studio monitors gear guide 2013

7/30/2019 Studio Monitors Gear Guide 2013

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PRiNtEd iN thE u.S.A.

inside

Speaker Specs: Wa d tey mean ............ ............ ........... 4

of mxes An mnrs: user Perspeces ............ ........... 12

Reew: AdAm A A77X AX-Seres

Pwere S mnrs ................................................... 16

Reew: dyna dBm50 deskp Ace mnrs ........ 17

Reew: Fcal Prfessnal

Sm9 3-/2-Way Ace S mnr ............. ............ ....... 18

Reew: jBL Cnrl 2P Cpac

Pwere deskp mnr ................................................. 19

Prc Swcase .............................................................. 20

drecry ............................................................................. 22

ON THE COVER: Engineer Alex Oana at NRG Recordings Studio B with Genelec

nearfields and Dynaudio main monitors (out of frame).

Studio MonitorS

Gear Guide 2013

nothing ls has th potntial to improv an audio nginrs work lik th abil-

ity to monitor accuratly. A suprior monitoring sourc allows its usrs to bttr

assss ach dcision mad throughout a production. And, unlik th pursuits of

purly rcrational listnrs, th ultimat goal is not simply about a subjctiv bttr

sound. Its about rliabl translatabilityth mor accurat a monitor is to th sourc,

and th mor consistntly th nginrs listning xprinc is to that of th audinc

across a broad spctrum of consumr monitoring options, th bttr.

Sur, options in monitoring for audio production abound: purpos-built, wall-

mountd loudspakrs, hadphons and vn in-ar monitoring (IeM) dvics ar avail-

abl for vry budgt.

Th most popular choic in monitor dvics today would b th slf-powrdnarfild studio monitor, chosn for comfort (long sssions with hadphons and IeMs

can b fatiguing), spatial imaging, consistncy of rfrnc and convninc (you cant

carry a grat st of studio mains with you plac-to-plac, not to mntion th physical

spac whr thy wr dsignd to prform thir bst). Virtually vry modrn monitor

manufacturr offrs at last on such modl, most of which ar asily transportabl and

fficint two-way dsigns.

Hr, w xamin th tchnology bhind good studio monitors, talk to nd-usrs

about what thy look for in a st of monitors, and tak a pk at som of th most

imprssiv, innovativ and grat-sounding modls in th marktplac.

2013 studio monitor G e a r G u i d e 3


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Feature

By LyNN FuSTON

is it possible for me to buy a pair of speakers and have

some idea what Ill hear based solely on specifica-

tions? If so, how do I interpret the typical specs to

hopefully make an informed choice?

Some speake shoppes have pobably wondeed exactly those

things, especially ones who ae doing eseach fo a speake pu-

chase without the advantage of heaing the speakes in peson.

Intepeting meaningful data fom speake spec sheets can be a

fustating task. What do they mean? Lets walk though the typical

speake specs and lean how to intepet them.

the BAsics

Studio speakes can be listed as 2-way, 3-way o 4-way, and the

numbe identifies how many times the audible spectum is split up.

A 2-way speake has a woofe and a tweete, coveing low fequen-

cies and high fequencies, espectively. A 3-way adds a midange,

and a 4-way can split the midange (Lo-Mids and High-Mids), o add

a supetweete fo extemely high fequencies. Some manufactues

make dual-concentic speakes that featue the tweete and woofe

in the same dive, with the tweete opening in the cente of the

woofe. The advantage of this system is time alignment of the high

and low fequencies, which some listenes ae moe sensitive to than

othes. I also like to look at the cossove fequencies, the fequen-

cies whee the audio is passed fom one dive to anothe dive. If

the cossove fequency is listed as 2500 Hz in a 2-way speake, it

means that the woofe epoduces up to 2500 Hz and not above and

the tweete epoduces down to 2500 Hz and not below. In tuth,

thee is a handoff between the two speakes at that fequency which

involves filteing of the audio. That handoff in the midange can be

seamless o poblematic depending on the design of the cossove

netwok, the filte netwok that sends the appopiate audio content

to each dive (HF to tweete, LF to woofe).

Anothe consideation is whethe o not a subwoofe will be

used. If a poweed speake system (meaning a single cabinet con-

taining all the dives and amplification) is going to be used with a

subwoofe, then the lowest fequency it will epoduce becomes

less significant because the sub will augment o eplace its esponse

below the cutoff fequency.

Frequency response

The fist citeia many listenes will conside is fequency esponse

(Fr). When looking at a Fr chat, the flatte and smoothe the line is,

the bette. That will mean its output is matched at all fequencies in


Speaker SpecS: What

do they Mean?Lnn Fston records an orchestra session at

Sond Kitchen, Nashville, sing his Tanno

DMT-10 MkII, dal-concentric speakers


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Feature

th auil an. Thats th ultimat

gal, at last. A sak that has a um

(ak) in th miang (say at 3-5 kHz)

may sun tt t th listn ut will

sult in a mix that has th invs f that

um, thus a i, at ths fquncis.

This is caus an ngin will cmn-sat f what h is haing. S a sak

that is lacking in th lw fquncy ang

will caus th mix t cmnsat f

that ficincy y aing eQ, ushing

u th fa n lw fquncy instu-

mnts, which will cat a ass havy

mix. Th sam is tu at all fquncis,

s using a ight sak will likly sult

in a ull mix.

Whil many saks will actually

uc 40 Hz ( cls t it) t 20

kHz, th fa m imtant citia is

hw tight th tlanc is, maning hwfa th saks utut stays fm a

lativ z in tms f lus an minus. Th tlanc is stat as

a + an figu an tyically is amn t th stat fquncy

sns, f xaml: 60 Hz t 22 kHz, +1, - 1.5 b. Sm manufac-

tus will scify Fr with vy tight tlancs, lik +/- 1 b, whil

ths, in an attmt t mak th saks sns lk wi

an flatt, will stat th Fr at +/-3 b. A sc f +/- 3 b mans

that th is a 6 b vaianc in utut lvl twn th lust an

sftst fquncis. Thats hug, scially whn cnsiing that an

ngin is ftn making snic jugmnt calls n music matial an

ajusting eQ in 1 t 2 b incmnts. Its cla hw a 6 b vaianc

cul svly imact qualizatin jugmnt calls.

H a sm al wl scs n might ncunt, ci

fm mf. sc shts:

n 60 Hz t 22 kHz, +1, -1.5 b

n 33 Hz t 50 kHz, +/- 1.5 b

n 37 Hz t 21 kHz, +/- 2.5 b

n 31 Hz t 20 kHz (n tlanc list)

n 30 Hz t 40 kHz, +/- 3 b

S if a sak manufactu wants t mak thi saks Fr

ang lk aticulaly wi, thn thy can just an th tl-

anc. A sak that can nly uc fm 80 Hz t 12 kHz +/- 1

b, might asily accmlish 25 Hz t 22 kHz at +/- 5 b. S if I s

a fquncy sns ating that stats n tlanc figu, lik #4,

thn that sc is maninglss. It snt man its a a sun-

ing sak; it just mans that ths n way t tll hw flat its Fr

ally is.

input sensitivity

Th inut snsitivity simly mans th saks aility t cnvt

lctical signals int auil utut at what lvl stat in b SpL.

Th stana f assiv saks is masuing th saks utut

in b SpL at 1 mt with 1 watt f inut w. Fquntly stat as

88 b/1 W/1 m, a b num that is lw mans th sak is lss

fficint an a high num mans a sak is m fficint. This

is imtant f assiv saks (ns withut uilt-in amlificatin)

whn slcting an amlifi caus an infficint sak will qui

m w t achiv th sam utut lvl in b SpL. Cnvsly, a

vy fficint sak can us an amlifi with half vn a quat

th w utut an lay lu. With th avnt f w sak-

s, this sc is lss maningful caus th amlifis a intgatint th sak nclsu. on many saks amlifis, th inut

snsitivity is ajustal, smtims v a wi ang (-20 t +8) in

cas fin sts. I ncunt n w sak with a lw

inut snsitivity, maning f th sam inut lvl it wul ut ut

aut 15 b lss sun than a cmtit. That cul a cncn

ning n th inut suc an if it was asily ajustal.

WeiGht

This can ccasinally vlk, ut it is an imtant citia

ning n hw th saks will munt. Sm saks a

vy light (15-20 ls.) ut ths, with multil amlifis uilt in, can

asily ti th scal at 80 m uns. If th intn alicatin

is a wkstatin sufac cnsl t, this can a al ak

a ugt-ust if havy-uty sak stans a qui, which can

cst as much as th saks. Th st thing aut this sc is that

vy manufactu lists it an its nn-ngtial.

distortion

Whil isttin (th THd-Ttal Hamnic disttin an

IM-Intmulatin disttin) is asy t masu in lctnic vic-

s, th lctic/acustic tansf maks it challnging t cm u

with a maningful sc. If smn is accustm t lking a THd

scs f cnsls amlifis AdCs stat in th hunths

(0.02%) thusanths (0.004%) f a cnt, thn sak THds will

sm aysmally lag, ftn v 1%. Sinc THd is s high in lu-

saks, in my yas f listning, I hav nv sn a maningful

sc ntic a cllay twn ths nums an my listning

xinc, althugh a lw figu is mst ctainly tt. but as a

suc f cmaisn, unlss th figus a iv y th sam

mth (such as fm a singl manufactu), it may a maning-

lss cmaisn.

poWer specs

F w saks (with activ cssvs an uilt-in ams),

th w sc is th w ating (qut in watts-th lctical


PMCs MB2 SA is a

3-way speaker with

woofer, midrange and

tweeter.

This frequency response chart of the JBL 6332 speaker system

shows its very smooth frequency response from 60 Hz to 20 kHz.


7/24


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Feature

ow tasf to th sak fom th am) fo ach amlifi,

sc accoig to th fqucy a it is sulyig. Though

som maufactus will scify this as ak ow o music ow

to mak th um high (a commoly us tick i th cosum

makt, sic ak ow ca 10-100 tims high tha rMS), th

mo maigful cotiuous ow atig is stat i watts rMS.

Aoth tm o might s is shot tm, which is somtimscit wh th limitig cicuits i a amlifi k it fom livig

maximum outut i rMS. Som maufactus will iclu th amli-

fi ty withi that sc: pWM o Class Ab o oth class.

Aoth olm with statig a sc i ak ow is that th

uatio of th ak is oft uscifi a ca icily shot,

lik a fw milliscos o v micoscos (thousaths o mil-

lioths of a sco) a, ulss th THd of th amlifi is stat at

that ak ow outut, its a maiglss sc.

examls of ow atigs fo 3-way saks, lift fom mau-

factus scs:

n Low/Mi/High

n 250/250/50 (music ow 350/350/100)

n 80/30/30n 180/120/120 (shot tm)

n 400/400/100

n 200/200/200

Ths ums show that ifft maufactus hav ifft

hilosohis cocig how much ow is qui fo ach f-

qucy a, vayig fom all th sam (200/200/200) to lss o th

MF o v lss o th HF. High fqucis qui lss ow to

ouc tha low fqucis, so a small amlifi is fqutly

utiliz. Th coc to m is whth th iclu amlifi has

sufficit haoom to hal th mas of th icomig auio.

High wattag amlifis hav mo haoom a ca accom-

moat yamic music a tasit aks with lss stss o th

amlifi. I my xic, havig a ovsiz amlifi with lots of

haoom is always fal soically. plus th amlifi qui-

mts a ictly lat to how lou th list liks to moito,

hc th imotac of th xt sc (you might fi this a usful

lik if you wat to futh xlo th toic of amlifi ow: htt://

www.mysou.com/suot/as/am_ow.htm)

mAximum spl

If th goal is listig louly, th this is o sc that ally

matts. Whil most saks will o lou, ot may will o lou

accuatly. Whil may sak maufactus quot a Max SpL at-

ig (som actually ot), somtims th scifics of that sc a

cuiously missig. Is that atig fo cotiuous SpL o ak SpL? Fo

what uatio? At what istac?

H a som xamls:

n Max SpL (@1m) 116 b (cotiuous)

n Max SpL 116 b (ak @ 1m)

n Max pak Acoustic pow ai @ 1.7 m with music 126 b

n Max pak SpL 113 b

Claly, ths littl staaizatio i this sc as wll, ut if I

a sak that will lay louly, th I look fo cotiuous, ot

ak, atigs. Comaig witt scs to tmi which sak

will lay lou will a tough call ulss oth scify th sam

coitios.

Aoth issu to cosi h is accuacy. May ow sak-

s ths ays iclu limits i th amlifi cicuits. Is that fo

soic asos, to mak thm sou tt? no. Its isuac fo th

maufactus so thy (o you) at lacig low ivs f-

qutly. Ths limits ca kick i at suisigly low SpL lvls. A

whil som saks hav iicatos o th fot to lt th listkow wh th limit is gag, suisigly, som o ot. So if

I stat listig at a lvl that is yo th alistic caailitis of

th saks sig, all ts a off. Ths o tllig what I am

haig. A sic th limit is uilt ito th am, I may haig

limitig o th woof a ot th mis o highs. Goo luck makig

ucat soic cisios as o that fomac.

dispersion

Aoth icily citical a omously u-sc cosi-

atio of lousak sig is issio o ictioality. dissio

is th outut volum of ifft fqucis, as o th agl of

th a to th iv. It ca also f to as off-axis sos.

Hs o tst I o wh listig fo th fist tim to a sak. (Ittaks guts to o this caus it is guaat to licit som o looks

fom ayo staig ay.) I lug o a with my fig a us

my o a lik a tst micoho with it facig th sak fot.

Th I mov my ha acoss th hoizotal fot la of th sak.

A th I o aoth ass i th vtical la. This will wok with

ith a oaa ois souc o with music. I list as th f-

qucy alac chags as I mov off th ct of th sak. Th

chag i what I ha (usually most otical i th high fqucis,

with cymals o vocal sc) is u to th issio chaactistics

of th sak. It ca also caus y oth factos (lik flctios

off a cosol sufac o sk), ut Ill assum that Im listig i a

f-fil viomt fo ow. Th iffcs that I ha as I mov

off-axis ca th most citical facto i slctig a stuio moito.

Why? Th aso it is such a cucial cosiatio is caus of

how w wok i th stuio. W ith achig fo a eQ o com-

sso, tuig ou ha to ajust somthig o movig out of th


These polar plots reveal the off-axis response of the Renkus-

Heinz T15/4-2T speakers, in both the vertical and horizontal

planes at six different frequencies.


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Feature

swt st s th atist uc can listn. evy tim w mv

ack an fth hizntally an whn w stan u, th sun aiv-

ing at u a changs. Th gal is t mak that chang as small an

insignificant as ssil. Many snic cisins will ma influ-

nc whn listning ff-axis, nt t mntin that whn my ha is

in twn th saks, th atist uc will making all his

cisins ff-axis. S having a smth ff-axis sns is cucial.

Sm saks can vy ictinal at th highst fqun-

cis, which I call aming. It is mst ntical whn things sunight an cla ictly in fnt f th saks, ut astically lss

s whn ff t th sis. Unlss th listn is in a situatin wh

all th snic cisins can ma withut mving, thn having

a smth ff-axis sns is citical. Unftunatly, this is an aa

wh scs will tyically f littl hl. Whil sm manufactu-

s vi la lts (a 360 vha viw f th utut lvl f

th sak, ltt at iffnt fquncis), mst nt. If a la

lt is vi, thn lk f vn an wi issin at u

fquncis (lw fquncis a much lss ictinal).

Adjustments

Fquntly, th task f matching a sak t a m is as im-

tant as th chic f th lusak itslf. (An sitining th

sak is hugly imtant, t, ut thats a whl iffnt all

f wax.) Sm saks ff ajustmnts f all nn f ths

aamts: lw fquncy shlving, high fquncy shlving, high

ass filting (in cas f us with sus), high fquncy shlving, lw

fquncy eQ, lw-mi fquncy eQ, mi fquncy eQ, iv gain.

Ths ajustmnts a nt ff n

sm saks ut can vy im-

tant whn matching th sak t

th iniviual sac. Having th aility

t ta th saks utut withut

sting t xtnal eQ acustic

mificatins within a m can a

ig fact, s chck n what cntls

th sak ffs f uchasing.

An expert opinion

San oliv, th dict f

Acustic rsach f Haman

Intnatinal, summ u th si-

al chaactistics t lk f in a

lusak this way, as n yas

f sach an tsting thusans f

listns at JbLs listning la. Th sak shul flat n-axis

fm 20 Hz t 20 kHz, ffing a listning winw f +/- 30 % ff-axis,

th fist flctins shul smth alng with th sun w

an ictivity. His sach inicats that listns will f a flat

sak t n that is hy in th majity f th cass, whn th

tw a cma si y si in a cntll, lvl-match tst.

listeninG

Listning is th aslutly mst citical st in valuating a

lusak. Fining a sak that ffs what I lik t ha whil

als viing what I n t ha is th ultimat gal. I nt want

a sak that flatts m an maks m think that my cing

suns tt than it actually s, caus that will sult in my

mix suning ws vywh utsi my cntl m. I n

a sak that aals t my a ut is citical nugh, accuat

nugh, that it will tll m wh an whn lms xist.

An listning t th sak in th sac wh it will us

is cucial as wll. Unftunatly, a-

ing th scs can nly infm a lis-

tn aut whth nt a sak

systm might mt his/h ns, ut

ing al t unstan an intl-

ligntly valuat th sak scs

will gt a listn futh wn that

a. Th tuth is that th is n n

fct sak that fits vyns

ns. Th ultimat tst is sitting

wn an listning. An f that,

yu n yu wn.

Lynn Fuston is a Nashville-based

recording and mixing engineer, the

proprietor of 3D Audio (3daudioinc.

com), and Technical Editor forp

Aui rviw.


The control panel of the Focal SM9, which shows the extensive

control available: five bands of EQ plus Hi-Pass.

Frequency plots showing the audible effects of the

controls on the Genelec 1037c.

A sonically transparent curtain assures listeners will not be

visually biased as they audition speakers at the Multichannel

Listening Lab at Harman International headquarters in

Northridge, California.


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Feature

By STEVE HARVEy

translatinthe ability f a fin-

ished mix t sund unifrmly

at its best and as it was intend-

edregardless f what system it is

played n, frm studi t hme t

car t ear budsis all-imprtant in

music recrding. one f the mst

critical elements fr ensuring trans-

latin is the studi mnitr system.

but th saks shoul not

consi in isolation. rfnc

monitos a at of a lag sstmthat also inclus th monito contol-

lwhatv is oviing th switching

an volum contol, an somtims th

convtsan th listning nvion-

mnt. Th nvionmnt, incluing th

acoustic tatmnt of a oom, is lagl

off-toic fo this iscussion, ut on

lmnt, isolation, is affoal an

can mak an nomous iffnc to

th fomanc of vn an xnsiv

monito sak sstm.

Th monito contoll is on of

th most imotant comonnts of th

listning chain, accoing to Junio

Sanchz, a dJ, mix, ouc an

ngin long associat with lc-

tonic anc music, ut who has wok with atists as ivs as

Maonna, Goo Chalott an Goillaz. Sanchz, who most cntl

collaoat with Stv Angllo fom th Swish Hous Mafia, has

long sinc ma th tansition fom commcial multitack stuios to

his own hom-as facilit.

you want th monito souc to a v al, clan, fficint

souc, sas Sanchz. you ont want to listn to nonsns. pol

ont sm to aliz that its a caus-an-ffct thing. you invst a

ctain amount of ollas an go an gt th st monitos ou can,

ut thn ou monitoing though a [cha contoll]. dont sn

svn gan on a ai of monitos an thn monito though an of

ths not-u-to-a ics of quimnt.

Sanchz cuntl mlos a monito stu that inclus a ai

of AdAM S3As with a Focal Su, a ai of bafoot MicoMain35s,

an a ai of Auatons. I was a Gnlc us, h ots. I ha

1031As fo a long tim. Whn I cam acoss th AdAMs, I fll in lov

with thm: I lov th high n, th ion twt an th wa it

souns. Its v on an v tu.

but ov th as, Sanchz gan to fl th n fo a scon

st of monitos to off an altnativ. I want somthing ls,

just so I coul A/b, an st m as, an hav a iffnt souc of

fnc.

H calls, I was in L.A. an listn to th bafoot MM27s

an I fll in lov with thm; I thought th w amazing. I stat to

o mo sach; I sok to Jff [ehng] at Vintag King, an

got to talk with Thomas bafoot an saw som of his vios. I saw

how th uilt an stuctu, an how th sus a osition

in a wa that th cancl th intia, an th fam asicall osnt

viat. you can ut thm on a sk an ou listning to th

monitos; ou not listning to woo. you coul ut a fath on

to of on an th fath woulnt viat. I havnt n so lown

awa a ai of monitos in a long tim.

but, fist things fist, h sas: bfo I got m AdAMs, as ago,

I got m dangous Music stuff. Sanchz has a dangous Monito

ST with intgat dAC ST fo consistnt igital-to-analog conv-

sion, lus a dangous 2-bus LT fo summing.

phas no lss imotant than his dangous monito contol

chain, h continus, a th pimacoustic rcoil Stailiz isola-


of MixeS and MonitorS

Junior Sanchez


13/24

Feature

ti as. I hav th as all f m mits, icluig th

bafts, which it all thm, Sachz ts. Thsthigs a icil, gius; I t kw wh sm it

thik f ths f. yu ca all ha th iffcu gt tha th mit f th fist tim.

Summig u, h sas, If sm all cas aut thi mixig

vimt a th willig t g th xta mil, ths th ig-itssaks, ctll, a islati asa cst ffctiv.

yu mits, hw u mit, a islati, a u g t g.

Chis Va, umm with ni Ich nails util 1997, aumm-tu-ka la with Mail Mas fm 2007

thugh 2011, is w a us uc, gi, mix, sgwita gamm. Va ats ut f Th Thus f T,

a wll-qui ivat ucti stui i Shma oaks, CA,mail wkig with atists at th lw f th cig ugt

scal, such as u-a-cmig iustial mtal as daw f Ashsa Itals Am f th Uivs, with whm h als fms.

F m, m is tt, sas Va, whutilizs fu ais f mits. I kw th -

lm with mst l i th al wl is thatmst ms at ig ugh f th saks

th u. Th tw iggst lms f ahm stui, u t th fact that its a gaag

a m whatv, is that th m istacusticall fct. As a sult, taslati ca

a ig lm: yu tak it smwh lsa its awful.

Vas mit fcs hav vlvv th as, m ctl als aig

t a ivs cllcti that sus his mixstaslat. Iv g thugh a sak ais-

sac i th last cul f as. I ha alwas a Ta gu. I ha a ai f 800As, th

activ vsi with th ight-ich cctics. Ius thm f v 10 as.

but th h gt t wk a jct iGma. Th ha Mackis a AdAMs, with

a su. AdAMs a gat saks, ut, is-sct, th hash t m; I fatigu ut th

high with thm.Th Macki Hr824s w all sli, h

ctius. I call Wst L.A. Music a ughtthm. Th Mackis gt s lu, almst lik

mi-fils. evthig I thm taslats.H th sl his Ta saks a ught

a ai f daui Acustic bM5 MkIIs, lus afuth st, a ai f Glc 6010A skt saks.

pl ask wh I hav s ma saks: I wat t mak as-lutl su. I ca g tw all fu sts. W all mak u music i

a vacuum ut its gt t la vwh. Th ass uctiis viusl ifft tw all fu sts, h svs, ut if th

vcals a mi-ag sta sli fm st t th xt, th mix willtaslat utsi f th stui.

but ultimatl, h cmmts, h cat avis a what sak-s th shul u. yu cat tll l, this sak is awsm.

A sak is a cmiati f u as, what sus g t u,

what fits i th m that u wk i, a tim. Wh I ught thds, I cul tll istatl that th w awsm. yu just thw th

fas u thugh Glcs a it sus mix caus th havthis hi-fi-ss aut thm. but th ma suck i thi m.

That sai, th a a lt f all gat saks ut th, sas

Va: F $1,000 a ai, th is a chic f six sv amazigsaks.

Lik Sachz, Va has pimacustic as u his mai mi-

ts. I hav th ais. Th ma a hug iffc, h sas.Va als ags with Sachz that th mit sak is

t th l citical ic i th chai. Th mst imtat icf ga i this m is that dagus d-bx. I ught it caus I

wat th summig, ut th mit ctl was cucial. p Tlsgs it it, a m Cd la, a its th switch f th saks.

pi t that, I ha a $500 ic that has th sam fatusit uiv mix I i. I ha a a wh vthig was s a; thig

wk utsi f this m. It was that x. If ths a ic

f ga i-li that is isttig thigs i such a vilt wa that itmaks u smthig that is t all haig, u f***.

That was haig t m.pilsu Stuis, a tackig a sgwitig stui attach t th

Suth Califia hm f Jff pils, fuig mm f dkka lgtim ass la with Fig, fatus th sts f mi-

ts: Macki Hr824s, vitag yamaha nS10s, a a ai f Altccmut saks. Mst ctl at th stui, pils has c


Chris Vrenna


14/24

Feature

alum jcts with T&n, fatuig

th igial mms f dkk;

Al, which fatus fm Gus

rss umm Stv Al;

a tacks f Figs th-isc

(tw Cds, dVd) tsctiv

a liv gatst hits st, FeelsLike the First Time. His xt jct

at pilsu will tackig a w

Stashi alum, which will iclu

ight sgs witt pils, with

sig Mick Thmas.

Th Macki mits w

a cmmati fm Kll

Has, Figs sig, pils ts. W w wkig

tgth a cul f as ag a I just ha th yamaha nS10s at

th tim. H kt saig, M as gt s fatigu th nS10s. S

h ught v his Mackis. W st thm u a I thught, ww!

Th w just imsiall s much tt. I still lik nS10s f c-

tai thigs, which is wh Iv hl t thm, v thugh thats tth ial listig siti f thm, ut m mixs imvwhat I

was takig ut f h was 30 ct m accuat.

pils as, Th pimacustic as a ath 10 ct

t f that. I cul t liv th iffc th ma. bass is

alwas a lm, a th all cla that u a lt. Iv gt th

su f th nS10s, ut thats t alwas a accuat a ith.

of his th sts f mits, pils sas, I sa 70 ct f

th tim, Im m Mackis, 20 ct th Altcs, a 10 -

ct th nS10s. With nS10s, u hav t wk t mak it su

g. Th lm is, th v sh i ctai fquc aas,

a imsial aas. That is smthig I all j m a

m w, listig t imsi

i cigs. Th Mackis just

imv that s much f m.

pils fqutl taks j-

cts, icluig Fig, t Ttal

Accss stuis i r bach,

CA f mixig, wh w Wdavis has a ai f M mits.

Th Ms a all, all ic,

ut f a facti f th m,

ths Mackis hav th sam ffct

f m. nt t th sam g;

th Ms a autiful. but I

all lik ths Mackis a lt.

I a lt f tackig i h. Wh Im tackig ums, I t

t t us much eQ tackig; i fact, I f . Ths hl

m gt th michs lac i a wa that I thik is just s much

m ffctiv. Iv t ha a cmlaits aut ums i th last

fw thigs that Iv fm th gis, sas pils. I thik

ths saks hav smthig t with it.pfct Su Stuis, isctl tuck awa i th Hllw

Hills, ctl ta ut th mai mits i its ctl m f a

w ai f pMC Ib2S saks. W f t thm as a gam chag-

, sas Jas dagh, chif gi at th tackig, mixig a

mastig stui lcat cls t th hat f Hllw.

pfct Su, which ctl ml its attach luxu

accmmatis, fatus a w SSL AWS csl a a classic 1970s

aalg nv 8014 sk. Th wl-class facilit has attact jcts

Sum 41, ba f Hss, ra Aams a a hst f ths. Mst

ctl, sas dagh, Iv wkig with a a call Cic,

a mtal a. Wv wkig with uc Maki, whs als a

atist, a a a call Tallahass,

fm th ast cast. Iv gt tw mixs

f a a call Scatt Hamlts

cmig u.

dagh ctius, I lv mixig

th pMCs. I still mix m nS10s.

but wh it cms t tackig, I v

hav a ut aut what Im haig

with th pMCs, which is just a wight

ff m shuls. Th gat sak-

s wh u tackigv tail

a aticulat, a u haig

vthig that u wat t ha. yu

ca als tu thm u a gt a g

vi gig, if th guitaist is tackig

i th ctl m u t

imss th clit.

I fact, dagh a th staff ha

csi tig f th xt ml

u i siz i t gt lt f lvl

i th m, ut pMC cmm

th small ml. Th Ib2s a a

aslutl fct fit f u ctl

m. Athig igg wul hav


Jeff Pilson

You cant tell people, this

speaker is awesome. A

speaker is a combination of

your ears, what sounds good

to you,what fits in the room

that you work in, and time.

Chris Vrenna


15/24

Feature

verearig, he sas. brst 7b amlifiers are

rivig the assive mitrs.

Set u was quick a eas, he rerts.

The it take much tweakig; we ut

the seakers u a that was it. our rm is

treate: we ha [acusticia] Vicet Va Haaff

hel with it. but theres tuig the seak-ersits rett much straight ut f the ar

a it the seakers. I cat seak highl

eugh aut them. There fatastic seakers,

a ver much wrth the ivestmet.

The stuis trust nS10s are eig rive

a air f brst 4b-ST amlifiers, with a

yamaha su. Ill ever get ri f thse nS10s;

I grew u usig thse, s there m it f

referece fr 99 ercet f what Im ig,

sas dagh. Its a cmfrt issue.

perfect Su als has a set f cmuter

seakers fr referece. We use a little a

Altec ip ck smetimes, but thats verrarel use, he sas. Sice I gt the pMCs, I

t reall ee t referece m mix t

ma ther thigs.Perfect Sond hosted the u.S. VIP debt of PMCs twotwo monitors, shown here side-

by-side in the stdios control room with their PMC IB2S models.


16/24

review

By ROB TAVAGLIONE FOR Pro Audio review

in 2010, AdAM Aui fist intuc th AX-Sis fa-

tuing its uat X-ArT twt lus significantl lwics than its flagshi SX-Sis. Th A77X hizntall

sitin, th-wa lusak is th t f th fiv-ml AX-Sis.

Th X-ArT twt has an actual iahagm aa (ifunfl) f fu squa inchs (th quivalnt f a 56mm

m twt in aa). Cssv is at 3 kHz an th twtachs u t 50 kHz. Th A77Xs 7-inch wfs fatu a

ul sanwich f figlass/can fi/rhacll anhigh xcusin. on f its wfs hanls nl 400 ccls

an lw, whil th th ucs lws as wll as micntnt u t 3 kHz, wh th in taks v. A 100W

pWM-t am ws ach wf, whas th twt hasits wn 50W Class A/b am. Th a anl huss th XLran rCA inuts, a lw- an high-fqunc shlving eQ cn-

tl (at 300 an 5 kHz, sctivl, +/- 6 b) an a twtlvl cntl (+/- 4 b).

Th caint is a ass flx sign with ual fnt-anlts an tinal magntic shiling. AdAM Aui fins

th A77X as suital f th nafil an mi-fil mnit-ing cnsiing its high w (114 b SpL utut lng-tm),

high SpL lvls (122 b max.) an aiatin chaactistics.I incat th A77X ai int m wkflw, at m

pimacustic rcil Stailizs an wkstatin funitu. Ichs t sitin th mi-wfs twas th utsis f m

swt st (th A77X ai a mak as ith A b mlsf this), which was th lacmnt that sun th st with

th st imaging. I c t nl clintlss iting anugh mixing wk f th nxt wk an a half. duing that

tim, I hnstl nv flt cmftal with th A77X mnits.Aft a ak-in i, th A77X ai chang cmltl:

Th t n was xtml tail; high-mis musical; anlw-mis nw sun w an ich. I was imss with

aml ttm an unch, vn with m suwf ass.dnt lt th smallish A77X caint siz, iminutiv wight

7-inch wfs suis u: Ths xs will ck. Thnv shut wn, althugh th will istt if ush v

ha an th gt lnt lu nugh t cut guitas in thcntl m. M nl significant cncn is a naw swt

st, making th A77Xs nt ial f situatins with mthan n citical listn.

At aximatl $2,800 ai, th A77X is ctainl nta ugt mnit; th a stin f fssinal us. yt

f th makt, I liv th a iall ic, as th quitsimila Aam SX-Sis S3X-H (with intical ivs an sam

hizntal cnfig as th A77X) a ic at aximatl$7,000 ai. Iv listn t th S3X-H mnits, t, an I

fin th A77X t its imssivl affal altnativ.AdAM Aui | aam-aui.cm

16 portABle pA G e a r G u i d e 2013

adaM audio a77x ax-SerieS

poWered Studio MonitorS


17/24

review

By JERRy IBBOTSON FOR Audio MediA worldwide

these are fairly ig seakers comare to what

I een execting 13.7 high. That uts

them on a ar with many comact stuio

seakers that you haily ut on stans or

even soffit mount. but thats not the oint; what

makes the dbM50s secial is the angle front

face. Its tilte uwars, irecting the 1-inch

tweeter an 7.5-inch woofer at the users ears.

The iea is that they can e lace irectly on

the eskto or working surface, for use in moreconfine saces.

Scificatis iclu 50 Watts f w ach

t twt a wf, fqucy ss fm46Hz t 21KHz, 1.5kHz cssv fqucy, a

MdF cait, XLr alac a rCA ualaciuts. o a f ach sak a a iut lvl

slct (+4b a -10b), a high-ass sttig fths usig a saat su, a LF st/cut, a MF

cut, a a HF st/cut. Ths allw f simlajustmts accig t vimt; fxaml, ialig ack th ass if thy lac

cls t a wall.My suc was a Fcusit Saffi p 24,

which haily has a Mit k th ft,uig ff a VAIo lat. Th is a tial

a vy sh-lkig icat vlum c-tll ($69) f th dbM50s ($499 ach), ut

that wast availal f th viw. Th vi-mt i which I was tstig is my hm-

wkig stu.Thugh th dbM50s w faily cls

tgth a i cls ximity t m(my sk ist that ig), f familia music

layack, th was still a cackig [bitishsak f g e] st imag a

icil tail t th su. This wast a jaw--th-fl mmt as Iv ha with th saks that

Iv tst, ut it fctly suit my listig vimt. I thlay ack sm itviw matial that I ha ctly c f

a jct, usig a rla r-26 a r nTG3 mic. nw, this was ajaw/fl itfac mmt. I listig t this matial v

a v th saks a hahs a I v ha itsu this g. Th vics w stuigly uc.

May a st f mal ight-agl saks cul thsam j, ut yu hav t mut thm ith agl, high

ugh f aligmt with th as. If yu w itig vi

a xcllt su ucti, ths cul justth thig. Small vic stuis a ai ucti vimts

cul als ut thm t gat us. but thy a tuly cackigsaks a shul fiitly yu sht-list. Just mak

su yu sk is ig ugh.

dynauio professional | ynauiorofessional.com

2013 portABle pA G e a r G u i d e 17

dynaudio dBM50 deSktop

active MonitorS


18/24

review


By RuSS LONG FOR Pro Audio

review

focals latest offering, the SM9,offers the tremendous sound

quality that Focal is known for

as well as the revolutionary conceptof offering essentially two monitor-ing speakers (a 2-way and a 3-way)in one unique 12.8 x 19.6 x 15.6

cabinet ($3,995 each).

In 3-way atin, its a th-way

mnit quid with a Fcal hallmak,

n-inch, u byllium invtd dm

twt; a 6.5-inch mid/lw fquncy

div; an 8-inch cn lw-fquncy

div; and an 11-inch cn istn,

xta wid invtd suund assiv

adiatth last th all Fcal W

cmsit sandwich cns. Whn st t

Fcus md, it cms a tw-way mn-

it, utilizing nly th twt and th

6.5-inch mid/ass div, making it asy

t viw hw wll a mix will tansf t

a lw-fquncy challngd systm. Th SM9s Tl and Midang

cmnnts a ach wd y a 100 W, Class A/b amlifi and

th lw fquncy div is wd y a 400 W, Class A/b am.

In th-way md, th sak has a atd fquncy sns

f 30 Hz 40 kHz (+/- 3 db) with a maximum SpL f 116 db (ak @

1 mt) and in tw-way (Fcus) md, it is atd at a 90 Hz 20 kHz

(+/- 3 db) fquncy sns with a 106 db maximum SpL (ak @

1 mt). Th inut is a 10 kohm, lctnically alancd, fd fm

an XLr jack switchal twn +4 dbu/-10 dbV. Th xtnsiv

tn-shaing cntls includ hi-ass, (45, 60, 90 Hz) Lw and High

fquncy shlving (+/- 3 db in 0.5 db sts) and eQ sttings f

Lw, Lw-Mid and Mid fquncis, 50, 160 and 1 kHz sctivly

(+/- 3 db in 0.5 db incmnts). Th a anl als includs a vlt-

ag slct, IeC cnnct and w switch.

At 77 unds caint, ths ais a havy! I guss I

shuldnt suisd that th wful class A/b ams in a singl

nclsu mak f a tty hfty ic f ga.

Aft snding th wks wking nn-st n th SM9s, Im

sld. Th imaging is sctacula and thy vid a flat, smth and

natual sund gadlss f vlum lvl. Whn th and cms in

th cntl m f a listn, I can cank u th mnits and kick

utt, ut thy als sund gat at xtmly lw lvls. I lik that

th a significantly m tnal shaing tls n th SM9 than n

any th mnit Iv ncuntd. This allws th SM9s sns

t snically adjustd t wk in sacs with a stng snic thum-

int. Lw aant lvls f disttin vid nn-fatiguing mni-

ting, which is anth stng suit f th mnits.

Th dual mnit fatu is a illiant ida. I wish th was a

ftswitch inut s th sak md culd changd y sting

n a singl ftswitch instad f having t ss a uttn n th

sid f ach f th mnits.

Th imlmntatin f a assiv adiat v a td dsign

wks wndfully. Th lw-fquncy ductin in th mnits

is unchy, tight and full. Its nic t us a mnit that vids full-

ang ductin withut th nd f a su.

Focal | focalprofessional.com

focal profeSSional SM9

3-/2-Way active StudioMonitor


19/24

review


By CHRISTOPHER WALSH FOR Pro Audio review

JbL has hit the sweet sot with the versatile Control 2p($249 list), a comact owered monitor that fits multile

alications from audio roduction to AV, electronicinstruments and home entertainment.

Th wst mm f th Ctl Sis, th Ctl 2p is a

ial siz f skt aui a vi. Th 35 W/chal systmfits icly i a dAW stu: i my alicati, a st f Ctl 2ps

vi su f a iMac-as Lgic/Fial Cut/p Tls hm

stui that uls as a hu f iTus a Cd layack, Itt

ai stamig a dVd-Vi layack.

Ctl 2p mits a vy siml t st u a at.

pw mast a assiv xtsi saks, a xtsi

sak wi a w suly (all iclu) a all s t

u a uig. F skt aui, su t sa th iclu

stals f -axis listigth Ctl 2ps a quit ictial.

F wall mutig, JbL ffs th tial MTC-2p kit.

Th mast sak fatus a

whit Led th ft t iicat

w. A Led flashs wh

th sak is aachig

thmal tct m, a

glws ctiuusly t ii-

cat that th systm shul

tu ff t cl (i my

xic, ith has yt

t ccu).

o th mast saks

si is a lag vlum c-

tl a ighth-ich ha-

h jack. Th a al

huss th w switch,

dC w iut a mst

f th Ctl 2ps i- a

ututs. na th ct

a cmiati nutik

XLr/TrS alac iuts

f th mast a xt-

si saks. rCA

iuts a als fu

th mast saks ack

al, as is th quat-ich

xtsi sak jack. Lastly, a HF ajust switch alis a +2 -2

b high fqucy shlf.

Havig tst a wk with a vaity f skt mitig

systms, I fu th Ctl 2ps th st sluti, t at, f my

s. With a 80 Hz 20 kHz fqucy ag, thy liv a a,

accuat sctum at lw a mat lvls (th Ctl 2ps ca

gt lty lu, t, a mai accuat at high lvls). Sli lwfqucis withut th f a ulky suwf cwig th

flthats a wlcm chag.

I my alicati, th multil ututs allw mitig ictly

fm th cmut, via a ighth-ich t rCA aat, f Lgic a

Fial Cut (a iTus a dVd), fm a digisig Mx f p

Tls. My Stiway ga iawll, th vitual Stiway i Lgics

eXS24 mkII samlsus fatastic thugh th Ctl 2ps; if

that w thi ly fucti, thy wul wll wth th (attac-

tiv) ic.

JbL | www.jlro.com

JBl control 2p coMpact

poWered deSktopMonitor


20/24

product showcase


na Kh 310 A t-

way Av m

Th w numa KH 310 A icooats

wly vlo ivs i a sal cait

fo accuat, lia ouctio ov its ti

fqucy sos ag, fast LF tasit

sos a th ottial fo high ouc-

tio lvls. Th KH 310 A tl, miag

a ass ivs, all numa sigs, havall otimiz usig acoustic simula-

tios a a xtsiv sis of masu-

mts. bass sos xts to 34 Hz, mi

fqucis a -ouc y a icat

soft om miag iv a high fqu-

cis a hal y a alloy faic om twt i a llitical

Mathmatically Mol dissio wavgui.

Th class-Ab amlifis a a high caacity SMpS ow su-

ly giv th systm a high haoom a fomac scultig eQ

allows th systm to aat to its viomt. Tight maufac-

tuig tolacs allow ay two KH 310A moitos to fuctio as a

match ai.

AdAm A F s

AdAM Auio has itouc its mo affoal F Sis ofs-

sioal moitos, icluig th F5 a F7 afil moitos a SuF

icat suwoof. both th F5 a F7 mloy th comays

w ArT twt that ovis fomac simila to AdAMs

acclaim X-ArT twt i a small siz to fit th w fom facto.

dsig fo small ooms, th comact F5 ais th ArT

twt with a fiv-

ich miwoof, ach

comot iiviu-

ally ow y 25 W

(ms) A/b amlifis.

Th F7 has a 40 W

am fo th twt

a a sv-ich

woof ow y a

60 W am. Th SuF

fatus a ight-ich

woof with a 150 W

(ms) pWM ow

amlifi.

pmc ww Av m

pMCs w activ sis of moitos maks th sig aoach

of pMCs to lis availal at a low ic ag. Th twotwos

mloy pMCs ATL (Avac Tasmissio Li) ass loaig/

xtsio aoach alog with uilt-i amlificatio a high

solutio igital filtig. Th UK-uilt li iitially comiss two

mols, th twotwo.5 a twotwo.6 (ictu h). A thi, th

twotwo.8, is slat to xt th li i th fist quat of 2013.

All th sha th sam co sig a fatus with fiv-, six-

a ight-ich woofs. A ooa dSp gi is us to oti-

miz iv sos, ovi a highly cis cossov, maximiz

issio, a ovi comot otctio. Th uilt-i Class

d ual-amlificatio livs 50 W to th twt a 150 W to

th ass iv.

dya m3xe

s ma m

dyauio pofssioal has itouc its

20th Aivsay M3Xe moitos, ow- y two La.gu pLM10000Q

amlifis: a sigificat uga fom its

csso, th ow M3A 3-way

moito. Fatus iclu a 20 Hz to 22

kHz fqucy sos, yo 133 b

SpL outut ottial, Lak pocssig,

a mo.

Th M3Xe cait iclus ual

12-ich woofs with alumium voic

coils; ual 6-ich Miag ivs with

75 mm alumium voic coils; a 1.1-ich

(28 mm) soft om twt, also with a

alumium voic coil; a a total wight of132 ls. Amlificatio, via th La.gu-

pLM10000Q, ovis 4 x 2300 watts (2 x 2300 W woof, 1 x 2300 W Mi, 1 x 2300

W HF) with aalog a AeS/ebU iuts.


21/24

product showcase


Fa tw6 B s rf m

Th Twin6 b is a

th-way activ

sak, Fcals

st slling ml,

uilt f hizntalmunting. Th

saks ncl-

su (lack-i

with vn

sis) huss

tw Fcal 6.5 inch cmsit sanwich cn ivs la y tw

lag css-sctin lamina ass ts. Fcals signatu LF ivs

w vl t cntl cn wight, igiity, an aming f

tansancy f fmanc with xcllnt has sns an lw

isttin. bth f th 6.5 ivs hanl lw fquncis ut nly

n f th tw (slctal) asss l-mi fquncis.

Th qually chaactistic Fcal vs m byllium twt

affs sns at t 40 kHz with accuat imag an tansintsns. Th Twin6 is w intnally y tw 150 W rMS amli-

fis f th LF an MF ivs an a 100 W rMS amlifi f th

twt.

jBl msc1 m c

Th MSC1 is th an

autmat m cc-

tin tl an a suc/

mnit slct/vlum

cntll f us with any

tw ais f saks an a

suwf. Th JbL rm

M Cctin systm

uss a tst michn

an sftwa algithms t

masu mnit fmanc in a givn nvinmnt, an calculats

an alis cctiv eQ t timiz th lusak fmanc.

Th MSC1 is hus in a stuy skt-ay chassis. All I/o is

n th ack f th unit, allwing f th saat st sucs:

tw inut ais a availal, n using alanc quat-inch TrS

an th th using unalanc rCA cnncts. oututs t tw

sts f mnits an n suwf a all vi via quat-inch

alanc TrS ututs. Th is als a quat-inch hahn jack,

ighth-inch I/o jacks f th rMC mic, an a USb cnnctin t uti-liz th rMC css with a hst cmut. Th MSC1 shis with a

caliatin mic, USb cal, an ighth-inch TrS cals.

G se dsp mg sy

Th Gnlc Se (Small

envinmnt) dSp mni-

ting systm is a full sys-

tm suun slutin f

small t mi-siz -

uctin ms in n

f cis tw-channl

fiv-channl suunmniting. Th sys-

tms inclu Gnlcs

AutCal slf-caliatin

systm an GLM.Se

(Gnlc Lusak Manag f Small envinmnts) sftwa f

intllignt an autmat m-cctin cssing.

Th hat f th Gnlc Se dSp Systm is th 10-inch Se7261A

dSp suwf. Th 59-un suwf is uilt aun a singl

10-inch iv w y a 120-watt am, with a 19 Hz t 100 Hz

f fil fquncy sns. Th sus ight-channl, igital-nly

inut is caal f 24-it, 192 kHz slutin (a cmanin A/d is

availal).

Th 8130A mnits hav twin 40 W amlifis iving a 5-inch

wf an 3/4-inch mtal m twt f a 58 Hz t 20 kHz at

fquncy sns. Its AeS 3 inuts als sut 192 kHz/24-it

igital aui inuts. Th 8130A is at f Gnlcs latst mnit

signs with th wav gui an intgal at f th minimum if-

factin i-cast aluminum

iA iso-l8r130

s m sa

IsAcustics has xtn its lin f sufac cu-

ls with th ISo-L8r130 sak stans, scifically

sign f small saks with withs xcing 5

an wights f nt m than 20ls. Th ISo-L8r130

stans sha all th fatus fun in th awa-winning

ISo-L8r155 an ISo-L8r200 (th ISo-L8r family is ic-

tu) incluing flxiility in hight an tilt an atnt

flating achitctu f aui imag stailizatin.

Th nw sak stans masu 5.1 wi an 6

an cm with tuing t cnfigu it t ith 2.5 8 in hight an 2 sts f n lugs t vi 14 ssil tilt ajustmnts.

Th ISo-L8r130 was vl in sns t n-us qusts f an ISo-L8r ml suit f small mnits.


22/24

studio Monitor ManuFacturers directory


AdAm Aadam-audio.com516-681-0690

Aalsis.com401-658-5760

Aba Acalcub.com858-485-7514

Atcatcloudspakrs.co.uktransaudiogroup.com702-365-5155

Axaudixusa.com503-682-6933

Aaxauralx.com

317-842-2600

Ava pavantonpro.com828-523-4311

B&Wbowrs-wilkins.com978-664-2870

Bag e lakbagnd.com847-382-4550

Bgbhringr.com425-672-0816

B skablusky.com516-249-1399

Bbos.com800-869-1855

da pfadynaudioprofssional.com519-745-1158

e

roland.com323-890-3700

eva pemotivapro.com615-791-6254

ea Aquatoraudio.com888-772-0087

ev evntlctronics.com805-566-7777

Fafocal.com800-663-9352

Fxfostx.com800-431-2609

Ggnlcusa.com508-652-0900

Gff Agriffinaudiousa.com914-248-7680

hab lakharbth.co.uk603-437-4769

h hhothouspro.com845-691-6077

iAisoacoustics.com905-294-4672

jBljblpro.com818-894-8850

KrKkrksys.com800-444-2766

lk slipinskisound.com877-876-4844

makmacki.com508-234-6158

m-Am-audio.com401-658-5765

m-Gam-githain.d

m smyrsound.com510-486-1166

mK s

mksoundsystm.com855-657-6863

na snady.com510-652-2411

nanumannusa.com860-434-9190

nhtpronhthifi.com800-648-9993

p s & Awww.chrisplonisspakrs.com805-242-1041

pmcpmc-spakrs.com888-653-1184

paprimacoustic.com604-942-1001

psi Apsiaudio.com858-414-3900

qqustd.com888-653-1184

raroland.com323-215-2111

sa Asamsontch.com631-784-2200

se mslctronics.com800-222-4700

sls lakslsloudspakrs.com417-883-4549

ssonodyn.comtransaudiogroup.com702-365-5155

tatannoy.com519-745-1158

taatascam.com323-726-0303

t Apmi-audio.com310-323-9050

t A

truthaudio.com850-830-7168

u Aunityaudio.com888-572-5825

Wak Awstlakaudio.com323-851-1222

yaaayamaha.com714-522-9105


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studio monitors gear guide 2013

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