Snell B7 Manuale utente

Owner’s Manual

Phantom

CONTENTS

A Message from the Designer 3

Phantom B7 Speciﬁcations 4

About the Phantom B7 4

Phantom B7 Features 6

Connecting the Phantom B7 8

Speaker Placement 13

Stereo Image 14

Switch Settings 15

Listening Levels and Power Handling 16

Phantom B7 Maintenance and Care 17

Limited Warranty 18

A MESSAGE FROM THE DESIGNER

Thank you for choosing Snell. The Snell Acoustics Phantom B7 is the product of extensive research, development, reﬁnement,

listening, prototyping, and more. And because it evolved from the award-winning Illusion A7, the Phantom B7 also rises from

the simple proposition, “What is the best we can do, without reference to costs, practicality of manufacture, availability of

existing components, or common practices?”

In consequence, the Phantom B7 design is different from conventional loudspeakers in many ways, some quite obvious, some

less so. But like any loudspeaker, the B7 is merely a lens through which to view, aurally speaking, the music: an exceedingly

transparent and faithful lens, one that will reveal the qualities or deﬁciencies of associated equipment, of room acoustics,

and of the original recording and performance, with great precision.

It follows that it is only sensible to take all reasonable measures to optimize your B7s’ associated components, listening room,

and setup. I hope you will also budget ample time to study this manual, to get to know your new Phantom B7s intimately,

and above all to experiment with setup, placement, and “supporting cast” of equipment and accessories. Only in this way can

you be sure of hearing the full musical excellence of which these extraordinary loudspeakers are capable.

Once again, thank you.

—Joseph D’Appolito, Snell Acoustics

ABOUT THE PHANTOM B7

The Snell B7 descends directly from the world-standard

Illusion A7, modestly downsized in both form and cost. And

like the A7 the Phantom B7 traces its lineage to the very

ﬁrst Snell: the landmark Type A design unveiled by the late

Peter Snell in 1976. Like that ﬁrst Snell, Phantom presents a

dramatic new form and grows from its era’s most sophisti-

cated technologies. And like the A7 once more, the Phan-

tom B7 was engineered under the direction of legendary

designer Joe D’Appolito, whose name is synonymous with

PHANTOM B7 SPECIFICATIONS

Frequency Response (±3dB) 33-22,000Hz

Crossover Frequency 300Hz; 2.88kHz

Recommended Ampliﬁer Power 50 watts minimum

300 watts maximum

Maximum Output (per pair) 111dB

Sensitivity [1 watt (2.83v) at 1m] 89dB

Nominal Impedance 4 ohms

Tweeter 1” (25mm) Sonotex™ dome

Midranges Two 4.5” (115mm); magnesium cones

Woofers Two 8” (203mm) aluminum cones

Wiring Bi-wirable, tri-wirable, bi-ampable, tri-ampable,

Placement More than 3 feet (1m) from the woofers to the nearest wall

Dispersion Angle from center

Horizontal: +40 degrees

Vertical: +15 degrees

Weight 160 lbs (73 kg) with feet

Dimensions

Foot Print (W x D) 18” x 18.5” (457 x 470 mm)

Height 46” (1169 mm)

the paired-midrange vertical array widely accepted as the

ideal arrangement of dynamic transducers. Finally, in com-

mon with both its oldest and its most recent forerunners

Phantom reﬂects a new concept in enclosure design whose

reﬁnements yield unprecedented freedom from resonance

and spurious vibration. Consequently, its genuinely full-

range, extraordinarily uncolored reproduction can be heard

with unimpeded clarity and unrestricted detail.

The slim, tall, deeply rounded tower forms a smoothly

tapering column that connects ever-changing plane dimen-

sions that are never found to be in parallel in either axis,

yet that maintain a consistent cross-sectional area and

can thus be calculated for volume with perfect accuracy-a

necessity in any loudspeaker design. The result is visually

beguiling from every angle, but more important acousti-

cally, it presents no ﬂat plane surfaces and no parallel

sides. The vented Phantom B7 enclosure is thus inherently

exceptionally vibration-free and all but completely devoid

of contributed coloration.

Internally, each of Phantom’s three higher-frequency drivers

is acoustically isolated, with the entire midrange-tweeter-

midrange array decoupled via a massive, individually

machined, non-resonant subassembly of wood composites.

In this fashion the midranges preserve their impressive clar-

ity and articulation, as well as the integrity of the coherent

forward-radiating wavefront (with the tweeter) that con-

tributes so much to the Phantom B7’s exceptional sound.

Needless to say, this arrangement of the Snell Phantom B7’s

midrange and high-frequency drivers is a classic “D’Appolito

array” originated by Snell’s chief designer-one of the very

few such genuinely entitled, technically, to the name. Over

the past 20 years countless loudspeakers produced with ver-

tical mid-high-mid layouts have claimed D’Appolito status

without any particular technical (or legal) legitimacy. A true

D’Appolito array is a far more sophisticated entity in which

transducer parameters, dimensions, geometric relationships,

and time-domain characteristics of drivers and crossover

elements must all be meticulously calibrated to produce

the intended result: a coordinated wavefront with smooth

and consistent axial dispersion, wide, consistent horizontal

spread over a broad frequency range, and controlled vertical

directivity. The resulting “sound-front” minimizes deleteri-

ous ﬁrst reﬂections from nearest surfaces (ﬂoor and ceiling),

promotes accurate response with spatial character (polar

responses) carefully targeted for natural, musical octave-

to-octave in-room balance, and maintains maximal clarity,

deﬁnition, transient accuracy, and dynamic potential-with

freedom from coloration that is achievable in no other way.

Finally, the Phantom B7 incorporates numerous construc-

tion details whose acoustical value has been effectively

demonstrated by numerous Snell antecedents, from original

Type A to the illustrious Illusion A7. Its dramatically

radiused front greatly suppresses diffraction, eliminating

higher-frequency reﬂections toward the listening zone

and so promoting clarity and deﬁnition. Its solid mid/high-

frequency sub-structure ﬁxes the drivers in rigid alignment

and resists any reactive driver motions, inhibiting reso-

nances. Woofer-mounting construction similarly maintains

impressive rigidity and dimensional accuracy. A secondary

rear tweeter contributes, a bit counter-intuitively, smoother

front-hemisphere high-frequency response at wide angles,

and thus more accurate power response over the high-

est octaves of musical sound for an unforced, spacious,

exceptionally musical treble range. (This long-running Snell

innovation dates back to the Type A II of 1979.) And of

course, each Phantom is meticulously crafted, assembled,

and ﬁnished, by hand, in calibrated pairs matched both

acoustically and aesthetically, to the obsessive standards

Snell has long established.

PHANTOM B7 FEATURES

1The geometrically complex form of the Phantom

enclosure provides nearly ideal acoustical behavior,

with non-parallel plane surfaces, precisely calculable

volume, and peerless strength, rigidity, and freedom

from unwanted vibration and resonance. The overall

cabinet is a vented system (woofers) via a single rear-

facing port.

2The smoothly elliptical radius of the driver bafﬂe (front

surface) reduces re-radiation or “edge-diffraction”

for cleaner and smoother response at mid and high

frequencies, especially off-axis. Snell pioneered this

technique in the original Type A system 35 years ago.

3Phantom’s true D’Appolito array is one of a very few

such genuinely entitled to the name. Computer-mod-

eled and highly engineered it yields a nearly perfectly

coherent forward-radiating wavefront, with a combi-

nation of precisely, moderately controlled vertical di-

rectivity and broad, smooth horizontal dispersion that

approaches the ideal for a two-channel reproducer.

4Developed speciﬁcally for Snell, the midrange driver

employs a unique magnesium cone, precisely machined

to a thickness-contour speciﬁed to optimize stiffness

and minimize mass, with a natural-rubber surround to

eliminate edge resonance. A massive ferrite magnet

structure anchors an enormously powerful “motor”

with vast dynamic linearity, power handling and cool-

ing. Its special injection-molded alloy basket is strong,

rigid, and ideally suited to Phantom’s sealed midrange

sub-enclosure.

5The soft-dome Phantom tweeter develops smooth,

naturally resonance-free response well beyond 30 kHz,

as well as powerful and accurate output to unusually

low frequencies. This allows an unusually low mid/

high crossover point, critical to the B7 D’Appolito ar-

ray’s ideal combination of amplitude and directional

smoothness. A specialized Neodymium ring magnet is

highly efﬁcient, and the increased headroom pro-

vides signiﬁcant power handling capability to provide

greater clarity at extreme SPL levels

6The tower’s secondary rear tweeter contributes to

smooth, accurate front-hemisphere response over the

highest frequencies at wide angles.

7The proprietary woofer employs an aluminum-alloy

diaphragm of unexcelled stiffness-to-mass, a 1.5 inch,

high-temperature voicecoil, and a oversized, T-shaped

polepiece and phase-plug-these are but three factors

underpinning this unit’s enormous dynamic range,

power handling, and linearity. An extraordinarily stiff,

injection-molded alloy basket combines remarkable

structural stability with huge “windows” for air move-

ment, making it acoustically invisible at low frequen-

cies and so reducing reﬂections, cavity resonances, and

turbulence-noise to insigniﬁcance.

8Cloth-covered, frame-less aluminum grilles can

introduce no higher-frequencies reﬂections. They are

custom-perforated in dimensions and pattern calcu-

lated for acoustic transparency, and friction mounted

to decouple any induced vibrations.

9Each crossover is individually hand built and system-

tuned by a Snell technician to within ±0.5dB of the

Phantom B7 Master Reference, ensuring perfect

replication of the Phantom design. (This practice is

another Snell hallmark from the late 1970’s.) The

networks are “in-phase” Linkwitz-Reilly designs that

preserve ideal response in both amplitude and phase

domains throughout all driver-to-driver transitions.

Each crossover “leg” is individually constructed on a

discrete circuit board, so that induced or capacitive

couplings cannot co-inﬂuence circuit actions, utiliz-

ing best-available components throughout including

custom-fabricated air-core inductors and polypropyl-

ene capacitors.

10 Snell’s renowned wood shop handcrafts and hand-

ﬁnishes each Phantom B7, producing cabinets of un-

equalled workmanship. Phantom is available in select

wood veneers and paint ﬁnishes. Wood is ﬁnished

with a sanding process to 600 grit, showcasing the ex-

traordinary grain and beauty of Snell’s highly selected

woods, and then oiled and hand buffed. The B7 “Gloss”

ﬁnish is a specially developed multi-part lacquer-based

application. Lustrous, deep, exceptionally “hard,” and

remarkably durable, this yields almost palpably three-

dimensional depth, and offers an effectively limitless

variety of custom colors on request.

11 Cast-alloy feet provide a strong and stable base for

the Phantom tower, and an attractive form.

The selection of wire termination

is similarly individual. Bare wire,

“banana” plugs, spade-lugs, or

pins can be employed. The lead-

ing factor is that where terminal

connectors are used, they be

securely, professionally afﬁxed

with gas-tight crimps or solder

connections.

CONNECTING THE PHANTOM B7

Choosing Cable

Snell recommends the use of high-quality speaker cabling

of substantial weight (gauge); longer runs should receive

heavier gauge cables. The speciﬁc choice of cabling is an

individual one, based upon associated equipment, sys-

tem layout, and personal preference, but lowest-possible

resistance-per-meter and minimal inductance and capaci-

tance can be considered universally desirable.

amplifier

Basic Connections

Retain the speaker terminal jumper straps in their shipped

positions. When making connections, be sure to connect the

terminals marked “+” (red) to the corresponding connec-

tion-point on the ampliﬁer, usually also marked “+” and/

or red. Connect the B7 terminal marked “–” (black) to the

corresponding “–” (black) terminal on the ampliﬁer. Ensure

that each connection is clean and tight, and that no wire or

strand can escape its terminal and accidentally contact the

opposite terminal.

Bi- and Tri-wiring

By removing one or both metal jumper straps from each

Phantom B7, you may elect to run multiple cables, i.e. bi- or

tri-wiring. This has the advantage of more fully isolating

each crossover-ﬁlter section, while also doubling or trebling

the overall conductivity between ampliﬁer and loudspeaker.

Unscrew the terminals and remove completely the jumper

straps between Woofer and Mid terminals to bi-wire bass

and mid/high-frequency sections (the most common two-

wire conﬁguration). Additionally remove the jumper from

Mid to Tweeter terminals to tri-wire the entire B7.

Use equal lengths of identical or at least similar cabling

when bi- or tri-wiring each speaker. Your Snell Acoustics

installer/specialist will prove a valuable resource in choosing

a wiring plan and selecting appropriate cabling.

amplifier

Remove Jumpers

Biwiring Connection

Triwiring Connection

Bi- and Tri-amplifying

In an extension of bi- or tri-wiring, you may wish to con-

sider multi-amplifying the Phantom B7s. Multiamp setups

further the beneﬁts of bi/tri-wiring by further electrically

isolating woofer-, mid-, and high-frequency sections, while

of course increasing the available power, a factor not to be

overlooked.

NOTE:

Do not employ an external crossover of any sort,

whether passive or active. Doing so will interfere with the

phase and frequency response of the Phantom B7. The sys-

tem’s internal crossover circuitry is an integral part of the

system and necessary to the proper response and function

of its D’Appolito array and overall performance.

NOTE:

It is imperative that the ampliﬁers (or channels)

employed in any multi-amp Phantom setup be identical.

At the very least, amps/channels must exhibit perfectly

matched gain structures to insure proper performance.

Even tiny differences in ampliﬁer gain will defeat the ±0.5

dB factory response matching (described above) that is one

key to Snell Phantom B7 performance.

Speaker Impedance in Bi- and Tri-ampliﬁed Systems

Some high performance ampliﬁers provide facilities for

matching the output of the ampliﬁer to the impedance

load of the speaker. The ampliﬁer may have multiple output

connections for various impedance loads, or it may have

a switch to select the best impedance match. When the

Phantom B7 is used as a full range speaker, i.e., when all the

terminal jumpers are connected, its nominal impedance is

4 ohms.

However, when one or both of the terminal jumpers are

removed the impedance of the sub-sections of the Phantom

B7 will be higher. If the ampliﬁers driving the speaker in a

bi- or tri-ampliﬁed have impedance matching capabilities,

refer to the chart and conﬁgure your system for the best

impedance match.

Note: In certain situation the impedance may be higher.

Conﬁguration Impedance

Full Range 4 ohms

Tweeters only (rear tweeter on) 4 ohms

Midranges only (rear tweeter off) 8 ohms

Tweeter/Midrange (rear tweeter on or off) 4 ohms

Midranges Only 4 ohms

Midranges and Woofers (normal or boundary) 4 ohms

Woofers Only (normal) 4 ohms

Woofers Only (boundary) 8 ohms

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