buyers guide monitors headphone2013 digital

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MONITORING &

HEADPHONES

2013

THE INTERNATIONALBUYER’S GUIDEA S P E C I A L P R O M O T I O N A L P U B L I C AT I O N

F R O M T H E N E W B A Y M E D I A G R O U P

AUDIO MEDIA

PRODUCED BY

In association with:

INTERNATIONAL ED I T I ON


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pure energy.

The new KH 310 three-way Studio Monitor.A member of the Neumann Studio Monitor Line.

Studio Monitor KH 310



4 The Ten Monitoring Commandments . . . . . . . . . . . . .

6 Surround Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8 MONITORS Dynaudio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10 MONITORS EVE Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12 MONITORS Focal Professional. . . . . . . . . . . . . . . . . . . . . . . . . . .

14 MONITORS Genelec. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16 MONITORS JBL Professional . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18 MONITORS KRK Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20 MONITORS PMC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22 MONITORS PreSonus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24 MONITORS PSI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26 MONITORS Sonodyne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28 MONITORS Unity Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

30 Headphones Buyer’s Guide . . . . . . . . . . . . . . . . . . . . . . . . . .

31 HEADPHONES Audio-Technica . . . . . . . . . . . . . . . . . . . . . . . . . . .

32 HEADPHONES KRK Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

33 HEADPHONES Sennheiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34 HEADPHONES

Ultrasone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

35 MONITORS & HEADPHONES Directory . . . . . . . . . . . . . . . . . . . . .

c o n t e n t sWelcome to Monitors & Headphones 2013,

an overview of the professional monitor

and headphone market for the production

professional.

This is an updated and refreshed collec tion of promotional

articles looking at 15 of the world’s leading monitor and

headphone manufacturers and their product ranges. Insideyou’ll find the stories behind the drivers – the ethos’ and design

ethics that go into producing these critical audio production

components, and details of the products themselves.

Monitoring provokes much debate, much passion, and

possibly more subjective wrangling than any other node in the

signal chain. Whether it’s the box, the magnetics, the materials,

the electronics, the room, or even the ears that make the

difference, the term ‘reference’ is never used lightly amongst

those who rely on hi-fidelity, accurate and natural voicing, spot-

on transients, and a little ‘something’ extra.

Hopefully this guide will provide a good foundation

for your monitor and headphone buying homework during

2013, and push back the boundaries of your considerations.

To comple men t the profil es, we’ve artic les from ren owned

Acousticians Andy Munro and John Storyk about the finer

points of surround speaker placement, and the ‘Monitoring

Commandments’, plus a special headphone primer feature with

expert advice.

This, and the other Buyers Guides in the series (Microphones,

Recorders, DAWs, Consoles, Live Sound Technology, and Live

Sound Application) are Aud io Media projects, designed to

help you find your way through the information explosion

and find the product that suits your needs. Audio Media is an

internationally distributed magazine that deals with professional

audio production in film, TV, radio, music, games, and stage.It’s available in both print and digital editions. For more details,

go to www.audiomedia.com.

Paul Mac, Editor.

Sales Manager

Graham Kirk

[email protected]

Editor In Chief

Paul Mac

[email protected]

Editorial Manager (Europe)

Lanna Marshall

[email protected]

Design & Production Manager

John-Paul Shirreffs

[email protected]

AUDIO MEDIA www.audiomedia.com

(UK) Tel: +44 (0) 1354 669960 - Fax: +44 (0) 1354 669965

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether

mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to

ensure accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its

contents or any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Edi-

tor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.

© 2013 NewBay Media. All rights reser ved.

XXXOCNFEJBDPN



1. Monitoring does not happen in a vacuum.

A speaker must complement the environment

that it will be placed in, both in size and in

position. If you need one commandment, this

would be it!

2. Monitors have personalities.

There is no getting away from that concept.

Every year, I am amazed that a new ‘improved’

crop of monitors is introduced to the pro audio

community. The fact is that many of them

really sound great! But like cars or fashion,

not every monitor is perfect for every listening

experience. We need to remind ourselves of

this. When I am asked to recommend ‘the best

monitor’ my response is usually (after getting

a bit of programming information about theuse), to list a family of recommended monitors.

Choosing a monitor is like choosing a mate.

You need to listen to them carefully and m ake

sure that you can live with them. This is a very

personal decision.

3. Determine the real maximum required levels

and the real frequency range these levels need

to respond in.

For instance, monitoring for a TV broadcast

mixing suite (typically in the 200-300 square

feet range) will require a very different monitor

solution than an urban music tracking and

mixing environment (typically twice as large

and requiring levels in excess of 110dBC at thelistening position).

4. Nearfield monitors are not automatically

accurate.

Beware of their often-limited frequency

response (particularly below 100Hz) as well as

the tendency to incorrectly position them on a

console bridge. This location will often resu lt in

the most common of all problems – first order

comb filter generating early reflections, thus

causing a time domain shift and ultimately

frequency response ina ccuracies. To avoid comb

filtering do not position nearfields on top of the

furniture or console! If space is limited, angle

them upwards to reduce this effect. Poorly

positioned nearfield monitors tend to lead

to mixes with excess ive time effects (reverb/

delays) since the direct sound is heard with

more presence.

5. In setting up for surround, start with ITU.

This is particularly true with respect to

equidistant positioning of all monitors in both

horizontal and vertical axes.This can often be

difficult, but try to start with this geometry in

mind. If the distances are to be non-equal, it

is usually better to have the surround speakers

further away (compared to the front speakers).

Adding delay for closer speakers (movingthem further away) sounds less natural due

to room reflections that cannot be controlled

electronically.

6. Understand SBIR (speaker boundary

interference).

Although we could go back to commandment

#1, this is worth a separate entry. Most

monitors in free field will exhibit a tendency

for lower frequencies to radiate in an omni-

directional fashion. This tendency will cause

phase cancellation and reinforcement to

happen as speakers are located near stiff

boundaries (corners in control rooms, for

example). Locate speakers away from corners,or if not possible, then use appropriate rear

speaker absorption to compensate for this

effect. Even better, soffit mounting will

naturally eliminate this issue.

7. If possible have all monitors at ear level or

slightly above.

This is the safest way to eliminate first order

reflections from consoles and similar mix

position horizontal surfaces, and thus will help

eliminate harmful comb filtering effects.

8. DSP control is not a bad component in a

monitor system.

In fact, in most instances, I would encourage

it. People often claim that incorporating these

types of added electronic (tuning) devices is

inappropriate. However, there are virtually no

monitor systems today that do not include

some kind of electronics within the system.

In the past, tuning got a bad rap, not

necessarily because of bad electronic devices

(although some were awful!), but more

often because of poorly executed tuning

protocols. Tuning requires an entirely new set

of Commandments (new mountain top to

come down from), but good DSP control that is

sensitive to both frequency and time domain

issues can truly add a wonderful dimension tothe accuracy of a monitoring system in a well-

designed environment.

9. In final calibration (tuning) do not use 1/3Oct

band EQs; try to use a parametric.

A DSP system will allow for asymmetrical

parametric creation (a very cool trick that

requires some practice). More advanced DSP

systems will also allow for time alignment,

which of course is particularly useful with a

bass management sub (becoming more and

more common in studios).

10. Do not chase reflection anomalies.

These time domain issues are particularlynoticeable at higher frequencies. DSP control is

much more useful at lower frequencies and in

cut mode rather than boost. Before advanced

tuning or calibration, make sure that the basics

(consider them mini commandments)

are in place:

6\PPHWULFDOSRVLWLRQLQJRIPRQLWRUVLQ

all axis.

/HYHOVQHHGWREHHTXDO

3KDVHPXVWEHFRUUHFW

&RPSRQHQWVDUHQRWGDPDJHG

Don’t waste time on commissioning and tuning

until all these items are addressed.

We set John Storyk a challenge – to suggest a set of ten monitoring commandments. Note that the

order isn’t significant, and of course, there will be exceptions.

Ten Commandments

+ + S U R R O U N D O P T I O N S + + + + S U R R O U N D O P T I O N S + + + + S U R R O U N D O P T I O N S + + + + S U R R O U N D O P T I

John Storyk is an Architect and Acoustician, and Co-Principal (founding partner) of the Walters-Storyk Design Group. He has provided design and

construction supervision services for the professional audio and video recording community since the 1969 completion of Jimi Hendrix’s Electric

Ladyland Studios in New York City, and has since been responsible for over 2,500 production facilities.

WSDG is a worldwide, full-service acoustics and audio/video design firm, specialising in critical listening and viewing environments of various types, now

celebrating its 40th year in practice, and employing over 50 professionals in six offices across four continents. www.wsdg.com

MONITORING COMMANDMENTS 4



dynaudioprofessional.com

From the handcrafted Dynaudio drivers to its

beautiful exterior, DBM50 is born to perfectly

reproduce your desktop mix and truly repre-

sents a revolutionary angle in desktop mixing.

Add the optional Volume Box for hands-on

Master Volume control.

Perfectly AngledThe Pinnacle of Desktop Monitoring



Setting up a surround monitoring system is

fraught with issues – acoustic room treatment,

bass management, and speaker positions

are just a few. It’s that last one that causes a

special bit of confusion – particularly if your

work isn’t wholly music or wholly film sound.

Of the myriad of surround speaker positioning

protocols, it does seem that two are particularly

prevalent: ITU–R BS.775–1, and the ‘cinematic’

set-up, with early detail in the Dolby Surround

Mixing Manual. The main differences are the

positions and angles of the surrounds. ITU

has the surrounds on the imaginary circle

around the listening position, angled directly

at the sweet spot (all source equidistant from

listener), while the cinematic version has the

surrounds on the side walls, pointing inwards

and positioned above the listener (thus the

surrounds are more ‘ambient’ than ‘direct’).

Of course, there are more variations, especially

when it comes to larger rooms and Dolby

certification, and so on.

So this doesn’t get out of hand, it’s best to

ask an expert. Andy Munro, of Munro Acoustics,

has designed some of the most highly-rated

surround rooms for both film and for musicaround the world. We spoke to him about not

only the placement of speakers in a multi-

channel environment, but also the philosophy

of surround mixing in general. It seems that

you can’t think about monitoring without

considering mixing... Which is probably as it

should be.

Audio Media: Is the world reaching aconsensus on surround system monitorpositions or is it fragmented? Which shouldwe choose and why?Andy Munro: “It depends on the room as much

as anything... If it’s a music control room and

it’s a music mix, then I would definitely go for

the ITU arrangement – the classic 5.1 with the

surround speakers at 100-120 degrees from

the normal zero angle. But if it’s anything to

do with post production or film and so on, then

I would as much as possible try and go for the

cinematic arrangement.

“The idea of the cinematic one basically

is that the surround channels cover a much

bigger area. The thing about the ITU

arrangement is that there is a sweet spot – a

mix position. Nobody else is going to get

anything like a surround mix; so if you’ve got

people sitting at the back of the room on a

sofa or something like that then they’re going

to hear the surround speakers first, and then

everything is going to be out, timing wise.

“With the cinematic set-up, no matter

where you sit you hear the front speakers

before you hear the rear ones, which as you canimagine isn’t that easy in a small room.

“It’s all to do with time delays really,

and I think surround sound is very much

misunderstood by a lot of music mixers

because of that, whereas film people tend to

understand it very well and are very subtle

about their surround mixing. They tend to use

a lot of reverbs and a lot of diffusion to ‘de-

localise’ the sound.

“The best surround mixes, that I’ve heard

in music anyway – which tend to come out

of Nashville – use a lot of reverb and a lot of

de-focusing on the rears. If there’s one thing I

cannot stand it’s someone blowing a trumpet

behind my left ear. I find it very disconcerting

indeed... to the point where I really don’t like

listening to 5.1 in that way. I like listening to

classical music in 5.1 if they somehow manage

to capture the ambience of the hall and create

the right reverb balance. It can sound fantastic.

“I remember hearing a Radio France

transmission years ago that was, if I remember

rightly, on a DTS or Dolby demo disk in the

early days of DVD. It was so good it sent shivers

down my spine. It was recorded in a cathedral

in France and I thought ‘that’s it... if that’s the

way surround can be done then it’s just going

to be a huge success.’ Unfortunately, apart

from a few opera DVDs and so on, not many

people are doing it.

“The speaker arrangements and all of that

are really secondary to getting the concept

right. Actually thinking, ‘why do we have

surround – why do we have multi-channel’?

The whole point is to put you into a space.It’s not to do circus tricks like in the old

ping-pong days of stereo. The whole idea is

to put you into a space and make you feel that

you’re there. That’s it, that’s the be-all and

end-all of it. Okay, in the cinema you might

have special effects like someone creeping up

behind you or whatever, but that’s very rarely

used; and the reason it’s rarely used is because

it’s very hard to get everybody to experience

the same thing.”

Are you Blur or Oasis? Are you ambient, or direct? Of course, the first question might be better posed as

‘music or film’, but the simple matter of speaker positions does still seem to create some ill-reasoned

loyalties and extraordinary myths. We turn to Andy Munro, to clear the whole mess up…

Surroundoptions


>

6 SURROUND OPTIONS



In the ITU (music) set-up, the surrounds are pointed directly at the sweet

spot ‘ears’ at an angle of between 100 and 120 degrees from centre.

time-aligned (equidistant) with the front speakers. In the film mixing

arrangement, the surrounds are positioned above the listener and should

not get closer to the listener than the front speakers, for a more ambient

and sweet-spot-tolerant monitoring arrangement.

Audio Media: What would, for example,

be the effect of doing a music mix on a

cinematic set-up?

Andy Munro: “You’d probably end up with more

ambience. I’m assuming you’re talking about

a mix specifically for surround rather than one

that’s going to get folded down... That’s the

other thing. If you’re going to do a mix that’s

got to be mono and stereo compatible you’d

better make sure you’re monitoring it as you

go long so you don’t create ridiculously phased

mixes. But that’s always the big danger with

surrounds. If you fold it into the main mix it

can all go horribly wrong.

“It’s a tricky business. But the real trickinessis in the delivery of the product rather than in

the studio.

“That’s one of the good things about

the ITU set-up. Because all the speakers are

basically equal and equidistant to the mix

point, if you’re sitting at the mix point and

you do your fold-downs – even with the bass

management fold-down and so on – you can

hear very well what the phase relationships are

of all the five channels so you can actually hear

if something is going wrong. So in a mastering

situation

I would

definitely

say use the

ITU set-upwith zero

delays on

each of the

speakers so

you do hear

everything exactly

in-phase at the mix

position.

“As far as the cinematic

set-up is concerned it’s almost

the exact opposite, where you want

the surrounds to be as diffused as possible so

when you fold them back into a main mix it

just becom es am bience . That way yo u can’t go

too far wrong. But if you start putting discretestuff into the surround channels and it’s

not timed right then you’ll create all kinds

of problems.”

Audio Media: And problems become more

acute when it comes to the bigger distances

in theatres?Andy Munro: “In the best theatres, for

example, where they’ve got multiple pairs of

surround speakers, each with their own time

delays and everything is timed correctly you do

end up with this quite pleasant mishmash of

ambience. Because not only are the speakers

you’re hearing closest having the right time

delay, all the other ones have a different delay

so it’s all kind of mashed together.

“In a small room or narrow room, especially

where you’re near the surrounds, quite a few

people advocate the bi-directional speakers

now, where the sound is firing to the sides and

not directly at you. Basically, instead of having

a single driver that’s pointing forwards – a

conventional speaker – you have two drivers

aimed left and right. They are directing the

sound away from the on-axis position. At the

on-axis position they sometimes arrange it so

you actually have a null.

“I’m not saying that’s necessarily a good

thing, but sometimes it’s a good way of getting

diffusion and avoiding having a surround

speaker fired straight into your ear.“Of course, this is stuff that happens

at the point of delivery – it’s not necessarily

something you’d want in your dubbing

theatre.”

Audio Media: If you were an audio pro

who, like many these days are a jack-of-all-

trades, doing a little bit of music, a little

bit of sound-for-picture, and other things

besides, which way would you swing –

ITU or cinematic?

Andy Munro: “I’d go for the standard ITU set

up, but I would also issue a big warning not

to do anything too funky in the rear channels.

Stick by the rules and keep it as diffuse as

possible. If you can sit in the sweet spot and

locate anything in the rear channels then

you’re probably doing it wrong. In other words,

surrounds should be as de-localised as possible.

“That way, no matter where it’s played

back, it’ll work. And at the same time, when

you’re doing that, check it doesn’t all fold down

into something that’s got a huge hole in it.”

Audio Media: Discrete or virtual centre?

Andy Munro: “The centre speaker in a big

space does give you a very solid centre image.Whereas in a smaller space I actually prefer a

virtual centre image. If I’m listening to classical

music – and a lot of classical guys agree with

this – you’re much better off with a proper

front stereo balance, just left and right, rather

than trying to balance it across three speakers.

Somehow the centre speaker just doesn’t give

the same effect as having a virtual centre

image in stereo. It’s something to do with the

perspective of the sound and the way it feels.

It doesn’t feel natural to me.”


In the ITU (music) set-up, the surrounds are pointed directly at the

sweet spot ‘ears’ at an angle of between 100 and 120 degrees from

centre. time-aligned (equidistant) with the front speakers. In the film

mixing arrangement, the surrounds are positioned above the listener

and should not get closer to the listener than the front speakers, for

a more ambient and sweet-spot-tolerant monitoring arrangement.

>

SURROUND OPTIONS 7



Superior Tools for Critical Monitoring

In film, post, gaming, broadcast and music

productions, consistency, predictability and

reliability are key. Add to this networkability

and central control, and you’ll know why

studios throughout the world rely on Dynaudio

Professional technology.

Choosing Dynaudio Professional, you not

only get 20 years of innovative speaker and

driver technology, you also get integrated

TC Electronic digital signal processing.This combination offers you the best of

both worlds, making Dynaudio Professional

speakers second to none.

Three Main Ranges – One High Standard

Clarity and consistency come as standard –

the question is, how versatile do you want your

set-up? Dynaudio Professional has two

extensive ranges of DSP-powered and analogue

near-field and mid-field monitors: the AIR series

and the BM series, including the brand new

Desktop Monitor DBM50. Further, for ultimate

main monitoring solutions, you should go for

the M series.

AIR

It makes great sense to compare the AIR

sound with any other speaker you own or

are considering acquiring. We both encourage

and support this. Contact your dealer or

our representative in your country to

arrange a demo.

Bear in mind though, that an AIR system

is not really comparable to conventional

monitors. On top of ultimate precision and

sound, an AIR system offers flexibility and

convenience previously unknown in monitors.

Achieving similar functionality and features from

conventional monitors requires the addition of

a number of external boxes such as Monitor

Matrix Controller, Bass Management Crossover,external EQs and delays. This obviously adds to

the system price, and moreover often degrades

the signal path. With an AIR system everything is

integrated and matched – it’s right there for you

to use from the menu on the front of a master-

module speaker via a 32-segment

LCD display, or through an optional

dedicated hardware remote, or

an optional dedicated software

application (Mac and PC). The user interface

allows for storing and recalling factory and

user presets taking into account THX and Dolby

recommendations, reference levels, lFE sensitivity

and so on.

THX Certified

AIR monitor systems are THX certified for use

in PM3 rooms.

M3XE

M3XE is the ultimate main monitoring solution,

combining world-class driver and cabinet

technology from Dynaudio Professional with

cutting-edge signal processing and amplification

from Lab.gruppen, Lake, and TC Electronic.

The Dynaudio Professional M3XE monitor

system takes monitoring to a whole new

level with a

significant

upgrade from

its predecessor

– the renowned

M3A 3-way

monitor.

To top it off,

the speakers

are powered by

two of

Lab.gruppen’shighly

esteemed

PLM10000Q

amplifiers.

The Truth,The Whole Truth,And Nothing But...

+ + D Y N A U D I O P R O F E S S I O N A L + + + + D Y N A U D I O P R O F E S S I O N A L + + + + D Y N A U D I O P R O F E S S I O N A L + + + +

8 PROMOTIONAL FEATURE

Dynaudio Professional monitors are designed to speak the truth. You get exactly what you need for

your mixing – an exact reproduction of your mix – no more, no less.

BMC-2 – How Pro Can You Go?

BMC-2 is TC Electronic’s latest digital

audio conversion and monitor controller.

With it you can enjoy the luxury of

controlling your audio levels at all times

and during unexpected drops or computer

crashes. It also offers digital inputs,

iCheck (to check audio compression), and

calibrated listening

for headphones and

active speakers.

BMC-2: your pro

DAC and monitor

control!

AIR 12

Powerful two-way near-

field speaker – 8-inch

Woofer and 1.1-inch

soft dome tweeter.

The latest addition to

the AIR family. AIR12

suits all sizes of control

room and OB vans,

and its high-precision

amp/ driver system

(+/- 0.2 dB accuracy) ensures complete

consistency with the entire AIR family in a

variety of stereo and 5.1 set-ups – remote

controllable via the AIR Remote or the

included AIR Soft application.

DSP room adaption allows for

perfect customisation for any

room construction and its inter-

monitor level calibration feature

ensures consistent levels in all sessions.

The BM Series family.



Dynaudio Professional

Sindalsvej 34DK-8240 Risskov

t +45 87 427000

f +45 87 427010

e [email protected]

w www.dynaudioprofessional.com

A U D I O P R O F E S S I O N A L + + + + D Y N A U D I O P R O F E S S I O N A L + + + + D Y N A U D I O P R O F E S S I O N A L + + + + D Y N A

THE INTERNATIONAL GUIDE TO MONITORING & HEADPHONES 2013 9

Award-Winning Speaker Technology

Don’t just take our word for it. Over the years, Dynaudio Acoustics monitors have won numerous prizes and awards.

Recognition like this goes to show that great products can help produce great art, as Dynaudio Acoustics monitors are used by the most

demanding studios, engineers, producers, and production environments throughout the world. The list counts:

AIR 12

2009 Remix Technology Award

in the Monitor/Speaker category

BM 12A

2008 Remix Technology Award

in the Monitor/Speaker category

BM 6A

Future Music’s Gear of the Year

2001 Award

Future Music’s Platinum

Award 2001

BM 6A mk II

Electronic Musician 2008

Editors’ Choice Award in the

Monitor Speaker category

2007 TEC Award nomination in

the Studio Monitor Technology

category for OutstandingTechnical Achievement

AIR series

Producción Audio – for Best

Studio Product of the Year 2003

m.i.p.a. 2003 Award in

the Nearfield Studio

Monitor category

DBM50

Pro Sound Network Best of

Show Award (NAB 2012)

Electronic Musician Editor’s

Choice Award 2013

Apple Audio Labs, Cupertino/California

and Paris/FranceBBC Radio & Music, London, UK

Danish Broadcasting Corporation,

Copenhagen, DK

Vienna Symphonic Library, A

Paragon Studio, Nashville, USAIR Studios, UK

Half HP Studio, JPN

Sony DVD Center Europe, A

Abbey Road Studio, UKESP Studio, JPN

…and many more.

DBM50

The perfectly angled desktop monitor featuring a 7.1-

inch woofer and a 1.1-inch soft dome tweeter. From the

handcrafted Dynaudio drivers to its beautiful exterior, DBM50

is specifically engineered to perfectly reproduce your desktop

mixes, and truly represents a revolutionary new angle in

desktop mixing. Another key factor that puts DBM50 in the

front seat is sheer quality. Each and every one is handcrafted

in Denmark with attention to even the tiniest detail. Further,

DBM50 comes with the option of adding a sleek controller

that puts you squarely at the helm of volume control in

any situation. You can set

and manipulate levels with

precision and ease, completely

independent of your computer

or DAW. The DBM50 controller provides perfect tracking, which

guarantees spot-on stereo imaging and unrivalled precision.

Sporting the newest and most pristine

Dynaudio ESOTAR² driver technology, M3XE

takes over where most other monitor systems

give up. With unsurpassed attention to detail,

underpinned by an impressive 20Hz-22kHz

frequency response and beyond 133dB SPL,

M3XE leaves no room for desire in terms of

resolution, range, or sheer power.

The cutting-edge combination of Lab.

gruppen, Lake, and TC Electronic processing

technology forms the ultimate backing for M3XE

and ensures unlimited power and the tools for

optimising any room to become the perfect

listening environment.

In short, M3XE surpasses any and all main

monitor expectations!

BM

The BM monitors – both in their passive and

active forms – are clean, powerful, and accurate

monitors delivering excellent results every time.

The sound is always transparent and crisp

ensuring the most realistic listening conditionsfor a wide array of applications. Comprised of

renowned Dynaudio driver technology, these

monitors have become the standard when it

comes to high performance and transparency.

In combination with the subwoofers, the

BM series is also very well suited for

multi-channel facilities.



+ + E V E A U D I O + + + + E V E A U D I O + + + + E V E A U D I O + + + + E V E A U D I O + + + + E V E A U D I O + + + + E V E A U D I O + + +


Immaculate Sound.Beautifully Realised.

The Full Range

The EVE Audio range of studio monitors is currently made up of eight

full-range models (and four ‘ThunderStorm; subwoofers). The full

range units fall into three three basic types: two-way (tweeter, woofer),

three-way (tweeter, woofer, woofer), and four-way (tweeter, mid-range,

woofer, woofer). All units feature one amplifier per driver with

DSP-based crossover and EQ, plus EVE Audio’s own SilverCone

woofers and RS3 Air Motion Transformer tweeters.

The two-way models are: the SC204 (four-inch woofer, 64Hz-

21kHz), the SC205 (five-inch woofer, 53Hz-21kHz), the SC207 (6.5-inch

woofer, 44Hz-21kHz), and the SC208 (eight-inch woofer, 36Hz-21kHz).

In the three-way systems the woofers work as a complementary

pair, with one taking care of the lower woofer bandwidth and the other

working all the way up to the crossover frequency – where the AMTtweeter takes over. The three-way models are: the SC305 (double

five-inch woofers, 50Hz-21kHz) and the SC307 (double 6.5-inch

woofers, 40Hz-21kHz).

The four-way systems add a mid-sized, mid-range woofer to the

mix, while the dual woofer combination doubles up to extend the

frequency range of these monitors downwards. The result is accurate

bass reproduction, a linear response, and exceptional power and

output (up to 118dB SPL).

There are currently two four-way systems in the EVE Audio range.

The SC407 uses the RS3 AMT tweeter, a four-inch mid-range woofer,

and two 6.5-inch woofers to give a frequency response of 35Hz to

21kHz with a maximum output of 116dB SPL. The larger SC408 uses

a five-inch mid, eight-inch woofers, and has a response from 32Hz to

21kHz at a maximum output of 118dB.

Detail, balance, accuracy, and versatility – all describe

the relatively recently introduced range of professionalstudio monitors from EVE Audio; but what is the secret

of its success? Roland Stenz knows...

In just two years, Berlin-based EVE Audio

has gone from nothing to manufacturing a

complete line of professional monitors, sold

through partners in 53 countries. The first year

culminated in the unveiling of a large and

fully-formed product range at Musikmesse

2012, and since then the company has been

busy building on that impact. The companyfounder, Roland Stenz, has years of experience in

electronic and loudspeaker design, and is rightly

proud of the energy and innovations he and

his team have brought to the world of studio

monitoring systems.

To understand EVE Audio, it’s best to begin

with those innovations. Roland Stenz starts by

explaining his choice to use DSP-based crossover

and EQ, rather than analogue internals:

Roland Stenz: “For me, it was a clear decision.

Of course, this technology offers a modern user

interface with encoder control, but the most

important thing is that you don’t have to deal

with the tolerances [component errors] you

get in the analogue domain... The DSP solution

offers much smaller tolerances, and you only

have to deal with the variations in the drivers.“Aside from this, I wouldn’t say that there are

quality advantages or disadvantages between

analogue or digital systems. In every case,

the complete speaker has to be designed and

manufactured to the best possible standards.

The result is important, but the way to get this

result can be different.”

EVE Audio does all final DSP calibrations at

the factory during the test stage, though there

are also shelving and notch filters available to

the user.

Retweeted

The very special, bespoke RS tweeter that EVE

uses is termed an ‘Air Motion Transformer’

(AMT) tweeter. The folded diaphragm moves in

the same way as an accordion does and pushes

air forwards and backwards – accelerating

much faster than with conventional moving coil

designs. This is not unique to EVE, but as with allaspects of its products, EVE brings its own ideas

to the technology.

RS: “From the beginning I wanted to use

an Air Motion Transformer, but I had some

ideas about improving on previous designs.

Consistency in production was my main focus,

but also to have a bigger open space presented

at the front interface plate. The EVE Audio

tweeter is much more open than others.

The inner construction also allows a more

precise placement of the folded diaphragm.”

The SC2 range.



E A U D I O + + + + E V E A U D I O + + + + E V E A U D I O + + + + E V E A U D I O + + + + E V E A U D I O + + + + E V E A U D I O + + + + E V


EVE Audio GmbH

Ernst Augustin Str. 1 a | 12489 Berlin, Germany

t +49 30 6704 4180

w www.eve-audio.com

The bespoke design does not end with theRS tweeter. For ultimate quality and balance,

Stenz needed a fast woofer design as well; the

EVE Audio SilverCone woofer was born...

RS: “The idea was to use a very light but

stiff diaphragm material. It’s basically a

honeycomb diaphragm sandwiched with glass

fibre, plus a smaller, more responsive voice coil.

A bigger voice coil is bad for dynamic behaviour

in the speaker.

“It is very important to have complementary

woofer and tweeter designs. If you have a very

detailed tweeter like the AMT, then you can

sense a ‘gap’ between the tweeter and the

woofer section – like the tweeter is running

alone on top. A fast, dynamic woofer avoids

this problem.”

Further, Stenz wanted to address

short-comings in bass reflex port designs –

a commonly used system for extending the

bass response of a loudspeaker by creating a

resonance below the natural cut-off point ofthe monitor.

RS: “I wanted a speaker system with very

good low-end reproduction. For this reason,

I decided to put the reflex ports on the back.

Firstly, this means we don’t have holes in the

front baffle so we avoid mid-range problems

that arise from this – I don’t have to EQ the

speaker so much. Also, I wanted to have a larger

diameter port to stop any port noise, which can

be an issue with other designs.”

All woofer amps in the EVE Audio range, plus

the tweeters in the SC204 and SC205 models,

are powered by PWM (Class D) amplifiers.

This technology is highly efficient, leading to

less heat dissipation and therefore better overall

loudspeaker performance.

Stand Ovation

With all this technology behind the EVE

Audio product range, it’s not surprising that the

company is confident its monitor range

will impress.

RS: “In the calibration of EVE monitors I

am very careful to achieve the best balance.

The woofer and tweeter work together

beautifully, and the result is smooth – not overly

exaggerated in either the top or the bottomends of the spectrum....

“We did a lot of development in the anechoic

chamber, but we also spent a lot of time

listening to different types of music in different

rooms. When people made comments, we went

back to the chamber and did more testing and

adjustment. You have to factor in the effects

of different rooms – the effects of dispersion,

reflections, and so on, and find the

best balance between the theoretical

±0dB and what happens in the real

world. You need a lot of experience to

make a balanced speaker.

“Overall, I wanted a totally

dynamic speaker. I started from

the tweeter, and then found a corresponding

woofer solution. It is an amazing, well-balanced

solution.”

EVE Audio has a wide range of configurations

to suit different rooms and different budgets,

but it is worth pointing out that there is only

one range. Why is this a good thing? When you

buy an EVE Audio monitor, of whatever size, you

can be certain of consistency – an importantconsideration when investing in your studio.

All of this adds up to a high-class monitor

design that will adapt to whatever challenges

you throw at it, across all music genres, and no

matter which model you choose – now, or in

the future.

ThunderStorm: Bass

EVE Audio manufactures a range of

four subwoofer units to supplement any

monitoring system. Every ThunderStorm

(TS) subwoofer has switchable satellite

filters (full range and 85Hz), phase switch,

and variable subwoofer filter frequencies

(50-150Hz) for room and system-specific

set-up. Every model has stereo XLR I/O,

LFE In, and LFE/Sub Out connections;

and comes with a remote control so you

can control system wide volume from the

sweet spot.

There are currently four models in the

ThunderStorm subwoofer range. All units

are powered by highly efficient PWM

amplifiers with the power handling rising

through the models. Woofer diameter and

bass cut-off/response all the four TS units

are: seven-inch, 33-150Hz (TS107); eight-

inch, 27-150Hz (TS108); 10-inch, 23-150Hz

(TS110); and 12-inch, 20-150Hz (TS112).

Maximum output SPL varies from 102dB

for the TS107, to 112dB for the TS112.

What The Reviewers Think...

“EVE has created a pair of monitors that

leave no excuse for mediocrity, they are

simply awesome.”

Mixdown, Australia, SC205 review

“Two things stand out from the off: nicely

controlled, clear bass, and a remarkably

open and deep sound stage.”

Musictech, UK, SC208 review.

“EVE Audio’s SC205 are top class near field

monitors that easily compete with far more

expensive products.”

infomusic.com, Poland, SC205 review

“If you’re looking for monitors at this level

you really should give the SC307 a serious

audition... Smooth control and precision...

an impressive monitor”

Sound On Sound, UK, SC307 review

“...A remarkable addition that is able toconvince ambitious sound creators.”

Professional Audio, Germany, SC207/

SC305 reviews

EV E Audio GmbH,27.03.2013, Tweeter RS1

EVE Audio’s RS3 Air Motion Transformer

tweeter – and exploded view.



+ + F O C A L P R O F E S S I O N A L + + + + F O C A L P R O F E S S I O N A L + + + + F O C A L P R O F E S S I O N A L + + + + F O C A L P R O F E S


Focal Exclusive Technologies

The ‘W’ Composite Sandwich Cone

Focal has been developing composite sandwich

cones for the last 15 years. The fruit of that

research, the ‘W’ structure (glass/foam/glass)

used in every Focal Professional product, allows

for a truly optimised response right from the

start, thanks to the precise control of rigidity,

weight, and damping capacity of the cone.

The balance between these three fundamental

and oftencontradictory

parameters is

the very basis of

the exceptional

sonic neutrality

of our speakers.

The Be Tweeter

Since the very beginning, Focal has favoured

inverted dome tweeters, but the introduction of

the pure Beryllium dome, capable of covering

five full octaves from 1,000Hz to 40kHz, has

simply revolutionised high frequency spectrum

reproduction. This tweeter’s capacity to

go as high as 40kHz without any artifacts

enables it to reproduce high frequencies with

unmatched speed and transparency. At first

the pure Beryllium tweeter was only available

on the very high-end digital speakers of the

Focal Professional line (SM11), but now it is

also featured on the SM6 series, allowing an

unprecedented price/performance ratio.

The Focal Professional

Monitoring RangeLooking for the Ultimate Tool?

SM9 seriesThe REFERENCE

Three-Way Monitor

The SM9 was born

out of a simple idea:

create the mostsonically transparent

monitoring system ever

built. The SM9 features a

frequency response from 30Hz to 40kHz

with an SPL max of 116dB. This monitoring

speaker establishes itself as a reference thanks

to the precision of the stereo image, its capacity

to reproduce each of the micro details of the

audio signal, as well as unconditional respect of

the original dynamics.

SM6 SeriesThe now famous SM6 series has been developed

for professional engineers who are seeking

absolutely neutral sound and sound stage

precision for recording, mixing, and mastering

studios. The SM6 series is composed of three

references: Solo6 Be, Twin6 Be, and Sub6.

Solo6 Be

Two-way, analogue

professional nearfield monitor

(150 + 100W RMS Bash®

technology), 6.5-inch ‘W’

composite sandwich cone

driver, one-inch pure Beryllium

inverted dome tweeter.

Frequency response

(+/-2dB): 40Hz- 40kHz. Max SPL @1m: 113dB.

Two Monitors In One!

One of the major innovations of the SM9 lies in

its offering two monitoring speakers in only one,

unique cabinet. The activation of this monitor

is made by setting off the FOCUS mode on the

side panel. The two-way monitor

(Beryllium tweeter + 6.5-inch

W woofer) offers a frequency

response from 90Hz to 20kHz,

allowing you to check the mix

transfer quality on systems withlimited frequency response in

bass frequencies such as:

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This monitor also allows you to check the

midrange register – very hard to equalise and

balance in terms of sound level compared to

other information contained in the audio signal.

Twin6 Be

Three-way,

analogue

professional

nearfield/

midfield monitor (2x150 + 100W RMS Bash®

technology), 2x6.5-inch ‘W’ composite sandwich

cone driver, one-inch pure Beryllium inverted

dome tweeter. Frequency response (+/-2dB):

40Hz-40kHz. Max SPL @1m: 115dB.

Sub6

Analogue subwoofer (1x350WRMS Bash® technology),

11-inch ‘W’ composite sandwich

cone subwoofer. Frequency

response (+/-2dB): 30Hz-250Hz.

Max SPL @1m: 116dB.

Listen to Your Music,Not to Your SpeakersThese few words embody the philosophy of Focal Professional,

the French manufacturer of acoustic loudspeakers and transducers.

From their very beginning on the drawing board in Research &

Development at Focal, our professional monitors are designed todeliver one thing, at any cost: the absolute acoustic truth.

2012



O N A L + + + + F O C A L P R O F E S S I O N A L + + + + F O C A L P R O F E S S I O N A L + + + + F O C A L P R O F E S S I O N A L + + + + F O C A L


UK Distributor

SCV London Ltd.t +44 (0) 208 418 1470

w www.scvlondon.co.uk

For a complete list of distributors:

w www.focalprofessional.com

CMS SeriesThe CMS line is particularly dedicated for

use in post-production studios, small listeningrooms, radio studios, and home studios.

The CMS series has been awarded Best

Studio Monitor twice in 2009 (CMS 50)

and 2010 (CMS 65), and both received

the MIPA award during Musikmesse 2009

and 2010 from 110 worldwide pro audio

magazines.

CMS 40

Two-way, analogue

professional nearfield

monitor (25 + 25W

RMS class AB), four-inchPolyglass cone driver,

one-inch aluminum-

magnesium inverted dome tweeter.

Frequency response (+/-2dB): 60Hz-28kHz.

Max SPL @1m: 97dB.

CMS 50

Two-way, analogue


monitor (80 + 50W RMS

class AB), five-inch Polyglass

cone driver, one-inch

alumnium-magnesium


Frequency response (+/-2dB):

55Hz-28kHz. Max SPL @1m: 107dB.

CMS 65

Two-way, analogue


monitor (100 + 60W RMS

class AB), 6.5-inch Polyglass

cone driver, one-inchaluminum-magnesium


Frequency response (+/-

2dB): 45Hz-28kHz.

Max SPL @1m: 112dB.

Cenzo Townshend has recently installed Focal SM9 monitors in his

Decoy Studios in Suffolk:

“It’s not often that manufacturers’ tag lines

mean anything in the real world, but when

Focal says: “Listen to your music, not your

speakers”, they’re not kidding. I listen ‘on’ my

SM9s... not ‘to’ them. They don’t fatigue my

ears, so I actually enjoy listening to music on them.”

Cenzo started at Trident Studios in the 80s, assisting Spike Stent and

Alan Moulder, and has gone on to be one of the UK’s top engineers.

He has mixed countless best selling albums and singles from artists

inc. U2, Snow Patrol, Elbow, Florence & the Machine, Kaiser Chiefs,

Everything Everything, Friendly Fires, Ben Howard and many more.

Cenzo Townshend

(Sound Engineer – U2, Snow Patrol, Kaiser Chiefs)

www.cenzotownshend.com

“I now mix on a pair of Solo6 Bes, and the other two rooms at FLUX

Studios have Twin6 Bes. Besides the phenomenal translation from

studio to real world, which other monitors lacked, the sheer absence

of distortion allows us to work very long hours

without getting tired or losing perspective. We

work faster, better, and with less recalls than

we did before we switched to the Focal system.

There is no way back.”

Fab Dupont

(Sound Engineer – Shakira, Jennifer Lopez,

Nat King Cole)

“Forget all about my gear and toys, the

most critical element in my studio is my

loudspeaker … To me, there’s no better

nearfield loudspeaker than the Solo6 Be,

whatever the prices of other monitors.”

David Kutch

(Mastering Engineer – Alicia Keys, Natasha

Bedingfield, Al Green, Erykah Badu, Estelle, Outkast, and many more)

“The Twin6 Be monitors are the best that I’ve

used in terms of studio-to-consumer listening

translation. They really translate: what I hear in

the studio is what the outside world hears, in my

experience. Listening back to mixes I’ve done

on the NS10s through the Focal Professional,

it kind of scares me because I hear top-end

distortion that I wasn’t hearing in the NS10s – I

was so used to using them, I thought I knew them. With the Focal

Professional there wasn’t a learning curve, it actually spooked me at

first.”

Jeff Juliano

(Sound Engineer – James Blunt, John Butler)

www.myspace.com/jeffjuliano

“My Focals are clear and detailed.

Great for long listening sessions!”

Ken Nelson

(Coldplay Producer)

They have chosen Focal Professional

CMS SUB

Analogue subwoofer

(1x300W RMS Bash®

technology), 11-inch

Polyglass cone subwoofer.

Frequency response (+/-

2dB): 30Hz-250Hz. Max

SPL @1m: 113dB.2009

2010



Established in 1978 in Finland, Genelec

maintains a leading position in professional

audio monitoring with neutral-sounding

products for any monitoring need. During the

past decade Genelec’s business has expanded

beyond the core of professional studio

monitoring, and our products are today found

in small project studio applications, AV install

applications, and home audio systems.

Although applications may vary, one thingremains: our desire to offer the best possible

sound reproduction.

Despite the fact that Genelec 8000 Series

products are already widely used in project

and home studios, Genelec has now chosen

to design a product especially for this music

creation market. The aim has been to provide a

set of features that matches perfectly the needs

of these customers without compromising the

pursuit of the highest quality possible.

Studio Set-up For Music Creation

The key to ensuring high quality of recordingis monitoring with high quality loudspeakers.

Because of the less than optimal acoustical

treatment of the monitoring space, music

creation applications place special demands on

the monitoring loudspeaker. The applications

range from home and project studios, studios for

songwriters and DJs, and working environments

for music technology students, to anyone

who wants to create music. Headphones are

sometimes used for eliminating room acoustics,

but headphones cannot render a presentation

of the stereo imaging or acoustic space because

the sound in headphones localises inside the

listener’s head. Monitoring loudspeakers are the

key to understanding the recording properly.

M Series Products

Genelec professional monitoring products have

a reputation of being a good investment, with

excellent quality and long lifetime. They are

the market leaders and de-facto standards

for monitoring with several broadcast,

post-production, recording and audio mixing

houses. For the music creation market, as for any

other market, Genelec wants to maintain the

same values with uncompromised sonic quality,

environmentally sustainable products and

production processes.

The M Series has two members, producttypes M030 and M040. Both are bi-amplified

active monitoring loudspeakers. Both share the

new technology platform with green power

saving electronics, Intelligent Signal Sensing

(ISS™) power management, very linear and

clean Class D power amplifier design, and an

easy-to-use room correction feature set with

an acoustical design optimised for the music

creation market. A central component in the

acoustic performance optimisation is the use of

new environmentally friendly Natural Composite

Enclosure™, where half of the composite

material is wood fibre.

Sound From A Natural Source

The innovative Natural Composite Enclosure™

(NCE™) of the M Series products is made of

a material that is best described as injection-

moldable wood. This material is a natural fibre

composite material, where half of the material is

wood fibre. The resulting enclosure has a lot

of good acoustical properties being, for

example, 100% stiffer than the ABS.

The often environmentally hazardous

painting of the enclosures has been eliminated,

saving also in transportation and handling.

The composite material has many

outstanding properties. It allows the design of

structures with smaller wall thickness because

of the injection molding process and the high

internal vibration energy losses of the material

itself. The injection molding process allows the

production of acoustically highly optimised

shapes and forms with a large internal volume.

Maximising the internal volume of the enclosure

is paramount to achieving high acoustic output

at the low frequencies.

Laminar Integral Port Design

The very low weight, acoustically stiff, and

functional yet highly elegant design allows

for flow-optimised bass reflex ports to beintegrated as parts of the enclosure shape.

The novel patented Laminar Integral Port™

(LIP™) structure maximises the bass reproduction

in the physically small enclosure.

Most bass reflex ports work relatively well at

low bass output levels. The differences between

designs become evident at high output levels.

As the reflex ports in Genelec’s professional

active monitors, the Laminar Integrated Port

design has been optimised for low distortion

even at very high audio output levels.

To save space and ensure easy placement of

the M Series monitor loudspeakers, the portsopen down under the loudspeaker.

Precise Reproduction With Excellent

Directivity Control

The M Series has been designed for the high

standards of monitoring work. The on axis

response demonstrates excellent neutrality.

The specified accuracy of response is ±3dB.

Controlled directivity is very important in the

acoustically compromised rooms that typically

are used for project studios. Excellent directivity

control provides smooth frequency response

on- and off-axis. The new waveguide design

makes the M Series product particularly reliable

in music creation applications. Furthermore, the

directivity has been matched across the two

loudspeaker models. This results in very similar

sounding neutral characteristics for both

product sizes.

Just Imagine How Far You Can Go…

+ + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + +


Genelec introduces the new M Series for Music creation

The M Series products

– M030 and M040.



Resonance Free

One of the keys to good performance in a

loudspeaker is a resonance free construction.

When the input audio stops the monitoring

loudspeaker should go silent as well. M Series

loudspeakers have been designed to minimise

all resonances. The outcome of this is accuracy

and capability to reproduce details and nuances

without masking the audio signal.

Genelec Class D Amplifiers

Like all other Genelec products, M Seriesmonitors have active amplification. Each driver

is directly connected to the output of a power

amplifier. Genelec has been running a research

program to develop Class D amplifier technology

especially for high quality active monitoring

application and M Series is the first product line

utilizing this research work to the full extent.

Although Class D designs promise low losses and

high efficiency in terms of power consumption

making them environmentally sustainable,

special attention has to be paid to distortion

at high audio frequencies. Genelec’s Class D

designs have been optimised for low distortion

through the whole frequency band. This enables

Genelec to use Class D amplifiers for both

channels without compromising the distortion

level at the tweeter driver.

Automatic Mains Voltage Selection

Music creation requires mobility in many cases.

To help our customers in this regard, the Genelec

M Series products have automatic mains voltage

sensing. No matter where you go, you can plug

Genelec M Series products in the wall socket

without worries. Automatic mains voltage

sensing makes your life very easy – just plug

and play, literally.

Intelligent Signal-Sensing

Power Management

Intelligent Signal Sensing (ISS™) circuitry

listens to the input connectors and detects if

the monitor loudspeaker is in use. If there is no

audio on the input for 30 minutes, the M Series

monitor loudspeaker will go to a low-power sleep

state where the loudspeaker consumes less than

0.5 watts of power. When an audio signal is

detected on the input, the product immediately

turns itself on.

New High-Performance Drivers

The heart of a high quality loudspeaker system is

of course the drivers. Genelec M Series productsfeature entirely new driver designs. All new driver

designs have been optimised for flat frequency

response and high sound level operation at very

low distortion with high efficiency. The use of the

DCW™ increases the acoustic output, enabling

cleaner lower distortion operation at extreme

sound level outputs. The M Series system design

has been aimed for low multi-tone distortion, the

result is only a third of the usual level compared

to typical similarly sized loudspeaker systems.

Versatile Inputs

The M Series products have a balanced XLR

combo connector, containing also the 6.3mm

phone jack input, and a separate, unbalanced

RCA input. These cover the connectivity needs

typically found in music creation applications,

and provide for easy connectivity to any audio

source. The balanced inputs can be used to

minimise the possibility of picking up hum or any

other electrical disturbance by the cables feeding

the audio input to the M Series products.

Easy To Use Room Response Controls

A project studio can be set up anywhere.

In all set-ups it always makes good sense to

use the room calibration tools available on the

monitoring loudspeaker. M Series products

provide you with a solid set of room boundary

compensation tools for the cases you typically

meet in real-life project studio environments.

Summary

The M series products M030 and M040

provide a unique combination of high

linearity, low distortion, and clean and neutral

audio reproduction, which is particularly

suited for acoustically challenging music

creation environments. The series has a room

compensation feature set that particularly suits

music creation environments and the versatile

inputs suit any connection, while the universally

adapting mains input enables mobile work.Furthermore, M Series products take the respect

for sustainability and environmental values to a

new level in monitoring loudspeaker products.

Your Music. Your Inspiration. Our Experience.

Genelec OyOlvitie 5, FIN-74100

Iisalmi, Finland

t +358 17 83 881

e [email protected]

w www.genelec.com

N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E N E L E C + + + + G E


The cross-section plot of the flow-optimised Laminar

Integrated Port™ demonstrates the efficient bass

reflex system integrated into the Natural Composite

Enclosure™ structure.

Table 1. Summary of M Series product specifications

Product model M030 M040

Maximum sound output 103dB SPL 107dB SPL

Frequency range (+/-3dB) 58Hz-21kHz 48Hz-21kHz

Crossover frequency 3kHz 2.5kHz

Driver sizeswoofer 5-inch

tweeter ¾-inch

woofer 6.5-inch

tweeter 1-inch

Amplifier power 50W + 30W 80W + 50W

Weight 4.6kg (8.8lbs) 7.4kg (15.4lbs)

External dimensions 273 x 190 x 190 mm /10 ¾ x 7 ½ x 7 ½ inch

337 x 235 x 229 mm /13 ¼ x 9 ¼ x 9 inch



The Call for a Next Generation Studio MonitorToday’s sophisticated music production is

carried out in a broad range of spaces. Until

now, the availability of a big, impressive, yet

highly accurate monitoring experience has been

limited to purpose-built control rooms. As small

and medium sized rooms play an increasingly

significant role in cinema and broadcast content

creation, high dynamic range and accuracy are

required from a speaker system with a modest

foot print.

The M2 Master Reference Monitor

Addressing this growing need JBL has developed

the M2 Master Reference Monitor: a free-

standing, two-way system that can be placed

in any environment to provide an exceptionally

accurate monitoring experience. Leveraging a

new generation of JBL high-output, ultra-low

distortion transducers, the M2 provides in-room

frequency response of 20Hz to 40kHz, and an

extraordinary 129dB maximum SPL to meet

demanding music, cinema, and broadcast

production requirement for impactful dynamic

range.

In a compact form-factor, the M2 integrates

three key components that work in harmony to

deliver unparalleled performance. At the heartof the system, JBL’s patented D2 high frequency

and 2216Nd low frequency transducers are

the engines that make this possible. Using a

revolutionary design, the D2 produces smooth,

extended high frequency response with ultra-

low distortion whether listening at very high orsubtle levels. Using patented technology, the

remarkable 2216Nd woofer offers deep bass

extension and very low power compression,

even at its full-rated output. In spite of the M2’s

minimal footprint, its exceptional low frequency

response eliminates the need for a subwoofer.

The unique Image Control waveguide

completes the acoustic design. A marvel of

engineering in its own right, this new JBL

waveguide allows an acoustically seamless

transition between the woofer and high

frequency driver, delivering exceptional imaging

and rich detail to a broad area of the room.

These unique components make possible a

two-way design with an unprecedented level

of performance, utilising a

single seamless cross-over that

reduces system complexity and

allows a compact form-factor

for flexibility of placement in the

room. Crown® Power Amplifiers

with internal floating-point DSP

are used to bi-amplify and tune

each speaker, optimising the

M2’s performance in any room.

The M2 brings a world-class,

big monitoring experiencewith a new level of accuracy to

a broad range of production

spaces. For rooms wishing to

step up, the M2 is a game

changer.

The Ultimate High Frequency Driver forCritical Reference Monitoring

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The patented D2 dual driver design allows the

M2 to meet seemingly opposing objectives:

extended high frequency, very low distortion,

and very high output. Central to this innovative

solution are two key developments. First: the

use of an annular diaphragm, not subject to

the break up modes of a conventional dome

diaphragm. Second: the merging of two drivers

into a single, compact transducer with a single

Innovation ThroughMeticulous Attentionto Detail

+ + J B L P R O F E S S I O N A L + + + + J B L P R O F E S S I O N A L + + + + J B L P R O F E S S I O N A L + + + + J B L P R O F E S S I O N A L + + +


Responding to the call for greater accuracy and

dynamic range in music and post production work

spaces, JBL introduces the new M2 Master Reference

Monitor. Breaking free of the conventional, the M2

incorporates numerous patented innovations to deliver

unprecedented performance and a truly remarkable

listening experience.

The D2Dual Diaphragm,

Dual Voice-Coil Compression Driver.



acoustical output. Instead of the large and

heavy metal dome diaphragm of a conventional

compression driver, the D2430K uses two

annular low-mass polymer diaphragms offering

the same radiating area as a conventional

three-inch dome. Two separate three-inch voice

coils driven by their own magnet structures

share the burden of heat transfer, resulting in a

dramatic increase of output and power handling.

The result is a high frequency transducer with

extended high frequency response to 40kHz and

significantly lower levels of nonlinear distortion.

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innovations, and the 2216Nd in the M2 employs

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audible range, and

high output, free ofpower compression

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system’s low frequency

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the ‘dual driver’ design

of the D2, the 2216Nd

utilises dual neodymium magnets and two

voice coils. The patented use of low thermal

coefficient of resistance wire allows the

woofer parameters to remain more stable

at high output levels. In the M2 system,

the 2216Nd produces impressive low

frequency output to 20Hz.

Image Control Waveguide

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waveguide design that enables neutral

frequency response, not just on-axis, but off-axis

in the vertical and horizontal planes, all the way

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detail, imaging, and natural balance at nearly

any listening position in a broad range of

acoustic environments.

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complete the M2 system, providing greater than

a kilowatt of clean power to the 2216Nd woofer,

and more than enough power for the D2 driver.

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you hear at the mix position, particularly in the

room-dependent low frequency bands, where

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use of floating-point digital signal processing

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external measurement hardware and software,

the complete M2 tuning and room integration

system addresses non-linearity in the room.This ensures a high degree of accuracy whether

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www.jblpro.com/M2

JBL Professional

8500 Balboa Blvd., Northridge,

CA 91329 USA

t +1 818 894 8850

e [email protected]

w www.jblpro.com/m2

UK Contact

Sound Technology Plc

Letchworth Point, Letchworth Garden City

Hertfordshire SG6 1ND, UK

t +44 (0) 1462 480000

e [email protected]

w www.Soundtech.co.uk

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Image Control Waveguide.

These detailed

measurements of

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system’s exceptional

performance.

2216Nd

Differential Drive®

Woofer.



Honest Voices. Straight Talk.

A studio monitor is a tool used to aurally

‘measure’ the changes in an audio path.

Ask any seasoned recording professional what

they think makes a great studio monitor and

you’ll get basically the same answer: “Accuracy,

transparency, flat response, and the truth.”

In other words…honesty. Simply put, recording

engineers want the electrical signal entering

their monitor to be reproduced mechanically

by the transducers and they want this to occur

without any deviation or compromise to the

original signal. Professionals depend upon their

monitors to deliver their artistic vision in a way

that will translate as accurately as possible to

a variety of audio mediums. The following four

music professionals have honed their craft of

creating music and in turn they are offering their

honest voices about studio monitors.

Jacquire King –

Record Producer/

Mixer/Engineer

When something

works, why switch?

King is a 2009

Record of the Year Grammy Award winner withAngelo Petraglia for the Kings of Leon’s Use

Somebody. “For monitoring, I’ve used the KRK

Rokit 5’s for a little more than four years. I was

using NS-10s in the tracking studio at the time.

I’d been looking for an alternative and soon

after got a pair of the Rokit 5s. These monitors

are true and consistent. They are not hyped

sounding and make you work for a great result,

which I like. They have plenty of bottom-end and

when the mix is sounding huge on them then I

know I’m finished.”

Henri ‘MGI’ Lanz –

Producer/Songwriter

This Finnish born,

25-year-old producer/

songwriter is a perfect

example of a modern

hit maker. MGI has produced and written songs

for and with Akon, Sean Kingston, Timbaland,

Pitbull, Justin Bieber, Jim Jonsin… and the list

goes on. His productions include various Gold

and Platinum selling records all over the world.

“I’ve used KRKs for about two years now.

When I first heard them, I really loved the way

the VXT series sounded. No matter what the

location is I need to be 100% sure how the

mix is going to sound wherever I am.”

Chris Young –

Producer/Songwriter

“I’m primarily a

producer/songwriter,”

says Young, and for

the past six years, he

has been running his

own Chestnut Studios

in London. When he

installed an SSL desk he

knew he had to make a

step up in monitors as well, choosing the

KRK Expose E8B studio monitors. “I actually

tried different monitors, but KRK won hands

down,” says Young. “The biggest thing for me

is I can listen through the studio monitors toa mix and then go elsewhere and not suddenly

find that things have changed

dramatically.” Young also uses

KRK VXT6 monitors at a smaller

home studio he uses for writing,

along with KRK KNS 8400

headphones that gives

him a sonic consistency

between studios.

Rodney ‘Darkchild’ Jerkins – Producer

After 15 years in the business and a string of

successes with artists like Lady Gaga, Beyoncé,

Britney Spears and Mary J. Blige, Rodney

‘Darkchild’ Jerkins is a voice of experience.

A KRK user for almost a decade, his studios

in L.A., New Jersey, Florida, and at his home

all feature a mix of Expose, VXT, and Rokit

monitors. “I look

for something

that’s tight, that’s

punchy, that still

has the low-end,

but still has the

pristine clarity up top. KRK is literally is the

foundation of my sound.”

Our Focus.Your Mix.

KRK is driven by a design philosophy of accuracy, transparency, and flat response. Our products deliver

on this promise through a combination of solid design and product innovation. KRK monitors are tools

that are cherished by their owners as partners in crafting great music and mixes.

+ + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K


The Popular Rokit Line Expands

with the RP 10-3 Three-Way Mid-Field

The Rokit RP10-3 is a mid-field three-waymonitor system in a compact form factor

and at a breakthrough price that delivers

loud and accurate sound reproduction to

satisfy professional needs. The RP10-3 will

suit commercial facilities as well as space

and budget conscious private studios.

The ‘pro-studio’ appearance of this

monitor will visually impress,

and the high SPL output

makes it capable of

handling challenging

high-dynamic tracks

for all genres of music.

As part of the KRK

Rokit Series of monitors

including the Rokit 5, 6,

and 8, the Rokit 10-3 adds

true mid-field performance to

give studios the creative edge.

“Notable is the design feature that enables

the user to reconfigure the drivers so that

the cabinet can be operated horizontally.

Quite ingenious.

“The strength is in the mids and upper

mids. Voices, violins, winds, were all

nuanced and distinct, and even massed

brass sections didn’t lose transparency.”

Recording Magazine


http://slidepdf.com/reader/full/buyers-guide-monitors-headphone2013-digital 19/36 THE INTERNATIONAL GUIDE TO MONITORING & HEADPHONES 2013 19

+ + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K R K + + + + K

VXT Monitors

Whether you are making critical mixing decisions or need to

capture the stable nuances of a unique sound, you will quickly

discover that the VXT Series is as precise about your work as you

are. The VXT Series feature key design elements that continue

to make the KRK sound a studio standard. The VXT Series have

been designed to present the true nature of the audio materialwithout colouration or enhancement.

“I just love the overall sound. They’re clear, reliable,

transparent, and consistent. I like to listen really loud and I

love how the VXT8s are able to respond to the challenge.

No matter where I am, I know exactly how my mix is going to

sound when I get to work with the black and yellow!”

Henri ‘MGI’ Lanz, Producer/Songwriter (Akon, Sean Kingston, Timbaland,

Pitbull, Justin Bieber)

Exposé E8B

Utilising state-of-the-art

components to achieve a level

of clarity and sonic accuracy

that is unprecedented, the

new Expose E8B is the flagship

of KRK’s product line. With its stunning,

highly functional enclosure featuring thick,

non-parallel, internal walls that eliminate

standing waves, and magnetic shielding for

use in close proximity to video monitors, the

Expose E8B elevates KRK’s reputation as a

manufacturer of premium studio reference

monitors to an entirely new level.

Subwoofers

KRK powered subwoofers are the perfect choice

when you need to hear what is happening in the

depths of your mix. In a stereo configuration,

the subwoofer will have to produce the bass

normally generated by the monitors – that alone

can exceed the headroom of an ordinary sub.

In a surround sound configuration, the

subwoofer has to reproduce all of the low-

frequency information from five or more channels

as well as the demanding bass content of the LFE channel.

These challenging applications can place demands far exceeding the

capabilities of normal low-frequency drivers and power amplifiers. This is where the

performance of KRK family of subwoofers shines.

“I’ve always loved having a sub to wow record companies

or artists when playing back a song or mix. The truth is,

most subs are only good for that purpose and are not

accurate enough to work with when making a record.

The KRK12s changed that.

It’s very accurate and

actually makes my Exposés

sound even better!”Martin Harrington –

Writer and Producer (Celine Dion,

Kylie Minogue, Natalie Imbruglia)

CONTACT DETAILS

Focusrite Audio Engineering Ltd.

Windsor House, Turnpike Road

High Wycombe, Bucks

HP12 3FX, UK

t +44 (0) 1494 462 246

e [email protected]

KRK Systems, Inc.

Gibson Pro Audio309 Plus Park

Nashville, TN 37217

1-800-4 GIBSON

e [email protected]

w www.krksys.com

®

At KRK, our focus is to develop studio solutions

to help you create a great mix. KRK monitors

and subwoofers are legendary. The ERGO room

analysis and correction system is revolutionary.

The KNS Headphone series is designed to

provide what KRK has been delivering for

25 years: sonic accuracy, transparency, and

consistency. The signature yellow woofer of

a KRK monitor tells the world that you and

your monitor are true to the mix and true to

your craft. KRK studio monitors enable you to

confidently make the critical decisions that

impact the music and audio program.

Visit us at www.krksys.com to find out why

our focus is your mix!

ERGO

A new software and firmware update is

now available for KRK’s leading ERGO®

Room Correction System. ERGO is an audio

recording interface and room correction

system designed to measure and analyse

phase and frequency problems within a

listening environment. To correct room

issues, the internal digital signal processor

analyses and corrects room problems,

improving the response at the listening

position, which results in mixes that

translate far better to other playback

systems. This latest version includes support

for Apple® Mac OSX Lion 10.7.3 and

Microsoft Windows® 7 SPI (32-/64-bit), and

also improves the capabilities of ERGO, such

as installation, calibration and configuration.



Based in Luton, England, PMC is a leading

manufacturer of precision reference monitors for

discerning audio professionals and audiophiles.

The company’s products, which include active

and passive models, use the best available

materials and design principles, including the

company’s proprietary Advanced Transmission

Line (ATL™) bass-loading technology (see box),

cutting-edge amplification, and advanced DSP

techniques to create loudspeakers that present

sound and music exactly as it was when first

created, with the highest possible resolution,

and without colouration or distortion.

With a history and reputation lasting over

two decades, PMC remains one of the few audio-

related manufacturers to have been awarded

an Emmy® for its technical excellence, and

has customers at the very top of the pro audio,

broadcast, and film industry worldwide. Its

customers range from musicians and composers,

professional audio equipment companies,

and recording studios at one end of the

audio production chain, to record companies,

broadcasters, Internet service providers, and

discerning listeners at the other. In the limited

space available in this pro-audio-orientated

guide, it would be impossible

to give an overview of the

company’s entire consumer

and professional passive andactive ranges. Instead, we’ll

look at two of their most

recently released active

ranges: the new two-way

twotwos, and the IB2S-A

three-way midfields.

twotwo™ Series

Like the IB2S-A, the recently

released twotwo series of

reference-grade monitors

combines PMC’s low-

distortion ATL™ bass-loading

technology, digital inputs

and signal processing, and

active Class-D amplification;

but presents these features

in the form of three nearfield

two-way speakers (the twotwo.6, twotwo.7,

and the recently released twotwo.8).

All three models in the twotwo range share

the same core design and features, as well as

the same tonal transparency and neutrality.

The model number refers to the approximate

size (in inches) of the bass driver. The larger two

models have a greater cabinet volume, offer

more bass extension, and a higher possible

maximum SPL, and are therefore better suited

to use in medium-sized rooms where more

power and dynamics are required.

The onboard DSP engine, derived from

that employed in the larger IB2S-A, optimises

the crossover and the response of the drivers,

maximises dispersion, and provides non-invasive

protection using modelled excursion limiting.The built-in Class D dual-amplification system

builds on the amplifiers developed for PMC’s

powered range, delivering 50W to the tweeter

and 150W to the bass driver, and producing

high-resolution audio with plenty of headroom

and detail.

One design aim was to make the twotwos

as easy to set up in a rehearsal or hotel room

with a phono cable and a laptop, as i t is to drive

them on the meterbridge of a digital console

in a pro studio; to this end, connections include

analogue phonos and XLRs, as well as an AES3

digital input, which will handle all sample rates

up to 192kHz.

All three models in the twotwo range are

designed to be used vertically or horizontally

without compromising stereo imaging or

tonal accuracy. There is no need for a separate

PMC: PrecisionReferenceMonitors,Trusted By Discerning Pros

+ + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C

Introducing the latest high-resolution

Active ATL™ designs with analogue and

digital inputs; the last word in flexible,

transparent monitoring.PMC’s BB5 XBD-A monitors at Metropolis Studios in Chiswick,

plus horizontal twotwo.6s in an LCR arrangement.


PMC’s twotwo.5,

twotwo.6, and thenew twotwo.8.



horizontal version of the speaker for use as

a centre channel, or in environments where

horizontal use is a necessity for height reasons.

This makes the smaller models in the range well

suited to nearfield monitoring of

music and speech in situations

where space is at a premium.

Despite only being launched

in autumn 2012, the twotwo

is already an award-winning

success with high-profile usersincluding producer Kid Harpoon

(Florence And The Machine),

renowned mix engineer and

producer Spike Stent, and

Manchester’s School of

Sound Recording (SSR),

among many others.

IB2S-Active

The stand-alone IB2S-Active

offers discerning users the

attributes of PMC’s large ATL™

reference active monitors, such

as the flagship BB5 XBD-A, but

in a more compact form and

with an AES3 digital input built

in as standard. They are the ideal

monitors for high-end reference

monitoring and mastering applications.

The DSP-tuned, Class-D powered cabinets

provide a controlled, high-resolution, low-

frequency response from the three drivers, all

of which are designed in house and

manufactured to strict tolerances.

The bass units in the cabinets, which

are identical, feature the 10-inch

carbon-fibre/Nomex™ piston drivers

from the earlier IB1S and IB2S

speakers, while the IB2S-A cabinetfeatures the highly respected hand-

built 75mm fabric-dome driver

to handle the mid-range, and the

34mm soft-dome tweeter from

the flagship BB5 XBD-A. 960W of

independent, audiophile-quality

power is available to each active

master cabinet: 200W for the

high-frequency and mid-range

drivers, with 560W directed to

the LF driver for extended,

low-distortion precision monitoring

all the way down to 20Hz.

The IB2S-A features user-

adjustable HF and LF shelving

filters, per-channel ±8dB input level

trims, an AES3 digital input, and the

ability to adjust the input sensitivity

of the balanced analogue inputs from +4dB

to +20dB. The EQ, level trims, and analogue/

digital input selection settings may be adjusted

from a distance with an RJ45-connected remote

supplied as standard.

The three-way IB2S-A master cabinet may

be purchased as a speaker in its own right, or

together with the single-driver XBD bass cabinet.

This forms the IB2S XBD-A system,

with the XBD cabinet providing +3dB of

additional LF headroom and a more evenin-room LF response.

Last year, the IB2S XBD-A was used in

London by film score composer Thomas

Newman while he created the soundtrack to the

James Bond 50th anniversary film Skyfall, now

the most successful British film of all time.

PMC’s Signature Bass-loading

Technology – ATL™

All PMC loudspeakers are Advanced

Transmission Line™ (ATL™) designs

incorporating sophisticated cabinet

construction, PMC-designed drive units, and patented absorption

materials and techniques. The ATL concept has existed in loudspeaker

engineering for many years, but under the guidance of PMC’s co-

founder and Chief Engineer Peter Thomas, the theory has been refined

and honed to a very advanced level, outperforming the many sealed

and ported speakers available on the market today.

In a PMC

ATL design, the

bass driver is

placed at one

end of a long

tunnel (the

transmission

line), which is

heavily damped

with absorbent

acoustic

material. Thisis specified

to absorb the upper bass and higher frequencies that radiate from

the rear of the bass driver. The lowest frequencies, which remain in

phase, then emerge from the large vent at the end of the line, which

essentially acts as a second driver.

One advantage to this approach is that the air pressure loading

the main driver is maintained, thus controlling the driver over a wide

frequency range, which in turn significantly reduces distortion. A spin-

off from the lack of distortion is that the upper bass and mid-range

detail is not masked by harmonic distortion residing in the very low

frequencies. The result is PMC’s characteristic transparent mid-range

and fast, attacking bass notes, all reproduced with great clarity.

A further advantage of the transmission line approach is a cabinet

that produces a higher volume and greater bass extension than a

ported or sealed design of a similar size, even if identical drivers are

used. Moreover, as the loading on the main driver is maintained at all

volumes, the frequency response also remains consistent regardless

of listening level – a most important attribute for professionals whose

hearing is their most precious tool.

Benefits of ATL™:

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PMC Limited

43-45 Crawley Green RoadLuton, UK

LU2 0AA

t +44 (0) 870 4441044

f +44 (0) 870 4441045

w www.pmc-speakers.com

+ P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C + + + + P M C +


IB2S XBD-Active.



Eris Series High-Definition Studio Monitors

When it’s time to replace those cheap

‘computer’ speakers with serious two-way

professional studio monitors, you’re ready for

Eris™ Series monitor speakers. The Eris Series has

the back-panel acoustic-tuning tools you need to

tailor their sound to your room environment and

musical genre. You end up with mixes that sound

good everywhere, not just in your studio.

These ultra-affordable, two-way, bi-amped

monitor speakers deliver very accurate response,

with a tight bass and very clear upper end.

They can also be user-adjusted to the acoustic

space, allowing you to create a more accurate

listening environment or to simulate different

common listening environments – a feature

not typically provided by studio monitors in

this price point.

With Kevlar™ low frequency transducers,

low-mass silk-dome tweeters, responsive

Class AB amplification, and professional

acoustic-adjustment controls, the compact

Eris series is an outstanding value in its class.

Eris speakers include RF shielding, current-

output limiting, over-temperature protection,

and subsonic protection. Both Eris models have

individual balanced XLR and quarter-inch

TRS input connections, in addition to

unbalanced RCA inputs.

Users can make several types of custom

adjustments. A three-position Acoustic Space

switch controls a shelving filter at 800Hz that

provides three attenuation points, allowing you

to control the bass response relative to the wall

proximity of your speakers. A High Pass switch

sets the low-frequency cut-off. You also get

continuously adjustable High Frequency and

Mid-Range controls.

This combination of controls lets you

create a linear response for accurate monitoring,which is what you really need in your studio.

PreSonus StudioMonitorsPreSonus recently introduced two new series: Eris and

Sceptre. Eris monitors offer excellent performance

for budget-conscious project studios, with features

normally reserved for more expensive monitors.Sceptre employs advanced coaxial technology and

DSP to affordably achieve high-end sound quality.

+ + P R E S O N U S + + + + P R E S O N U S + + + + P R E S O N U S + + + + P R E S O N U S + + + + P R E S O N U S + + + + P R E S O N U S + + + + P R E


Eris Key Features

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The Eris E8.

The Eris E5.


http://slidepdf.com/reader/full/buyers-guide-monitors-headphone2013-digital 23/36 THE INTERNATIONAL GUIDE TO MONITORING & HEADPHONES 2013 23

N U S + + + + P R E S O N U S + + + + P R E S O N U S + + + + P R E S O N U S + + + + P R E S O N U S + + + + P R E S O N U S + + + + P R E S O N U S +

CONTACT DETAILS

PreSonus Audio Electronics

7257 Florida Blvd.

Baton Rouge, LA 70806-USA

t +1 510 681 3050

w www.presonus.com

European Public Relations:

Daniel Keller, Get It In Writing

t +1 562 546 3342

e [email protected]

UK Distributor:

Source Distribution

t +44 (0)208 962 5080

w http://sourcedistribution.co.uk/

Sceptre Series CoActual Studio Monitors

The first time you hear Sceptre™ Series

CoActual™ two-way studio monitors, you’ll

discover fine nuances of your music that can’t

be reproduced by conventional designs.

The Sceptre’s panoramic soundstage, clarity, fine

detail, and stunning dynamics will astonish you.

This exceptional performance is the result

of an advanced coaxial design by Fulcrum

Acoustic’s Dave Gunness that works integrally

with a 32-bit, 96kHz, dual-core processor

running Fulcrum Acoustic’s TQ™ Temporal

Equalization technology. Gunness was also

responsible for final tuning and voicing of the

Sceptre Series monitors.

TQ employs multiple, fully addressable,

Finite Impulse Response (FIR) filters. This

approach requires advanced algorithms and

subtle, sophisticated transducer design, which

is why such systems have, in the past, been

limited to very high-end systems with external

processors. Yet Sceptres are an affordable

investment for project-studio owners – a first

for DSP-controlled, TQ-based systems.

These systems are bi-amplified: each

transducer is powered by a 90W RMS,Class D power amp with an internal heat sink.

All Sceptre Series monitors have balanced XLR

and quarter-inch TRS line-level inputs, with

A-taper level control and feature acoustic ports.

Sceptre monitors include controls that enable

full integration into any studio environment.

A four-position Acoustic Space switch controls

a shelving filter centered at 100Hz, with four

attenuation settings so that you can account for

the bass response relative to room dimensions

and speaker placement. A High Pass Filter switch

sets the 24dB/octave filter’s low-frequency

cut-off. A High Frequency Driver Adjust switch

adjusts the tweeter’s overall level. The Sensitivity

control ranges from +4dB to -10dB.

All Sceptre Series monitors offer RF shielding,

current-output limiting, over-temperature

protection, and have internal power supplies with

IEC connectors and power switches with on/off

LEDs. An amplifier ‘soft start’ feature eliminates

popping on power-up.

About PreSonus

Founded in 1995, PreSonus Audio

Electronics, Inc., is a leading designer

and manufacturer of audio-recording

and live-sound software, hardware, and

related accessories. PreSonus’s software,

microphone pre-amps, signal processors,

digital audio interfaces, digital mixers,

control surfaces, loudspeakers, and other

products are used worldwide for recording,

sound reinforcement, broadcast, sound

design, and Internet audio.

Sceptre Key Features

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time-correction and point-source design

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eight-inch (S8)/6.5-inch (S6) mid-range

driver and one-inch (25 mm), horn-

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HF Driver Adjust (Linear, +1dB,

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Acoustic Space settings (Linear,

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internal heat sink

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TRS line-level inputs with A-taper

level control

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popping on power-up

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The Sceptre S8.

The Sceptre S6.



+ + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A +


Quality – Technology – Experience – Coherency

Designed and manufactured at our Yverdon

workshops in Switzerland, the latest generation

of PSI Audio speakers is the culmination of 30

years’ knowledge of materials and treatments,

guided by a thorough understanding of

acoustics.

The unique precision of PSI Audio monitors is

a delicate mix between the passion, experience,

and know-how of electro-acoustic technology.

The whole product range takes advantage

of our knowledge, and we strive to deliver the

most coherent sound and design between all our

models. In order to get the best compatibility

between models, the transfer function should

be the same. This implies not only a similar

frequency response, but also an identical phase

response, which is our speciality.

At the core of our speaker performance is

an electronic design based on two exclusive

concepts – CPR and AOI. This technology

enables us to show people that PSI Audio is

more than a black box.

CPR

The CPR system consists of multiple all-pass

filters, each of which act in a specific frequency

range in order to obtain a wide area of

Compensated Phase Response generating a

constant group delay.

Thanks to the CPR system the position of the

sound image is highly accurate. This technology

allows the design of surround sound systems,

with different types of PSI Audio speakers, to

maintain an accurate phase response.

Practical Advantage of CPR and Impact on

Stereo Applications

The ear is very sensitive to group delays or phase

irregularities of sound. The human brain detects

such irregularities easily and processes them into

space related information such as positioning a

sound source.

All traditionally designed speaker systems

suffer to a certain degree of such irregularities.

These irregularities are the reason why some

speakers produce a wider and deeper room

perception that determines the reproduction ofthe sound image.

The speaker system represents the reference

tool of every sound engineer. An accurate

transient response particularly helps during the

fine-tuning of reverb effects, or the design of

a specific sound and its position in the sound

image.

As a sound recording passes through various

processes (recording, mixing, and mastering) in

which various people, locations, and therefore

speaker systems will be involved, corrections may

be applied due to phase irregularities that are

not present on the original recording.

PSI Audio speakers feature our unique

CPR system that generates a Compensated

Phase Response, removing such irregularities,

generating a stereo image and projected room

of extreme accuracy. PSI Audio speakers providea more accurate tool, a true reference to the

sound engineer.

CPR Impact on Surround Sound Applications

Traditional speaker designs have different

phase responses, and therefore the phase

inaccuracy phenomenon is worse in surround

sound applications, where room information

and positioning have an even higher priority and

a more critical part of the sound engineering

Precision StudioMonitors Made inSwitzerland

The philosophy of PSI Audio can be compared to Swiss watch designers. Our vision is to be globally

recognised as pioneers in precision audio combining innovation, creativity, and technology.

An impressive

impulse behavior

due to the combined

technologies of AOI

and CPR.

Full PSI Audio monitors range:

A14-M, A17-M, A21-M, A25-M and the sub A225-M.



+ R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + + + + R E L E C S A + +


process. This is one of the reasons why speaker

manufacturers strongly recommend using

speakers of the same type when creating a

surround sound system.

The CPR system by PSI Audio features an

extremely accurate and superior surround

sound image and a much improved working

environment. A unique advantage provided

by CPR enables a user to mix for the first time

between different types of PSI Audio speakers

in a surround sound system, whilst maintaining

perfectly accurate phase response. Not onlywill the PSI Audio surround system sound much

more accurate and therefore provide a superior

working tool, but it can also introduce significant

cost and space savings when investing in a new

monitoring system.

AOI

The AOI system detects the movement of the

membrane, and the moving coil so processes

them using counter reaction filtering. The

damping rate is continuously adjusted in

different frequency bands to match the position

of membrane and coil.The AOI system allows the reproduction of

sound without transducer colouring over the

whole frequency range.

Practical Advantage

PSI Audio speakers featuring the AOI system

have a superior impulse behaviour to traditional

amplifier designs. Whilst the transducer travels to

its intended position, the AOI circuitry seamlessly

adapts the amplifiers’ output impedance to

ensure ideal acceleration of the membrane

to reproduce the desired impulse. Once the

transducer reaches the end of the impulse, the

AOI circuitry provides a break in order to act

against any overshooting of the transducer. The

AOI circuitry is almost capable of reproducing a

square wave, and therefore increases accuracy

by marrying the transducer and the amplifier

into a perfect couple. From our experience, a

nice side effect of the AOI system is that the

membranes of a PSI speaker do not produce

parasitic sounds when other speaker systems in

the room are in use. When air pressure changesdue to other sound sources, the AOI will detect

this and tighten the damping of its transducers

in order not to produce parasitic sounds (sounds

not present at the input).

In current times where much more

importance is given to the low end reproduction

of sounds, especially when using sub woofer

technology in surround sound systems, the

importance of a monitoring system that has

an accurate and not flattering reproduction

becomes essential. The result of AOI gives

PSI Audio speakers a highly accurate impulse

behaviour with a minimum of transducercolouration.

Please visit our website www.psiaudio.com

for more information, detailed graphs and

specifications.

For these technical innovations and

sound precision reasons, more and more

producers worldwide are choosing PSI Audio

as their reference monitors. We hope that this

encourages you to listen to our products and

choose them!

New Reference: IRCAM in France

It is a big honour for PSI Audio to announcethat IRCAM in Paris selected the A25-M and

A225-M for their reference 5.1 studio.

We thank Mr. Christophe Egea and his team

for their warm welcome and instructive visit

in one of the world’s leading edge research

institutes for acoustic, audio, and music

research.

Christophe Egea explained to us that

“the selection was a long process where

many brands where short selected, then

short listed. Users at IRCAM went through

a battery of listening tests where a coupleof objective and subjective elements were

needed to meet the highest requirements.

PSI Audio was selected and we were

really amazed by the great precision in

space reproduction, which is really important

for us. The quickness of the monitors is quite

impressive. The ability to reproduce details

with the highest possible precision was

another important factor. Everybody liked

the PSIs”.

PSI Audio R&B 8A: Simply for work, with our new

Router and Bass management

The new Router & Bass management is

integrated into our subwoofer. It is made to

provide PSI Audio users maximum comfort

during working sessions.

This product enables you to use the full

potential of the unique compatibility and

coherence of the PSI Audio line.

Advantages Summary:

Easy switching between three monitoring systems

Use of one multi-channel speakers system in multi-channel, satellite+sub, or stereo modes

Subwoofer usable as bass extension or LFEStandby/Mute and switching modes controlled by a simple footswitch

Standby control for the unused PSI Audio speakers

For more information visit:

www.psiaudio.com/product/accessories/router-bass-management-rb-8a

Relec SA

Z.I. Petits-Champs 11 a+b

CH-1400 Yverdon-les-Bains

Switzerland

t +41 (0) 24 426 04 20

f +41 (0) 24 426 04 51

e [email protected]

Find all our distributors and much more atwww.psiaudio.com

UK distributor:

eMerging Ltd

t +44 (0) 208 941 6547

e [email protected]



Professional Reference Monitors

Sonodyne has been designing and manuacturing

high quality audio products since the late 70’s. In

India, we introduced high fdelity sound with a range

o turntables, amplifers, and speakers that had a

unique Sonodyne sound signature. Rapid growth led to

expansion in R&D and manuacturing acilities.

In late 80’s we initiated export o proessional audio,

as turnkey solution partners to technology driven

brands in Germany and USA, primarily. With the

exponential growth in studio equipment requirement in

India due to flm production and DTH, FM broadcast - in

the early 2000s - we introduced a range o high quality

reerence monitors:

The range that our customers around the world today

know as the SM’s, comprising the SM 50, 100, 200 and

o late the 300.

+ + s o n o d y n e + + + + s o n o d y n e + + + + s o n o d y n e + + + + s o n o d y n e + + + + s o n o d y n e + + + + s o n o d y n e + + + + s

There are 4 models in the new SRP range

The SRP 400 is th e most compact active

reerence monitor in the new SRP line. It is

an excellent reerence to understand how

mixes translate to smaller speakers. The 4.5”

CURV cone wooer produces impressive bass

and transient response. A new 25 + 25 watt

biamplifer drives the transducers optimally

while providing adequate headroom and

dynamics. The maximum SPL measures in at an

impressive 100dB.

The SRP 500 is a new compact near feld active

reerence monitor. This SRP excels at monitoring

eects and other such subtleties in the mix. The

5.25” kevlar wooer produces deep bass and

exceptional transient response. The enclosure is

pressure die cast aluminum. A new 50 + 50 watt

biamplifer drives the transducers optimally whileproviding adequate headroom and dynamics.

The maximum SPL measures in at an impressive104dB.


The SRP 400.

PRESSURE DIE CAST MOULDED CABINET:

This monolithic, rigid cabinet eliminates colouration caused, typically, due

to cabinet vibration. The non-parallel edges minimize standing wave build-

up. This results in a smooth and extended low requency response, and also

gives the SRP a unique orm.

DSP ENABLED BI-AMPLIFIER:

The SRP models use two discrete amplifers per speaker. These hety class

AB amplifers have oodles o power and headroom and provide a clean,

undistorted signal. DSP based internal processing with high quality ADC

and DAC is employed or the crossover and also provides the 0.75dB step

calibrated HF and LF room compensation EQs.

ACOUSTIC WAVEGUIDES:

The silk dome tweeter in each o the SRP models is nested in a

custom waveguide to produce on and o axis linearity and a wide,

detailed soundstage

KEVLAR CONE LF:

The sti woven fbre o the Kevlar cone minimizes cone breakup. Combined

with a powerul motor system this results in high-grade perormance both

in terms o deep bass and exceptional transients.

POWDER COATED FINISH:

The pressure die-cast cabinets are powder coated in our actory to ensure a

durable yet aesthetically pleasing fnish. There are three colour choices: rich

black, charcoal grey or snow white

WALL MOUNTS:

Sturdy wall mount brackets allow or smooth motion and positioning in

both horizontal and vertical planes.

CALIBERATED GAIN: On the ront is a level control ranging rom mute to

+6dB with centre detent at 0dB.

With the acceptance o Sonodyne SM range, globally, as a true reerence monitor, we started work, about 2 years ago onthe next generation, the SRP series. These were the ocus technology areas:



The SRP 600 is a new near feld active reerence

monitor. This SRP adds loudness, clarity and

bottom end to the compact SRP 500. The

6.5” Kevlar wooer produces deep bass and

exceptional transient response. A new 80 + 50

watt biamplifer drives the transducers optimally



impressive 108dB.

The SRP 800 is a new high power active

reerence monitor. This SRP is excellent or loudmonitoring without any audible loss in detail.

The 8 “ kevlar wooer produces deep bass and

exceptional transient response. A new 175 + 100

watt biamplifer drives the transducers optimally



impressive 112dB.

SM 300: While the SM, and SRP are truly

exceptional 2 way reerence loudspeakers, we

also have started a range o 3 way loudspeakers,with the frst oering being the SM 300. During

summer 2010 we set ourselves a challenging

task â€“ that o designing a high quality 3 way

active loudspeaker combining the detailing o

the award winning SM 100Ak with the dynamics

and bandwidth o the SM 200Ak. Additionally,

the size would have to be very compact since

the target user would place it on a console or

desktop. Many design debates, prototypes, and

user reviews later, we are delighted to reportthat the SM 300, our frst three-way tri-amplifed

reerence monitor, has upheld its high

expectations.


o d y n e + + + + s o n o d y n e + + + + s o n o d y n e + + + + s o n o d y n e + + + + s o n o d y n e + + + + s o n o d y n e + + + + s o n o

s elctric C Pvt Lt

98b, Bl e nw Alipr,

Klkata, Wt Bgal 700053

Iia

w www..cm

eurp:

Th Aui Prfial Lt.

salibur Hall, L Cl

st. Alba, AL2 1BU, UK

w www.auipr.u

e [email protected]

t +44 (0) 1727 829750

The SRP 500.

The SRP 600.

The SRP 800.

The key features in the SM 300 are:

A compact cabinet, which has double MDF

top, bottom, ront, and rear; and aluminum

extruded sides. Unique, and exceptionally rigid.

The HF and MF transducers are housed in a

separate aluminium die-cast plate, designed

or controlled dispersion and linearity.

Three AB Class amplifers rated at: 150, 75,75 watt that drive the 8-inch kevlar LF, 4-inch

kevlar MF, and 1-inch silk dome tweeter

respectively.

Two shelving EQs or LF and HF, one bell

EQ or MF, two Bass Roll Os at 80, 100Hz

to compensate or room modes and or

optimising o axis response.



+ + U N I T Y A U D I O + + + + U N I T Y A U D I O + + + + U N I T Y A U D I O + + + + U N I T Y A U D I O + + + + U N I T Y A U D I O + + + + U


Years in the Making?We decided to design and manufacture our own

range of professional monitors from scratch

to overcome the shortcomings found in most

commercially available monitor systems and

that will deliver what true professionals expect.

A brutally honest tool on which you can base the

most critical decisions without a second guess or

hesitation.

This has been achieved

by assembling a team of

professionals with impeccable

credentials in the areas required

to produce a new standard of

monitoring.

I wanted to produce

something different, using

new materials and designs,

and so I approached studio

designer and acoustician

Kevin Van Green to develop

the Birch Plywood cabinet and

Corian front baffle; while the

amplifier, rather than an off the

shelf approach, is a bespoke

discrete Class A/B design from

one of the best designers in the business, Tim

Di Paravicini, whose company Esoteric AudioResearch produces some of the finest amplifiers

around. After testing many woofers we selected

reputable German manufacturer ELAC for its

quality and consistency – for The Rock MkII a

50kHz ribbon HF and 6.5-inch woofer are used.

We wanted to produce a brutally honest

monitor and we’ve certainly done that, our

measurements indicate this. The cabinet is

sealed and it has no port, which is unusual

for studio monitors, but the difference in bass

accuracy is incredible. It also has very good low-

end extension too. From the start we decided

not have any EQ controls – the sound is what

you get. If you can’t deal with the accuracy The

Rock MkII produces, then it’s not for you, simple.

We’ve consulted with many producers and

engineers and they welcome such a monitor.”

– Kevin Walker, MD, Unity Audio

The Boulder: Three-Way Active Monitor withCoaxial Mid-Range Tweeter

The next active professional monitor following

on from the The Rock MkII is the new Boulder.

This shares some of the same interesting

materials and designs, such as a Baltic Birch

plywood cabinet – but this time 18mm instead

of 12mm, as used in The Rock MkII. A Corian

front baffle is used, again

like The Rock MkII, and

bonded to an internal

wooden baffle, but the

Boulder uses a huge 30mm

slab of Corian instead of

The Rock MkII’s 12mm

along with large radius

edges to reduce reflection.

Like The Rock MkII, this new

model will boost true fidelity,

with a fast, accurate, and

detailed sound; but with

extended bass response,

even more detailed mid-

range, and higher SPLs for

larger rooms.

Bass Driver

Two 180mm (7-inch) woofers are used, thesame woofer model as in The Rock MkII.

This will increase low frequency extension

and achieve higher SPLs. Each woofer has a

0.2mm aluminium foil chemically bonded to

a rigid pulp fibre cone. This reduces harmonic

anomalies and permits +/- 15mm of woofer

travel producing accurate low bass frequencies.

The use of aluminium bound to a pulp fibre

cone ensures that the woofer cone will remain

symmetrical at all frequencies, producing a long

life for the woofer element and full accuracy of

the driver through its life: something few other

materials can claim.

Coaxial 5-inch Mid Range

& Folded Ribbon Tweeter

A new dual coaxial Mid-range Tweeter is

employed, another unique feature of The

Boulder. This new unit is a unique combination

of a flat aluminium honeycomb mid-range ring

radiator and a concentrically arranged folded

ribbon tweeter. This design realises the vision

of an acoustic

point source!

This facilitatesan optimised

acoustic power

response, and

results in a

homogeneous

and very

wide sound

dispersion

angle providing

for a new kind

of relaxed but

very precise

reproduction.

Rock & Boulder,‘Brutally Honest’ Monitoring

The Rock MkII: Key Features

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Bespoke Class A/B amps from the amp guru Tim de Paravcini. Sealed cabinet for fast, honest bass

reproduction. Superior 50kHz folded ribbon tweeter for smooth detailed high frequencies.

Unity Audio

The Boulder.

Unity Audio The Rock.



T Y A U D I O + + + + U N I T Y A U D I O + + + + U N I T Y A U D I O + + + + U N I T Y A U D I O + + + + U N I T Y A U D I O + + + + U N I T Y


The Avalanche

The third product in the

monitoring range is designed

to complement the brand’s

existing Rock and Boulder, for

those that want extra SPL and

low frequency extension, but also

want a monitor that can be used

in conjunction with other monitor

brands. In keeping with the

Unity Audio’s Rock and Boulder

philosophy, the Avalanche has

been designed by Kevin Van Green and retains

the sealed cabinet approach, but it also has a

dual chamber with an aperiodic vent, which

gives all the benefits of a sealed cabinet – no

port noise, a tight, fast, and accurate bass

reproduction; and it also increases the bassresponse from a smaller cabinet.

The Avalanche uses a downward firing 12-inch

woofer designed for heavy duty sub-woofer

application in a 65 litre enclosure. The input/

crossover has two presets from the Rock and

Boulder to make set up simple for customers,

but there is also a variable hi and low pass

filter section too. Two balanced XLR inputs and

outputs, and also an XLR bypass connector,

will allow a foot-switch to completely bypass

the Avalanche and route full frequency back to

the satellite speakers. Amplification is by two

Rock low frequency custom E.A.R discrete Class

A/B amplifiers running in parallel, totalling 150

watts on rubber isolation mounts. The cabinet

sits on four large adjustable spikes to stop any

unwanted movement. The Avalanche extends

low frequencies down to 22Hz, and will be

available from mid June.

Don’t take our word for it, listen to these guys!

Unity Audio Ltd.

t +44 (0)1799 520786

e [email protected]

w www.unityaudioproducts.co.uk

Rock MKII mix Coldplay Live DVD

“ I had the Rock MK II’s for evaluation

and ended up using them to mix the

entire forthcoming Coldplay live DVD.

They’ve saved my ears, it’s great that I

can work at low levels for long periods and

hear everything! The clarity and depth of

perception is something that I’ve never expected to find on such a small

speaker like The Rock. The bass response is surprisingly deep, transientresponse snappy, and stereo depth impressively wide. I love them!”

Rik Simpson – Co-Producer/Engineer for Coldplay

“The client and myself both agree that my 30-min tweak on the

Unity Boulders is a better mix than the last few tracks that I mixed for

him that took two days and cost him $2000. Your monitors are world

class, there is nothing close to the flatness and exact representation of

a true mix that your monitors can provide on the market that I have

ever heard”.

Owner – Cavern Sound Studios Australia

“The Rocks are amazing, they sound a lot bigger than they are and haveincredible low end detail and punch even at very low levels.”

Andy Gray – Composer/Producer.

Tori Amos, Liz Fraser, Gary Numan, Korn, U2, Enter Shikari, Hard Fi

“The Rocks are amazing, brutally revealing, which is exactly what I need

for demanding mixing”.

Ben Hillier – Producer. Blur, Depeche Mode, Future Heads and Elbow

“Crucially the bottom end is detailed and true at any monitoring level.

Honesty is the best policy!”

Ken & Jolyon Thomas –

Engineer/Producers. Moby, Sigur Ros

“I wasn’t even in the market for a pair of monitors until I heard

The Rocks. The soundstage on them is huge though unhyped and true.

I used to spend hours agonizing over the low end.”

Mike Crossey – Producer. Arctic Monkeys, Razorlight,Foals, The Kooks, Black Keys

Rocks MKII & Boulders

for Queens of the Stone Age

“The Unity Audio Rock Studio Monitors

have been a fantastic addition to Pink

Duck Studios. The imaging is fantastic.

They have a bottom end that belies

their size and a smooth modern top.

The result is true detail with a wide

depth of field, and I don’t get any

surprises when I take mixes out of the studio. Hell, mixes sounds thesame at home and in the car, just like they did in the studio on the

Rocks. That kind of consistency and accuracy is all I care about.

“As for the Boulders... They’re the exact speaker I needed. The power

and the punch of a large studio main, stuffed in cabinets the size of the

modern, real world recording studio. That big bottom end you’d expect,

but not at the expense of precious mid-range. Accurate details abound.”

Joshua Homme – Queens Of The Stone Age

The Boulder: Key Features

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+ A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D I O - T E C H N I C A + + + + A U D

PROMOTIONAL FEATURE 31

Highly-regarded for its comprehensive

microphone line-up, Audio-Technica also

produces a wide range of headphones

for professional use, employed by

engineers and producers both for live

shows, and tracking and mixing in the

studio (including Ben Hammond

(Deaf Havana, The Blackout) and

Adam Boole (You Me At Six)).

Audio-Technica’s enduringly popular

ATH-M50 headphone is designed

specifically for professional monitoring

and mixing, delivering exceptional power

handling and very high SPL capabilities.

Tonally, the M50 is engineered for accurate

bass and clarity throughout its extended

frequency range (15-28,000Hz) and built

for real comfort – generously padded ear

cushions create an outstanding seal for

maximum isolation.

Available in standard black andcurrently in a limited edition red finish and

white (as M50RD and M50WH), the M50

sports 45mm drivers with neodymium

magnets to ensure ultra-efficient signal

transfer. And the headphone is also

remarkably ergonomic, with a collapsible

design for portability and storage, and

earpieces that swivel through 180 degrees

for easy one-ear monitoring.

ATH-PRO700 Mk2

Alongside the M50, Audio-Technica’s

ATH-PRO700Mk2 is aimed specifically at

DJs monitoring in loud environments.

Large 53mm neodymium magnet-

equipped drivers serve up outstanding

sound reproduction and offer 3,500mW

power handling. The headphone also has a

huge frequency response of 5-35,000Hz.

Despite their abilities in demanding

situations, the PRO700 Mk2 is a lightweight and

exceptionally comfortable headphone, and its

earpieces swivel 50/90 degrees for one-ear use

– its advanced circumaural design also allows for

remarkable isolation from ambient noise.

A detachable, replaceable cord completes

the PRO700Mk2s spec list – the headphone

comes with both straight and coiled cord types

with screw-in connectors for security during use.

Studio And StageMonitor Headphones

The dominant headphone brand inits domestic Japanese market,

Audio-Technica also caters to the needs

of professional users the world over.

Audio-Technica Limited (UK)

Unit 5, Millennium Way

Leeds, LS11 5AL

t +44 (0) 113 277 1441

f +44 (0) 113 270 4836

e [email protected]

Celebrating more than 50 years of audio

excellence worldwide, Audio-Technica is a

leading innovator in transducer technology,

renowned for the design and manufacture

of microphones, wireless microphones,

headphones, mixers, and electronics for the

audio industry. Users of Audio-Technica

microphones and headphones include

Metallica, Gwen Stefani, Linkin Park, Deaf

Havana, The Blackout, Freestylers, and

Eddie Halliwell.

The PRO700

Mk2 DJ monitor

headphone.

Audio-Technica’s M50

monitor headphones.


http://slidepdf.com/reader/full/buyers-guide-monitors-headphone2013-digital 32/3632 PROMOTIONAL FEATURE

At KRK, our focus is to

develop studio solutions

to help you create

a great mix.

KRK monitors and

subwoofers are

legendary. The ERGO

room analysis and correction system is

revolutionary. Now you can enjoy the same

KRK engineering and innovation when using

headphones. The KNS series are designed

to provide what KRK has been delivering for

25 years: sonic accuracy, transparency, and

consistency. And, with KRK you are assured

that what you hear is

true, whether the source

is on the console or on

your head!

KRK Headphones

provide a precise listening

experience that takes you

from personal studio to

commercial studio to on-

the-go track evaluations

– and they allow you to

evaluate and enjoy your

music with the consistent

voicing philosophy and honest

reproduction top producers, studio

musicians, performers, and engineers have come

to trust. KRK headphones provide incredibly

natural frequency response that gives you a

reference standard unaffected by your location.

Day or night. Studio or home. Without disturbing

others. Without compromising your tracks.W hether you are listening to some tracks,

or tracking your next recording, the KNS

series gives you the famous KRK sound in

an extraordinarily comfortable closed-back

around-the-ear design with highly isolated

surround pads. Having ‘One Voice’ that

consistently gives you accurate reproduction

of your music or mix will help you achieve just

what the artist intended – especially when

the artist is you.

Headphones for Educated EarsThe KNS Series of Headphones from KRK

+ + K R K S Y S T E M S + + + + K R K S Y S T E M S + + + + K R K S Y S T E M S + + + + K R K S Y S T E M S + + + + K R K S Y S T E M S + + + + K

“Expect excellent isolation from the

KNS 6400 closed-back earcups for

superb listening privacy in any setting and

zero leakage into the mic during recording

or vocal work. Highly recommended, well-

priced headphone for recordists, mixers,

and personal monitoring of all music genres.

The KNS-8400’s offer nuanced tonal

balance and clear timbral transparency at all

frequencies. Low-end bass response is robust

and full but with controlled impact while the

uppermost highs remain present and brilliant

without glare or screech.”

Headphone.com

“The lack of high-end hype is appreciated

for long or loud tracking sessions, and the

bottom end is slightly plump without

being too ‘poofy’ or having ‘one

note bass’ syndrome.

Their clarity, isolation,

low weight, fold-ability,

and comfortable ear pads

make an ideal headphone

experience.”

Pro Audio Review

“For people who feel that

headphones isolate the two sides of the

stereo image unrealistically, the KRKs will

be something of a revelation. Both phones

are incredibly light – 7.4 and eight ounces

– and this light weight greatly extended

the comfortable listening period. These

headphones provide a noticeably different

listening and soundstaging experience thanother headphones in their class, one that’s

likely to win over musicians from some other

headphones costing much more.”

Recording Magazine

“The first thing I want to know is whether

the low frequencies are there. Does it feel like

the Expose monitors? And it totally does, the

comfort is incredible. They are lightweight

– not these big, old heavy headphones

that you feel like you want to take off after

wearing them for five minutes. Now when I

take my mixes home or when I’m travelling,

I can plug my KRK headphones into my

laptop and feel like I’m still in the studio.

That’s important when you’re making hits

for the radio; you have to be spot on.”

Rodney “Darkchild” Jerkins, Producer (Lady

Gaga, Beyoncé, Britney Spears, Mary J. Blige)

“When its past 10pm and the kids are

sleeping and you need to get this one more

mix finished, and you have to change

from your speakers to your

headphones, you’re not losing

anything. In a studio situation

you’re wearing headphones

for 12 hours, 14 hours, 16

hours. They’ve got to be

comfortable. They’ve got to

be closed back because you’re

going to record with them.

They’ve got to have a long cable

with a volume control on the cable that’s

convenient. These have them. That’s great.

A pair of headphones that gives you a really

honest representation of what’s going on,

they can be invaluable, and it’s probably the

cheapest thing you’ll buy for your studio.

Most headphones make you happy, these

headphones might make you sad if your mixes aren’t good – and that’s what I want

my clients to have, I don’t want them to be

fooled into thinking their mixes are great!”

Stephen Marsh (Mastering Engineer)

Focusrite Audio Engineering Ltd.

Windsor House, Turnpike Road

High Wycombe, Bucks

HP12 3FX, UK

t +44 (0) 1494 462 246

e [email protected]

KRK Systems, Inc.

Gibson Pro Audio

309 Plus Park

Nashville, TN 37217

1-800-4 GIBSON

e [email protected]

w www.krksys.com

®



For nearly 70 years, Sennheiser microphones

and headphones have consistently offered the

very best in audio performance. The company’s

products are trusted by professionals worldwide

and are used on a daily basis on live stages, by

DJs, and in studios. Sennheiser delivers a wide

range of closed-back monitor headphones and

open audiophile headphones to cater to diverse

monitoring requirements.

HD 25-1 II

The closed-back HD

25-1 II is probably

the most widely

used headphone

from the Sennheiserrange by both live

sound engineers

and DJs. Offering

high attenuation of

background noise, they perform exceptionally

well in challenging environments – for example

ENG, sound reinforcement, studio monitoring,

and audio equipment testing – and are capable

of delivering very high sound pressure levels.

Their lightweight construction and comfortable

design with a split headband means they are

suitable for long periods of use, yet they are also

extremely robust for coping with the rigours of

touring life. Featuring a tough, detachable steel

cable, neodymium ferrous magnet systems,

lightweight aluminium/copper voice coils, and

a rotatable capsule for one-ear listening, the

HD 25-1 II has a 70Ω nominal impedance for

universal compatibility.

HD 26 Pro

Hearing protection is becoming an integral

element of the occupational health and safety

legislation in a growing number of countries

around the globe. The supra-aural HD 26

Pro monitor headphones comply with this

requirement, combining hearing protection,accurate sound reproduction, and comfort for

the wearer. Professional features include a split

headband, a special low-noise cable design, and

a defeatable active limiter that cuts off sudden

audio peaks.

HD 280 Pro and

HD 380 Pro

A closed-back,

circumaural

headphone

designed for

professional

monitoring,

the HD 280 Pro offers an exceptional 32dB

attenuation of external noise, making it

particularly suitable for use in high-noise

environments. The HD 380 Pro also provides

excellent passive attenuation of ambient

noise and an extended frequency response of

8-27,000Hz, utilising Sennheiser’s Eargonomic

Acoustic Refinement (E.A.R.) design, whichchannels the audio signal directly into the

user’s ears. Both models provide accurate sound

reproduction for demanding use, while the

lightweight and secure-fit design offers a very

comfortable, long-duration listening experience.

HD 25-SP II

The HD 25-SP II are closed-back, dynamic

headphones for monitoring, recording, and

outdoor applications. A lower-cost alternative to

the HD 25-1 II, featuring a simpler headband

and slightly different capsule design, several

features of the more expensive model are

included, for example neodymium ferrous

magnet systems, lightweight aluminium/copper

voice coils, a tough, detachable OFC cable, high

maximum sound pressure level, and a very

lightweight and comfortable design.

HD 800

Incorporating

Sennheiser’s most

advanced driver

technology, the HD

800 open-backed,

circumaural dynamic

stereo headphonesredefine the standard

of reference-level audio. The reference-grade

audio performance is matched by a striking

design. The ring-shaped transducer is encased

by a precision material made of stainless steel,

while the ear pads are handcrafted from a

high-quality microfibre fabric that is extremely

comfortable to wear and easy to maintain.

Featuring a specially-designed, four-wire, high-

performance cable with Teflon insulation, the

HD 800 delivers the ultimate in both audio and

aesthetic performance.

HD 700

These open, circumaural dynamic stereo

headphones promise an outstanding

soundstage with a warm and balanced audio

reproduction. They feature specially-tuned,

highly efficient drivers capable of delivering high

sound pressure levels, an angled acoustic baffle,

plus a detachable, symmetrical, silver-platedfour-wire OFC copper cable. Ventilated magnet

systems minimise air turbulence and thus

intermodulation and harmonic distortion.

HD 600 and HD 650

The ideal choice for professional engineers

recording classical music, the HD 600s deliver

exceptionally natural, spatial, and accurate

sound, with an advanced diaphragm design

that eliminates standing waves. The audiophile

HD 650s were developed from the HD 600

and feature improved materials for even better

sound reproduction. Key features include

highly optimised magnet systems for minimum

harmonic and intermodulation distortion,

lightweight aluminium voice coils to ensure

excellent transient response, and a precise

damping over the entire diaphragm surface –

consistent in all climates.

Sennheiser Monitoring Headphones –Innovation and Expertise CombinedAfter more than half a century of innovation, Sennheiser continues to push the boundaries of what

headphone technology is capable of delivering.

Sennheiser electronic GmbH & Co. KG

t +49 (5130) 600 0

f +49 (5130) 600 300

w www.sennheiser.com

Sennheiser U.K. Ltd

t +44 (0) 1494 551551

f +44 (0) 1494 551550

w www.sennheiser.co.uk

+ S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E I S E R + + + + S E N N H E

PROMOTIONAL FEATURE 33



+ U L T R A S O N E + + + + U LT R A S O N E + + + + U L T R A S O N E + + + + U L T R A S O N E + + + + U LT R A S O N E + + + + U L T R A S O N E +


Ultrasone, founded in 1991, is located close

to the Alps in South Germany and specialises

in headphones. Day-to-day commitmentleads to explicit expert knowledge and makes

Ultrasone one of the leading developers and

manufacturers of headphones throughout the

world. Constant development leads to high

quality pro headphones equipped with the latest

technologies and beneficial accessories.

Ultrasone’s Technologies Are Unique

Ultrasone invented the inimitable S-Logic™

Natural Surround Sound and Ultra Low

Emission technologies, thus integrating safer

hearing aspects without neglecting the latest

technologies. The consideration of all these

aspects is fundamental for modern headphones.

S-Logic™ Technology

Unique? Yes! Revolutionary? Definitely!

The patented S-Logic™ technology is described

as ‘Natural Surround Sound System’. No other

digital surround system can compare with this

standard. The sound of normal headphones

will sound direct and even on both sides, while

the S-Logic™ system pushes sound around your

head. It appears as though you are listening to

speakers metres away. Even at very low levels,

this spacious sound allows you to hear and listen

to each and every individual sound. And ontop of that, the S-Logic™ technology does not

require additional equipment!

How does

S-Logic™ work?

S-Logic™ sendsmusic around your head, not just into it, because

this technology uses decentralised driver

positioning. Did you know that you use and

need the outer ear for your three-dimensional

understanding to define the direction and

distance of where a sound comes from? Instead

of hitting the inner ear directly, with S-Logic™

the signals are reflected off the surface of

the outer ear in different directions before

entering the auditory canal, to create a natural

three-dimensional sound. S-Logic™ is the only

headphone system that includes your entire

sense of hearing. S-Logic™ does not change your

personal hearing, but it intensifies it for your

individual needs and listening pleasure. S-Logic™

doesn’t need artificial echo, digital sound

processing, or cross over run time delay. You can

hear the sound just the way the sound engineer

has mastered it.

Safer Hearing

S-Logic™ allows at the same time a reduction

of sound pressure levels at the eardrum by up

to 40% (3-4dB). This may reduce the risk of

hearing damage while ensuring hours of

fatigue-free listening.

Ultrasone – S-Logic™ Plus

S-Logic™ Plus is the newest advancement

in the S-Logic™ Natural Surround

System, squeezing the BIG S-Logic™

soundstage found in our PRO

series headphones into the more

streamlined ear-cups of select

HFI & DJ models.

S-Logic™ Plus profits directly

from innovations developed

for our flagship Edition range,

the ultimate headphones for

critical listening.

This sophisticated new

technology combines precision

dampening with micro-acoustic

reinforcement, allowing driver, buffer-

board, and spatial parameters to complement

one another in an optimal manner. So, the

acoustically redesigned ear-cups of these new

models and their tonal fine-tuning result in a

most neutral sound impression with more vivid

perception of voices and instruments.

Ultrasone’s ULE-Technology

Most headphone drivers produce low-frequency

magnetic fields as they convert an electrical

signal into the acoustical signal that we hear

as music. Ultrasone has developed a special

MU-Metal shielding that we call ULE (for Ultra

Low Emissions) to reduce this radiation by up to

98%, compared to conventional headphones.

This technology has withstood the test of

international review and is recommended by

technical surveillance organisations. Ultrasone

originally developed ULE-technology

for professionals, since they spend half of

their lives in headphones.

Professional Sound Quality

& Accessories

The highest sound quality is guaranteed due

to high profile technologies and high-classmaterials. Naturally, Ultrasone headphones

offer accessories desired by professionals to

support day-to-day needs in the studio or on

the road. The headphones are placed in a safe

transportation box together with accessories

such as extra detachable cable and extra

earpads.

First Choice ForProfessionalsSpecialist In Headphones

Take a closer look at our website. The options are

yours to explore. If you have any questions, please

feel free to contact the Ultrasone team any time.

Ultrasone

w www.ultrasone.com

e [email protected]


http://slidepdf.com/reader/full/buyers-guide-monitors-headphone2013-digital 35/36 MONITORING & HEADPHONES DIRECTORY 35

ACOUSTIC ENERGY

www.acoustic-energy.co.uk

ADAM AUDIO

www.adam-audio.de

+49 30 863 00970

AKG

www.akg.com

+43 1 866 540

ALESIS

www.alesis.com

+1 401 658 5760

AMBIANCE ACOUSTICS

www.calcube.com

+1 858 485 7514

ATC

www.atc.gb.net

+44 0 1285 760561

AUDIO-TECHNICA

www.audio-technica.com

+44 0 113 277 1441

AUDIX

www.audixusa.com

+1 503 682 6933

B&W

www.bowers-wilkins.co.uk

+44 0 1903 221500

BAG END LOUDSPEAKERS

www.bagend.com

+1 847 382 4550

BEHRINGER

www.behringer.com

+49 2154 9206 0

BEYERDYNAMIC

www.beyerdynamic.com

+49 7131 6170

BLUE SKY

www.abluesky.com

+1 516 249 1399

CANFORD AUDIO

www.canford.co.uk

DENON

www.denon.co.uk

+44 (0)2890 279830

DYNAUDIO ACOUSTICS

www.dynaudio.com

+45 87 427 000

EARTHWORKS

www.earthworksaudio.com

+1 603 654 6427

EDIROL

www.edirol.com

+44 0 1792 702701

EMES

www.emes.de

+49 0 8222 965954

ESI

www.esi-pro.com

+49 0 7152 398880

EVE AUDIO

www.eve-audio.com

EVENT ELECTRONICS

www.event1.com

+61 2 9648 5855

EXIGY

www.exigy.co.uk

+44 0 1256 381944

FAR

www.atd2.com

+32 85 318 123

FOCAL

www.focalprofessional.com

+33 0 477 435700

FOSTEX

www.fostex.com

+81 42 546 4974

GENELEC

www.genelec.com

+358 17 83881

GRADO LABS

www.gradolabs.com

GRIFFIN AUDIO

www.griffinaudiousa.com

+1 914 248 7680

GRIMM AUDIO

www.grimmaudio.com

+31 40 213 1562

HARBETH

www.harbeth.com

+44 0 1444 484371

HOT HOUSE

www.hothousepro.com

+1 845 691 6077

JBL

www.jblpro.com

+1 818 894 8850

KRK

www.krksys.com

+1 954 949 9600

KS DIGITAL

www.ksdigital.de

+681 761 804 63

LEGACY AUDIO

www.legacy-audio.com

+1 217 544 3178

LIPINSKI SOUND

www.lipinskisound.com

+1 916 273 9726

MACKIE

www.mackie.com

+1 425 892 6500

M-AUDIO

www.m-audio.com

ME-GEITHAIN

www.me-geithain.de

MEYER SOUND

www.meyersound.com

+1 510 486 1166

MISSION

www.mission.co.uk

+44 0 845 458 1122

MITCHELL & TODD

www.excelaudio.co.uk

+44 0 208 354 0820

MK SOUND

www.mksoundsystem.com

+1 818 439 3577

MUNRO ACOUSTICS

www.munro.co.uk

+44 0 207 403 3808

NADY SYSTEMS

www.nady.com

+1 510 652 2411

NEUMANN

www.neumann.com

+49 30 41 77 240

NHTPRO

www.nhthifi.com

+1 707 747 0122

PMC

www.pmc-speakers.com

+44 0 1582 405694

PRESONUS

www.presonus.com

+1 225 216 7887

PSI AUDIO

www.psi-audio.com

+41 0 24 426 0420

QUESTED

www.quested.com

+44 0 1404 41500

ROLAND SYSTEMS GROUP

www.rolandsg.co.uk

+44 (0) 1792 702701

SAMSON AUDIO

www.samsontech.com

+1 631 784 2200

SE MUNRO

www.seelectronics.com

+44 (0)845 500 2 500

SENNHEISER

www.sennheiser.co.uk

+49 5130 6000SHURE

www.shure.co.uk

+1 847 600 2000

SLS LOUDSPEAKERS

www.slsloudspeakers.com

+1 417 883 4549

SONODYNE

www.sonodyne.com

+44 0 1923 693770

SOUND PROJECTS

www.soundprojects.com

+31 0 36 539 4570

SURROUNDTEC

www.surroundtec.de

+49 7131 797 54555

SUPERLUX

www.superlux.com

+1 404 525 0700

TANNOY

www.tannoy-speakers.com

+44 0 1236 420199

TAPCO

www.tapcoworld.com

+1 425 892 6511

TASCAM

www.tascam.com

+1 323 726 0303

TRIDENT AUDIO (PMI)

www.pmi-audio.com

+1 310 323 9050

TRUTH AUDIO

www.truthaudio.com

ULTRASONE

www.ultrasone.com

+49 0 8158 90780

UNITY AUDIO

www.unityaudio.com

+44 0 1440 785843

WESTLAKE AUDIO

www.westlakeaudio.com

+1 323 851 1222

PELONIS SOUND &

ACOUSTICS

www.chrispelonisspeakers.com

YAMAHA

www.yamaha.com

+44 0 1908 366700

Monitors & HeadphonesManufacturers Directory



ere’s a dirty little

secret: Most monitors in Eris’price range are designed sothat they sound impressive inthe store — lots of bonky bassand tizzy treble — but they aren’t accurate when you’retrying to do a serious mix in

your studio.Te new Eris™ E5 and E8 are

true pro monitors with theprecise back-panel acoustic-tuning tools you need to tailortheir sound to your room envi-

ronment and musical genre*.You’ll end up withmixes

that sound good everywhere(including iunes and CDs),not just in your control room.

Eris monitors pack long-throw Kevlar® K100 low frequency transducers andlow-mass, silk dome highfrequency transducers withseparate butt-kicking Class A/Bamps for each.

Above all, Eris are musical,powerful, and excruciatingly accurate. Get the whole story of Eris on our site. Or visit yourPreSonus dealer for anear-full of Eris.

ō"",))(

ō""+)ZDWWV

Eris™. Affordable studio monitorsthat don’t treat you like a kid.

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buyers guide monitors headphone2013 digital

Documents