Mission 760i User manual

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ILoudspeaker Instruction Manual English I
Congratulations on your choice of loudspeakers. Your MISSION Your loudspeakers are precision manufactured and in the interest
loudspeakers are precision manufactured products using the latest of sound quality they are not electrically protected. For long term
computer controlled technology and have been matched and satisfaction and optimum performance it is strongly recommended
tested to the highest standards to give years of trouble -free that special care and attention be paid to the following points.
peorgaqe" Afeévr gigtuts Spemnsin studying this instruction DO NOT change any component in your system without first
man“ Wenswe eamg res“ ‘switching off your amplifier. Eveiy time you change connections of
tape decks, tuners, turntables, compact disc players, etc. to your
|MPoR-I-ANT amplifier, ensure that you first SWITCH OFF the amplifier.
DO NOT use your amplifier at maximum power. This will 'clip‘ the
RUNMNG '‘N PERIOD amplifier and damage your loudspeakers.
gag/ETSNEJQEINS.P:gg2T‘[%’°J§SDPE%)<EggRgV%T€€lC§J1:MgH5 When switching on your system, turn the volume control down for
THAT FOR OPTMUM PERFORMANCE TH'E LOUDSPEAKERS afew seconds as some amplifiers put a‘thump’ through the
SHOULD BE RUN IN FOR APERIOD OF 1o HOURS BEFORE '°“dsPeake's ‘"h'°“ Ca“ °a“S° damage-
FINAL POSITIONING. When changing records, re-dialling tuners, rewinding tapes, turn
the volume control down to its minimum.
DO NOT use the filters, tone controls or graphic equalisers on
THE WSSION CYRUS GROUP your amplifier. These are nearly always detrimental to the
The MISSION CYRUS GROUP manufactures products under the accurate reproduction of music and should be set at '0‘.
m'SS'ONC8§gG'RUSaP'a."d gages" when we refer“) M|SS'ON' DO _N_OT expose your loudspeakers to excessive cold, heat,
eword S'5 3° mp humidity or sunlight -see Maintenance.
DO NOT connect your loudspeakers to the mains electricity
supply.
It is imperative that your loudspeakers are correctly wired and are
in phase -see Connecting your loudspeakers.
DO NOT use lengths of loudspeaker cable joined together.
DO NOT mount your loudspeakers by the rear panel. Wall
brackets, if used, must support the underside of the product.
DO NOT dispose of the packing materials for your loudspeakers
as you may wish to transport them at some future date. Correct
packing will ensure that they can be shipped without damage.

Loudspeaker Instruction Manual English
SETTING-UP PROCEDURE To check that you have correctly connected the loudspeakers to
Please read this section carefully before any connections are g?§e(3{;,1p£'€aragLai§hgh§rgbglf 1'§ol:1e(g;.§';g§nd2K§ 32$ sigma
made‘ music with extended bass or amono signal. If you have incorrectly
Carefully unpack the loudspeakers from the carton(s) making sure connected the loudspeaker cables and the system is out of phase
that you remove all the staples to prevent damage to the cabinets. the bass will be very limited and the overall sound level will be low.
All packing materials should be retained for any future transit. To correct this ‘switch off the amplifier and reverse the connections
on the termina panel of one loudspeaker only (i.e. exchange the
CONNECTING YOUR LOUDSPEAKERS wire fitted to the black, negative (-) terminal for that fitted to the
Your loudspeakers have either two or four connection terminals. red, positive (+) terminal). Switch the amplifier on again and play
Conventionally, all loudspeakers are connected to an amplifier the same piece of music you should now hear amuch louder
with asingle two-core cable per loudspeaker. Hovmever, for sound together with well extended bass.
improved performance, amore sophisticated wiring sc eme can _-
be developed for those models with tour terminals. These B‘ WIRWG/Bl AMPlNG' Referto later secnon
sophisticated wiring schemes are usually referred to as "Bi-Wiring" POSITIONING YOUR LOUDSPEAKERS
or "Bi'Ampin9"' and are Covered later" The interface between the loudspeaker and the room is extremely
If your loudspeaker has four terminals and you are connecting complex and has been the subject of research by engineers and
them up conventionally, please ensure that the two shorting links academics for many years. The problem is compounded since
supplied are installed as per fig. 3in the front of this manual. domestic rooms have no fixed architectural acoustic specifications.
To do this remove the HF terminal caps and loosen the ILF caps. Karlie giglgnsglgetgemgfegitggn €‘>;l\(/|elrSScl)(s)il\il()lr<1>iudspr-zéakers, wt;
Place the wire link through the vertical hole in the LF terminal, then ossibie ppp"9 aeasy a
slide it up through the hole in the HF terminal. Replace the HF p'
cap, centralise the link, and tighten both LF and HF caps ensuring 1. Your loudspeakers are designed to be placed directly on
afirm contact betweenthe terminal and the wire link. the floor (ideally using spikes) or on MISSION Stands,
CONVENTIONAL WIRING: Referring to fig. aat the front of this depe"d"‘9 °" the "‘°de' i" °l“es“°" (See HG-‘&2l~
|rgagua|' °n?e‘€Lthedred p°s-itme (+)ttem.1in|a| oftgour hang 2. The loudspeakers are designed for an extremely smooth
uspea er _o ere or posi ive (+) ermina on erig_ canri .if .f ees rt Th th t
of your amplifier. Connect the black negative (-) terminal of the t|‘:e:);'rse ggonézg .{oeg°i':1.s%|,p:ngQR';(;érds'ihgiggnera_
same loudspeaker to the corresponding black or negative (-) --
terminal of your amplifier. Repeat the above procedure for the :)h'§m?Qigle Igizsalggig bg:{;io?]sp°+'H‘iS°:/a$i‘;';)§'Q W253
other channel. This Wl|| ensure that your loudspeakers are rgsowedgby MISPSKDN rlécommending that you gsosmon
ct d' h‘
Come empase' your loudspeakers with their backs parallel to arigid back
Check, from time to time, that the loudspeaker connections on wall.
both the amplifier and loudspeakers are secure and tight.

ILoudspeaker Instruction Manual English I
The loudspeakers should be positioned some 20 cm (8") away the frame off the baffle board with aflat blade screw driver,
from the back wall and 1.8 metres (6 feet) apart with their fronts avoiding damage to the loudspeaker cabinet and grille frame.
facing straight out. The distance from either loudspeaker to the USE OF SPIKES
side wall should be a minimum of 0.5 metres (1.5 feet). Vary the
distance between the two loudspeakers from 1.5 to 2.5 metres (5 Warning :lF USING SPIKES MAKE SURE THAT THEY DO NOT
to 8feet) until aperfect stereo stage is achieved. Adjusting the PIERCE MAlNS CABLES ETC. UNDER THE CARPET.
d't fthld kfthbk ll 'llfftth ...
Vi';:;}Ci?n:ge 0? mogloslsapgkerfgqehined ma; wgi Bgss ixfgnsio Floorstanding MISSION loudspeakers are supplied with stabilising
is also enhanced as the loudspeakers are moved closer to the smkes-I The smkes can -be med to the bottom of the Ioudspeake-r
to facilitate better coupling to the floor for ultimate stability. To fit
wall'the spikes turn the loudspeaker upside down with its top surface
When positioned correctly the high frequency response sounds on asoft surface so that you do not damage the cabinet. Remove
smooth and the bass response is definitive, compact and solid; the the spikes from the bag and screw on the nuts, fit the washers so
loudspeakers will also disappear as point sources. that when fitted to the cabinet they are sandwiched between the
---nut and the bush on the bottom of the cabinet. Take the spikes,
wilfdilgglokgggggigggsen°grgogi?1S'tg’rni%cihzggggérgix with nuts and washers fitted and screw them into the bushes fitted
our room 'p9in the bottom of the loudspeaker cabinet. To facilitate easier
Y'levelling ensure the distance that each spike is screwed into the
As far as the rest of your hi-fi system is concerned, it should be loudspeaker is approximately the same. Turn the loudspeaker
positioned well away from the loudspeakers on a rigid and light over to its normal position taking care not to damage yourself or
stand orcabinet. surrounding furniture etc. with the spikes. Place the loudspeakers
AFEW NHNUTES SPENT ADJUSHNG THE POSITION OF YOUR in the required position on the floor. Todensure the loudspeaker is
To
WILL BE REWARDED WITH ATRULY BREATHTAKING THREE- stable nd th Fis no mopvemefn Iet r. $1, Bf, mt back?’ Y
DIMENSIONAL STEREO STAGE UNMATCHED BY ANY OTHER a8 e °'9 ° ° °'
MANUFACTURER'S PRODUCTS BUT, OF COURSE, SUBJECT lf necessary use aspirit level or similar levelling device to ensure
TO THE QUALITY OF YOUR ANCILLARY EQUIPMENT. that the loudspeaker is perfectly upright. When satisfied that the
GFNLLES loudspeaker is stable, tighten t_he locknuts on the spikes taking
care not to over tighten as this could strip the bush from the
To remove the grille on aMISSION loudspeaker grip firmly the cabinet. After tightening all the locknuts check that the
sides of the grille frame at the outer edges and gradually pull while loudspeaker is still stable and if necessary re-adjust.
holding the cabinet so that it cannot move. USE OF RUBBER FEET
76O" 761' 8‘ 780 Omy For delicate flooring such as parquet, rubber feet have been
The grilles on these models are removable primarily to facilitate supplied and should be used as an alternative to spikes.
servicing, in case of afault. Should you wish to remove the grilles
locate the slot provided at the bottom of the grille and gently lever

ULoudspeaker Instruction Manual English l
LOUDSPEAKER CABLES turntables, tonearms and cartridges) can sound harsh. Others can
In recent years much debate has taken place around the matenal, make your system sound 3°“ °r b°°my and Wm] Iow dynam'Cs'
quality and construction of loudspeaker cables. When using As an owner of quality MISSION loudspeakers it is desirable that
MISSION loudspeakers you should consider carefully the type of you use high quality equipment to optimise the performance of
cable used with your system as this has anoticeable effect on the your loudspeakers. It is useful to note that high quality need not
sound quality of the system. necessarily mean expensive. In fact, much of the better quality
hrm th |e -1rf equipment currently available is often of both asimple and elegant
lalszs a'2:§ez:;?;*;:z‘":.;;_ir::; ‘Int? ..:.i?.'":..:'2:.bi:: reforgneni to
us to manufacture two high quality cables, one stranded and one epe OaCe °your O“ spea 9S‘
solid core. iAsdyou kcan see from the specifications of yourh MWISSION
.. .ou sea ers, the are both ve efficient and have iower
The $Pe°"'¢al'°"$ ‘°'"‘e$° °ab'e$ ale sh°‘"" b°'°‘”i handlE,ng capabilities. This mean?’ that awide range of gmtglifiers
CYRUS M|ss|°N can be chosen to match your loudspeaker system. Adirect benefit
is that you could potentially purchase ahigh quality amplifier with
Typei solid Cote $""d@d less power for the similar cost as apoor quality higher powered
Resistance (m")I 55m9 7-7mQ amplifier. The message here is that the quality of amplifiers has
Capacitance (rn-1); 17pF 35pF very little to do with their power ratings. As far as pre-amplifiers
lnductance(m"1)i t.44uH t.6uH are concerned, we strongly recommend models with the least
Area (mmz); 0,64 2,5 number of gimmicks and controls.
Both MISSION and CYRUS cables are clearly designated with +The M|35|0N/CYRUS Group manulamufei
and -marks. Like all esoteric cables they are directional and we Loudspeakers
recommend that the ‘M' of MISSION and the 'S‘ of CYRUS are Loudspeakerétands
nearest the amplifier, whilst the opposite end is toward the _l_oudSpeakerCab|e_‘
'°“d5peake'- -Compact Disc Players
RECOMMENDED ANCILLARY EQUIPMENT }?,,§g{;gg";;gg,';,s_
In the earlier sections we explained that agreat deal depends on -Tuners-
the quality of your amplifier, compact disc player, turntable, etc. -I$°P|a1 (VibIa1i°" |$0|a1i"Q Platform)’
Your choice of such ancillary equipment will not only determine the
power handling capabilities of your loudspeakers but will affect
other parameters such as the system's dynamic range, distortion,
stereo stability and so on. Users may not be aware that the same
pair of loudspeakers used with alternative compact disc players,
turntables and amplifiers can sound completely different. For
example, some amplifiers (or indeed compact disc players,

Loudspeaker Instruction Manual English
Bl-WIRING/Bl-AMPING INSTRUCTIONS Please note that using amplifiers with Aand Bsets of speaker
Higher specification MISSION loudspeakers are equipped with }gL'gg1ae':ke$g'y one set Shomd be used for any one pair of
four connection terminals. This provides direct access to the high p
frequency and low frequency filter networks and associated drive Bl-AMPING
gnits within the lofudspeaker.h_Their péanormancedcgn be enhhanced The pedormance of your system can be ‘further enhanceq O,‘/er
Ymakmg-use °more sop 'St'Cate Wm-"9 an "Vmg SC emes that achieved with Bl-WIRING by extending the same principal
made possmle by these separate C°nneCt'°ns' one stage further to include separate amplification for the low and
WARNING: Do not make any connections to your amplifier while high frequency sections of the loudspeakers. This eliminates the
it is switched on and connected to the mains supply. Please distortion caused by the interaction of low and high frequency
check all connections thoroughly before attempting to re-connect currents in the amplification stage as well as the loudspeaker
the mains power supply. Always ensure that the volume control on cables.
your amplifier is set to aminimum before switching on. After -._ -... -
switching on, select the required input, and gradually increase the Zaryffmwnt ,s"1,e,,',‘§'§,°[,‘* ,§§,“'r?§urf°%heinlw'§g$sn
Wlume Comm ‘O the required 'eVe|' or two stereo gmplifiers; one to drivesthe right lougspeaker veith the
Bl-WIRING other driving the left loudspeaker. See your amplifier instruction
----manual for details on how to operate it in the required mono mode
B"w'r'ng uses ‘our Conductors’ oneffm each tenlmal’ for Bi-Amping We recommend that you use identical units to
dramatically enhance the performance oyour loudspea ers. i.‘- --- - - -
wiring eliminates signed distomon associated with Iow and high avoid potential imbalances in sonic performance and sensitivities.
frequency currents interacting with one another within asingle Bi-Amping additionally benefits your system by placing alower
cable, as used in conventionally wired systems. power demand on the individual amplifiers at agiven volume level,
.-increasing the available headroom which will allow higher sound
1. Remove the shorting links from each of the Red and Black (assure Ievelsto be attained‘
terminal pairs on the rear of yourloudspeakers. p
2_ Y-H dIe hfM|SS|oN CYRUS t1. Remove the shorting links from each of the Red and Black
ou wi nee two ngt soor wo-core
Ioudspeaker Came per mudspeaken terminal pairs on the rear of your loudspeakers.
3_ CCt th we f- 4t th fr mfmi I2. You will need two lengths of MlSSlON or CYRUS two-core
onne eca sas per ig a e o 0 smanua
ensuring correct polarity at all times ie positive (+) '°:rd]g%%2kZg|S2?|e and one stereo amp|mer('n mono mode)
connections on the right loudspeaker go to‘ the positive (+) pp
connections on the right channel of the amplifier. 3. Connect your system as_ per fig. 5at_the front of this _manual
4_ MtHf h|-|e tfc nCt fhensuring correct polarity at all times i.e. positive (+)
os amp iers ave onyasing se oone ors or eac
loudspeaker, in which case the two wires will need to be joined comegggg gr?t|q;erir'g:gu|%?§fake' 9° t° the posmve (+)
at the amplifier connector. If you are in any doubt, ask your Co e9 p
dealer to do this for you.

Loudspeaker Instruction Manual English ‘
TECHNICAL SECTION range differential. Nearly all hi-fi systems compress the dynamics
of live music -not so with MISSION. High dynamic reproduction of
Most people do not associate loudspeakers with complex music has become the company's signature. Indeed, this is
technology. But in reality, of all the components in the audio recognised by reviewers and commentators throughout the world
reproduction chain the loudspeaker proves the most difficult to in their repeated references to MlSSlON's ability to achieve
design. The role of the loudspeaker is an intricate one, in that the exceptional realism.
transducer is required to transform electrical energy into Lin mofthe owerres onse withinthed namic,wind0w.ma
ea YppYY
"!,:eChan'Ca| energy‘ This C°mP'eX'.t'e;f°ft|?'s processf gjgethergtgnh be even more important than the dynamic range itself MISSION
Iesubef nature °m“S'Cd'}t1s i‘%Yfd9'eae °°uiCt.ss systems preserve power response linearity throughout the wide
controversies over the years an ave res ein many con mg
....i||
design philosophies As aresult listeners can discern marked d¥;:eT\'/fnranggiita ;tV¥kn§lérJ3e;‘:F|);3g:gCt'°n oargetrangems whne
differences between various models. Different designers pgq Y
emphasise different aspects of the loudspeakers characteristics. COLORA-HON Bterm widely used to describe 3multitude of
Forexample, some loudspeakers offer high efficiency to tedl-stem-ans and other aberrations which occur in
detriment of accuracy, others produce smoothness and low lauds eakers
coloration but fail to generate adequate sound levels and musical P
dynamics; many impress on initial listening but in the long term Avariety of complex ‘steady-state‘ and dynamic distortions lead to
produce fatigue and become irritating. inaowcurateband unrealisliqtic reproduction of music. Subjective terms
suc as 'oxiness', 'c estiness', 'nasality', 'honk ness‘, etc. are
L°udspeakerType generally used to describe such colorations. Coioration is often
Once, people bought loudspeakers on the principle of ‘the bigger defined as ‘additive distortion‘ but at MISSION we go further and
the better‘. The same people were equally impressed by acontend that negative distortions can also exist. This occurs in the
multitude ofdrive units, control knobs and other harmful gimmicks. case of low dynamic systems with poor information retrieval
But things have moved on and today most people know better. capabilities. In such cases the lost information cannot, obviously,
-.-suffer distortion! We call this ‘subtractive distortion’. The new
MISSION loudspeakers are elegant compact efficient high power WSSION buds eakers are so exce tiona| in ‘ems of Iow
--'‘~ '- PP
hand|'n9' fu" range’ h'9h peormanife deigfgs wmch are io distortion that they are approaching amplifier specifications!
ggxinced that may Wm nm be out pe orme rmany years OMISSION enclosures are precision designed and visco-elastically
'damped to reduce unwanted acoustic output from the cabinet
. . . . . walls and eliminate internal standing waves. The driver
DYNAMK; RANGE '""5 We dene .35 "7? dferefmal deubels membranes are made of special and rather unusual materials
between the least audible musical information and the I-.--'
loudest attainable transients, while they are simultaneously ;"a“{‘¥e[‘:‘1'cfi*ti<:'la€:hE;r°t?i‘|‘(; :<é“in"g€Lll;n:F;?‘1‘é?mq"Egio¥1?;ya::a9'gér;Tjw
present‘ optimised. These drivers are inherently very smooth, have highly
Dynamic range is perhaps the single most important parameter of controlled break-up modes and minimal other resonances.
concern to our designers. Also, it is not acoincidence that the An Yto data“ extends to the anal -fIt-
greatest difference between live and recorded music IS in dynamic invgmg drive Unit dismacemems measureg?1Sm:ro:gf?|-éaégcz

ULoudspeaker Instruction Manual English l
units in your loudspeakers are ‘Direct Coupled’ to unusually moving air piston. Overall enclosure loading and reex systems
substantial baffle boards which in turn are made of special have been carefully optimised to assist in such accelerations and
materials. recovery of the moving parts.
FREQUENCY RESPONSE -the characteristic amplitude DISPERSION -the ability of the system to reproduce sound
response in the audio frequency band. accurately and smoothly off axis, both in horizontal and
MISSION loudspeakers incorporate the company's exclusive and l/emcalpla”es'
high technology drive units to ensure accurate and balanced Stereo and high fidelity are so closely associated that the two
reproduction of all forms of musical programme. Extensive terms now seem interchangeable and with good reason.
anechoic research has resulted in careful optimisation of drive Unfortunately, the majority of hi-fi systems tend to produce atwo-
units and their interaction. The inherent qualities of the MISSION dimensional sound stage. Those which do not restrict the stage to
drivers have further resulted in the use of elegant and ‘natural’ roll- awall of sound may produce other aberrations such as atiny
offs and crossover network designs -avoiding the pitfalls of grand piano or an abnormally large flute. Again, the stage
complex filters with the resultant phase shifts, power impedance perspectives could be distorted and so on. The human perceptual
problems and loss of information. mechanism finds it tiring to decipher the necessary information to
Essential to the accurate reproduction of music is the system's reconslmclllle orlglnallh'ee'd'me"S'°“al s°“"d stage"
ability to retrieve maximum information from disc, tape or tuner. It is, therefore, essential for hi-fi systems to recreate asolid three-
Please note, however, that such extraction of information must not dimensional sound stage with correct size and position of
be at the expense of frequency balance, otherwise prominence will instruments in space, with little dri, and accurate perspective.
be given to certain instruments to the detriment of other musical Your MISSION loudspeakers will achieve such results, subject to
notes. Loudspeakers with defective frequency balance may sound correct positioning and the quality of your ancillary equipment.
impressive for ashort period but will prove unsatisfactory for
serious reproduction of music. IMPEDANCE -the load characteristics of aloudspeaker as
presented to the amplifier.
TRANSIENT RESPONSE -asystem's ability to reproduce and
control the speed and attack of the music. Critical to the successful interface between loudspeakers and
Music consists of irregular transient impulses. The loudspeaker is f‘_‘g'rF:'eiL Eeglezsgalutfe Of the Iguziipeakeés corénplex imdpedani
called upon to respond instantaneously to sudden changes of not dro beiow crri§['iCg|"3|nSu[e Aihe °u spfa ertiwmpehance hl
electrical energy. The secret is one of dealing with the leading an Ig) hheve 3- eSame lme.'. .9 P359 S'
ed eof th transient attack but erha seven more im ortantl of 9 9 ‘W9 Wit 9frequency band must_be minimised and kept
9epppY’ at a realistic level Louds eaker loads will othenivise rove too
terminating the signal when the transient has stopped (no -'..p . . p. .
reactive for most amplifiers, resulting in the latter going into
overhang) The lallel proves llle more complex of the two remature cli in The im edance cun/es of all MISSION
'---Ppp 9- Pdo
the moving mass. At the same time, powerful motor systems are drop l°° low" All 9°°d quallty ampllllers llncludlng many
employed to give both positive and negative accelerations to the

lLoudspeaker Instruction Manual English l
inexpensive ones) are perfectly capable of driving your MISSION player/turntable/arm and cartridge. In the case of poor ‘front ends‘
loudspeakers. If in doubt consult your dealer. agreat deal of unwanted low frequency energies will be delivered
to your loudspeaker limiting its general performance, especially its
SENSITIVITY -the efficiency of the loudspeaker in converting power handling. As for the amplifier, alot depends on its available
electrical energy into acoustical output. spare headroom when amplifying sudden transients, its ‘clipping'
MISSION maximises this parameter in order to attain reproduction Cggitsnaiggfg/a?12‘d|if?e‘y Cfgi$gJig%nfiu,?trh daefgg (gfogrxeggplféttg
of wide dynamic range musical programme. The obvious benefit of Dhp1d--|9h-| ft’ k
f-n-th thi her uam |rOrdHbcan damaget e753i riven at maximum vo ume,w is we now
eciecyis aa gqy, owe pwee ampiiercan eI-----
used. But’ more important. our research categorically proves that_it TE; ati? "S c??al%% of h3ndl:1n%ifh'§g'| dyRlm“;|?sg;g::a:onJgster Ewe
is impossible for low efficiency systems to reproduce high dynamic Ls:mgé°?em)eraturewrat;iag snd )coo|ing sysmms :r$§e}.|;Vr:
t'| d'tht 't' l.H th '.-'
ii?2ig6ihr2ai§3gs§§ak§$p§ V2 m$'2rf1i3|(f::ii?38?l%r::/lie Ziiii, §er§§§§"a'§ truly exceptional power handling capabilities when used correctly.
otimum level of power, will deteriorate into ‘compression’ and ....
sgvere distortion. In other words, all else being equal, it is Fm? Dqm ‘Hg-he ab;m-V of 3system to reproduce me
inaccurate to think that alow efficiency loudspeaker with large 35"” ymso emus c‘
amplifiers can achieve the same results as ahigher efficiency The time domain is an immensely complex issue closely related to
model with small amplifiers. smearing effects produced by mechsanical hysteresis which are
evident in avariet of components. uch components can range
POWER HANDLING -the ability of the loudspeaker to accept, from small capacitors setting-off in resonance through to the
without distortion, large electrical inputs associated with materials used in loudspeaker diaphragms. In the case of
transient impulses, or to operate at very high sound levels loudspeaker-systems this is further aggravated by issues involving
without thermal or mechanical fatigue or damage. the loudspeaker/room interface. The measurernents of this
---~-~-phenomenon are extremely difficult and are current yunder further
I>T§is§§§<'§if'§ys?§;#n'i§°'iioi°'a tshirenpltr-;u(<?>nepom€arr1ult‘aacrtS'r|e1r% $012 investigation at MISSION. The company will report on this subject
figures of maximum power handling under different definitions and mdue Course
mostly for commercial reasons. Very tew of these figures are Subjectively, when asystem is operating in the correct time
meaningful in determining acontinuous amount of RMS power domain inter-transient silence is greater, individual instrument and
your loudspeaker can sustain when playing music. As such we vocal decay is correctly controlled, allowing the inner dynamics of
have dropped maximum power handling figures from our the music to be perceived and experienced -rather than requiring
specifications and only refer to recommended amplifiers both in the listener to decipher and impose an apparent set on the
terms of minimum and maximum amplifier ratings permissible. presented sonic image. Consequently, the musicians work
This will merely indicate to you the range of amplifiers you can use together to produce an "interactive" relationship, resulting in the
with your respective MISSION loudspeaker model. listener's perception of the emotions involved.
The real power handling of your loudspeaker depends on the
model that you own, but even more important is the quality of your
ancillary equipment, especially your amplifier/compact disc

Loudspeaker instruction Manual English
MAINTENANCE/SERVICE 2. This guarantee excludes:
...,(i) all damage caused through accident, misuse, wear and
ggéeuags"gr:s§E';Ssk%"'g::|t:§ §’:rnfgnSg'Zal;%u'ai%1gS§’:k?|;§rygL? tear,‘neglect or through incorrect installation, adjustment or
loudspeakers apart. Any attempt to dismantle the loudspeaker will “_9p§'r and
result in loss of warranty. (ii) liability for damage or loss occurring during transit to or
It is very important for the mid/bass drive units to be rigidly fixed. from the Purchaser‘
We recommend that you tighten the fixings on these drivers (but 3. Claims under this guarantee must, whenever possible, be
on the bass driver only) occasionally. DO NOT touch the high made through the Dealer from whom the equipment was
frequency drive unit fixings. purchased or, if that is not convenient, through another
Cleaning -Your MISSION loudspeakers are treated with aspecial authonsed Dealer‘
sealant which makes regular polishing unnecessary. In fact, 4. MISSION shall not be liable for any consequential damage,
frequent wax polishing will darken and dull the finish. Use alightly loss or injury whatever arising from or in connection with the
dampened soft cloth to clean your loudspeakers and very equipment.
occasionally use ahousehold spray polish to restore their origina -
sheen. When using ahousehold spray we recommend that you 5‘ gh?h(;°|§tU?Cfhg‘ir;a9e (to or from the Dealer) shall be borne
spray into asoft polishing cloth first, well away from the Y'
loudspeaker itself (to avoid overspray falling on the drive units), 6. This guarantee is personal to the original Purchaser and is
and then apply the cloth to the cabinet. lf you need to clean the not transferable.
grille we recommend that this first be removed from the 7 If -met d-fd1at. t1
equipme rurne is oun on examin ion ocompy
Iouucéspeaker Cabmet 1° avert ‘éamige to the dnve udrms lgush the with the published specification, MISSION resen/es the right
9“ gently wnh aSoft’ clean ms to remove any ep°S' 'to make acharge for examination and for return carriage.
Should afault occur with your loudspeakers we recommend that »--
they be returned as apair even if only one loudspeaker appears to 8‘ glf°mDi:a'5gr%;t[é'2U'but°r has any authomy to Vary me terms
be faulty. Use the original packing materials, taking care to pack 9'
them correctly. 9. Any unauthorised servicing will result in the loss of
guarantee.
10. We recommend that you retain acopy of your sales receipt
for the loudspeakers should (you have recourse to return
GUARANTEE CONDITIONS them to an authorised MISSI Ndealer other than the one
who originally supplied them.
1. This guarantee only becomes effective if completed by the - - -
Dea|er and the Purchaser and returned to M|SS|ON or me" 11. The above conditions do not affect your statutory rights as a
Distributor within 8days of purchase. consumer‘

ISpecifications 760i 760iSE 731 U
Enclosure Type: 2-Way Reflex 2-Way Reflex 2-Way Reflex
Freq Response 7OHz-2OKhz: +/- 2.5dB +/- 2.5dB +/-2.5dB
-6dB: 55Hz 55Hz 55Hz
Nominal Impedance: 6Ohms 6Ohms 8Ohms
Sensitivity SPL 1M/2.83V: 89dB 89dB 89dB
Recommended Amplifier: 25-75 W/C 25-75 W/C 20-75 W/C
Max Spl per Pair: lO3dB 103dB 104dB
Crossover Frequency: 4.5KHz 4.5KHz 4.2KHz
Effective Volume: 6.5 Litres 6.5 Litres 6.5 Litres
Drive Units: LF: 130mm Plasiflex 130mm Plasiflex 130mm Plasiflex
HF: 19mm Polymide 19mm Polymide 28mm Composite
F.F Cooled F.F Cooled F.F Cooled
Input Connector: 5-Way Post Bi-Amp 5-Way Post 5-Way Post
Cabinet Dimensions (HxWxD): 295x180x200mm 295x180x200mm 315x175x200mm
Shipping Carton: 36Ox475x235mm 36Ox475x235mm 42Ox37Ox22Omm
Shipping Weight (Pair): 8.5Kg 8.5Kg
Finish: Black Ash (PVC) Black Ash (PVC) Black Satin/Ash (PVC)
Specifications subject to change without notice.

ISpecifications 733 734 735 I
Enclosure Type: 2-Way Reflex 3-Way Reflex 3-Way Reflex
Freq Response 70Hz-20Khz: +/- 2dB +/- 2dB +/- 2dB
-6dB: 40Hz 38Hz 35Hz
Nominal Impedance: 8Ohms 8Ohms 8Ohms
Sensitivity SPL 1M/2.83V: 89dB 9OdB 9OdB
Recommended Amplifier: 20-100 W/C 25-125 W/C 25-150 W/C
Max Spl per Pair: 105dB 108dB 1'lOdB
Crossover Frequency: 2.8KHz 2.8KHz 2.8KHz
Effective Volume: 24 Litres 40 Litres 50 Litres
Drive Units: LF: 170mm Polypropylene 2x170mm Polypropylene 3x170mm Polypropylene
HF: 28mm Composite dome 28mm Composite dome 28mm Composite dome
F.F Cooled F.F Cooled F.F Cooled
Input Connector: 5-Way Post 5-Way Post 5-Way Post
Bi-Amp/Bi-Wire Bi-Amp/Bi-Wire
Cabinet Dimensions (HxWxD): 840x204x335mm 840x204x335mm 1062x204x335mm
Finish: Black Satin/Ash Black Satin/Ash Black Satin/Ash
Specifications subject to change without notice.

IADDITIONAL INSTRUCTIONS Mission 733 i
ISANDFILLING THE BASE
,2!\The lower chamber of the Mission 733 speaker is an
integral speaker stand and is sealed off from the active
elements of the speaker.
The performance of the 733 can be dramatically
wam. improved by lling this chamber with adense material
\such as lead shot or sand. As sand is inexpensive, this
operation is avery cost-effective improvement.
‘W Use only DRY sharp or silver sand. This is readily
G77: ZGobtained from good toy shops who sell it as play sand.
DO NOT use builders’ sand.
0.03 cubic metres (().8 cu.ft) is enough for two speakers.
Push the supplied plastic bag through the hole leaving a
0Remove the plastic bung from the rear of the cabinet.
'short length outside the hole to tie aknot.
“Using afunnel, carefully pour the DRY sand or shot into
the bag, occasionally shaking the speaker slightly to settle
the sand. Fill the bag until the level is just below the
l'1Ol€.
.‘*3
TWhen the level is reached, tie aknot in the bag, push the
.»___. V5‘ end into the cavity and replace the bung.
"T334 TT. The speaker 1S now ready for use.
"NOTE. Sand readily absorbs moisture. Any sand used
must be really dry. NEVER put sand directly into the
cabinet, only into the provided plastic bag.

.Huntingdon .PE18 6ED. England
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