monitors guide 2014 digital

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GUIDE TO

THE

A S p e c i a l P r o m o t i o n a l P u b l i c a t i o n F r o m I n t e n t M e d i a

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

I N T E R N A T I O N A L E D I T I O N

In association with:Produced By:

Monitors &Headphones2014

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www.audiomedia.com June 2014 03

Sign up for your digital AM at www.audiomedia.com CONTENTS

> Commercial DirectorDarrell Carter

[email protected]

> Editor Jory MacKay [email protected]

> Group Head of Design & Production Adam Butler [email protected]

> Production Executive Jason Dowie [email protected]

> Designer Jat Garcha [email protected]

>>> CONTENTS

>>> MEET THE TEAM

> 4

Monitoring Commandments> 6 Monitoring Methodology

> 10 MONITORS: Dynaudio

> 12 MONITORS: Eve Audio

> 14 MONITORS: Genelec

> 16 MONITORS: KRK

> 18 MONITORS: PMC

> 20 MONITORS: PSI Audio

>

22

MONITORS: PreSonus> 26

MONITORS: Tannoy> 28

Headphone Essentials> 29

HEADPHONES: Audio-Technica

> 30 HEADPHONES: KRK> 32

HEADPHONES: ULTRASONE

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whethermechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensureaccuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents orany omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor.

The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. 2014 NewBay Media. All rights reserved.

Welcome to the 2014 edition of the InternationalGuide to Monitors & Headphones, an overviewof the monitor and headphone market for the

audio production professional.Bring up the subject of monitoring with any producer, engineer, orrecording professional and youre bound to get more than an earful back(no pun intended). Thats because what we hear, obviously, defines what

we create. Our ears are only as good as the sound that is getting to them.So whether its the box, the magnetics, the materials, the electronics, oreven just the room theyre in, the term reference is never used lightlyamong those who rely on accurate and natural voicing, spot-on transients,and that little, indefinable something special during their day-to-day ofaudio production.

Within the pages of the 2014 International Guide to Monitors &Headphones weve put together promotional articles from 10 of the

worlds leading monitor and headphone manufacturers detailing theethos and design choices that go into producing these critical audioproduction components.

Weve also included informative articles from some of the top studiodesigners and monitor and headphone aficionados who will help youcreate the perfect monitoring sweet spot, or choose the right set of studiocans for your application.

Looking for tips on setting up your studio? Level Acoustic Designfounder Chris Walls runs us through his process whether youre in music,mastering, film, or any other area of audio production, while WhiteMark managing director David Bell gives us five of his steadfast rules ofmonitoring.

What about headphones? Do you need open or closed back? Howmuch should you spend? And what sort of features should you be lookingfor? We get these answers and more from the CEO of headphonespecialist retailer HeadRoom.

So if youre in the market for new monitors or headphones, or just want to see whats new and interesting, this Guide is here for you.

This Guide, along with the others in the series (DAWS & Plug-ins, Theatre Sound, Microphones, Broadcast Audio, and Consoles) are Audio Mediaprojects and are designed to help you navigate your way throughthe swaths of products available.For more details visit www.audiomedia.com

Jory MacKay, editor.

AUDIO MEDIA (UK)

Audio Media is published byIntent Media London,1st Floor, Suncourt House,18-26 Essex Road,London N1 8LN, England.www.audiomedia.comTelephone: +44 (0) 20 7354 6001

www.nbmedia.com

> ADVERTISER INDEX Advertiser Page

Dynaudio 2

Genelec 9

Neumann 7

PreSonus 36

PMC 31

Tannoy 35


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MONITORING

BEFORE launching into a view of theloudspeaker itself, the key features of theenvironment into which it is to be placed mustbe understood. This piece is not the place for atutorial on the acoustic properties of enclosedspaces but the salient issues should be set out,such that a context for the following remarks canbe established. Important aspects of the roomto be considered are its modal response and thefundamentally different relationship it has to thediffering regions of the frequency response it is tobe asked to support during audio reproduction.

The key influence can be very heavilysimplified to the observation that: all spaces thatare enclosed by walls will have a series of modes,perceived as maxima and minima in sound levelat given frequencies. These modal effects arespatially distributed within the space as a directresult of the geometry of the rooms boundaries.

The distribution across the frequency spectrumof these modes, and their Q, are affected by theshape and the structure of the room boundariesand there is only so much that can be undertakento alter this using acoustic treatment, once thespace within it has been defined.

The way that the room volume interacts with frequencies within it as they vary overthe audible range varies. The effect of the lowfrequency response of a room is limited in therange below the fundamental frequency relatingto its principal axial dimension. Above this

region the response is principally affected bythe modal response of the room until a valueis reached, relating to the RT60 of the spaceand its volume, known as the cut off frequency.

Above a value, roughly four times the cut offfrequency, geometric reflection combinationsare the fundamental mechanism of effect thatthe room has on the sound within it. Betweenthese two figures, the room affects the sound ina mixture of ways including geometric reflectioncombination and modal effects. As the frequencyrises within the space, the modal densityincreases and, as the upper frequency figure isapproached, their effect becomes minimal.

And so, to the requested Commandments,or fundamental observations:

1. Choose the right monitorsSimply put, a loudspeaker should be selectedthat will give as wide a frequency response aspossible at a consistent level to suit both theroom in which it is to be used, and the use to

which it is being put.Dispersion characteristics should be

considered as a fundamental aspect of the

performance of the monitor. There arearguments for a restricted dispersion angleand others for a wide spread but, whichever isselected, this aspect of the performance shouldbe even with frequency as far as is possible.Uneven dispersion will result in a great disparity

between the on axis (and possibly perfect)response and the off axis energy that is pouredinto the room which, in turn, can result in aserious disparity between the reverberant fieldcharacteristics and those of the direct field.

A loudspeaker is the fundamental interfacebetween the recorded sound signal and the user

who is assessing it. Thus, the monitor chosenmust perform across a range of frequencies ata level that is compatible with that at whichthe user wishes to work. In Dolby-licensedpost-production environments this is set outcarefully, depending on the approval levelsought, so that consistency is achieved acrossstudios and cinemas the world over. Musicusers must ensure that their frequency responseand level requirements are realistic when

auditioning possible monitors.Consider the topology of the units you wishto audition. A pure approach to monitor design,avoiding ported enclosures to give enhancedbass response, can be likened to the search forthe pure signal path in the electronics. High-

04 June 2014 The International Guide To Monitors and Headphones 2014

MonitoringCommandmentsDavid Bell , managing director of acoustic and technical designfirm White Mark, gives us his five steadfast rules for getting themost out of your monitors.

Tony Germanos Studio One in New York

White Mark managing director David Bell


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power amplifiers and large-excursion bassdrivers have made this more possible than inpast times and consideration should be given tothe transient response and phase effects aroundthe driver/port summation that allow theported enclosure to work. Listen to fretless bassor similar sounds and check that pitch and toneare maintained down to low frequencies andnot sacrificed for punch and measurable outputextension that is not musical.

2. Put the monitors in the right placeMonitoring exists as the result of theloudspeaker and the listener combining withtheir environment. Placements of both theloudspeaker within a room and of the observerare fundamentally affected by the modal at

low frequencies and by reflections from roomboundaries at higher frequencies. Thus, allsteps should be taken to assist the loudspeakerto give off its best by mitigating the adverseeffects caused by placement.

The loudspeakers should be positioned tominimise reflections from their immediatesurroundings. Nearfield monitors should beplaced to minimise multi-path effects from aconsole or work surface; free-standing mid-field and even soffit-mounted units should beadjusted in position to reduce comb filteringfrom reflection paths via the walls, ceiling,floor, and equipment. Height, particularly, canbe used to great advantage to maximise pathdifference lengths between direct and reflectedsound from such surfaces as the console/

work station, equipment racks behind theengineer and the floor. Care taken to observethe variation in response as free field mountedloudspeakers are moved can reap great benefitin minimising the colouration produced byreflected multi-path interference.

Soffit mounting of monitors is the bestsolution for minimising reflection-originatedcolouration. It should be well known that,as frequency drops, the loudspeaker outputsenergy in a progressively increased solid angleuntil, at low frequencies, the energy emitted tothe rear and sides is close in level to that whichradiates forwards. Correct soffit mountingprevents this energy from reflecting with anytime delay and, thus, colouring the perceivedsound at the listening position.

3. Support the monitor units correctly A fundamental mistake made by many users

is in the support of the loudspeakers in theposition in which they are to be used. Incommon with every aspect of studio design,resonance should be avoided at all cost. Itis noticed, time and again, how edit andcomposition workstations are set upon tables,

with the small or medium-sized loudspeakers seteither side of the screen. While this can be fine,a swift knock on the table surface will reveal theresonant nature of the usually lightweight unitsand it is a fundamental truth that the soundradiated by the table when struck will matchthe absorption characteristics that the surfaceis applying to the loudspeaker. Many smallermonitors try hard to eke out as much bottomend as possible and it seems pointless to justthrow this away with uncontrolled low frequencyabsorption into the supporting structure.

An example to illustrate this comes from astudio that called us in to look at a poor bassresponse from a pair of midfield monitorsthey were using. They had a client who hadrecorded and mixed a number of tracks onhis own monitors which he had positionedover the meter bridge and, when these weresubmitted for mastering, they were found to bedeafeningly bass heavy. Upon measurement,the suck out was not in evidence when themain monitors were in use, nor when the smallnearfields were tried. The client was askedto reproduce the set up used for the sessionsand he brought in a pair of Unicol TV stands,

which he positioned overhanging the console. The midfields were duly mounted upon themand a massive loss of bass became immediatelyobvious. Removing the stands and placing theloudspeakers on the very substantial meterbridge restored the bass immediately.

4. Set the monitors up to the best of yourability (or the availability of budget)If possible, a competent engineer should setup the monitors in the room in which they

are to be used. If free field mounting is used,the moving of the loudspeaker, even by verysmall distances, can cause significant changesin response and it is easiest to accurately assessthis using instrumentation. Soffit-mountedunits are best placed to avoid these problems

and the designer should have positioned themto minimise any problems at the drawing stage.

A competent measurement system shouldbe used for all but the lowest cost monitors asthe expenditure necessary for this process to beundertaken is limited and the benefits obtainedfar outweigh the effects of oxygen-freecabling, gold interconnects, and esoteric standgeometries, all of which often appear higher upthe priority list. Failing this, listen to familiarprogramme material and perform adjustmentsof position until the result is what is expected.

5. Apply GENTLE frequency responsecorrection

As described above, the listening environmentaffects the performance of the monitors in anumber of ways. The modal response of theroom will cause peaks and troughs in anyresponse, and some reflections will do likewise,and there is no point in trying to equalise theseout. If repositioning of the monitors or listeningposition is possible, then this should be tried.

The remaining anomalies should be minor andare the characteristic features of the room. If theroom has been designed properly these will bespread out evenly across the relevant parts of thefrequency range and cause no noticeable effect.

The use of a parametric equaliser to adjustthe loading of the monitor in the room volumeand topology is important. DSP units designedfor use with the loudspeaker system chosen canalso offer delay and phase correction and theseadjustments should only ever be undertaken bythe supplier or their nominated expert.

The tuning of the monitors is a processthought unnecessary in times past, the claim

being that a linear monitor and a linear roomshould just fit together and be right. Theadjustment of a monitor/room interface, takinginto account all of the above, is important. Theroom/monitor interface is complex and gentletuning is part of its correct optimisation.

Free standing monitors at Extreme Music in London


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MONITOR METHODOLOGY

WITH EXPERIENCE designing studiosfor artists and labels including Mark Ronson,U2, Coldplay, Spitfire Audio, MTA Records,and more, Level Acoustic Design founder (andformer Munro Acoustics principal acoustician)Chris Walls is a man who knows a thing ortwo about setting up your space.

Here, we ask the man himself to puttogether his tips and tricks for setting upmonitors for a number of applications.

Youve got a new client who wants you

to design a control room, which willbe used primarily for music mixing whats your first step in creating anoptimal monitoring environment?

We can assume that any good quality studiomonitor will have a nominally flat frequencyresponse when measured in a free-field (i.e.anechoic conditions) so the aim of the designis to retain that accuracy when the monitorsare set up in the studio, while at the same timecreating a comfortable acoustic environment in

which to work. This means achieving the right

balance between sound arriving at the mixposition directly from the monitors and soundarriving after one or more reflections fromroom boundaries or equipment. In practice thisis usually achieved through careful geometricdesign of the studio and by introducing

acoustic treatment to the space.So the first step is to establish what

equipment and monitors will be installed inthe studio. From here we can lay everythingout and, if space allows, design the geometryto minimise strong early reflections at themix position. Then we can design acoustictreatment to deal with prominent room modesand provide the desired acoustic response.

It is important to find the best spot for themix position in terms of the rooms modalresponse. You want to avoid it being rightin the middle of the room as many roommodes have a node in the middle of the room,meaning that there will be very little soundenergy at several bass frequencies. A goodstarting point for the mix position is aroundone-third of the way along the axis that thespeakers are firing along; themodal distribution is normallypretty good at this point. How much does monitorchoice affect the design?

It can have a big impact; atone extreme you have flush-mounted main monitors, whichessentially dictate the geometryand layout of the front third ofthe studio. The size, mounting

conditions and design principle of the monitors will determine things like the optimum listeningdistance, position within the control room andthe type and positioning of acoustic treatment.

The fundamental aim of the design remainsthe same, but the tools that you use to achieveit can be affected by the choice of monitor.

What about monitor placement can you give us a rundown of how to createthe perfect monitoring sweet spot?

The left and right monitors should be aimedat a point slightly behind the mix position;exactly how far behind depends on the type ofmonitors and the size of the room, but 300-450mm tends to work well for small to mid-sized control rooms.

The position of free-standing monitors has

Figure 1 multiple interference dips

Finding the Sweet SpotWhether you work in music, post, games, or any other discipline that requires accurate listening, yourears are only as good as the sound they are receiving. Acoustician and Level Acoustic Design founderChris Walls talks to Jory MacKay about how to create the best listening environment for your mix.



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MONITOR METHODOLOGY

a big effect on the low frequency response dueto interference from reflections from roomboundaries, especially from the wall behind themonitors. At a certain frequency related to thedistance between the monitor and the wall, thereflected sound will arrive back at the monitor180 out of phase and cause a cancellation.In smaller rooms it is common to see theseinterference dips from the rear wall, rearcorners, side walls, and ceiling all within a fewtens of Hertz of each other, leading to a deep,broad dip in the frequency response. Figure 1shows a monitor frequency response exhibitingthree distinct interference dips relating to therear wall, corner and side wall reflections. Ihasten to add that this isnt one of my studios!

The acoustic treatment can help to reduce

the magnitude of the interference dip byabsorbing some of the incident sound, but youcan further improve things by optimising theloudspeaker positions. One way is to move themonitors close to the wall, thus shifting theinterference to a frequency where the speaker isradiating more directionally, and to a frequencythat can be more effectively absorbed. This

will also result in an increase in the monitorslow frequency efficiency so you will normallyneed to apply a bit of low end roll-off tocompensate, which is a feature that most activemonitors provide. Figure 2 shows how the lowfrequency monitor response can be improved

in a small control room by optimising theloudspeaker position in this way.

Alternatively, you can move the monitorsfurther away from the room boundaries toshift the interference dip lower in frequency.Depending on the monitor, it might be possibleto move the interference dip below the lowfrequency cut-off. However that will normallymean being 1.5m or more from the boundary,

which is not practical in many control rooms. The next thing to consider is the acousticalsymmetry about the mix position. Ideally acontrol room will be absolutely symmetricalleft-to-right to ensure that both monitorssee the same acoustic environment. This

dramatically improves the stereo image. Strongside wall reflections can pull the stereo imageoff to one side so, again, it is important toconsider monitor directivity and design thetreatment to deal with potentially problematicreflections.

Are there any examples from projects youve worked on that you can use tohighlight the differences?I designed two similar-sized control roomsnext door to one another, one with flush-mounted monitors and the other withstand-mounted monitors. The studio withstand-mounted monitors required significantlymore absorption at the front of the room todeal with boundary reflection interference,

which resulted in a shorter decay time. Bothrooms have good, flat frequency responses butthe flush-mounted speakers have greater bassextension due to the increased efficiency frombeing mounted in a wall.

Another interesting point is that, while theisolation shells for the two studios are virtuallythe same size, the studio with stand-mountedmonitors has 25% more useable floor area asspace wasnt eaten up by a huge wall to housethe monitors!

Are there any differences whenworking with mastering clients?

Mastering studios tend to uselarge stand-mounted or free-standing monitors so thereis almost always a boundaryinterference notch to deal with,and the studios on the whole areslightly more live than trackingor mixing control rooms.Historically this is to reflect theconditions in home listeningenvironments, though I supposethis is becoming less and lessrelevant now that listening ispredominantly on headphones.

Are there any industry-wide standardsthat you follow, or is your work doneon a case-by-case basis?Film mixing studios have to fulfil certainacoustic requirements relating to frequencyresponse and reverberation time in order toattain Dolby certification, so there are clear pass/fail performance criteria for these studios.

There arent really any equivalent standardsfor studio control rooms. Probably the closestthing is the EBU specification for listeningrooms which sets out recommendationsfor frequency response, decay times, andearly reflections. While it is by no means an

industry-wide standard, the parameters and values it specifies are broadly in line with some

of the more commonly used approaches tocontrol room design.

My approach varies job to job depending onthe equipment, monitoring, available space, andbudget, but the aim of achieving a nominallyflat frequency response and comfortable

working environment is a constant.

What about working with film clients? Are there additional concerns whendealing with a surround set-up?Most control room design principles are basedon the assumption that sound energy is flowingfrom one end of the studio to the other, and thegeometry and acoustic treatment are designed

with this in mind. When moving from stereo tosurround monitoring you suddenly have soundsources sending energy in other directions, so

you end up with more absorption to deal withreflections from the surrounds, which results ina slightly drier acoustic.

Lets say youve got a client who,like most these days, does a bit ofeverything how would you go about

setting up their monitoring system?I would try to understand as much as possibleabout what the client does and how they work.If there is a particular function that accountsfor most of the work and income then thedesign would probably be biased to thosemonitoring requirements. I have often foundthat people ostensibly working in surround areonly really doing critical work in stereo, withthe surrounds simply providing a bit of reverb.In these cases the design would prioritise theperformance of the left and right monitors.

When a studio is genuinely going to be usedto monitor in different formats then I design it with the clients most complicated and onerousmonitoring requirement in mind; this ensuresthat simpler formats also work well. www.levelacousticdesign.com

Figure 2 example of optimising monitor position to reduceboundary interference effects


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DYNAUDIO PROFESSIONAL


Chosen by Ear

BM mkIII Series The Dynaudio Professional BM mkIIIseries near-field monitors and theBMS II-series precision subwoofersare made by hand in Denmark usingonly the finest materials and hand-crafted drivers. The result is incredibleconsistency and performance across theentire line.

These monitors perform to theirtrue potential with innovativestand technology. Each monitorarrives in your studio paired with itsown IsoAcoustics monitor stand thatallows each monitor to float in freespace. Now you hear an authentic anduncolored sound which eliminatesenergy transfer to

surrounding surfaces:bass frequencies becomes tighterand overall imaging is enhanced.

The strategic partnershipbetween Dynaudio Professional andIsoAcoustics gives you a completemonitoring solutionof superiorquality.

It is a fact that monitor selection by blindfold testing is increasingly common among audio

professionals, and Dynaudio Professional Air and BM series are chosen this way again and again byleading post, film, broadcast and recording studios.

BM Compact mkIII The BM Compact mkIII is a premium quality, small-format near-field monitor. With an ultra-high dynamicrange, it hits well above its weight class thanks tointelligent design. Using ultra lightweight aluminum

wire and aluminum voice coils in its handcrafted drivers,along with a Class D amplifier the BM Compact mkIIIprovides outstanding performance.

BM5 mkIII The BM5 mkIII is the next generation of thetremendously successful BM5A mkII. With greaterSPL, broader frequency and power response comparedto the previous model, its ultra-high dynamic range andhand-crafted drivers deliver performance superior tomany larger, more expensive monitors.

BM6 mkIII The BM6 mkIII builds on the success of the BM6A mkII design, re- voiced around Dynaudios next-generation waveguide. Designed andoften chosen as a bridge to mid-field, its small size belies its ability todeliver high SPL and broad frequency response, while the hand-crafteddrivers deliver superior performance.

BM12 mkIII The BM12 mkIII expands on the legacy of the classic BM12Adesign. Re-voiced around Dynaudios next generation waveguide, theBM12 mkIII has been designed around highly efficient hand-craftedneodymium drivers, providing faithful transient response and an SPL of123 dB for larger listening environments.

BM14S II & BM9S II The Dynaudio tradition continues in the new II-seriessubs, delivering premium, professional sound quality andperformance. Dynaudio Professional II-series precisionsubwoofers are made in Denmark using hand-crafted driversthat have made Dynaudio the industry standard in studios the

world over.

The BM9S II is specifically designed to complement BMCompact mkIII and BM5 mkIII monitors, adding extendedbass in smaller mixing and recording environments. TheBM14S II is a precision subwoofer designed to complementBM6 mkIII and BM12 mkIII monitors, adding extended bassin mid-sized mixing and recording environments.


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Sign up for your digital AM at www.audiomedia.com DYNAUDIO PROFESSIONAL

AIR Control Configuration andInstallation Software

The AIRControl

software gives you completeediting, savingand preset-based recallof room adaptation DSP, precise timingand SPL calibration, bass managementand monitor control in AIR systemsconfigurations spanning 2.0 to 7.1. The

AIR Control application for Mac and PCallows you to carry out advanced calibrationand alignment of your AIR monitoringsystem. The software provides access toadvanced tools and features inside AIRmonitors and subwoofers including timingand SPL calibration and parametric EQs foreach monitor. AIR Control lets you defineand store custom setups and presets withselective parameter locking, and a specialmeasurement mode provides EQ line signalout from selected monitors.

AIR Control runs on Mac, PC and Windows-based tablets, and will be availablefree of charge June 2014.

Choosing by Ear

Monitor selection by blindfold testingis increasingly common among audioprofessionals so we asked talented mediaprofessional, writer and editor, Paul Mac,to provide both an overview of currentprofessional practice and a practical guide tochoosing by ear for aspiring professionals.

We encourage you to Choose by Ear.

Download the full guide (PDF) here:dynaudioprofessional.com/choosing-by-ear

Volume Box

Volume Box provides level control forDynaudio BM Compact mkIII and BM5mkIII desktop monitors with unprecedentedprecision and ease. Volume Boxs uniquequality is that absolutely no audio flowsthrough it. It focuses solely on precise

volume control information. The result? Perfect tracking.

small studios to OB vans on up.

AIR Remote

AIR Remote is adedicated hardware

remote control thatensures convenient

daily operation. You get

instant accessto all

significantoperation parameters

such as global volume, reference levels,preset recall as well as solo and mute statusfor each monitor. When working with

wide dynamic range audio, it is essential tocontrol volume at the latest possible stageto assure maximum resolution at all times.

The AIR Remote gives you this control with low noise, perfect tracking acrossmultiple channels, and the ability to controlthe level regardless of the condition of thesurrounding equipment. There are threestorable reference levels, presets, and mute/solo functionality, too.

AIR Series AIR is a complete and networked solution for criticalmonitoring. Chosen by ear, youll find Air in the worldsleading broadcast and production studios. Stereo tomultichannel, analogue to full digital path, Air isconsistent, reliable and transparent.

INFORMATION

TC GroupSindalsvej 34DK-8240 RisskovDenmark

T: +45 8742 7000F: +45 8742 7010

E: [email protected]: www.tcgroup.tcW: www.dynaudioprofessional.com

TC Group is the worldwidedistributor for Dynaudio Proffesional.


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EVE AUDIO

EVE Audio of Germany is going places fast:from its establishment in 2011 it has made astrong and positive impression manufacturingcost-effective active monitor loudspeakers withDSP control. From the SC204 two-way at oneend of the range to the larger new three-waySC3010 and SC3012, all models use ClassD amplification together with the companyssignature Air Motion Transformer (AMT)high frequency driver. Theres also a range ofsubwoofers, four TS models featuring passiveradiators as an alternative to conventional ports.

Audio Mediacaught up with Roland Stenz(managing director) and Kerstin Mischke (salesand marketing), at their Berlin headquartersto find out more about the companys successstory and philosophy.

Recent developments

With so many loudspeaker manufacturers, what separates EVE monitors from the rest?Roland Stenz: They are amazing! (laughs ). Ithink its important for a customer to buy from

a company that can offer, beside the productitself, a complete range so they see there is realexperience in making loudspeakers, and thatits not, say, an electronic component companymaking cheap speakers as an additionalbusiness. I think customers like specialisedcompanies with specialist tools such as ouranechoic chamber, and we see this in our sales.

Whats been happening over the last year?RS: Weve made a big step forward to largerloudspeakers. We now have two main monitors,the SC3010 and SC3012, using a completelynew set of drivers developed here. Thisincludes a larger AMT with significantly lowerdistortion and higher sound pressure level,

which helps when designing bigger monitors.Smaller drivers have distortion level limits when

used at lower crossover frequencies, but our new AMT can cross over as low as 1.5kHz and hasdistortion of only 0.2% or better. The new midand low frequency drivers have a similar levelof quality: the the 10in woofer in SC3010, forexample, can move plus or minus 10mm, the

12in in SC3012 can move plus or minus15mm! The new monitors are suitable for largermusic recording and mastering and also filmstudios where a bigger setup is needed.

Technical background

Why is Digital Signal Processing (DSP)important to EVE?RS: In the analogue domain we have to deal with

wider tolerances for example, even the bestcapacitors are 5%, resistors are a better situation

with 1% tolerance, but potentiometers can be upto 20% and you have to decide where to place therange of greatest accuracy; with DSP you donthave these tolerances on the electronics side.Incidentally, all our DSP is programmed here inBerlin. Of course, by the nature of mechanical

systems we have to deal with the tolerances ofthe drivers, but we adjust every speaker to anormal curve and allow a variation of no morethan 0.5dB. I wanted to combine the usability ofan analogue studio monitor with more modernDSP technology: this means you can switch off


Progress and ConsolidationEVE Audio has had a busy year adding to the upper end of its extensive range ofactive loudspeakers, while continuing to build on early success.


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Sign up for your digital AM at www.audiomedia.com EVE AUDIO

INFORMATION

EVE AudioRoland Stenz, Managing DirectorKerstin Mischke, Sales and Marketing

EVE Audio GmbHErnst Augustin Str. 1a12489 BerlinGermany

T: +49-30-6704 4180F: +49-30-6704 4188E: [email protected]: www.eve-audio.com

UK distributionNova Distribution Trading LtdPhil SkinsUnit 3688-90 Hatton GardenLondon EC1N 8PNEngland

T: +44 (0)20 3589 2530E: [email protected]: www.nova-distribution.co.uk

US distributionTruNorth Music and Sound Inc.101 Omer DeSerresUnit 103Blainville, QC J7C0C9Canada

T: 855.878.6668F: 514.360.5765E: [email protected]: www.trunorthmusicandsound.com

an EVE monitor using the main studio powerswitch and no data will be lost, something ourcustomers have told us is important.

Why does EVE use Class D amplifiers?RS: The quality of Class D has improved inrecent years. We did a lot of blind testing, andfound that going beyond personal preferencepeople couldnt tell the difference with thetype of amplifier or whether the speaker wasanalogue or digital. You can see the advantagesof a Class D design with things such as heatdissipation, which is important in a studio, andpower supplies where theres no need for a bigtransformer. Having said that, you also have totake care that the right Class D design is used.

How is equalisation implemented inEVE loudspeakers?RS: We use a sensible emulation of analoguefilters and adjust them to work with the driverdesign. We avoid an FIR combination to keepdelay times short if someone is sitting betweenthe speakers and someone else has headphonesand we have a 20-50ms delay, not a good idea!

What is the significance of the Air Motion Transformer in your designs?RS: This type of driver can reproduce highfrequencies without a feeling of stress. Theimpedance curve is flat, and you dont haveresonance peaks because theres no voice coil:traditional high frequency drivers can havepeaks in the 18-22kHz range, and this affectsthe sound so high frequencies are present butthere is an additional stress factor - it soundsmore metallic than it should.

The next step for EVE

What does the future hold for EVE Audio?

SubwoofersRoland Stenz: We have four models, 7in,8in, 10in and 12in. The most importantthing about them is the use of a passiveradiator on the underside so we donthave bass reflex ports. With the passivediaphragm we can reach lower frequencies

without port noise. The subwoofers have astereo input and outputs for the satellites,together with an LFE input and an LFE

Thru. All functions, including sub andsystem volumes, crossover frequencies andsub phase, are adjustable from the front ofthe sub and via remote control. You can alsoswitch between unfiltered satellites wherethey are running full-range and filteredsatellites with the sub-woofer by pressing

a button on the remote control a goodfunction if you want to check your mix inboth modes.

The marketing viewpointKerstin Mischke: Soon after we first came tothe market we managed to find distributionpartners in 45 countries, so were already ata really high level. We still have some partsof the world, the Middle East and mid andSouth America, where were still looking fordistributors but all the rest is now covered.Our products are seen to be well made,

with someone, Roland, behind them withexperience both in manufacturing and asa user. We want to make something thatis user-friendly and great sounding, and Ibelieve its this that has brought our sales toa level we did not expect, where things havegone so fast in such a short period of time.

RS: Theresalways room toimprove andplenty of thingsto do, and werethinking aboutthe broadcastsector and alsonew productdevelopment.

Can you saymore about theproposed newproducts?RS: I can onlysay that, of

course, I have a lotof ideas. I do have guidelines for the next four

years, but I cant say too much about them atthe moment.

Kerstin Mischke: The range of speakers wehave at the moment is definitely not the last!

SC407 at the University of Northampton (UK)

The TS112 control panel


14/36

GENELEC OY


Smart Active Monitors -

Designed to AdaptGenelec 1237A and 1238A Smart Active Monitors are Designedto Adapt to the listening space they are placed in. In this article,Genelecs Christophe Anet and Aki Mkivirta describe the featuresof these new professional three-way monitors in more detail.

PROFESSIONAL audio customersrepeatedly voice the dilemma of production

work happening in smaller control rooms,

with tighter budgets, yet with increasingrequirements for the highest audio quality.

Todays recording and mixing environmentsare much smaller than they used to be and suchrooms behave unevenly at low frequencies.

Additionally because of the varying types ofaudio production, most rooms need to bereconfigured for a new type of productionduring the day or after a weeks booking.

In order to address such challenges, andbased on the highly successful active three-waymodels, 1037A and 1038A, Genelec releasestwo new three-way Smart Active Monitors(SAM), the 1237A and 1238A. Thisexpansion to the SAM product line combinesin a single package Genelecs experience inthe design of three-way systems with theirstate of the art AutoCal and GenelecLoudspeaker Manager (GLM) controlnetwork technologies. The new models arenow available for shipping.

Three-Way for PerformanceFor 35 years Genelec has manufactured highlyefficient, low distortion three-way systems withproven accuracy and reliability for the mostdemanding applications. Three-way designsare the optimum, in many ways, as they allowselection and optimisation of individual drivercharacteristics (linearity, output capacity,directivity) for a well-defined, suitably narrowfrequency range. Crossover frequencies canbe selected ideally based on the acousticalconstraints defined by drivers and the enclosurecharacteristics.

Featuring not only outstanding electro-acoustic designs, the new SAM 1237A and

1238A integrate into the listening environmentby automatically compensating any detrimentalroom influences. The end result is a highlyprecise monitoring system with very neutralsound characteristics and excellent imagingaccuracy. Key to the critical reproduction of

Genelec Smart Active Monitors forprofessionals Designed to Adapt


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Sign up for your digital AM at www.audiomedia.com GENELEC OY

INFORMATION

Genelec OyIn Europe:Genelec OyOlvitie 5, 74100 Iisalmi, Finland

T: +358 17 83 881F: +358 17 81 2267E: [email protected]: www.genelec.com

In the US:Genelec Inc.7 Tech Circle, Natick,Massachusetts 01760, USA

T: +1 508 652 0900F: +1 508 652 0909E: [email protected]

the midrange frequencies is the proprietarymidrange driver designed and hand-made inthe Genelec factory in Finland.

Advanced Directivity ControlWaveguide

The revolutionary Directivity Control Waveguide (DCW) technology greatlyimproves the performance of a directradiating three-way monitor. The 1237Aand 1238A DCWs have been designed tomatch the frequency responses and directivitycharacteristics of each transducer. This resultsin excellent flatness of the overall frequencyresponse for on and off-axis listening positions.

The consequence of the improved directivitycontrol is reduction of reflected sound energy

at the listening position, translating intosignificant improvement of the sound stageimaging.

Smart Active MonitoringSmart active monitoring adds a layer ofintelligence to monitors. Both 1237A and1238A are members of the Smart ActiveMonitoring (SAM) family of products and canbe easily combined with all other monitors andsubwoofers in the SAM Series.

SAM monitors are connected with adedicated Genelec GLM control network

which allows adjustments of all aspects ofmonitor settings and full system control whilesitting at the main listening position. It enablesaligning monitors and subwoofers in terms oflevel, timing, and equalisation of room response

anomalies. All of this is doneautomatically but can also be fullyconfigured by the end user.

Naturally, SAM monitorscan also be set up to be operated

without being connected toa control network as all theindividual settings can be storedinside each monitor.

Amplifiers and SignalProcessingNew power amplifier technologies are usedin both 1237A and 1238A models. Twohighly linear, low noise Class D amplifierspower the woofer and midrange drivers. Theinherent benefit of Class D technology is high

efficiency and minimal heat dissipation. AClass AB amplifier powers the tweeter. Thistweeter amplifier design is based on Genelecsearlier designs, used and tested for 30 yearsin larger three-way main monitors. This lownoise, high bandwidth Class AB amplifier isfully implemented using discrete electroniccomponents.

All professional audio sources can be directlyconnected to 1237A and 1238A ensuringthe cleanest signal path to the monitoringequipment. The analogue input is convertedfor digital signal processing and reproduction.Direct monitoring of digital audio in the AES/EBU format is also supported up to a samplingrate of 192 kHz and with full 24-bit resolution.Digital audio is sample rate converted to ensureperfect synchronization with all sources. An

AES/EBU thru output is provided, enablingdaisy-chaining to more monitors. Thedigital and analog audio signals are internallyprocessed at 96 kHz sampling frequency. Thereis a true 48 kHz wide electronic audio pathfrom the input to the output.

New Integrated Amplifier Module The 1237A and 1238A both feature the newadvanced RAM-L (Remote Amplifier Module)amplifier. In the standard configurationthe RAM-L is mounted on the back of theenclosure. The RAM-L amplifier unit caneasily be removed from the monitors enclosureand mounted into a 19 inch rack requiring a 3Uhigh rack space. All mechanical hardware toperform the rack-mounting is included in themonitor package.

Sustainable performanceSince the very beginning Genelecs designphilosophy has been emphasising sustainabilityand environmental values. Conservation ofnatural resources and efficient use of materialsand energy in all levels of manufacturing,

shipping, and during the product lifetimeare essential to us. All our products aremanufactured under the same roof in Finlandallowing us to select environmentally efficientsolutions, designed from the start for long life

time and low carbon footprint. All components in the 1237A and 1238A

have been designed for long service life. Allparts are serviceable. Easy change-of-moduleprinciple guarantees fast service turn-aroundtime whenever service is needed. Both monitormodels also support Genelecs IntelligentSignal Sensing (ISS). The ISS circuitry putsthe monitor to a low-power sleep mode whennot in use, and as an input signal is detected,

waking the monitor immediately on again. ISSlow-power mode removes all electronic stressinside the monitor, stops heat generation, andcontributes to the longevity of the products, inaddition to saving electricity.

All Genelec SAM Series active monitorsand subwoofers provide uncompromised soundquality and precise imaging also in acousticallychallenging environments, a benefit obtainedthrough the Smart Active Monitoring conceptpioneered by Genelec.

Genelec 1237A and 1238A are the latestthree-way monitors added to Genelecsrange of professional monitoring productsutilising DSP technology. They are alreadyshipping, so you can place your orderthrough Genelec distributors today

Technical specifications of Genelec 1237A and 1238A


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KRK

1. Vocal clarity with extended bass responseMany manufacturers compromise the midrange frequencies in order todeliver lots of bass. KRKs sonic response gives you both: vocal clarity andlow-frequency extension. Check it out yourself and listen your favorite vocalpiece that includes a bass guitar. Notice how the KRK presents, in detail, allthe vocals and midrange audio, as well as the notes of the bass guitar.

2. Clean, tight bass reproductionEveryone loves clean, tight bass reproduction. This is achieved with theproper tuning of the woofer, cabinet and port; otherwise, youll experiencemuddy bass. Grab a kick drum demo and notice how the KRK produceslow end that is punchy, tight, and well defined.

3. High sound pressure levels without distortionSome monitors play loud, but distort at higher SPLs. At KRK, we believeif it isnt clean, it isnt true at any volume level. Thats why youll findprecision limiters, matched to our amplifiers in every speaker, designedto maintain distortion-free sound and balanced response. So turn up anyKRK speaker, and hear not just loud, but hear clean.

4. Precise imaging from defined sweet spotPlace yourself in the sweet spot and listen to any demo selection: nownotice the crisp defined image and depth thats being provided.See how you can hear each vocal and instrument where the recordingengineer placed them. Even if you move your head off axis you willnotice the sound character remains consistent and you dont lose eitherside of your mix.

5. Clean high-frequency extensionSome monitors boost high-frequencies or use gimmicky tweeters toachieve what appears to be superior high-frequency reproduction.

The result often is a harsh high-end that quickly becomes fatiguingparticularly at high volumes. Listen to the KRK monitors at any SPL andnote the high frequencies are crisp, clean and dont overwhelm the rest ofthe audio range.

A studio monitor is a tool used to aurally measure the changes in anaudio path. Any seasoned recording professional thinking what makesa great studio monitor will likely give you the same answer: Accuracy,transparency, flat response, and the truth. In other wordshonesty.Simply put, recording engineers want the electrical signal entering theirmonitor 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 ofaudio mediums.

All KRK studio monitors lines, independent from their price point,are designed with expertise, detail and passion to meet each of therequirements stated above and be judged the best monitor in its class.

ROKIT Generation 3KRK ROKIT studiomonitors have been the popular choice for accurate, near-field monitoringfor more than one decade. KRKs new ROKIT Generation 3 continues

the legacy of performance ROKITs have become known for. So whether youre just starting out in desktop recording, or youve already laid downa few thousand tracks, give a listen to the ROKIT Generation 3 line ofmonitors and experience a performance and accuracy that raises the baronce again.

KRKs ROKIT G3 (Generation 3) powered studio monitors offerprofessional performance and accuracy for recording, mixing, masteringand playback. The system consists of a 1 soft dome tweeter and 5, 6 or8 glass-Aramid composite woofer. It delivers high frequencies up to 35kHz, vocal clarity and extended bass response. The proprietary bi-amped,class A/B amplifier delivers SPL up to 109dB (RP8). The ROKIT

waveguide is designed to ensure detailed imaging in the listening position. The front-firing bass port reduces boundary coupling to allow flexiblepositioning in the room while the engineered surface reduces diffractiondistortion. Multiple input connections and LF/HF-tuning options ensurethe ROKIT G3 will easily integrate in any system configuration.

it seems that KRK has succeeded in producing a studio monitor thatsounds much more expensive than it is, and will surely be a popular choice for recording engineers, DJs, live sound-mixers and audio enthusiasts. (Mix Magazine 2013 KRK ROKIT G3)

The G3 exceeded the G2s legacy in every way. It maintains the larger-than-average sweet spot and excellent frequency separation.(Electronic Musician 2013 KRK ROKIT G3)


Behind Great MusicKRK Systems is one of the worlds most respected manufacturers of studio reference monitors. In their state-of-

the-art design facility, KRK engineers create products that deliver a natural and balanced spectral response withlow distortion and superior imaging. With KRK monitors, recording engineers and artists hear every nuance ofthe audio being reproduced.

Regardless of your musical style, genre, or particular mixing needs, KRK reference Monitors will deliver allthe benefits you expect from a studio monitor. Based on the feedback from world-class producers all overthe globe, here are just a few differentiating aspects, which make KRK an industry standard when it comes tomixing, mastering and recording:


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Sign up for your digital AM at www.audiomedia.com KRK

INFORMATION

KRK UK distributor:Focusrite Audio Engineering Ltd.Windsor House, Turnpike RoadHigh Wycombe, BucksHP12 3FX, UK

T: +44 (0) 1494 462 246E: [email protected]

KRK Systems, Inc.Gibson Brands, Inc.309 Plus ParkNashville, TN 37217

T: 1-800-4 GIBSONE: [email protected]: www.krksys.com

The popular ROKIT Line expands with the RP (ROKIT Powered) 10-3three-way mid-field. The ROKITRP10-3 is a mid-field three-waymonitor system in a compact formfactor and at a breakthrough pricethat delivers loud and accurate soundreproduction to satisfy professionalneeds. The RP10-3 will suitcommercial facilities as well as spaceand budget conscious private studios.

The pro-studio appearance of thismonitor will visually impress, and thehigh SPL output makes it capable ofhandling challenging high-dynamic tracks for all genres of music.

The strength is in the mids and upper mids. Voices, violins, winds, were all

nuanced and distinct, and even massed brass sections didnt lose transparency. (Recording Magazine)

I was surprised by a very good, contoured bass response, precise stereoimaging, and needle-sharp mid-range response. Studio Magazin (Germany) KRK ROKIT Powered 10-3

VXT Series Whether you are making critical mixingdecisions or need to capture the stablenuances of a unique sound, you will quickly discover that the VXT Seriesis as precise about your work as you are. The VXT Series features keydesign elements that continue to make the KRK sound a studio standard.

The VXT Series has been designed to present the true nature of the audiomaterial without coloration or enhancement.

The domed tweeter (for fast transient response) and the woofer design(with its stiffer, lighter Kevlar cone for low distortion and extendedlow-end) are vented to remove heat and reduce the effects of powercompression, enabling the VXT monitors to maintain theirsonic signature.

With uncompromising attention to detail that includes tamper-resistant switch covers, integrated Omni Mount support and more,the VXT Series is an outstanding choice for a broad range ofmonitoring applications.

So when you use a VXT powered monitor, you can be confident that you get the most accurate reproduction of your mix. VXTs diffraction-limiting curved surfaces, seamless crossover, and KRKs trademark yellowKevlar woofer provides superior audio imaging, outstanding transientresponse, and amazing detail. For over 20 years, KRK has mastered the artof recording monitors, and the VXT is the culmination of this art. Listenfor yourself, and believe!

Expos E8BUtilizing state-of-the-art componentsto achieve a level of clarity and sonicaccuracy that is unprecedented, theExpose E8B is the flagship of KRKsproduct line. With its stunning,highly functional enclosure featuringthick, non-parallel, internal wallsthat eliminate standing waves,and magnetic shielding for use inclose proximity to video monitors,the Expose E8B elevates KRKsreputation as a manufacturer ofpremium studio reference monitors toan entirely new level.

SubwoofersFor additional low frequency extension, consider adding one of KRKsthree Subwoofers. There are numerous reasons (room size, speakersize, musical content) when extra low-end is required, KRK poweredsubwoofers are the perfect choice when you need to hear what ishappening at frequencies below the capability of the studio monitor.

With various features such as integrated Bypass Footswitch Controlallowing you to engage anddisengage the subwooferfrom the audio path andprovide full-range audio to

your recording monitors foruse with a standard latching1/4 inch mono footswitch,or integrated limiters forprotecting drivers andamplifier, or the variablecrossover to perfectly matchthe subwoofer to the mainsystem. All this is where theperformance of KRK familyof subwoofers shines.

Visit us atwww.krksys.comto find out whyour focus is your mix!


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PMC

BASED in Luton, England, PMC is a leading manufacturer ofprecision reference monitors for discerning audio professionals andaudiophiles. The companys products, which include active and passivemodels, use the best available materials and design principles, includingthe companys proprietary Advanced Transmission Line (ATL) bass-loading technology (see box), cutting-edge amplification, and advancedDSP 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, PMCremains one of the few audio-related manufacturers to have beenawarded an Emmy for its technical excellence, and has customers atthe very top of the pro audio, broadcast, and film industry worldwide.Its customers range from musicians and composers, professional audioequipment companies, and recording studios at one end of the audioproduction chain, to record companies, broadcasters, Internet serviceproviders, and discerning listeners at the other. In the limited spaceavailable in this pro-audio-orientated guide, it would be impossible togive an overview of the companys entire consumer and professionalpassive and active ranges. Instead, well look at two of their most recentlyreleased active ranges: the new two-way twotwos, and the IB2S-A three-

way midfields.

twotwo Series

Like the IB2S-A, the twotwo series of reference-grade monitorscombines PMCs 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-wayspeakers (the twotwo.6, twotwo.7, and the recently released twotwo.8)

and the recently released twotwo sub1 subwoofer. All three models in the twotwo range share the same core designand features, as well as the same tonal transparency and neutrality. Themodel number refers to the approximate size (in inches) of the bassdriver. The larger two models have a greater cabinet volume, offer morebass extension, and a higher possible maximum SPL, and are therefore

better suited to use in medium-sized rooms where more power anddynamics are required.

The onboard DSP engine, derived from that employed in thelarger IB2S-A, optimises the crossover and the response of the drivers,maximises dispersion, and provides non-invasive protection usingmodelled excursion limiting. The built-in Class D dual-amplificationsystem builds on the amplifiers developed for PMCs powered range,

delivering 50W to the tweeter and 150W to the bass driver, andproducing high-resolution audio with plenty of headroom and detail.

One design aim was to make the twotwos as easy to set up in arehearsal or hotel room with a phono cable and a laptop, as it is to drivethem on the meterbridge of a digital console in a pro studio; to this end,connections include analogue phonos and XLRs, as well as an AES3digital 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 ortonal accuracy. There is no need for a separate horizontal version of thespeaker for use as a centre channel, or in environments where horizontaluse is a necessity for height reasons. This makes the smaller models inthe range well suited to nearfield monitoring of music and speech insituations where space is at a premium. Despite only being launchedin autumn 2012, the twotwo is already an award-winning success withhigh-profile users including producer Kid Harpoon (Florence And TheMachine), renowned mix engineer and producer Spike Stent, and RedBull Studios, among many others.

The newest addition to the twotwo range is the twotwo sub1,

an ultra-low distortion, active subwoofer that can be used in a 2.1configuration with twotwo series monitors to gain extra bass extensionand headroom. Additionally, it can be used to reproduce a low frequencyeffects (LFE) channel in a surround monitoring system.

The electronics include an audiophile Class-D power amplifier withDSP-based filtering and bass management functions. Balanced stereo


PMC: Precision Reference Monitors,

Trusted by Discerning ProsIntroducing the latest high-resolution Active ATL designs with analogue and digital inputs; the lastword in flexible, transparent monitoring.

PMCs twotwo.5,twotwo.6, twotwo.8.and the new twotwo sub1


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analogue and AES3 digital inputs are accepted, and are combinedto feed the subwoofer system, as well as being passed through to theanalogue and digital outputs for connection with other devices.

IB2S-Active The stand-alone IB2S-Active offersdiscerning users the attributes ofPMCs large ATL reference activemonitors, such as the flagship BB5

XBD-A, but in a more compact formand with an AES3 digital input builtin as standard. They are the idealmonitors for high-end referencemonitoring and mastering applications.

The DSP-tuned, Class-D poweredcabinets provide a controlled, high-resolution, low-frequency response

from the three drivers, all of which aredesigned in house and manufactured tostrict tolerances.

The bass units in the cabinets, which are identical, feature the 10-inch carbon-fibre/Nomex pistondrivers from the earlier IB1S and IB2Sspeakers, while the IB2S-A cabinetfeatures the highly respected hand-built 75mm fabric-dome driver tohandle the mid-range, and the 34mmsoft-dome tweeter from the flagshipBB5 XBD-A. 960W of independent,audiophile-quality power is available toeach active master cabinet: 200W for

the high-frequency and mid-range drivers, with 560W directed to theLF driver for extended, low-distortion precision monitoring all the waydown to 20Hz.

The IB2S-A features user-adjustable HF and LF shelving filters,per-channel 8dB input level trims, an AES3 digital input, and theability to adjust the input sensitivity of the balanced analogue inputsfrom +4dB to +20dB. The EQ, level trims, and analogue/ digitalinput 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 speakerin 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 even in-room LF response.

Last year, the IB2S XBD-A was used in London by film scorecomposer Thomas Newman while he created the soundtrack to the

James Bond 50th anniversary filmSkyfall , now the most successfulBritish film of all time.

PMCs 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 PMCs co-founder and Chief EngineerPeter Thomas, the theory has been refined and honed to a very advancedlevel, outperforming the many sealed and ported speakers available onthe 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 absorbentacoustic material. This is specified to absorb the upper bass and higherfrequencies that radiate from the rear of the bass driver. The lowestfrequencies, which remain in phase, then emerge from the large vent atthe end of the line, which essentially acts as a second driver.

One advantage to this approach is that the air pressure loadingthe main driver is maintained, thus controlling the driver over a widefrequency range, which in turn significantly reduces distortion. A spin-off from the lack of distortion is that the upper bass and mid-rangedetail is not masked by harmonic distortion residing in the very lowfrequencies. The result is PMCs characteristic transparent mid-rangeand fast, attacking bass notes, all reproduced with great clarity.

A further advantage of the transmission line approach is a cabinetthat produces a higher volume and greater bass extension than aported or sealed design of a similar size, even if identical drivers areused. Moreover, as the loading on the main driver is maintained atall volumes, the frequency response also remains consistent regardlessof listening level a most important attribute for professionals whosehearing is their most precious tool.

Benefits of ATL:


Sign up for your digital AM at www.audiomedia.com PMC

INFORMATION

PMC LimitedHolme CourtBedfordshireSG18 9ST

UKT: +44(0) 870 4441044F: +44(0) 870 4441045

W: www.pmc-speakers.com

I B 2

S X B D-A

c t i v e

PMCs BB5 XBD-A monitors at Metropolis Studios in Chiswick, plushorizontal twotwo.6s in an LCR arrangement


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PSI AUDIO

Quality Technology Experience CoherencyDesigned and manufactured at our Yverdon workshops in Switzerland,the latest generation of PSI Audio speakers is the culmination ofmore than 35 years of development guided by a thorough understandingof acoustics.

We strive to deliver the most coherent sound and design across the whole product range. In order to achieve this compatibility betweenmodels, the transfer function must be the same, not only in frequencyresponse but also phase which is our speciality.

At the heart of our speaker performance is an electronic design basedon two unique technology concepts CPR and AOI.

The CPR system consists of multiple all-pass filtersEach all-pass filter acts in a specific frequency range in order to obtain a

wide area of Compensated Phase Response generating a constantgroup delay.

A speaker system represents the reference tool of every sound engineer. An accurate transient response enables fine tuning of reverb effects

during mixing and positioning of the sound in the stereo or surround field. The CPR system by PSI Audio enables extremely accurate and

superior surround sound image and a much improved workingenvironment. A unique advantage provided by the CPR, thanks to theperfectly accurate phase response, is to enable a user to mix differentmodels of PSI Audio speakers in a surround system.

Not only will the PSI Audio surround system sound much moreaccurate and therefore provide a superior working tool, but it can alsointroduce significant cost and space savings when investing in a newmonitoring system.

The AOI circuitry joins the transducer and the amplifier into a

perfect couple The AOI system detects the velocity of the moving coils. This detectionis used in a filtered feedback. The goal is to adjust the damping ratecontinuously across the whole frequency range.

The AOI system featured in PSI Audio speakers enables moresuperior impulse behaviour than traditional amplifier designs. During the

movement of the coil, the AOI circuitry seamlessly adapts the amplifiersoutput impedance to ensure ideal acceleration of the membrane needed toreproduce the desired impulse.

When using sub woofer technology in surround sound systems,the importance of a monitoring system that has pure reproductionbecomes essential.

With AOI, PSI Audio monitors feature a highly accurate impulseresponse, and reduce the coloration of the transducers.

For these technical innovations and sound precision reasons, more andmore producers and engineers world-wide are choosing PSI Audio as theirreference monitor. Please visit our website www.psiaudio.com for moreinformation, detailed graphs and specifications.


Precision Sound ImageOur vision is to be globally recognised as pioneersin precision audio combining innovation, creativityand technology.

An impressive impulse behavior due to the combinedtechnologies of AOI and CPR


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Sign up for your digital AM at www.audiomedia.com PSI AUDIO

INFORMATION

PSI AudioHQRelec SAZ.I. Petits-Champs 11 a+bCH-1400 Yverdon-les-BainsSwitzerland

T: +41 (0) 24 426 04 20F: +41 (0) 24 426 04 51E: [email protected]

UK distributor:Emerging Ltd

T: +44 (0) 118 402 5090E: [email protected]: www.emerginguk.com

The Router & Bass management enables you to use the full potential of theunique compatibility and coherence of the PSI Audio line.

Advantages summary:

The new PSI Audio R&B 8A, router and bass management

Pixelsound is a modern structure using A21-M for recordingand mixing, A25-M and sub for mixing & mastering andA14-M for general purposes.

A25-M and 3 subwoofersA225-M were the ultimatechoice for mixing andmastering live music instereo and surround atthe RSI, Switzerland.

Find all our distributors and muchmore on www.psiaudio.comFollow us on www.facebook.com/psiaudio


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PRESONUS

ERIS SERIES HIGH DEFINITION STUDIOMONITORS

When its time to replace those cheapcomputer speakers with serious two-wayprofessional studio monitors, youre readyfor Eris-series monitor speakers. The Erisseries has the back-panel acoustic-tuning tools

you need to tailor their sound to your roomenvironment and musical genre. You end up

with mixes that sound good everywhere, not just in your studio. These ultra-affordable, two-way monitor

speakers deliver very accurate response, with atight bass and very clear upper end. They canalso be user-adjusted to the acoustic space,

allowing you to create a more accurate listeningenvironment or to simulate different commonlistening environments a feature not typicallyprovided 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 isan outstanding value in its class. Eris speakers

include RF shielding, current-output limiting,over-temperature protection, and subsonicprotection. The Eris E5 and E8 have individualbalanced XLR and quarter-inch TRS inputconnections, in addition to unbalanced RCAinputs. The E4.5 provides quarter-inch TRS,

stereo 1/8-inch, and RCA inputs.Users can make several types of custom

adjustments. A three-position Acoustic Spaceswitch controls a shelving filter at 800Hz thatprovides three attenuation points, allowing youto control the bass response relative to the wallproximity of your speakers. A High Pass switchsets the low-frequency cut-off. You also getcontinuously adjustable High Frequency and

Mid-Range controls. This combination of controls lets you createa linear response for accurate monitoring.

Sceptre Series CoActual Studio Monitors The first time you hear Sceptre Series

CoActual two-way studio monitors, youll


PreSonus Studio MonitorsPreSonus offers two series: Eris and Sceptre. Eris monitors offerexcellent performance for budget-conscious project studios, withfeatures normally reserved for more expensive monitors. Sceptreemploys advanced coaxial technology and DSP to affordablyachieve high-end sound quality.


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Sign up for your digital AM at www.audiomedia.com PRESONUS

discover fine nuances of your music that cantbe reproduced by conventional designs. TheSceptres panoramic soundstage, clarity, finedetail, and stunning dynamics will astonish you.

This exceptional performance is the resultof an advanced coaxial design by Fulcrum

Acoustics Dave Gunness that works integrally with a 32-bit, 96kHz, dual-core processorrunning Fulcrum Acoustics TQ Temporal

Equalization technology. Gunness was alsoresponsible for final tuning and voicing of theSceptre monitors.

TQ employs multiple, fully addressable,Finite Impulse Response (FIR) filters. Thisapproach requires advanced algorithms and

subtle, sophisticated transducer design, whichis why such systems have, in the past, beenlimited to very high-end systems with externalprocessors. Yet Sceptres are an affordableinvestment for project-studio owners a firstfor DSP-controlled, TQ-based systems.

These systems are biamplified: Eachtransducer is powered by a 90W RMS, ClassD power amp with an internal heat sink. All

Sceptre monitors have balanced XLR andquarter-inch TRS line-level inputs, with A-taper level control and feature acoustic ports.

Sceptre monitors include controls thatenable 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 canaccount for the bass response relative to roomdimensions and speaker placement. A HighPass Filter switch sets the 24dB/octave filterslow-frequency cut-off. A High FrequencyDriver Adjust switch adjusts the tweetersoverall level. The Sensitivity control rangesfrom +4dB to -10dB.

All Sceptre Series monitors offer RFshielding, current-output limiting, over-temperature protection, and have internalpower supplies with IEC connectors and powerswitches with on/off LEDs. An amplifier softstart feature eliminates popping on power-up.



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PRESONUS

ERIS

ERIS KEY FEATURES 4.5-inch (E4.5)/5.25-inch (E5)/8-inch (E8) Kevlar low-frequency

transducer 1-inch (25 mm; E4.5/E5) /1.25-inch (32 mm; E8), ultra-low mass,

silk-dome, high-frequency transducer 25W (E4.5)/80W (E5)/130W (E8), Class AB; E5 and E8 are

biamplified Front-firing acoustic port for superior bass-frequency reproduction Midrange (6dB, continuously variable), HF (6dB, continuously

variable), High Pass (Off, 80 Hz, 100 Hz), and Acoustic Space settings(flat, -2dB, -4dB) for accurate mixing contour

RF interference, output current limiting, over-temperature, transient,and subsonic protection Optimised, resonance-suppressing internal bracing Balanced quarter-inch, stereo 1/8-inch, and unbalanced RCA inputs

(E4.5); balanced XLR/quarter-inch, and unbalanced RCA inputs (E5/E8) 100dB (E4.5), 102dB (E5), 105dB (E8) maximum continuous SPL


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Sign up for your digital AM at www.audiomedia.com PRESONUS

INFORMATION [

]

PreSonus Audio Electronics18011 Grand Bay CourtBaton Rouge, LA 70809 USA

T: +1 225 216 7887F:+1 225 926 8347W: www.presonus.com/products/studio-one

United Kingdom & IrelandSource Distribution (UK distributor)Unit 6, Pembroke BuildingsCumberland House Business ParkLondon UK NW10 6RE

T: +44 020 8962 5080F: +44 020 8968 3218E: [email protected]: www.sourcedistribution.co.uk

Germany & BeneluxHyperactive Audiotechnik GmbHNeukirchner Str. 1865510 Hnstetten, Germany

T: +49 (6126) 95 36 50F: +49 (6126) 95 36 569E: [email protected]: www.hyperactive.de

SCEPTRE KEY FEATURES CoActual technology combines time-correction and point-source design for

symmetrical soundstage and micro-definition imaging Unique coaxial transducer integrates 8-inch (S8)/6.5-inch (S6) midrange driver and

1-inch (25 mm), horn-loaded HF transducer with Coaxial Speaker Coherence Alignment

32-bit, 96 kHz, dual-core, active floating-point DSP provides critical TemporalEqualization with multiple FIR filters

Acoustic-tuning controls: HF Driver Adjust (Linear, +1dB, -1.5dB, -4dB); Acoustic Space settings (Linear,

-1.5dB, -3dB, -6dB); High Pass filter (Linear, 60, 80, and 100 Hz,12 dB/octave slope

180W Class D biamplification with internal heat sink RF shielding, current-output limiting, and over-temperature protection Balanced XLR and quarter-inch TRS line-level inputs with A-taper level control Amplifier soft start feature eliminates popping on power-up Brushed-aluminum faceplate 109dB (S6)/116dB (S8) maximum continuous SPL Internal power supply with IEC connector

Power switch with on/off LED

SCEPTRE


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TANNOY


Reveal the Details of Your MixTannoy has an impressive legacy in the studio monitoring world. The new range of Reveal Studio

Monitors draws upon decades of experience in loudspeaker design to produce an incrediblytransparent listening experience without breaking the bank.

Three different sizes same great sound The three monitors in the new Reveal lineup include the ultra-compact 4-inch, a versatile 5-inch and an extremely powerful 8-inch model, all of which have been voiced by Tannoys resident speaker guru, Dr. Paul Mills. He has driven thedesign of everything from amplifier sections to active crossover filters, woofersand tweeters leading to results that are, quite simply, unheard of for this classof monitor.

Ample amounts of power, in combination with custom-designed super-efficient woofers, allows for impressiveand precise bass performance. Expertly tweaked crossover-filters ensure optimal timing between the customdesigned drivers. This produces an incredibly wide stereofield a massive sweet spot allowing users to movearound in their workspace without losing the stereoimaging of their mix. Now others can sit in duringmixing sessions while maintaining a precision listeningexperience for everyone.

Aux Link: Studio On The GoIncluded with each monitor, is a 16 / 5meter Mini Jack cable. This allows you toplug directly into the AUX Link of yourmonitors quicker and easier than everbefore. Whether youre mixing on thego or just listening to some of your

favourite music from your mobile device,its simple to connect.


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Sign up for your digital AM at www.audiomedia.com TANNOY

INFORMATION

TC GroupSindalsvej 34DK-8240 RisskovDenmark

T: +45 8742 7000F: +45 8742 7010E: [email protected]: www.tcgroup.tc

Reveal 402 Small Speaker, Unparalleled PunchIts easy to get fooled by the compact size of Reveal 402, but the clarity and punch emittedfrom these tiny boxes easily rivals 5 and 6 models in the same category. The source of this bigmonitor sound is a super-efficient 4 woofer and ultra-precise 34 tweeter, making the Reveal402s the go-to monitors for anyone concerned about space and portability without having tosacrifice true studio feel.

Reveal 502 A New Standard for Power & Detail Whether its Pop, Rock, Jazz, Hip Hop, Electronic music or Metal, the 502 remainsunbiased and provides the brutal honesty thats crucial for studio production it reveals thedetails of your mix. With a powerful 75 Watts of output and pristine sound, Reveal 502 issure to become the reference standard for its class.

Reveal 802 The Ultimate Lover of Low EndFor anyone mixing hip-hop or bass-heavy electronic music, Reveal 802 isthe ultimate near-field monitor. Its got all the love for the low-end that amodern producer needs while still keeping the mid and high-frequenciescrystal clear. The custom 8 woofer and 1 tweeter use a finely tunedactive crossover filter to tell you exactly what is going on in your mix.Combine this with a new 100 Watt bi-amp module and you get rock solidbass at any volume

Golden Ears A living legend, Dr. Paul Mills hasbeen with Tannoy for nearly 30 yearsand is responsible for the acousticdesign of all Tannoy residentialloudspeakers, including theunparalleled sonic flagship, KingdomRoyal. As the companys Director ofResidential Products, Engineering,

hes truly a man with an impeccablesense for sound. His work embodiesthe renowned Tannoy experience;exclusive voicing and premium auralcharacteristics.

Legendary Music Tannoy is one of the oldest and most prestigious audio brands inthe world. It has had a presence in the audio industry for almost acentury, beginning with the Tulsemere Manufacturing Companyin 1926. Its rich history is ingrained into every loudspeaker itproduces. Since 1947 Tannoy studio monitors have been the stapleof recording gold, playing an integral part in the creation of somegreatest music in the world: The Beatles, Pink Floyd, Queen,Michael Jackson, Beyonc, Lady Gaga, Jason Mraz, and Jay Z, toname just a few.


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EXPERT WITNESS

HEADPHONES are an essential tool forrecording studios. Having spoken with a

variety of recording engineers, producers,mastering engineers, and musicians, Ivelearned a few key aspects about headphonesor questions I always ask when somebody islooking for their first pair or for a pile to fill

their studio needs. Ill start off by covering what I consider to be the three main concerns when choosing headphones for your studio.

Open vs. Closed Headphones? This is the first big question to answer and itsa relatively simple one. If you will be recordingsounds with a microphone such as acousticguitar, voice, or drums youll likely want closedheadphones. Closed headphones help to keepsound from leaking out and getting into yourmic feed. If youre recording or producingmusic using direct input or software-basedinstruments this is not an issue. If youre onlymixing or mastering music and dont needisolation then you can use open headphones.It is usually easier to get more natural, accuratesound from an open headphone than from aclosed headphone of similar design. This is notalways the case as we have heard a few opendesign headphones that sound worse thangood quality closed headphones. Ultimatelyit depends on how much attention themanufacturer paid to sound quality vs. cost/style/comfort, etc.

DurabilityStudio headphones need to be durable andrepairable. Many well-respected studiocans these days have removable cables andreplaceable ear pads and headbands. Somemanufacturers such as Sennheiser go so far asto make almost all parts replaceable. All of theheadphones we have listed in this guide offerreplaceable cables and parts.

Sound Quality

You would think I would have put this as thefirst criteria but the truth is if your headphonesdont work or break often youll be making lessmusic. The quality of sound you get from aheadphone depends on many different factorsincluding design and price.

Entry-level or Low-cost Headphones When outfitting a studio with headphones forthe whole band its helpful to keep the costper unit down. Right at the $100 mark, theShure SRH440 is a great sounding headphoneproviding plenty of isolation for recording withmicrophones. They also sound good enough to

be used as the only headphone for those on abudget. For a small increase in price steppingup to the Audio-Technica M50x will get youa little more natural and accurate sound anda few extra cables included in the package. Atthe higher end of entry-level headphones weoften recommend the Shure SRH840 whichprovides more comfortable ear cups, fuller bassresponse, and an extra set of earpads.

Mid-priced HeadphonesIf you want the best bang for your buck withoutcompromising your mixing or mastering abilities

we recommend the Sennheiser HD600 andHD650 as well as the AKG K712. These areopen style headphones providing very naturaland accurate sound. A nice mid-priced closedheadphone is the Shure SRH1540. While itleaks a little more sound than your standardclosed headphone, it isolates enough to be ourtop recommendation for tracking in the studio.

High-end HeadphonesOn the extreme end of the spectrum we areseeing a lot of new products from all theknown manufacturers. From Sennheiser wehave the HD800 ($1,499), possibly the worldsbest headphone, its open design with angleddriver and proprietary ring radiator driver

yield the widest soundstage and precise detailsof anything weve heard. AKG released theK812 this year offering its signature sound ina more refined package. A newcomer to theaudio world, Audeze released its LCD-X in2013 delivering planar magnetic headphones

with a luscious, dynamic, and very linear bassresponse. If youre looking for the top of the

line in closed headphones the Fostex TH-900and Audeze LCD-XC are sure to delight theears of any musician or engineer.

Headphone Amps A word on headphone amps. Why would

you need such a thing? A headphone is really just a set of miniature speakers. Behindevery headphone jack is a miniature poweramplifier to drive headphones. Sometimes themanufacturers put this in as an afterthoughtor simply dont pay much attention to theheadphone output. If youre consideringinvesting in a high-end headphone you shouldconsider pairing it with a dedicated headphoneamp to get the most out of it. High on ourrecommended list is the Grace Design m920.

While it costs more than any headphone weve mentioned this could be the centre of your production and serves many purposesother than just an amp. The m920 includes adigital to analogue converter with all standardconnections, switchable inputs to act as the heartof your monitoring centre, and can be used as apreamp for your main speakers. Also included

with the m920 is a Crossfeed setting which ismeant to more closely simulate the sound ofspeakers, reducing listening fatigue. If the ideaof Crossfeed is appealing to you, also considerthe SPL Phonitor which offers a customisablecrossfeed to suit your listening tastes.


The Principle Importance of

Studio HeadphonesSpecialist headphone retailer HeadRoom CEO Jamey Warrengives us the whys and wherefores of headphone purchasing.

Expert

witnessJamey Warrenis the CEO/president of HeadRoom,a dedicated headphone retailer forover 20 years.www.headphone.com


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Sign up for your digital AM at www.audiomedia.com AUDIO TECHNICA

AUDIO TECHNICAS M-Seriesprofessional monitoring headphones have longenjoyed a reputation for accurate and well-balanced tonal response, making them idealpartners in the studio or on location.

Updated for 2014, the new M-Seriesmodels take cues from the sound andproprietary design of the companys acclaimed

ATH-M50 professional monitor headphonesand the new ATH-M20x, ATH-M30xand ATH-M40x deliver accurate audio andoutstanding comfort, perfect for long recordingsessions (wherever theyre taking place) and livesound applications.

The M20x, M30x and M40x all feature40mm drivers with rare earth magnets andcopper-clad aluminium voice coils, as well as

a circumaural design that contours aroundthe ears for excellent sound isolation in loudenvironments. The ATH-M50x (featuring45mm drivers) has the exact same sonicsignature as the original ATH-M50 and addsrefined earpads and three detachable cables.

The Flagship M50x The original ATH-M50 has been praisedby leading audio engineers and journalists

worldwide, and now the ATH-M50x seesthe addition of refined earpads and threedetachable cables (a 1.2m-3m coiled cable,3m straight cable and 1.2m straight cable).From the large aperture drivers to sound

isolating earcups and robust construction,the M50x provides an unmatched experiencefor the most critical audio applications,including recording, broadcast, DJ, live soundand personal listening. The ATH-M50x isavailable in black, white (ATH-M50xWH)and limited-edition blue (ATH-M50xBL).Seen on the heads of everyone from rnbsuperstar John Legend (his Live In The Stud

monitors guide 2014 digital

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