at the crossover points. As a
result,, no external crossover is required for
this unit, unless It is used with a sub-woofer
enclosure.

TMS-2

A 2 4dB/octave two-way active crossover is required for

these units. The recommended crossover point is 250
Hz.

It should be noted that the midrange loudspeaker (part

of the Mid/high section) is wired internally 180
degrees out of phase with respect to the Bass
and HF drivers. Experience has shown that this gives
the best response with the majority of crossovers.

* There is an optional passive crossover available as an

add-on unit, the XPX-2, which fits on to the outside
rear of the TMS-2 enclosure.

TUS - 3

k 24 da/octave three-way active crossover is

required for this unit. The recommended crossover
points are 250 Hz and 3.7 kHz.

9
It should be noted that the Kid and High sections are
wired internally 1 SO degrees out of phase, with respect
to the Bass. Experience has shown that this gives the
best response with the majority of crossovers.

TM5-4'

A 24dB/octave two-way active crossover is required for

these units. The recommended crossover point is 250
Hz.

NOTE: If ultra-low frequency projection is desired, a

sub-woofer enclosure may be added, e.g, the Turbosound
T5W-124. The table below shows the crossover point and
the type of crossover required. In all cases this
crossover should be 24dB/octave.

Crossover Point Crossover Type

TMS-t 10011* Two-way

TrtS-2 80Hz Thme-way

TMS-3 BOHl Four-way

THS-4 BOHz Three-way

H-B. In the case of the TMS-2/3/4, the sub-bass filter

may be a low pass type and the 1§lf or TB1* units can be
allowed to go down tn mHz . In this case the use of a
24dH/octave crossover incorporating phase correction is
advisable.

EQUALISATION

An important point to remember with Turbosound

enclosures is that they are designed to need no
equalisation or correction to overcome system
limitations. As a result they wi 11 require
equalisation to compensate only for aspect S of the
acoustic environment.

Over-equalisation introduces pnase distortion and can

reduce system headroom, causing more problems than it
cures- EG should be applied gently and smoothly, and a
1/3 or 1/2 octave graphic equaliser will generally be
quite sufficient. Turbosound enclosures are phase-
coherent. designs, end violent equalisation will be
detrimental to the overall sound quality*

POLARITY CHECKING

All Turbosound units are shipped wired as stated above -

However, with a number of different t ype& of amplifier
and wiring runs used in many systems, polarity
inconsistencies may be created.

There are two basic methods of checking that the

polarity of the system is correct. You can use either,
ox both methods. With the TMS-l, it is necessary to
use these procedures only if the system comprises more
than one enclosure per side, in the case of an array, or
if wiring problems are suspected*

The first method utilises a third-octave analyser and

pink noise generator.

Start by disconnecting all but one of the enclosures.

With this remaining loudspeaker set up correctly, as
far as is known, feed the pink noise signal into
the system and adjust to a suitable level for
measurement* Place the measurement microphone a few feet
in front of, and on axis hetween, the first cabinet and
the adjacent unit in the array. Now connect the adjacent
unit* The analyser display should jump up in level,
particularly in the lower frequencies, indicating that
the two cabinets are correctly connected with respect
to each other* If they are INCORRECTLY connected, there
will be a good deal of cancellation. Proceed along the
array, movinq the microphone to a point on axis between
the last tested unit and the next in the array, until
all cabinets have been checked.

The second method is to use a pulse-based polarity

checking device, such as the Turbosound Tf3C-ll5t. This
consists of a pulse generator (PtS-ll) that can be fed
into the system, and a pulse detector < PD-51 } which is
used to monitor the polarity of the elements of the
system,

Individual cabinets should he checked before setting upr

and the complete system checked for overall polarity
coherence after assembly* When using a phase-checker,
bear in mind that meaningful results will be obtained
only by comparing the same frequency section of the
different units.

11
When checking a TMS Series cabinet with the TPC-llSl or
similar, their "acoustic polarity" should be as follows:

Rass Mid High

TMS-1 Positive ( f) Negative <-> Positive (+)

TMS-2 Positive M Negative i -1 Positive

TMS - 3 Positive (+ > Negative {-> Negative

TMS-4 Positive {+ ) Negative (-> Negative (-)

* This remains the same whether the TMS-3 Is fitted with

a Z" or V-2 HF driver.

Pjlease note i Those are relative values only and do not

relate to the absolute phase of the system, so they may
be in reverse order^

The complete system can be tested by checking that the

same driver sections of adjacent cabinets have identical
polarity.

Tf there appear to be problems, chock the cable wiring

in the first instance, Also bear in mind that different
amplifier manufacturers use different pin configurations
and polarity conventions; if you are using amplifiers
from more than one manufacturer, check tha polarity of
the amplifiers as well as the cabinets*

rt should be noted that correctly configured cabinets in

a multi pie array will load one another: if one or more
Cabinets are connected with the wrong polarity, they may
damage the system if the mistake is not discovered. In
addition, the system will not, of course, give its best
performance.

PHASE ALIGNMENT

In order to assist in obtaining accurate acoustical

suninir! t ion of the signals from adjacent speaker units in
a 1oud s p u aker system, (e.g. between a TM5 Series
end osure and an additional sub-woofer system), it is
desicable to be able to adjust the phase of the signal
from one frequency band to that of the next frequency
band. To facilitate these adjustments, an electronic
crossover with a phase correction system will be
required, This will properly allow for any phase errors
that may occur between the positions of the cabinets
tt tense 1 ves

12
QPERATIQH & ftPPLICATIONS

In the past, it has often been the ease that an

enclosure may sound good on its own, but as soon as two
or more arc placed next to each other to increase the
dispersion, available power handling or 5PL, the tonal
balance changes, usually to the detriment of the sound.
Patterns of sound waves leaving adjacent components
interact to produce comb filtering (see Figure 4), when
the listener moves off the axis of the array. These
effects are most noticable in the mid and high
frequencies so crucial to the perceived sound image.

In the lower frequencies however, wave lengths are long

enough to produce coupling, and adjacent enclosures
positively reinforce each other to give substantial
gains in directivity and projection {see Figure 5).

The gradual increase in directivity with rising

frequency inherant in all Turbosound designs Is a very
positive benefit. When a system is arrayed in order to
cover more than the nominal dispersion available from
One enclosure, although the bass and low mid frequencies
reinforce each other, in the crucial upper“mid end
highs, there is limited coupling but greater inherent
projection from the individual units. This gives the
listener an impression, even with large systems, that
them is just one speaker. This is the real benefit of
point source theory when applied to high directivity
components.

As can be seen from Figure 4, the two speakers only

really add at aU frequencies when the listener is on
axis. Off axis, the frequency at which 'x1 is half a
wavelength, will be cancelled along with its harmonics,
in varying amounts. This is a "comb filtering" type
effect*

Where wavelength is substantially longer than rd' (see

Figure 5), direetivaty and projection are increased
without "combing"*

13
Efforts hav0 been made by other speaker designers to
solve these problems with compression drivers on
const-ant directivity horns. But none can be psed at high
levels in the mid band or "vocal range11 without severe
distortion* The consequent unnatural sound quality and
listening fatigue that results can be extremely
aggravating and even painful to the listener.

At Turbosound we believe that distortion, not PPL,

produces listening fatigue and poor intelligability» For
this reason the TurboMid 1,1 device was designed to
replace compression drivers in the mid-range. By relying
on compression devices only in the higher frequencies
they are then subject to less stress and become both
sweeter sounding and more reliable,

Furthermore, the substantially plane wavefront generated

by Turbosound enclosures means that there ie less
attenuation with distance, Put simply, the same sound
quality is available to the listener whether located at
the front or the back of the auditorium.. Less stray
sound is reflected from walls and ceiling, and
equalisation for room reflections is minimised.

Turbosound enclosures are particularly effective in an

array configuration, and the cabinets are designed to
offer the system designer maximum fLExibility as regards
both stacking and flying.

The key to successful array configurations is to bear in

mind that all TMS Series enclosures have highly
directional dispersion characteristics. This minimises
HF interference effects and contributes to an even
frequency distribution throughout the area to be
covered,

This carefully tailored directional response enables a

properly set-up system to present a virtual point source
behind the array. The secret is to ensure that no two
cabinets are an the same plane. So as to achieve the
best results, Turbosgund enclosures should be splayed
both horizontally and vertically.

in horizontal and vertical planes, the enclosures should

be splayed to form a fan. See Figure 6,

14
 = 10-30^ optimum,, depending on projection required.
For high power or outdoor shows$ the angle could be
less*

In stacked systems,, vertical angle accuracy can be

ensured by using battens between adjacent cabinets (See
Figure 7). To maintain phase coherency* the rear edges
of the enclosures should touch each other, so as to
create a virtual point source*

Using the optional ring-type flying points on the top

and rear of the TMS-1/2/4 enclosures, a highly versatile
flying system may be formed. The pri noipLes of achieving
successful dispersion are identical to those for
stacking*

Turbosound TM5-3 enclosures and FB-3GQ flying bars in

use at the National Exhibition Centre, Birmingham, U.K.

The TMS-3 is usually supplied in matched pairs of "left-

handed" and "right-handed" cabinets* Therefore it Is
possible to introduce coupling between adjacent cabinets
at the Bass or in the Mid/High sections by placing the
appropriate driver sections next to each other. It is
more usual to couple the Bass end: If the Mid/High

15
drivers are adjacent there may be too much high
frequency energy produced on axis, especially if the
angles between cabinets are smallT The amount of
coupling introduced depends on the combination, of throw
and spread required.

Vertical as well as horizontal splaying is important

especially when three or four cabinets arc stacked
vertically - to avoid excessive 'beaming' of the
Mid and High frequency energy* Vertical splaying is
achieved by using battens between adjacent cabinets. To
maintain phase coherency, the rear edges of the
enclosures should touch each other, so as to remain in
the same planeT

Using the special Turbosouod flying plates mounted to

each side of the enclosure (and, optionally, the
complete Turhosound FB-300 flying system*!, the units
will form a highly versatile flying system. The
principles of achieving successful dispersion are
similar to those for stacking*

* The FB-300 15 a Turbosound-designed and built flying

bar with full U*Kh government certification, which will
hang up to 3 ThS-Vs, It allows a flown system to be
from l to >1 cabinets high and 2 wide. Three different
horiiontul angles may be used between cabinets: 10r 20
or 3D degrees* It may be supplied as the FB-312, which
includes the bar, steels and safeties;, and hardware for
flying 6 enclosures.

IMEOKTAHT mote

When using TMS-1 enclosures, it should be remembered

that their frequency response is tailored for
applications which do not require a great deal of
amplitude below lODHz.
GLOSS Alt Y

AMPLITUDE - Refers to the voltage level or intensity of

a signal, and is usualy measured in voLts or decibels*

COMB FILTERING - The additive and subtractive

interf era nee between multiple sound sources of lot*
directivi ty

DAMPING FACTOR - Tendency of amplifier to exertcontrol

over speaker,, preventing overshoot and spurious
resonance. Higher damping factors don’t necessarily
sound better. It's always best to keep speaker cables as
short as possible or the system will tend to sound
"loose” and ill defined, (see chart in CABLING section}

dB - A unit for expressing the ratio between two signal

levels for comparison purposes. On its own it has no
"absolute" level and is used for logarithmic scaling
e.g. you have to be aware of the mean point of
measurement. Positive numbers indicate an increase and
negative ones a decrease, Borne useful ratios are:

3dR w double power

6dR = double amplitude or quadruple power
iGdB = triple amplitude or ton times power
2ddB = ten Limes amplitude or hundred times power

DISTORTION - Refers to any modification of a signal

which produces new frequency components not present in
the original* Harmonic distortion refers to added
frequencies that are overtones to the fundamental
frequency* Intermodulation distortion refers to added
frequencies that are sum and difference values derived
from the beating together of two frequencies*

EQUALISATION - Modification of the frequency response of

an audio system, regardless of level, for ebrrttive or
enhancement purposes.

FHibOUENCY - The repetition rate of a waveform. The unit

of frequency is H2, and 1 cycle per second 15 equal to 1
Ha. The audio band is generally restricted to
frequencies of 20 Ha to 20 (000 Hz. (20 - 20 kHz).

FREQUENCY RESPONSE - Refers to the relative gain of

circuits at all-frcquencies across its usable band.
Generally expressed as t/- a certain number of dBs from
20 l\z Lq 20 KHz.
HEADROOM - The umount, in dBs, above norma 1 operating
level that can be used before serious distortion
commences,

IMPEDANCE - The AC equivalent of resistance and measured

in ohms, it indicates the drive capability of an output,
or the amount of drive required for an imput, at any
given signal level*

LEVEL - The amplitude of a signal, measured in volts or

decibels.

OCTAVE - A Logarithmic unit for expressing frequency

ratios.. Positive values indicate an increase in
frequency and negative ones a decrease* One octave is
equivalent to double or half frequency.

PLANE WAVEFfGhT - Theoretically, a completely plane

wavefront device would have zero dispersion and infinite
projection.

P5YCQ0 ACOUSTICS - The subjective effects of sound on

the mind of the listener*

SOUND IMAGE - This refers to the Imagined perspectives

of a sound source. For example, with your eyes closed a
voice should sound human and as though it is coming from
a particular point* If it doesn't, the system is likely
to he badly set up* High directivity usually brings the
apparent Image closer*

TRANSIENT A sudden burst of energy in an audio signal

which only lasts for a small period of time relative to
the rest of the signal. The level of these transients
can often reach 10 times or so the normal operating
level ot the audio equipment, and may cause distortion*

VIRTUAL K>1NT SOURCE The point in Space at which the

axes of the speakers in an array cross. This will be the
point from which the sound appears to originate.
 FIGURES

1 : Clipping waveform

1% JCLR connections

3: Gaisy-cbaining cabinets

4i Off-axis comb filtering. Mid and high frequencies

5j Reinforcement of bass frequencies

6: Virtual point-source and two examples of possibl

system configurations

7: Vertical angling of stacked array

19
im SERIES OPTIONS AND ACCESSORIES

MODEL DESCRIPTION

Flying and Lifting Hardware

RT 767 3 PCS flying rings

FB-300 TMS-3 flying bar
FB-312 lx FB-3Q0, 4x sn-
460S, 12x SD-4 60 Lf
2x TS-300
DE-46Q 'D1 ring
FP-460 Fly Plate
SU-460S Steel + 'D* ring {short)
SD-460L Steel + fD' ring {long)
TS-3G0 Tilting strap

Heavy Duty Padded Cavers

HDP-1 for TMS-1

HDP-2 for TMS-2
HD 3 for TMS-3
HDP-4 for TMS-4
KtiP-124 for TSW-124

Eleavy Duty Nylon Covers

|[DN ■ 1 for TMS-1

HDN-2 for TMS-2
HDN-3 for TMS-3
HDN-4 for TMS-4
HDN-124 for TSW-124

Cannon ftP Series C-pnnectOrs

A P - 6 -1 1 6 pin female cable

AF-6-12 6 pin male cable
AP--6-1 3 6 pin female panel
ap-6-14 6 pin male panel
 THE TURBOSOUHD RANGE

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flifbosound Ltd. S02-2ie New Kuril Road, LondotiMl 7BL. TeJ. (01)224-0099 Fas: (01)364-494i ■ IMC: TUHBQ-UK

TUrtwnomnl, Ificl 6; 1 ftpuidwiy. Nmv Vorlf. New York IOOL2.T*]: (2121 i«0-G&40 Fai: (2 ] 2} 4M-9947. SMC. TURBO-US

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