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MONITORING & HEADPHONES

2013

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

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

AUDIO MEDIAPRODUCED BY

In association with:

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

www.neumann.com www.sennheiser.co.uk +44 (0)1494 551551 @Sennheiser_UK

pure energy.

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

Studio Monitor KH 310

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

34 HEADPHONES Ultrasone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

c o n t e n t s Welcome to Monitors & Headphones 2013,

an overview of the professional monitor

and headphone market for the production

professional.

This is an updated and refreshed collection of promotional articles looking at 15 of the world’s leading monitor and headphone manufacturers and their product ranges. Inside you’ll find the stories behind the drivers – the ethos’ and design ethics that go into producing these critical audio production components, and details of the products themselves.

Monitoring provokes much debate, much passion, and possibly more subjective wrangling than any other node in the signal chain. Whether it’s the box, the magnetics, the materials, the electronics, the room, or even the ears that make the difference, the term ‘reference’ is never used lightly amongst those who rely on hi-fidelity, accurate and natural voicing, spot-on transients, and a little ‘something’ extra.

Hopefully this guide will provide a good foundation for your monitor and headphone buying homework during 2013, and push back the boundaries of your considerations. To complement the profiles, we’ve articles from renowned Acousticians Andy Munro and John Storyk about the finer points of surround speaker placement, and the ‘Monitoring Commandments’, plus a special headphone primer feature with expert advice.

This, and the other Buyers Guides in the series (Microphones, Recorders, DAWs, Consoles, Live Sound Technology, and Live Sound Application) are Audio Media projects, designed to help you find your way through the information explosion and find the product that suits your needs. Audio Media is an internationally distributed magazine that deals with professional audio production in film, TV, radio, music, games, and stage. It’s available in both print and digital editions. For more details, go to www.audiomedia.com.

Paul Mac, Editor.

Sales ManagerGraham [email protected]

Editor In ChiefPaul [email protected]

Editorial Manager (Europe)Lanna [email protected]

Design & Production ManagerJohn-Paul [email protected]

AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0) 1354 669960 - Fax: +44 (0) 1354 669965

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

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

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

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

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

© 2013 NewBay Media. All rights reserved.

1. Monitoring does not happen in a vacuum.A speaker must complement the environment that it will be placed in, both in size and in position. If you need one commandment, this would be it!

2. Monitors have personalities.There is no getting away from that concept. Every year, I am amazed that a new ‘improved’ crop of monitors is introduced to the pro audio community. The fact is that many of them really sound great! But like cars or fashion, not every monitor is perfect for every listening experience. We need to remind ourselves of this. When I am asked to recommend ‘the best monitor’ my response is usually (after getting a bit of programming information about the use), to list a family of recommended monitors. Choosing a monitor is like choosing a mate. You need to listen to them carefully and make sure that you can live with them. This is a very personal decision.

3. Determine the real maximum required levels and the real frequency range these levels need to respond in.For instance, monitoring for a TV broadcast mixing suite (typically in the 200-300 square feet range) will require a very different monitor solution than an urban music tracking and mixing environment (typically twice as large and requiring levels in excess of 110dBC at the listening position).

4. Nearfi eld monitors are not automatically accurate.Beware of their often-limited frequency response (particularly below 100Hz) as well as the tendency to incorrectly position them on a console bridge. This location will often result in the most common of all problems – fi rst order comb fi lter generating early refl ections, thus causing a time domain shift and ultimately frequency response inaccuracies. To avoid comb

fi ltering do not position nearfi elds on top of the furniture or console! If space is limited, angle them upwards to reduce this effect. Poorly positioned nearfi eld monitors tend to lead to mixes with excessive time effects (reverb/delays) since the direct sound is heard with more presence.

5. In setting up for surround, start with ITU.This is particularly true with respect to equidistant positioning of all monitors in both horizontal and vertical axes.This can often be diffi cult, but try to start with this geometry in mind. If the distances are to be non-equal, it is usually better to have the surround speakers further away (compared to the front speakers). Adding delay for closer speakers (moving them further away) sounds less natural due to room refl ections that cannot be controlled electronically.

6. Understand SBIR (speaker boundary interference).Although we could go back to commandment #1, this is worth a separate entry. Most monitors in free fi eld will exhibit a tendency for lower frequencies to radiate in an omni-directional fashion. This tendency will cause phase cancellation and reinforcement to happen as speakers are located near stiff boundaries (corners in control rooms, for example). Locate speakers away from corners, or if not possible, then use appropriate rear speaker absorption to compensate for this effect. Even better, soffi t mounting will naturally eliminate this issue.

7. If possible have all monitors at ear level or slightly above.This is the safest way to eliminate fi rst order refl ections from consoles and similar mix position horizontal surfaces, and thus will help eliminate harmful comb fi ltering effects.

8. DSP control is not a bad component in a monitor system.In fact, in most instances, I would encourage it. People often claim that incorporating these types of added electronic (tuning) devices is inappropriate. However, there are virtually no monitor systems today that do not include some kind of electronics within the system. In the past, tuning got a bad rap, not necessarily because of bad electronic devices (although some were awful!), but more often because of poorly executed tuning protocols. Tuning requires an entirely new set of Commandments (new mountain top to come down from), but good DSP control that is sensitive to both frequency and time domain issues can truly add a wonderful dimension to the accuracy of a monitoring system in a well-designed environment.

9. In fi nal calibration (tuning) do not use 1/3Oct band EQs; try to use a parametric.A DSP system will allow for asymmetrical parametric creation (a very cool trick that requires some practice). More advanced DSP systems will also allow for time alignment, which of course is particularly useful with a bass management sub (becoming more and more common in studios).

10. Do not chase refl ection anomalies.These time domain issues are particularly noticeable at higher frequencies. DSP control is much more useful at lower frequencies and in cut mode rather than boost. Before advanced tuning or calibration, make sure that the basics (consider them mini commandments) are in place:

all axis.

Don’t waste time on commissioning and tuning until all these items are addressed.

We set John Storyk a challenge – to suggest a set of ten monitoring commandments. Note that the order isn’t signifi cant, and of course, there will be exceptions.

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John Storyk is an Architect and Acoustician, and Co-Principal (founding partner) of the Walters-Storyk Design Group. He has provided design and construction supervision services for the professional audio and video recording community since the 1969 completion of Jimi Hendrix’s Electric Ladyland Studios in New York City, and has since been responsible for over 2,500 production facilities.WSDG is a worldwide, full-service acoustics and audio/video design fi rm, specialising in critical listening and viewing environments of various types, now celebrating its 40th year in practice, and employing over 50 professionals in six offi ces across four continents. www.wsdg.com

MONITORING COMMANDMENTS 4

dynaudioprofessional.com

From the handcrafted Dynaudio drivers to its beautiful exterior, DBM50 is born to perfectly reproduce your desktop mix and truly repre-sents a revolutionary angle in desktop mixing.

Add the optional Volume Box for hands-on Master Volume control.

Perfectly AngledThe Pinnacle of Desktop Monitoring

Setting up a surround monitoring system is fraught with issues – acoustic room treatment, bass management, and speaker positions are just a few. It’s that last one that causes a special bit of confusion – particularly if your work isn’t wholly music or wholly fi lm sound. Of the myriad of surround speaker positioning protocols, it does seem that two are particularly prevalent: ITU–R BS.775–1, and the ‘cinematic’ set-up, with early detail in the Dolby Surround Mixing Manual. The main differences are the positions and angles of the surrounds. ITU has the surrounds on the imaginary circle around the listening position, angled directly at the sweet spot (all source equidistant from listener), while the cinematic version has the surrounds on the side walls, pointing inwards and positioned above the listener (thus the surrounds are more ‘ambient’ than ‘direct’). Of course, there are more variations, especially when it comes to larger rooms and Dolby certifi cation, and so on.

So this doesn’t get out of hand, it’s best to ask an expert. Andy Munro, of Munro Acoustics, has designed some of the most highly-rated surround rooms for both fi lm and for music around the world. We spoke to him about not only the placement of speakers in a multi-channel environment, but also the philosophy of surround mixing in general. It seems that you can’t think about monitoring without considering mixing... Which is probably as it should be.

Audio Media: Is the world reaching a consensus on surround system monitor positions or is it fragmented? Which should we choose and why?Andy Munro: “It depends on the room as much as anything... If it’s a music control room and it’s a music mix, then I would defi nitely go for the ITU arrangement – the classic 5.1 with the surround speakers at 100-120 degrees from the normal zero angle. But if it’s anything to do with post production or fi lm and so on, then I would as much as possible try and go for the cinematic arrangement.

“The idea of the cinematic one basically is that the surround channels cover a much bigger area. The thing about the ITU arrangement is that there is a sweet spot – a mix position. Nobody else is going to get anything like a surround mix; so if you’ve got people sitting at the back of the room on a sofa or something like that then they’re going to hear the surround speakers fi rst, and then everything is going to be out, timing wise.

“With the cinematic set-up, no matter where you sit you hear the front speakers before you hear the rear ones, which as you can imagine isn’t that easy in a small room.

“It’s all to do with time delays really, and I think surround sound is very much misunderstood by a lot of music mixers because of that, whereas fi lm people tend to understand it very well and are very subtle about their surround mixing. They tend to use a lot of reverbs and a lot of diffusion to ‘de-localise’ the sound.

“The best surround mixes, that I’ve heard in music anyway – which tend to come out of Nashville – use a lot of reverb and a lot of de-focusing on the rears. If there’s one thing I cannot stand it’s someone blowing a trumpet behind my left ear. I fi nd it very disconcerting indeed... to the point where I really don’t like listening to 5.1 in that way. I like listening to classical music in 5.1 if they somehow manage to capture the ambience of the hall and create the right reverb balance. It can sound fantastic.

“I remember hearing a Radio France transmission years ago that was, if I remember rightly, on a DTS or Dolby demo disk in the early days of DVD. It was so good it sent shivers down my spine. It was recorded in a cathedral in France and I thought ‘that’s it... if that’s the way surround can be done then it’s just going to be a huge success.’ Unfortunately, apart from a few opera DVDs and so on, not many people are doing it.

“The speaker arrangements and all of that are really secondary to getting the concept right. Actually thinking, ‘why do we have surround – why do we have multi-channel’? The whole point is to put you into a space. It’s not to do circus tricks like in the old ping-pong days of stereo. The whole idea is to put you into a space and make you feel that you’re there. That’s it, that’s the be-all and end-all of it. Okay, in the cinema you might have special effects like someone creeping up behind you or whatever, but that’s very rarely used; and the reason it’s rarely used is because it’s very hard to get everybody to experience the same thing.”

Are you Blur or Oasis? Are you ambient, or direct? Of course, the fi rst question might be better posed as ‘music or fi lm’, but the simple matter of speaker positions does still seem to create some ill-reasoned loyalties and extraordinary myths. We turn to Andy Munro, to clear the whole mess up…

Surroundoptions

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6 SURROUND OPTIONS

In the ITU (music) set-up, the surrounds are pointed directly at the sweet spot ‘ears’ at an angle of between 100 and 120 degrees from centre. time-aligned (equidistant) with the front speakers. In the fi lm mixing arrangement, the surrounds are positioned above the listener and should not get closer to the listener than the front speakers, for a more ambient and sweet-spot-tolerant monitoring arrangement.

Audio Media: What would, for example, be the effect of doing a music mix on a cinematic set-up?Andy Munro: “You’d probably end up with more ambience. I’m assuming you’re talking about a mix specifi cally for surround rather than one that’s going to get folded down... That’s the other thing. If you’re going to do a mix that’s got to be mono and stereo compatible you’d better make sure you’re monitoring it as you go long so you don’t create ridiculously phased mixes. But that’s always the big danger with surrounds. If you fold it into the main mix it can all go horribly wrong.

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

“That’s one of the good things about the ITU set-up. Because all the speakers are basically equal and equidistant to the mix point, if you’re sitting at the mix point and you do your fold-downs – even with the bass management fold-down and so on – you can hear very well what the phase relationships are of all the fi ve channels so you can actually hear if something is going wrong. So in a mastering

situation I would defi nitely say use the ITU set-up with zero

delays on each of the

speakers so you do hear

everything exactly in-phase at the mix

position.“As far as the cinematic

set-up is concerned it’s almost the exact opposite, where you want

the surrounds to be as diffused as possible so when you fold them back into a main mix it just becomes ambience. That way you can’t go too far wrong. But if you start putting discrete stuff into the surround channels and it’s not timed right then you’ll create all kinds of problems.”

Audio Media: And problems become more acute when it comes to the bigger distances in theatres?Andy Munro: “In the best theatres, for example, where they’ve got multiple pairs of surround speakers, each with their own time delays and everything is timed correctly you do end up with this quite pleasant mishmash of ambience. Because not only are the speakers you’re hearing closest having the right time delay, all the other ones have a different delay so it’s all kind of mashed together.

“In a small room or narrow room, especially where you’re near the surrounds, quite a few people advocate the bi-directional speakers now, where the sound is fi ring to the sides and not directly at you. Basically, instead of having a single driver that’s pointing forwards – a conventional speaker – you have two drivers aimed left and right. They are directing the sound away from the on-axis position. At the on-axis position they sometimes arrange it so

you actually have a null.“I’m not saying that’s necessarily a good

thing, but sometimes it’s a good way of getting diffusion and avoiding having a surround speaker fi red straight into your ear.

“Of course, this is stuff that happens at the point of delivery – it’s not necessarily something you’d want in your dubbing theatre.”

Audio Media: If you were an audio pro who, like many these days are a jack-of-all-trades, doing a little bit of music, a little bit of sound-for-picture, and other things besides, which way would you swing – ITU or cinematic?Andy Munro: “I’d go for the standard ITU set up, but I would also issue a big warning not to do anything too funky in the rear channels. Stick by the rules and keep it as diffuse as possible. If you can sit in the sweet spot and locate anything in the rear channels then you’re probably doing it wrong. In other words, surrounds should be as de-localised as possible.

“That way, no matter where it’s played back, it’ll work. And at the same time, when you’re doing that, check it doesn’t all fold down into something that’s got a huge hole in it.”

Audio Media: Discrete or virtual centre?Andy Munro: “The centre speaker in a big space does give you a very solid centre image. Whereas in a smaller space I actually prefer a virtual centre image. If I’m listening to classical music – and a lot of classical guys agree with this – you’re much better off with a proper front stereo balance, just left and right, rather than trying to balance it across three speakers. Somehow the centre speaker just doesn’t give the same effect as having a virtual centre image in stereo. It’s something to do with the perspective of the sound and the way it feels. It doesn’t feel natural to me.”

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In the ITU (music) set-up, the surrounds are pointed directly at the sweet spot ‘ears’ at an angle of between 100 and 120 degrees from centre. time-aligned (equidistant) with the front speakers. In the fi lm mixing arrangement, the surrounds are positioned above the listener and should not get closer to the listener than the front speakers, for a more ambient and sweet-spot-tolerant monitoring arrangement.

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SURROUND OPTIONS 7

Superior Tools for Critical MonitoringIn fi lm, post, gaming, broadcast and music productions, consistency, predictability and reliability are key. Add to this networkability and central control, and you’ll know why studios throughout the world rely on Dynaudio Professional technology.

Choosing Dynaudio Professional, you not only get 20 years of innovative speaker and driver technology, you also get integrated TC Electronic digital signal processing. This combination offers you the best of both worlds, making Dynaudio Professional speakers second to none.

Three Main Ranges – One High StandardClarity and consistency come as standard – the question is, how versatile do you want your

set-up? Dynaudio Professional has two extensive ranges of DSP-powered and analogue near-fi eld and mid-fi eld monitors: the AIR series and the BM series, including the brand new Desktop Monitor DBM50. Further, for ultimate main monitoring solutions, you should go for the M series.

AIRIt makes great sense to compare the AIR sound with any other speaker you own or are considering acquiring. We both encourage and support this. Contact your dealer or our representative in your country to arrange a demo.

Bear in mind though, that an AIR system is not really comparable to conventional monitors. On top of ultimate precision and sound, an AIR system offers fl exibility and convenience previously unknown in monitors. Achieving similar functionality and features from conventional monitors requires the addition of a number of external boxes such as Monitor Matrix Controller, Bass Management Crossover, external EQs and delays. This obviously adds to the system price, and moreover often degrades the signal path. With an AIR system everything is integrated and matched – it’s right there for you to use from the menu on the front of a master-

module speaker via a 32-segment LCD display, or through an optional dedicated hardware remote, or an optional dedicated software

application (Mac and PC). The user interface allows for storing and recalling factory and user presets taking into account THX and Dolby recommendations, reference levels, lFE sensitivity and so on.

THX Certifi edAIR monitor systems are THX certifi ed for use in PM3 rooms.

M3XEM3XE is the ultimate main monitoring solution, combining world-class driver and cabinet technology from Dynaudio Professional with cutting-edge signal processing and amplifi cation from Lab.gruppen, Lake, and TC Electronic. The Dynaudio Professional M3XE monitor system takes monitoring to a whole new level with a signifi cant upgrade from its predecessor – the renowned M3A 3-way monitor. To top it off, the speakers are powered by two of Lab.gruppen’s highly esteemed PLM10000Q amplifi ers.

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

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8 PROMOTIONAL FEATURE

Dynaudio Professional monitors are designed to speak the truth. You get exactly what you need for your mixing – an exact reproduction of your mix – no more, no less.

BMC-2 – How Pro Can You Go?

BMC-2 is TC Electronic’s latest digital audio conversion and monitor controller. With it you can enjoy the luxury of controlling your audio levels at all times and during unexpected drops or computer crashes. It also offers digital inputs, iCheck (to check audio compression), and

calibrated listening for headphones and active speakers. BMC-2: your pro DAC and monitor control!

AIR 12

Powerful two-way near-fi eld speaker – 8-inch Woofer and 1.1-inch soft dome tweeter. The latest addition to the AIR family. AIR12 suits all sizes of control room and OB vans, and its high-precision amp/ driver system

(+/- 0.2 dB accuracy) ensures complete consistency with the entire AIR family in a variety of stereo and 5.1 set-ups – remote controllable via the AIR Remote or the included AIR Soft application. DSP room adaption allows for perfect customisation for any room construction and its inter-monitor level calibration feature ensures consistent levels in all sessions.

The BM Series family.

Dynaudio Professional Sindalsvej 34

DK-8240 Risskov

t +45 87 427000

f +45 87 427010

e [email protected]

w www.dynaudioprofessional.com

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

THE INTERNATIONAL GUIDE TO MONITORING & HEADPHONES 2013 9

Award-Winning Speaker Technology

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

Recognition like this goes to show that great products can help produce great art, as Dynaudio Acoustics monitors are used by the most demanding studios, engineers, producers, and production environments throughout the world. The list counts:

AIR 12 2009 Remix Technology Awardin the Monitor/Speaker category

BM 12A 2008 Remix Technology Award

in the Monitor/Speaker category

BM 6A Future Music’s Gear of the Year 2001 Award

Future Music’s Platinum Award 2001

BM 6A mk II Electronic Musician 2008

Editors’ Choice Award in the Monitor Speaker category

2007 TEC Award nomination in the Studio Monitor Technology category for Outstanding Technical Achievement

AIR series Producción Audio – for Best

Studio Product of the Year 2003

m.i.p.a. 2003 Award in the Nearfi eld Studio Monitor category

DBM50Pro Sound Network Best of Show Award (NAB 2012)

Electronic Musician Editor’s Choice Award 2013

Apple Audio Labs, Cupertino/California and Paris/FranceBBC Radio & Music, London, UKDanish Broadcasting Corporation, Copenhagen, DK

Vienna Symphonic Library, AParagon Studio, Nashville, USAIR Studios, UKHalf HP Studio, JPN

Sony DVD Center Europe, AAbbey Road Studio, UKESP Studio, JPN

…and many more.

DBM50

The perfectly angled desktop monitor featuring a 7.1-inch woofer and a 1.1-inch soft dome tweeter. From the handcrafted Dynaudio drivers to its beautiful exterior, DBM50 is specifi cally engineered to perfectly reproduce your desktop mixes, and truly represents a revolutionary new angle in desktop mixing. Another key factor that puts DBM50 in the front seat is sheer quality. Each and every one is handcrafted in Denmark with attention to even the tiniest detail. Further, DBM50 comes with the option of adding a sleek controller that puts you squarely at the helm of volume control in any situation. You can set and manipulate levels with precision and ease, completely independent of your computer

or DAW. The DBM50 controller provides perfect tracking, which guarantees spot-on stereo imaging and unrivalled precision.

Sporting the newest and most pristine Dynaudio ESOTAR² driver technology, M3XE takes over where most other monitor systems give up. With unsurpassed attention to detail, underpinned by an impressive 20Hz-22kHz frequency response and beyond 133dB SPL, M3XE leaves no room for desire in terms of

resolution, range, or sheer power.The cutting-edge combination of Lab.

gruppen, Lake, and TC Electronic processing technology forms the ultimate backing for M3XE and ensures unlimited power and the tools for optimising any room to become the perfect listening environment.

In short, M3XE surpasses any and all main monitor expectations!

BMThe BM monitors – both in their passive and active forms – are clean, powerful, and accurate monitors delivering excellent results every time. The sound is always transparent and crisp ensuring the most realistic listening conditions for a wide array of applications. Comprised of renowned Dynaudio driver technology, these monitors have become the standard when it comes to high performance and transparency. In combination with the subwoofers, the BM series is also very well suited for multi-channel facilities.

monitors 2013monitors 2013

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Immaculate Sound. Beautifully Realised.

The Full Range

The EVE Audio range of studio monitors is currently made up of eight full-range models (and four ‘ThunderStorm; subwoofers). The full range units fall into three three basic types: two-way (tweeter, woofer), three-way (tweeter, woofer, woofer), and four-way (tweeter, mid-range, woofer, woofer). All units feature one amplifi er per driver with DSP-based crossover and EQ, plus EVE Audio’s own SilverCone woofers and RS3 Air Motion Transformer tweeters.

The two-way models are: the SC204 (four-inch woofer, 64Hz-21kHz), the SC205 (fi ve-inch woofer, 53Hz-21kHz), the SC207 (6.5-inch woofer, 44Hz-21kHz), and the SC208 (eight-inch woofer, 36Hz-21kHz).

In the three-way systems the woofers work as a complementary pair, with one taking care of the lower woofer bandwidth and the other working all the way up to the crossover frequency – where the AMT tweeter takes over. The three-way models are: the SC305 (double fi ve-inch woofers, 50Hz-21kHz) and the SC307 (double 6.5-inch woofers, 40Hz-21kHz).

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

mix, while the dual woofer combination doubles up to extend the frequency range of these monitors downwards. The result is accurate bass reproduction, a linear response, and exceptional power and output (up to 118dB SPL).

There are currently two four-way systems in the EVE Audio range. The SC407 uses the RS3 AMT tweeter, a four-inch mid-range woofer, and two 6.5-inch woofers to give a frequency response of 35Hz to 21kHz with a maximum output of 116dB SPL. The larger SC408 uses a fi ve-inch mid, eight-inch woofers, and has a response from 32Hz to 21kHz at a maximum output of 118dB.

Detail, balance, accuracy, and versatility – all describe the relatively recently introduced range of professional studio monitors from EVE Audio; but what is the secret of its success? Roland Stenz knows...

In just two years, Berlin-based EVE Audio has gone from nothing to manufacturing a complete line of professional monitors, sold through partners in 53 countries. The fi rst year culminated in the unveiling of a large and fully-formed product range at Musikmesse 2012, and since then the company has been busy building on that impact. The company founder, Roland Stenz, has years of experience in electronic and loudspeaker design, and is rightly proud of the energy and innovations he and his team have brought to the world of studio monitoring systems.

To understand EVE Audio, it’s best to begin with those innovations. Roland Stenz starts by explaining his choice to use DSP-based crossover and EQ, rather than analogue internals:

Roland Stenz: “For me, it was a clear decision. Of course, this technology offers a modern user interface with encoder control, but the most important thing is that you don’t have to deal with the tolerances [component errors] you get in the analogue domain... The DSP solution offers much smaller tolerances, and you only have to deal with the variations in the drivers.

“Aside from this, I wouldn’t say that there are quality advantages or disadvantages between analogue or digital systems. In every case, the complete speaker has to be designed and manufactured to the best possible standards. The result is important, but the way to get this result can be different.”

EVE Audio does all fi nal DSP calibrations at the factory during the test stage, though there are also shelving and notch fi lters available to the user.

RetweetedThe very special, bespoke RS tweeter that EVE uses is termed an ‘Air Motion Transformer’ (AMT) tweeter. The folded diaphragm moves in the same way as an accordion does and pushes air forwards and backwards – accelerating much faster than with conventional moving coil designs. This is not unique to EVE, but as with all aspects of its products, EVE brings its own ideas to the technology.

RS: “From the beginning I wanted to use an Air Motion Transformer, but I had some ideas about improving on previous designs. Consistency in production was my main focus, but also to have a bigger open space presented at the front interface plate. The EVE Audio tweeter is much more open than others. The inner construction also allows a more precise placement of the folded diaphragm.”

The SC2 range.

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



EVE Audio GmbH Ernst Augustin Str. 1 a | 12489 Berlin, Germany

t +49 30 6704 4180

w www.eve-audio.com

The bespoke design does not end with the RS tweeter. For ultimate quality and balance, Stenz needed a fast woofer design as well; the EVE Audio SilverCone woofer was born...

RS: “The idea was to use a very light but stiff diaphragm material. It’s basically a honeycomb diaphragm sandwiched with glass fi bre, plus a smaller, more responsive voice coil. A bigger voice coil is bad for dynamic behaviour in the speaker.

“It is very important to have complementary woofer and tweeter designs. If you have a very detailed tweeter like the AMT, then you can sense a ‘gap’ between the tweeter and the woofer section – like the tweeter is running alone on top. A fast, dynamic woofer avoids this problem.”

Further, Stenz wanted to address short-comings in bass refl ex port designs – a commonly used system for extending the bass response of a loudspeaker by creating a resonance below the natural cut-off point of the monitor.

RS: “I wanted a speaker system with very good low-end reproduction. For this reason, I decided to put the refl ex ports on the back. Firstly, this means we don’t have holes in the front baffl e so we avoid mid-range problems that arise from this – I don’t have to EQ the speaker so much. Also, I wanted to have a larger diameter port to stop any port noise, which can be an issue with other designs.”

All woofer amps in the EVE Audio range, plus the tweeters in the SC204 and SC205 models, are powered by PWM (Class D) amplifi ers. This technology is highly effi cient, leading to less heat dissipation and therefore better overall loudspeaker performance.

Stand OvationWith all this technology behind the EVE Audio product range, it’s not surprising that the company is confi dent its monitor range will impress.

RS: “In the calibration of EVE monitors I am very careful to achieve the best balance. The woofer and tweeter work together beautifully, and the result is smooth – not overly exaggerated in either the top or the bottom ends of the spectrum....

“We did a lot of development in the anechoic chamber, but we also spent a lot of time listening to different types of music in different rooms. When people made comments, we went back to the chamber and did more testing and adjustment. You have to factor in the effects of different rooms – the effects of dispersion,

refl ections, and so on, and fi nd the best balance between the theoretical ±0dB and what happens in the real world. You need a lot of experience to make a balanced speaker.

“Overall, I wanted a totally dynamic speaker. I started from

the tweeter, and then found a corresponding woofer solution. It is an amazing, well-balanced solution.”

EVE Audio has a wide range of confi gurations to suit different rooms and different budgets, but it is worth pointing out that there is only one range. Why is this a good thing? When you buy an EVE Audio monitor, of whatever size, you can be certain of consistency – an important consideration when investing in your studio.

All of this adds up to a high-class monitor design that will adapt to whatever challenges you throw at it, across all music genres, and no matter which model you choose – now, or in the future.

ThunderStorm: Bass

EVE Audio manufactures a range of four subwoofer units to supplement any monitoring system. Every ThunderStorm (TS) subwoofer has switchable satellite fi lters (full range and 85Hz), phase switch, and variable subwoofer fi lter frequencies (50-150Hz) for room and system-specifi c set-up. Every model has stereo XLR I/O, LFE In, and LFE/Sub Out connections; and comes with a remote control so you can control system wide volume from the sweet spot.

There are currently four models in the ThunderStorm subwoofer range. All units are powered by highly effi cient PWM amplifi ers with the power handling rising through the models. Woofer diameter and bass cut-off/response all the four TS units are: seven-inch, 33-150Hz (TS107); eight-inch, 27-150Hz (TS108); 10-inch, 23-150Hz (TS110); and 12-inch, 20-150Hz (TS112). Maximum output SPL varies from 102dB for the TS107, to 112dB for the TS112.

What The Reviewers Think...

“EVE has created a pair of monitors that leave no excuse for mediocrity, they are simply awesome.” Mixdown, Australia, SC205 review

“Two things stand out from the off: nicely controlled, clear bass, and a remarkably open and deep sound stage.” Musictech, UK, SC208 review.

“EVE Audio’s SC205 are top class near fi eld monitors that easily compete with far more expensive products.” infomusic.com, Poland, SC205 review

“If you’re looking for monitors at this level you really should give the SC307 a serious audition... Smooth control and precision...an impressive monitor” Sound On Sound, UK, SC307 review “...A remarkable addition that is able to convince ambitious sound creators.” Professional Audio, Germany, SC207/SC305 reviews

EVE Audio GmbH, 27.03.2013, Tweeter RS1

EVE Audio’s RS3 Air Motion Transformer

tweeter – and exploded view.

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Focal Exclusive TechnologiesThe ‘W’ Composite Sandwich ConeFocal has been developing composite sandwich cones for the last 15 years. The fruit of that research, the ‘W’ structure (glass/foam/glass) used in every Focal Professional product, allows for a truly optimised response right from the start, thanks to the precise control of rigidity, weight, and damping capacity of the cone. The balance between these three fundamental and often contradictory parameters is the very basis of the exceptional sonic neutrality of our speakers.

The Be TweeterSince the very beginning, Focal has favoured inverted dome tweeters, but the introduction of the pure Beryllium dome, capable of covering fi ve full octaves from 1,000Hz to 40kHz, has simply revolutionised high frequency spectrum reproduction. This tweeter’s capacity to go as high as 40kHz without any artifacts enables it to reproduce high frequencies with unmatched speed and transparency. At fi rst the pure Beryllium tweeter was only available on the very high-end digital speakers of the Focal Professional line (SM11), but now it is also featured on the SM6 series, allowing an unprecedented price/performance ratio.

The Focal Professional Monitoring RangeLooking for the Ultimate Tool?

SM9 seriesThe REFERENCE Three-Way MonitorThe SM9 was born out of a simple idea: create the most sonically transparent monitoring system ever built. The SM9 features a frequency response from 30Hz to 40kHz with an SPL max of 116dB. This monitoring speaker establishes itself as a reference thanks to the precision of the stereo image, its capacity to reproduce each of the micro details of the audio signal, as well as unconditional respect of the original dynamics.

SM6 SeriesThe now famous SM6 series has been developed for professional engineers who are seeking absolutely neutral sound and sound stage precision for recording, mixing, and mastering studios. The SM6 series is composed of three references: Solo6 Be, Twin6 Be, and Sub6.

Solo6 BeTwo-way, analogue professional nearfi eld monitor (150 + 100W RMS Bash® technology), 6.5-inch ‘W’ composite sandwich cone driver, one-inch pure Beryllium inverted dome tweeter. Frequency response (+/-2dB): 40Hz- 40kHz. Max SPL @1m: 113dB.

Two Monitors In One! One of the major innovations of the SM9 lies in its offering two monitoring speakers in only one, unique cabinet. The activation of this monitor is made by setting off the FOCUS mode on the

side panel. The two-way monitor (Beryllium tweeter + 6.5-inch W woofer) offers a frequency response from 90Hz to 20kHz, allowing you to check the mix

transfer quality on systems with limited frequency response in

bass frequencies such as:

This monitor also allows you to check the midrange register – very hard to equalise and balance in terms of sound level compared to other information contained in the audio signal.

Twin6 BeThree-way, analogue professional nearfi eld/midfi eld monitor (2x150 + 100W RMS Bash® technology), 2x6.5-inch ‘W’ composite sandwich cone driver, one-inch pure Beryllium inverted dome tweeter. Frequency response (+/-2dB): 40Hz-40kHz. Max SPL @1m: 115dB.

Sub6Analogue subwoofer (1x350W RMS Bash® technology), 11-inch ‘W’ composite sandwich cone subwoofer. Frequency response (+/-2dB): 30Hz-250Hz. Max SPL @1m: 116dB.

Listen to Your Music, Not to Your SpeakersThese few words embody the philosophy of Focal Professional, the French manufacturer of acoustic loudspeakers and transducers. From their very beginning on the drawing board in Research & Development at Focal, our professional monitors are designed to deliver one thing, at any cost: the absolute acoustic truth.

2012

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



UK Distributor

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

w www.scvlondon.co.uk

For a complete list of distributors:

w www.focalprofessional.com

CMS SeriesThe CMS line is particularly dedicated for use in post-production studios, small listening rooms, radio studios, and home studios. The CMS series has been awarded Best Studio Monitor twice in 2009 (CMS 50) and 2010 (CMS 65), and both received the MIPA award during Musikmesse 2009 and 2010 from 110 worldwide pro audio magazines.

CMS 40Two-way, analogue professional nearfi eld monitor (25 + 25W RMS class AB), four-inch Polyglass cone driver, one-inch aluminum-magnesium inverted dome tweeter. Frequency response (+/-2dB): 60Hz-28kHz. Max SPL @1m: 97dB.

CMS 50Two-way, analogue professional nearfi eld monitor (80 + 50W RMS class AB), fi ve-inch Polyglass cone driver, one-inch alumnium-magnesium inverted dome tweeter. Frequency response (+/-2dB): 55Hz-28kHz. Max SPL @1m: 107dB.

CMS 65Two-way, analogue professional nearfi eld monitor (100 + 60W RMS class AB), 6.5-inch Polyglass cone driver, one-inch aluminum-magnesium inverted dome tweeter. Frequency response (+/-2dB): 45Hz-28kHz. Max SPL @1m: 112dB.

Cenzo Townshend has recently installed Focal SM9 monitors in his Decoy Studios in Suffolk:“It’s not often that manufacturers’ tag lines mean anything in the real world, but when Focal says: “Listen to your music, not your speakers”, they’re not kidding. I listen ‘on’ my SM9s... not ‘to’ them. They don’t fatigue my ears, so I actually enjoy listening to music on them.”Cenzo started at Trident Studios in the 80s, assisting Spike Stent and Alan Moulder, and has gone on to be one of the UK’s top engineers.He has mixed countless best selling albums and singles from artists inc. U2, Snow Patrol, Elbow, Florence & the Machine, Kaiser Chiefs, Everything Everything, Friendly Fires, Ben Howard and many more. Cenzo Townshend(Sound Engineer – U2, Snow Patrol, Kaiser Chiefs)www.cenzotownshend.com

“I now mix on a pair of Solo6 Bes, and the other two rooms at FLUX Studios have Twin6 Bes. Besides the phenomenal translation from studio to real world, which other monitors lacked, the sheer absence of distortion allows us to work very long hours without getting tired or losing perspective. We work faster, better, and with less recalls than we did before we switched to the Focal system. There is no way back.”Fab Dupont (Sound Engineer – Shakira, Jennifer Lopez, Nat King Cole)

“Forget all about my gear and toys, the most critical element in my studio is my loudspeaker… To me, there’s no better nearfi eld loudspeaker than the Solo6 Be, whatever the prices of other monitors.”David Kutch(Mastering Engineer – Alicia Keys, Natasha Bedingfi eld, Al Green, Erykah Badu, Estelle, Outkast, and many more)

“The Twin6 Be monitors are the best that I’ve used in terms of studio-to-consumer listening translation. They really translate: what I hear in the studio is what the outside world hears, in my experience. Listening back to mixes I’ve done on the NS10s through the Focal Professional, it kind of scares me because I hear top-end distortion that I wasn’t hearing in the NS10s – I was so used to using them, I thought I knew them. With the Focal Professional there wasn’t a learning curve, it actually spooked me at fi rst.”Jeff Juliano (Sound Engineer – James Blunt, John Butler)www.myspace.com/jeffjuliano

“My Focals are clear and detailed. Great for long listening sessions!”Ken Nelson (Coldplay Producer)

They have chosen Focal Professional

CMS SUBAnalogue subwoofer (1x300W RMS Bash® technology), 11-inch Polyglass cone subwoofer. Frequency response (+/-2dB): 30Hz-250Hz. Max SPL @1m: 113dB.

2009

2010

Established in 1978 in Finland, Genelec maintains a leading position in professional audio monitoring with neutral-sounding products for any monitoring need. During the past decade Genelec’s business has expanded beyond the core of professional studio monitoring, and our products are today found in small project studio applications, AV install applications, and home audio systems. Although applications may vary, one thing remains: our desire to offer the best possible sound reproduction.

Despite the fact that Genelec 8000 Series products are already widely used in project and home studios, Genelec has now chosen to design a product especially for this music creation market. The aim has been to provide a set of features that matches perfectly the needs of these customers without compromising the pursuit of the highest quality possible.

Studio Set-up For Music Creation The key to ensuring high quality of recording is monitoring with high quality loudspeakers. Because of the less than optimal acoustical treatment of the monitoring space, music creation applications place special demands on the monitoring loudspeaker. The applications range from home and project studios, studios for songwriters and DJs, and working environments for music technology students, to anyone who wants to create music. Headphones are sometimes used for eliminating room acoustics, but headphones cannot render a presentation of the stereo imaging or acoustic space because the sound in headphones localises inside the listener’s head. Monitoring loudspeakers are the key to understanding the recording properly.

M Series Products Genelec professional monitoring products have a reputation of being a good investment, with

excellent quality and long lifetime. They are the market leaders and de-facto standards for monitoring with several broadcast, post-production, recording and audio mixing houses. For the music creation market, as for any other market, Genelec wants to maintain the same values with uncompromised sonic quality, environmentally sustainable products and production processes.

The M Series has two members, product types M030 and M040. Both are bi-amplifi ed active monitoring loudspeakers. Both share the new technology platform with green power saving electronics, Intelligent Signal Sensing (ISS™) power management, very linear and clean Class D power amplifi er design, and an easy-to-use room correction feature set with an acoustical design optimised for the music creation market. A central component in the acoustic performance optimisation is the use of new environmentally friendly Natural Composite Enclosure™, where half of the composite material is wood fi bre. Sound From A Natural SourceThe innovative Natural Composite Enclosure™ (NCE™) of the M Series products is made of a material that is best described as injection-moldable wood. This material is a natural fi bre composite material, where half of the material is wood fi bre. The resulting enclosure has a lot of good acoustical properties being, for example, 100% stiffer than the ABS. The often environmentally hazardous painting of the enclosures has been eliminated, saving also in transportation and handling.

The composite material has many outstanding properties. It allows the design of structures with smaller wall thickness because of the injection molding process and the high internal vibration energy losses of the material itself. The injection molding process allows the

production of acoustically highly optimised shapes and forms with a large internal volume. Maximising the internal volume of the enclosure is paramount to achieving high acoustic output at the low frequencies.

Laminar Integral Port DesignThe very low weight, acoustically stiff, and functional yet highly elegant design allows for fl ow-optimised bass refl ex ports to be integrated as parts of the enclosure shape. The novel patented Laminar Integral Port™ (LIP™) structure maximises the bass reproduction in the physically small enclosure.

Most bass refl ex ports work relatively well at low bass output levels. The differences between designs become evident at high output levels. As the refl ex ports in Genelec’s professional active monitors, the Laminar Integrated Port design has been optimised for low distortion even at very high audio output levels. To save space and ensure easy placement of the M Series monitor loudspeakers, the ports open down under the loudspeaker.

Precise Reproduction With Excellent Directivity ControlThe M Series has been designed for the high standards of monitoring work. The on axis response demonstrates excellent neutrality. The specifi ed accuracy of response is ±3dB. Controlled directivity is very important in the acoustically compromised rooms that typically are used for project studios. Excellent directivity control provides smooth frequency response on- and off-axis. The new waveguide design makes the M Series product particularly reliable in music creation applications. Furthermore, the directivity has been matched across the two loudspeaker models. This results in very similar sounding neutral characteristics for both product sizes.

Just Imagine How Far You Can Go…

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


Genelec introduces the new M Series for Music creation

The M Series products

– M030 and M040.

Resonance FreeOne of the keys to good performance in a loudspeaker is a resonance free construction. When the input audio stops the monitoring loudspeaker should go silent as well. M Series loudspeakers have been designed to minimise all resonances. The outcome of this is accuracy and capability to reproduce details and nuances without masking the audio signal.

Genelec Class D Amplifi ersLike all other Genelec products, M Series monitors have active amplifi cation. Each driver is directly connected to the output of a power amplifi er. Genelec has been running a research program to develop Class D amplifi er technology especially for high quality active monitoring application and M Series is the fi rst product line utilizing this research work to the full extent. Although Class D designs promise low losses and high effi ciency in terms of power consumption making them environmentally sustainable, special attention has to be paid to distortion at high audio frequencies. Genelec’s Class D designs have been optimised for low distortion through the whole frequency band. This enables Genelec to use Class D amplifi ers for both channels without compromising the distortion level at the tweeter driver.

Automatic Mains Voltage SelectionMusic creation requires mobility in many cases. To help our customers in this regard, the Genelec M Series products have automatic mains voltage sensing. No matter where you go, you can plug Genelec M Series products in the wall socket without worries. Automatic mains voltage sensing makes your life very easy – just plug and play, literally.

Intelligent Signal-Sensing Power ManagementIntelligent Signal Sensing (ISS™) circuitry listens to the input connectors and detects if the monitor loudspeaker is in use. If there is no audio on the input for 30 minutes, the M Series monitor loudspeaker will go to a low-power sleep state where the loudspeaker consumes less than 0.5 watts of power. When an audio signal is detected on the input, the product immediately turns itself on.

New High-Performance DriversThe heart of a high quality loudspeaker system is of course the drivers. Genelec M Series products feature entirely new driver designs. All new driver designs have been optimised for fl at frequency response and high sound level operation at very low distortion with high effi ciency. The use of the DCW™ increases the acoustic output, enabling cleaner lower distortion operation at extreme sound level outputs. The M Series system design has been aimed for low multi-tone distortion, the result is only a third of the usual level compared to typical similarly sized loudspeaker systems.

Versatile InputsThe M Series products have a balanced XLR combo connector, containing also the 6.3mm phone jack input, and a separate, unbalanced RCA input. These cover the connectivity needs typically found in music creation applications, and provide for easy connectivity to any audio

source. The balanced inputs can be used to minimise the possibility of picking up hum or any other electrical disturbance by the cables feeding the audio input to the M Series products.

Easy To Use Room Response ControlsA project studio can be set up anywhere. In all set-ups it always makes good sense to use the room calibration tools available on the monitoring loudspeaker. M Series products provide you with a solid set of room boundary compensation tools for the cases you typically meet in real-life project studio environments.

SummaryThe M series products M030 and M040 provide a unique combination of high linearity, low distortion, and clean and neutral audio reproduction, which is particularly suited for acoustically challenging music creation environments. The series has a room compensation feature set that particularly suits music creation environments and the versatile inputs suit any connection, while the universally adapting mains input enables mobile work. Furthermore, M Series products take the respect for sustainability and environmental values to a new level in monitoring loudspeaker products.

Your Music. Your Inspiration. Our Experience.

Genelec OyOlvitie 5, FIN-74100

Iisalmi, Finland

t +358 17 83 881

e [email protected]

w www.genelec.com

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



The cross-section plot of the fl ow-optimised Laminar

Integrated Port™ demonstrates the effi cient bass

refl ex system integrated into the Natural Composite

Enclosure™ structure.

Table 1. Summary of M Series product specifi cations

Product model M030 M040

Maximum sound output 103dB SPL 107dB SPL

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

Crossover frequency 3kHz 2.5kHz

Driver sizes woofer 5-inchtweeter ¾-inch

woofer 6.5-inchtweeter 1-inch

Amplifi er power 50W + 30W 80W + 50W

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

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

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

The Call for a Next Generation Studio MonitorToday’s sophisticated music production is carried out in a broad range of spaces. Until now, the availability of a big, impressive, yet highly accurate monitoring experience has been limited to purpose-built control rooms. As small and medium sized rooms play an increasingly signifi cant role in cinema and broadcast content creation, high dynamic range and accuracy are required from a speaker system with a modest foot print.

The M2 Master Reference MonitorAddressing this growing need JBL has developed the M2 Master Reference Monitor: a free-standing, two-way system that can be placed in any environment to provide an exceptionally accurate monitoring experience. Leveraging a new generation of JBL high-output, ultra-low distortion transducers, the M2 provides in-room frequency response of 20Hz to 40kHz, and an extraordinary 129dB maximum SPL to meet demanding music, cinema, and broadcast production requirement for impactful dynamic range.

In a compact form-factor, the M2 integrates three key components that work in harmony to deliver unparalleled performance. At the heart of the system, JBL’s patented D2 high frequency and 2216Nd low frequency transducers are the engines that make this possible. Using a revolutionary design, the D2 produces smooth, extended high frequency response with ultra-

low distortion whether listening at very high or subtle levels. Using patented technology, the remarkable 2216Nd woofer offers deep bass extension and very low power compression, even at its full-rated output. In spite of the M2’s minimal footprint, its exceptional low frequency response eliminates the need for a subwoofer.

The unique Image Control waveguide completes the acoustic design. A marvel of engineering in its own right, this new JBL waveguide allows an acoustically seamless transition between the woofer and high frequency driver, delivering exceptional imaging and rich detail to a broad area of the room. These unique components make possible a two-way design with an unprecedented level of performance, utilising a single seamless cross-over that reduces system complexity and allows a compact form-factor for fl exibility of placement in the room. Crown® Power Amplifi ers with internal fl oating-point DSP are used to bi-amplify and tune each speaker, optimising the M2’s performance in any room.

The M2 brings a world-class, big monitoring experience with a new level of accuracy to a broad range of production spaces. For rooms wishing to step up, the M2 is a game changer.

The Ultimate High Frequency Driver for Critical Reference Monitoring

The patented D2 dual driver design allows the M2 to meet seemingly opposing objectives: extended high frequency, very low distortion, and very high output. Central to this innovative solution are two key developments. First: the use of an annular diaphragm, not subject to the break up modes of a conventional dome diaphragm. Second: the merging of two drivers into a single, compact transducer with a single

Innovation Through Meticulous Attention to Detail

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Responding to the call for greater accuracy and dynamic range in music and post production work spaces, JBL introduces the new M2 Master Reference Monitor. Breaking free of the conventional, the M2 incorporates numerous patented innovations to deliver unprecedented performance and a truly remarkable listening experience.

The D2Dual Diaphragm,

Dual Voice-Coil Compression Driver.

acoustical output. Instead of the large and heavy metal dome diaphragm of a conventional compression driver, the D2430K uses two annular low-mass polymer diaphragms offering the same radiating area as a conventional three-inch dome. Two separate three-inch voice coils driven by their own magnet structures share the burden of heat transfer, resulting in a dramatic increase of output and power handling. The result is a high frequency transducer with extended high frequency response to 40kHz and signifi cantly lower levels of nonlinear distortion.

2216 Differential Drive® Woofer

Achieving extended, rich low frequency performance within the M2 system design

innovations, and the 2216Nd in the M2 employs

no less than fi ve patented technologies to allow bass extension to the limits of the audible range, and high output, free of power compression that is detrimental to a system’s low frequency

the ‘dual driver’ design of the D2, the 2216Nd

utilises dual neodymium magnets and two voice coils. The patented use of low thermal coeffi cient of resistance wire allows the woofer parameters to remain more stable at high output levels. In the M2 system, the 2216Nd produces impressive low frequency output to 20Hz.

Image Control Waveguide

To support an imperceptible transition between the two drivers, and deliver exceptional imaging,

waveguide design that enables neutral frequency response, not just on-axis, but off-axis in the vertical and horizontal planes, all the way down to the M2’s 800Hz crossover point. The unique geometry of this waveguide allows the M2 to deliver remarkable high frequency detail, imaging, and natural balance at nearly any listening position in a broad range of acoustic environments.

complete the M2 system, providing greater than a kilowatt of clean power to the 2216Nd woofer, and more than enough power for the D2 driver. Working in concert with the M2’s revolutionary

I-Tech allows the implementation of an ideal crossover, while providing the option for storage

you hear at the mix position, particularly in the room-dependent low frequency bands, where

resonance caused by room modes can give a false impression of bass in the mix.

use of fl oating-point digital signal processing

external measurement hardware and software, the complete M2 tuning and room integration system addresses non-linearity in the room. This ensures a high degree of accuracy whether the monitors are freestanding, soffi t-mounted, or placed adjacent to a wall.

www.jblpro.com/M2

JBL Professional8500 Balboa Blvd., Northridge,

CA 91329 USA

t +1 818 894 8850

e [email protected]

w www.jblpro.com/m2

UK Contact

Sound Technology PlcLetchworth Point, Letchworth Garden City

Hertfordshire SG6 1ND, UK

t +44 (0) 1462 480000

e [email protected]

w www.Soundtech.co.uk

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


monitors 2013

Image Control Waveguide.

These detailed

measurements of

the M2 illustrate the

system’s exceptional

performance.

2216Nd

Differential Drive®

Woofer.

Honest Voices. Straight Talk.A studio monitor is a tool used to aurally ‘measure’ the changes in an audio path. Ask any seasoned recording professional what they think makes a great studio monitor and you’ll get basically the same answer: “Accuracy, transparency, fl at response, and the truth.” In other words…honesty. Simply put, recording engineers want the electrical signal entering their monitor to be reproduced mechanically by the transducers and they want this to occur without any deviation or compromise to the original signal. Professionals depend upon their monitors to deliver their artistic vision in a way that will translate as accurately as possible to a variety of audio mediums. The following four music professionals have honed their craft of creating music and in turn they are offering their honest voices about studio monitors.

Jacquire King – Record Producer/Mixer/EngineerWhen something works, why switch? King is a 2009 Record of the Year Grammy Award winner with Angelo Petraglia for the Kings of Leon’s Use Somebody. “For monitoring, I’ve used the KRK Rokit 5’s for a little more than four years. I was using NS-10s in the tracking studio at the time. I’d been looking for an alternative and soon after got a pair of the Rokit 5s. These monitors are true and consistent. They are not hyped sounding and make you work for a great result, which I like. They have plenty of bottom-end and when the mix is sounding huge on them then I know I’m fi nished.”

Henri ‘MGI’ Lanz – Producer/SongwriterThis Finnish born, 25-year-old producer/songwriter is a perfect example of a modern

hit maker. MGI has produced and written songs for and with Akon, Sean Kingston, Timbaland, Pitbull, Justin Bieber, Jim Jonsin… and the list goes on. His productions include various Gold and Platinum selling records all over the world. “I’ve used KRKs for about two years now. When I fi rst heard them, I really loved the way the VXT series sounded. No matter what the location is I need to be 100% sure how the mix is going to sound wherever I am.”

Chris Young – Producer/Songwriter “I’m primarily a producer/songwriter,” says Young, and for the past six years, he has been running his own Chestnut Studios in London. When he installed an SSL desk he knew he had to make a step up in monitors as well, choosing the KRK Expose E8B studio monitors. “I actually tried different monitors, but KRK won hands down,” says Young. “The biggest thing for me is I can listen through the studio monitors to a mix and then go elsewhere and not suddenly

fi nd that things have changed dramatically.” Young also uses KRK VXT6 monitors at a smaller home studio he uses for writing, along with KRK KNS 8400 headphones that gives him a sonic consistency between studios.

Rodney ‘Darkchild’ Jerkins – ProducerAfter 15 years in the business and a string of successes with artists like Lady Gaga, Beyoncé, Britney Spears and Mary J. Blige, Rodney ‘Darkchild’ Jerkins is a voice of experience. A KRK user for almost a decade, his studios in L.A., New Jersey, Florida, and at his home all feature a mix of Expose, VXT, and Rokit

monitors. “I look for something that’s tight, that’s punchy, that still has the low-end, but still has the pristine clarity up top. KRK is literally is the foundation of my sound.”

Our Focus. Your Mix.

KRK is driven by a design philosophy of accuracy, transparency, and fl at response. Our products deliver on this promise through a combination of solid design and product innovation. KRK monitors are tools that are cherished by their owners as partners in crafting great music and mixes.

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The Popular Rokit Line Expands

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

The Rokit RP10-3 is a mid-fi eld three-way monitor system in a compact form factor and at a breakthrough price that delivers loud and accurate sound reproduction to satisfy professional needs. The RP10-3 will suit commercial facilities as well as space and budget conscious private studios. The ‘pro-studio’ appearance of this monitor will visually impress, and the high SPL output makes it capable of handling challenging high-dynamic tracks for all genres of music. As part of the KRK Rokit Series of monitors including the Rokit 5, 6, and 8, the Rokit 10-3 adds true mid-fi eld performance to give studios the creative edge.

“Notable is the design feature that enables the user to reconfi gure the drivers so that the cabinet can be operated horizontally. Quite ingenious.“The strength is in the mids and upper mids. Voices, violins, winds, were all nuanced and distinct, and even massed brass sections didn’t lose transparency.” Recording Magazine


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

VXT Monitors Whether you are making critical mixing decisions or need to capture the stable nuances of a unique sound, you will quickly discover that the VXT Series is as precise about your work as you are. The VXT Series feature key design elements that continue to make the KRK sound a studio standard. The VXT Series have been designed to present the true nature of the audio material without colouration or enhancement.

“I just love the overall sound. They’re clear, reliable, transparent, and consistent. I like to listen really loud and I love how the VXT8s are able to respond to the challenge. No matter where I am, I know exactly how my mix is going to sound when I get to work with the black and yellow!”Henri ‘MGI’ Lanz, Producer/Songwriter (Akon, Sean Kingston, Timbaland, Pitbull, Justin Bieber)

Exposé E8B

Utilising state-of-the-art components to achieve a level of clarity and sonic accuracy that is unprecedented, the new Expose E8B is the fl agship of KRK’s product line. With its stunning, highly functional enclosure featuring thick, non-parallel, internal walls that eliminate standing waves, and magnetic shielding for use in close proximity to video monitors, the Expose E8B elevates KRK’s reputation as a manufacturer of premium studio reference monitors to an entirely new level.

Subwoofers

KRK powered subwoofers are the perfect choice when you need to hear what is happening in the depths of your mix. In a stereo confi guration, the subwoofer will have to produce the bass normally generated by the monitors – that alone can exceed the headroom of an ordinary sub. In a surround sound confi guration, the subwoofer has to reproduce all of the low-frequency information from fi ve or more channels as well as the demanding bass content of the LFE channel. These challenging applications can place demands far exceeding the capabilities of normal low-frequency drivers and power amplifi ers. This is where the performance of KRK family of subwoofers shines.

“I’ve always loved having a sub to wow record companies or artists when playing back a song or mix. The truth is, most subs are only good for that purpose and are not accurate enough to work with when making a record.

The KRK12s changed that. It’s very accurate and actually makes my Exposés sound even better!”Martin Harrington –Writer and Producer (Celine Dion, Kylie Minogue, Natalie Imbruglia)

CONTACT DETAILS

Focusrite Audio Engineering Ltd.

Windsor House, Turnpike Road

High Wycombe, Bucks

HP12 3FX, UK

t +44 (0) 1494 462 246

e [email protected]

KRK Systems, Inc.

Gibson Pro Audio

309 Plus Park

Nashville, TN 37217

1-800-4 GIBSON

e [email protected]

w www.krksys.com

®

At KRK, our focus is to develop studio solutions to help you create a great mix. KRK monitors and subwoofers are legendary. The ERGO room analysis and correction system is revolutionary. The KNS Headphone series is designed to provide what KRK has been delivering for 25 years: sonic accuracy, transparency, and consistency. The signature yellow woofer of

a KRK monitor tells the world that you and

your monitor are true to the mix and true to

your craft. KRK studio monitors enable you to

confi dently make the critical decisions that

impact the music and audio program.

Visit us at www.krksys.com to fi nd out why

our focus is your mix!

ERGO

A new software and fi rmware update is now available for KRK’s leading ERGO® Room Correction System. ERGO is an audio recording interface and room correction system designed to measure and analyse phase and frequency problems within a listening environment. To correct room issues, the internal digital signal processor analyses and corrects room problems, improving the response at the listening position, which results in mixes that translate far better to other playback systems. This latest version includes support for Apple® Mac OSX Lion 10.7.3 and Microsoft Windows® 7 SPI (32-/64-bit), and also improves the capabilities of ERGO, such as installation, calibration and confi guration.


Based in Luton, England, PMC is a leading manufacturer of precision reference monitors for discerning audio professionals and audiophiles. The company’s products, which include active and passive models, use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology (see box), cutting-edge amplifi cation, and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when fi rst created, with the highest possible resolution, and without colouration or distortion.

With a history and reputation lasting over two decades, PMC remains one of the few audio-related manufacturers to have been awarded an Emmy® for its technical excellence, and has customers at the very top of the pro audio, broadcast, and fi lm industry worldwide. Its customers range from musicians and composers, professional audio equipment companies, and recording studios at one end of the audio production chain, to record companies, broadcasters, Internet service providers, and discerning listeners at the other. In the limited space available in this pro-audio-orientated

guide, it would be impossible to give an overview of the company’s entire consumer and professional passive and active ranges. Instead, we’ll look at two of their most recently released active ranges: the new two-way twotwos, and the IB2S-A three-way midfi elds.

twotwo™ SeriesLike the IB2S-A, the recently released twotwo series of reference-grade monitors combines PMC’s low-distortion ATL™ bass-loading technology, digital inputs and signal processing, and active Class-D amplifi cation; but presents these features in the form of three nearfi eld

two-way speakers (the twotwo.6, twotwo.7, and the recently released twotwo.8).

All three models in the twotwo range share the same core design and features, as well as the same tonal transparency and neutrality. The model number refers to the approximate size (in inches) of the bass driver. The larger two models have a greater cabinet volume, offer more bass extension, and a higher possible maximum SPL, and are therefore better suited to use in medium-sized rooms where more power and dynamics are required.

The onboard DSP engine, derived from that employed in the larger IB2S-A, optimises the crossover and the response of the drivers, maximises dispersion, and provides non-invasive protection using modelled excursion limiting. The built-in Class D dual-amplifi cation system builds on the amplifi ers developed for PMC’s powered range, delivering 50W to the tweeter and 150W to the bass driver, and producing high-resolution audio with plenty of headroom and detail.

One design aim was to make the twotwos as easy to set up in a rehearsal or hotel room with a phono cable and a laptop, as it is to drive them on the meterbridge of a digital console in a pro studio; to this end, connections include analogue phonos and XLRs, as well as an AES3 digital input, which will handle all sample rates up to 192kHz.

All three models in the twotwo range are designed to be used vertically or horizontally without compromising stereo imaging or tonal accuracy. There is no need for a separate

PMC: Precision Reference Monitors, Trusted By Discerning Pros

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

Introducing the latest high-resolution Active ATL™ designs with analogue and digital inputs; the last word in fl exible, transparent monitoring.

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

plus horizontal twotwo.6s in an LCR arrangement.


PMC’s twotwo.5,

twotwo.6, and the

new twotwo.8.

horizontal version of the speaker for use as a centre channel, or in environments where horizontal use is a necessity for height reasons. This makes the smaller models in the range well suited to nearfi eld monitoring of music and speech in situations where space is at a premium. Despite only being launched in autumn 2012, the twotwo is already an award-winning success with high-profi le users including producer Kid Harpoon (Florence And The Machine), renowned mix engineer and producer Spike Stent, and Manchester’s School of Sound Recording (SSR), among many others.

IB2S-ActiveThe stand-alone IB2S-Active offers discerning users the attributes of PMC’s large ATL™ reference active monitors, such as the fl agship BB5 XBD-A, but in a more compact form and with an AES3 digital input built in as standard. They are the ideal monitors for high-end reference

monitoring and mastering applications.The DSP-tuned, Class-D powered cabinets

provide a controlled, high-resolution, low-frequency response from the three drivers, all

of which are designed in house and manufactured to strict tolerances. The bass units in the cabinets, which are identical, feature the 10-inch carbon-fi bre/Nomex™ piston drivers from the earlier IB1S and IB2S speakers, while the IB2S-A cabinet features the highly respected hand-built 75mm fabric-dome driver to handle the mid-range, and the 34mm soft-dome tweeter from the fl agship BB5 XBD-A. 960W of independent, audiophile-quality power is available to each active master cabinet: 200W for the high-frequency and mid-range drivers, with 560W directed to the LF driver for extended, low-distortion precision monitoring all the way down to 20Hz.

The IB2S-A features user-adjustable HF and LF shelving fi lters, per-channel ±8dB input level trims, an AES3 digital input, and the ability to adjust the input sensitivity

of the balanced analogue inputs from +4dB to +20dB. The EQ, level trims, and analogue/digital input selection settings may be adjusted from a distance with an RJ45-connected remote supplied as standard.

The three-way IB2S-A master cabinet may be purchased as a speaker in its own right, or together with the single-driver XBD bass cabinet. This forms the IB2S XBD-A system, with the XBD cabinet providing +3dB of additional LF headroom and a more even in-room LF response.

Last year, the IB2S XBD-A was used in London by fi lm score composer Thomas Newman while he created the soundtrack to the James Bond 50th anniversary fi lm Skyfall, now the most successful British fi lm of all time.

PMC’s Signature Bass-loading

Technology – ATL™

All PMC loudspeakers are Advanced Transmission Line™ (ATL™) designs incorporating sophisticated cabinet construction, PMC-designed drive units, and patented absorption materials and techniques. The ATL concept has existed in loudspeaker engineering for many years, but under the guidance of PMC’s co-founder and Chief Engineer Peter Thomas, the theory has been refi ned and honed to a very advanced level, outperforming the many sealed and ported speakers available on the market today.

In a PMC ATL design, the bass driver is placed at one end of a long tunnel (the transmission line), which is heavily damped with absorbent acoustic material. This is specifi ed

to absorb the upper bass and higher frequencies that radiate from the rear of the bass driver. The lowest frequencies, which remain in phase, then emerge from the large vent at the end of the line, which essentially acts as a second driver.

One advantage to this approach is that the air pressure loading the main driver is maintained, thus controlling the driver over a wide frequency range, which in turn signifi cantly reduces distortion. A spin-off from the lack of distortion is that the upper bass and mid-range detail is not masked by harmonic distortion residing in the very low frequencies. The result is PMC’s characteristic transparent mid-range and fast, attacking bass notes, all reproduced with great clarity.

A further advantage of the transmission line approach is a cabinet that produces a higher volume and greater bass extension than a ported or sealed design of a similar size, even if identical drivers are used. Moreover, as the loading on the main driver is maintained at all volumes, the frequency response also remains consistent regardless of listening level – a most important attribute for professionals whose hearing is their most precious tool.

Benefi ts of ATL™:

PMC Limited43-45 Crawley Green Road

Luton, UK

LU2 0AA

t +44 (0) 870 4441044

f +44 (0) 870 4441045

w www.pmc-speakers.com

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IB2S XBD-Active.

Eris Series High-Defi nition Studio MonitorsWhen it’s time to replace those cheap ‘computer’ speakers with serious two-way professional studio monitors, you’re ready for Eris™ Series monitor speakers. The Eris Series has the back-panel acoustic-tuning tools you need to tailor their sound to your room environment and musical genre. You end up with mixes that sound good everywhere, not just in your studio.

These ultra-affordable, two-way, bi-amped monitor speakers deliver very accurate response, with a tight bass and very clear upper end. They can also be user-adjusted to the acoustic space, allowing you to create a more accurate listening environment or to simulate different

common listening environments – a feature not typically provided by studio monitors in this price point.

With Kevlar™ low frequency transducers, low-mass silk-dome tweeters, responsive Class AB amplifi cation, and professional acoustic-adjustment controls, the compact Eris series is an outstanding value in its class. Eris speakers include RF shielding, current-output limiting, over-temperature protection, and subsonic protection. Both Eris models have

individual balanced XLR and quarter-inch TRS input connections, in addition to unbalanced RCA inputs.

Users can make several types of custom adjustments. A three-position Acoustic Space switch controls a shelving fi lter at 800Hz that provides three attenuation points, allowing you to control the bass response relative to the wall proximity of your speakers. A High Pass switch sets the low-frequency cut-off. You also get continuously adjustable High Frequency and Mid-Range controls.

This combination of controls lets you create a linear response for accurate monitoring, which is what you really need in your studio.

PreSonus Studio MonitorsPreSonus recently introduced two new series: Eris and Sceptre. Eris monitors offer excellent performance for budget-conscious project studios, with features normally reserved for more expensive monitors. Sceptre employs advanced coaxial technology and DSP to affordably achieve high-end sound quality.

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Eris Key Features

The Eris E8.

The Eris E5.


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CONTACT DETAILS

PreSonus Audio Electronics

7257 Florida Blvd.

Baton Rouge, LA 70806-USA

t +1 510 681 3050

w www.presonus.com

European Public Relations:

Daniel Keller, Get It In Writing

t +1 562 546 3342

e [email protected]

UK Distributor:

Source Distribution

t +44 (0)208 962 5080

w http://sourcedistribution.co.uk/

Sceptre Series CoActual Studio MonitorsThe fi rst time you hear Sceptre™ Series CoActual™ two-way studio monitors, you’ll discover fi ne nuances of your music that can’t be reproduced by conventional designs. The Sceptre’s panoramic soundstage, clarity, fi ne detail, and stunning dynamics will astonish you.

This exceptional performance is the result of an advanced coaxial design by Fulcrum Acoustic’s Dave Gunness that works integrally with a 32-bit, 96kHz, dual-core processor running Fulcrum Acoustic’s TQ™ Temporal Equalization technology. Gunness was also responsible for fi nal tuning and voicing of the Sceptre Series monitors.

TQ employs multiple, fully addressable, Finite Impulse Response (FIR) fi lters. This approach requires advanced algorithms and subtle, sophisticated transducer design, which is why such systems have, in the past, been limited to very high-end systems with external processors. Yet Sceptres are an affordable investment for project-studio owners – a fi rst for DSP-controlled, TQ-based systems.

These systems are bi-amplifi ed: each transducer is powered by a 90W RMS, Class D power amp with an internal heat sink. All Sceptre Series monitors have balanced XLR and quarter-inch TRS line-level inputs, with A-taper level control and feature acoustic ports.

Sceptre monitors include controls that enable full integration into any studio environment. A four-position Acoustic Space switch controls a shelving fi lter centered at 100Hz, with four attenuation settings so that you can account for the bass response relative to room dimensions and speaker placement. A High Pass Filter switch sets the 24dB/octave fi lter’s low-frequency cut-off. A High Frequency Driver Adjust switch adjusts the tweeter’s overall level. The Sensitivity control ranges from +4dB to -10dB.

All Sceptre Series monitors offer RF shielding, current-output limiting, over-temperature protection, and have internal power supplies with IEC connectors and power switches with on/off LEDs. An amplifi er ‘soft start’ feature eliminates popping on power-up.


About PreSonus

Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone pre-amps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

Sceptre Key Features

time-correction and point-source design

defi nition imaging

eight-inch (S8)/6.5-inch (S6) mid-range driver and one-inch (25 mm), horn-

point DSP provides critical Temporal

HF Driver Adjust (Linear, +1dB, -1.5dB, -4dB)Acoustic Space settings (Linear, -1.5dB, -3dB, -6dB)

internal heat sink

and over-temperature protection

TRS line-level inputs with A-taper level control

popping on power-up

continuous SPL

connector

The Sceptre S8.

The Sceptre S6.

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Quality – Technology – Experience – CoherencyDesigned and manufactured at our Yverdon workshops in Switzerland, the latest generation of PSI Audio speakers is the culmination of 30 years’ knowledge of materials and treatments, guided by a thorough understanding of acoustics.

The unique precision of PSI Audio monitors is a delicate mix between the passion, experience, and know-how of electro-acoustic technology.

The whole product range takes advantage of our knowledge, and we strive to deliver the most coherent sound and design between all our models. In order to get the best compatibility between models, the transfer function should be the same. This implies not only a similar frequency response, but also an identical phase response, which is our speciality.

At the core of our speaker performance is an electronic design based on two exclusive concepts – CPR and AOI. This technology enables us to show people that PSI Audio is more than a black box.

CPRThe CPR system consists of multiple all-pass fi lters, each of which act in a specifi c frequency range in order to obtain a wide area of Compensated Phase Response generating a constant group delay.

Thanks to the CPR system the position of the sound image is highly accurate. This technology allows the design of surround sound systems, with different types of PSI Audio speakers, to maintain an accurate phase response.

Practical Advantage of CPR and Impact on Stereo ApplicationsThe ear is very sensitive to group delays or phase irregularities of sound. The human brain detects

such irregularities easily and processes them into space related information such as positioning a sound source.

All traditionally designed speaker systems suffer to a certain degree of such irregularities.

These irregularities are the reason why some speakers produce a wider and deeper room perception that determines the reproduction of the sound image.

The speaker system represents the reference tool of every sound engineer. An accurate transient response particularly helps during the fi ne-tuning of reverb effects, or the design of a specifi c sound and its position in the sound image.

As a sound recording passes through various processes (recording, mixing, and mastering) in which various people, locations, and therefore

speaker systems will be involved, corrections may be applied due to phase irregularities that are not present on the original recording.

PSI Audio speakers feature our unique CPR system that generates a Compensated Phase Response, removing such irregularities, generating a stereo image and projected room of extreme accuracy. PSI Audio speakers provide a more accurate tool, a true reference to the sound engineer.

CPR Impact on Surround Sound ApplicationsTraditional speaker designs have different phase responses, and therefore the phase inaccuracy phenomenon is worse in surround sound applications, where room information and positioning have an even higher priority and a more critical part of the sound engineering

Precision Studio Monitors Made in Switzerland

The philosophy of PSI Audio can be compared to Swiss watch designers. Our vision is to be globally recognised as pioneers in precision audio combining innovation, creativity, and technology.

An impressive

impulse behavior

due to the combined

technologies of AOI

and CPR.

Full PSI Audio monitors range:

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

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



process. This is one of the reasons why speaker manufacturers strongly recommend using speakers of the same type when creating a surround sound system.

The CPR system by PSI Audio features an extremely accurate and superior surround sound image and a much improved working environment. A unique advantage provided by CPR enables a user to mix for the fi rst time between different types of PSI Audio speakers in a surround sound system, whilst maintaining perfectly accurate phase response. Not only will the PSI Audio surround system sound much more accurate and therefore provide a superior working tool, but it can also introduce signifi cant cost and space savings when investing in a new monitoring system.

AOIThe AOI system detects the movement of the membrane, and the moving coil so processes them using counter reaction fi ltering. The damping rate is continuously adjusted in different frequency bands to match the position of membrane and coil.

The AOI system allows the reproduction of sound without transducer colouring over the whole frequency range.

Practical AdvantagePSI Audio speakers featuring the AOI system have a superior impulse behaviour to traditional amplifi er designs. Whilst the transducer travels to its intended position, the AOI circuitry seamlessly adapts the amplifi ers’ output impedance to ensure ideal acceleration of the membrane

to reproduce the desired impulse. Once the transducer reaches the end of the impulse, the AOI circuitry provides a break in order to act against any overshooting of the transducer. The AOI circuitry is almost capable of reproducing a square wave, and therefore increases accuracy by marrying the transducer and the amplifi er into a perfect couple. From our experience, a nice side effect of the AOI system is that the membranes of a PSI speaker do not produce parasitic sounds when other speaker systems in the room are in use. When air pressure changes due to other sound sources, the AOI will detect this and tighten the damping of its transducers in order not to produce parasitic sounds (sounds not present at the input).

In current times where much more importance is given to the low end reproduction of sounds, especially when using sub woofer technology in surround sound systems, the importance of a monitoring system that has an accurate and not fl attering reproduction becomes essential. The result of AOI gives PSI Audio speakers a highly accurate impulse behaviour with a minimum of transducer colouration.

Please visit our website www.psiaudio.com for more information, detailed graphs and specifi cations.

For these technical innovations and sound precision reasons, more and more producers worldwide are choosing PSI Audio as their reference monitors. We hope that this encourages you to listen to our products and choose them!

New Reference: IRCAM in France

It is a big honour for PSI Audio to announce that IRCAM in Paris selected the A25-M and A225-M for their reference 5.1 studio.We thank Mr. Christophe Egea and his team for their warm welcome and instructive visit in one of the world’s leading edge research institutes for acoustic, audio, and music research.

Christophe Egea explained to us that “the selection was a long process where many brands where short selected, then short listed. Users at IRCAM went through a battery of listening tests where a couple of objective and subjective elements were needed to meet the highest requirements.

PSI Audio was selected and we were really amazed by the great precision in space reproduction, which is really important for us. The quickness of the monitors is quite impressive. The ability to reproduce details with the highest possible precision was another important factor. Everybody liked the PSIs”.

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

Router and Bass management

The new Router & Bass management is integrated into our subwoofer. It is made to provide PSI Audio users maximum comfort during working sessions.

This product enables you to use the full potential of the unique compatibility and coherence of the PSI Audio line.

Advantages Summary:

Easy switching between three monitoring systems Use of one multi-channel speakers system in multi-channel, satellite+sub, or stereo modes Subwoofer usable as bass extension or LFEStandby/Mute and switching modes controlled by a simple footswitchStandby control for the unused PSI Audio speakers

For more information visit:www.psiaudio.com/product/accessories/router-bass-management-rb-8a

Relec SAZ.I. Petits-Champs 11 a+b

CH-1400 Yverdon-les-Bains

Switzerland

t +41 (0) 24 426 04 20

f +41 (0) 24 426 04 51

e [email protected]

Find all our distributors and much more at

www.psiaudio.com

UK distributor:

eMerging Ltd

t +44 (0) 208 941 6547

e [email protected]

Professional Reference MonitorsSonodyne has been designing and manufacturing

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

India, we introduced high fidelity sound with a range

of turntables, amplifiers, and speakers that had a

unique Sonodyne sound signature. Rapid growth led to

expansion in R&D and manufacturing facilities.

In late 80’s we initiated export of professional audio,

as turnkey solution partners to technology driven

brands in Germany and USA, primarily. With the

exponential growth in studio equipment requirement in

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

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

reference monitors:

The range that our customers around the world today

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

of late the 300.

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There are 4 models in the new SRP range

The SRP 400 is th e most compact active reference monitor in the new SRP line. It is an excellent reference to understand how mixes translate to smaller speakers. The 4.5” CURV cone woofer produces impressive bass and transient response. A new 25 + 25 watt biamplifier drives the transducers optimally while providing adequate headroom and dynamics. The maximum SPL measures in at an impressive 100dB.

The SRP 500 is a new compact near field active reference monitor. This SRP excels at monitoring effects and other such subtleties in the mix. The 5.25” kevlar woofer produces deep bass and exceptional transient response. The enclosure is pressure die cast aluminum. A new 50 + 50 watt

biamplifier drives the transducers optimally while providing adequate headroom and dynamics.

The maximum SPL measures in at an impressive 104dB.


The SRP 400.

PRESSURE DIE CAST MOULDED CABINET: This monolithic, rigid cabinet eliminates colouration caused, typically, due to cabinet vibration. The non-parallel edges minimize standing wave build-up. This results in a smooth and extended low frequency response, and also gives the SRP a unique form.

DSP ENABLED BI-AMPLIFIER: The SRP models use two discrete amplifiers per speaker. These hefty class AB amplifiers have oodles of power and headroom and provide a clean, undistorted signal. DSP based internal processing with high quality ADC and DAC is employed for the crossover and also provides the 0.75dB step calibrated HF and LF room compensation EQs.

ACOUSTIC WAVEGUIDES: The silk dome tweeter in each of the SRP models is nested in a custom waveguide to produce on and off axis linearity and a wide, detailed soundstage

KEVLAR CONE LF: The stiff woven fibre of the Kevlar cone minimizes cone breakup. Combined with a powerful motor system this results in high-grade performance both in terms of deep bass and exceptional transients.

POWDER COATED FINISH: The pressure die-cast cabinets are powder coated in our factory to ensure a durable yet aesthetically pleasing finish. There are three colour choices: rich black, charcoal grey or snow white

WALL MOUNTS:Sturdy wall mount brackets allow for smooth motion and positioning in both horizontal and vertical planes.

CALIBERATED GAIN: On the front is a level control ranging from mute to +6dB with centre detent at 0dB.

With the acceptance of Sonodyne SM range, globally, as a true reference monitor, we started work, about 2 years ago on the next generation, the SRP series. These were the focus technology areas:

The SRP 600 is a new near field active reference monitor. This SRP adds loudness, clarity and bottom end to the compact SRP 500. The 6.5” Kevlar woofer produces deep bass and exceptional transient response. A new 80 + 50 watt biamplifier drives the transducers optimally while providing adequate headroom and dynamics. The maximum SPL measures in at an impressive 108dB.

The SRP 800 is a new high power active reference monitor. This SRP is excellent for loud monitoring without any audible loss in detail. The 8 “ kevlar woofer produces deep bass and exceptional transient response. A new 175 + 100 watt biamplifier drives the transducers optimally

while providing adequate headroom and dynamics. The maximum SPL measures in at an impressive 112dB.

SM 300: While the SM, and SRP are truly exceptional 2 way reference loudspeakers, we also have started a range of 3 way loudspeakers, with the first offering being the SM 300. During summer 2010 we set ourselves a challenging task â€“ that of designing a high quality 3 way

active loudspeaker combining the detailing of the award winning SM 100Ak with the dynamics and bandwidth of the SM 200Ak. Additionally, the size would have to be very compact since the target user would place it on a console or desktop. Many design debates, prototypes, and user reviews later, we are delighted to report that the SM 300, our first three-way tri-amplifiedreference monitor, has upheld its high expectations.


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monitors 2013

sonodyne electronics Co Pvt Ltd

98nb, Bl e new Alipore,

Kolkata, West Bengal 700053

India

w www.sonodyne.com

europe:

The Audio Professionals Ltd.

salisbury Hall, London Colney

st. Albans, AL2 1BU, UK

w www.audiopros.eu

e [email protected]

t +44 (0) 1727 829750

The SRP 500.

The SRP 600.

The SRP 800.

The key features in the SM 300 are:A compact cabinet, which has double MDF top, bottom, front, and rear; and aluminum extruded sides. Unique, and exceptionally rigid.

The HF and MF transducers are housed in a separate aluminium die-cast plate, designed for controlled dispersion and linearity.

Three AB Class amplifiers rated at: 150, 75, 75 watt that drive the 8-inch kevlar LF, 4-inch kevlar MF, and 1-inch silk dome tweeter respectively.

Two shelving EQs for LF and HF, one bell EQ for MF, two Bass Roll Offs at 80, 100Hz to compensate for room modes and for optimising off axis response.

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Years in the Making?We decided to design and manufacture our own range of professional monitors from scratch to overcome the shortcomings found in most commercially available monitor systems and that will deliver what true professionals expect. A brutally honest tool on which you can base the most critical decisions without a second guess or hesitation.

This has been achieved by assembling a team of professionals with impeccable credentials in the areas required to produce a new standard of monitoring.

I wanted to produce something different, using new materials and designs, and so I approached studio designer and acoustician Kevin Van Green to develop the Birch Plywood cabinet and Corian front baffl e; while the amplifi er, rather than an off the shelf approach, is a bespoke discrete Class A/B design from one of the best designers in the business, Tim Di Paravicini, whose company Esoteric Audio Research produces some of the fi nest amplifi ers around. After testing many woofers we selected reputable German manufacturer ELAC for its quality and consistency – for The Rock MkII a 50kHz ribbon HF and 6.5-inch woofer are used.

We wanted to produce a brutally honest monitor and we’ve certainly done that, our measurements indicate this. The cabinet is sealed and it has no port, which is unusual for studio monitors, but the difference in bass accuracy is incredible. It also has very good low-end extension too. From the start we decided not have any EQ controls – the sound is what you get. If you can’t deal with the accuracy The Rock MkII produces, then it’s not for you, simple. We’ve consulted with many producers and engineers and they welcome such a monitor.”– Kevin Walker, MD, Unity Audio

The Boulder: Three-Way Active Monitor with Coaxial Mid-Range TweeterThe next active professional monitor following on from the The Rock MkII is the new Boulder. This shares some of the same interesting materials and designs, such as a Baltic Birch plywood cabinet – but this time 18mm instead of 12mm, as used in The Rock MkII. A Corian

front baffl e is used, again like The Rock MkII, and bonded to an internal wooden baffl e, but the Boulder uses a huge 30mm slab of Corian instead of The Rock MkII’s 12mm along with large radius edges to reduce refl ection. Like The Rock MkII, this new model will boost true fi delity, with a fast, accurate, and detailed sound; but with extended bass response, even more detailed mid-range, and higher SPLs for larger rooms.

Bass DriverTwo 180mm (7-inch) woofers are used, the same woofer model as in The Rock MkII. This will increase low frequency extension and achieve higher SPLs. Each woofer has a 0.2mm aluminium foil chemically bonded to a rigid pulp fi bre cone. This reduces harmonic anomalies and permits +/- 15mm of woofer travel producing accurate low bass frequencies. The use of aluminium bound to a pulp fi bre cone ensures that the woofer cone will remain symmetrical at all frequencies, producing a long life for the woofer element and full accuracy of the driver through its life: something few other materials can claim.

Coaxial 5-inch Mid Range & Folded Ribbon TweeterA new dual coaxial Mid-range Tweeter is employed, another unique feature of The

Boulder. This new unit is a unique combination of a fl at aluminium honeycomb mid-range ring radiator and a concentrically arranged folded ribbon tweeter. This design realises the vision of an acoustic point source! This facilitates an optimised acoustic power response, and results in a homogeneous and very wide sound dispersion angle providing for a new kind of relaxed but very precise reproduction.

Rock & Boulder, ‘Brutally Honest’ Monitoring

The Rock MkII: Key Features

Bespoke Class A/B amps from the amp guru Tim de Paravcini. Sealed cabinet for fast, honest bass reproduction. Superior 50kHz folded ribbon tweeter for smooth detailed high frequencies.

Unity Audio

The Boulder.

Unity Audio The Rock.

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The AvalancheThe third product in the

monitoring range is designed to complement the brand’s existing Rock and Boulder, for

those that want extra SPL and low frequency extension, but also

want a monitor that can be used in conjunction with other monitor brands. In keeping with the Unity Audio’s Rock and Boulder philosophy, the Avalanche has

been designed by Kevin Van Green and retains the sealed cabinet approach, but it also has a dual chamber with an aperiodic vent, which gives all the benefi ts of a sealed cabinet – no port noise, a tight, fast, and accurate bass reproduction; and it also increases the bass response from a smaller cabinet.The Avalanche uses a downward fi ring 12-inch woofer designed for heavy duty sub-woofer application in a 65 litre enclosure. The input/crossover has two presets from the Rock and

Boulder to make set up simple for customers, but there is also a variable hi and low pass fi lter section too. Two balanced XLR inputs and outputs, and also an XLR bypass connector, will allow a foot-switch to completely bypass the Avalanche and route full frequency back to the satellite speakers. Amplifi cation is by two Rock low frequency custom E.A.R discrete Class A/B amplifi ers running in parallel, totalling 150 watts on rubber isolation mounts. The cabinet sits on four large adjustable spikes to stop any unwanted movement. The Avalanche extends low frequencies down to 22Hz, and will be available from mid June.

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

Unity Audio Ltd.t +44 (0)1799 520786

e [email protected]

w www.unityaudioproducts.co.uk

Rock MKII mix Coldplay Live DVD“ I had the Rock MK II’s for evaluation and ended up using them to mix the entire forthcoming Coldplay live DVD. They’ve saved my ears, it’s great that I can work at low levels for long periods and hear everything! The clarity and depth of perception is something that I’ve never expected to fi nd on such a small speaker like The Rock. The bass response is surprisingly deep, transient response snappy, and stereo depth impressively wide. I love them!”Rik Simpson – Co-Producer/Engineer for Coldplay

“The client and myself both agree that my 30-min tweak on the Unity Boulders is a better mix than the last few tracks that I mixed for him that took two days and cost him $2000. Your monitors are world class, there is nothing close to the fl atness and exact representation of a true mix that your monitors can provide on the market that I have ever heard”.Owner – Cavern Sound Studios Australia

“The Rocks are amazing, they sound a lot bigger than they are and have incredible low end detail and punch even at very low levels.” Andy Gray – Composer/Producer.Tori Amos, Liz Fraser, Gary Numan, Korn, U2, Enter Shikari, Hard Fi

“The Rocks are amazing, brutally revealing, which is exactly what I need for demanding mixing”.Ben Hillier – Producer. Blur, Depeche Mode, Future Heads and Elbow

“Crucially the bottom end is detailed and true at any monitoring level. Honesty is the best policy!” Ken & Jolyon Thomas – Engineer/Producers. Moby, Sigur Ros

“I wasn’t even in the market for a pair of monitors until I heard The Rocks. The soundstage on them is huge though unhyped and true. I used to spend hours agonizing over the low end.”Mike Crossey – Producer. Arctic Monkeys, Razorlight, Foals, The Kooks, Black Keys

Rocks MKII & Boulders for Queens of the Stone Age“The Unity Audio Rock Studio Monitors have been a fantastic addition to Pink Duck Studios. The imaging is fantastic. They have a bottom end that belies their size and a smooth modern top. The result is true detail with a wide depth of fi eld, and I don’t get any

surprises when I take mixes out of the studio. Hell, mixes sounds the same at home and in the car, just like they did in the studio on the Rocks. That kind of consistency and accuracy is all I care about.

“As for the Boulders... They’re the exact speaker I needed. The power and the punch of a large studio main, stuffed in cabinets the size of the modern, real world recording studio. That big bottom end you’d expect, but not at the expense of precious mid-range. Accurate details abound.”Joshua Homme – Queens Of The Stone Age

The Boulder: Key Features

one per driver

Unity

Audio The

Avalanche.

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The fi rst step towards choosing a pair is to identify the design features that best suit your needs. In an attempt to narrow any

prospective search, we consulted with Sennheiser’s Axel Grell, and Audio-Technica’s Logan Helps to gain a balanced expert opinion on a few common considerations.

Closed Back Or Open Back?Open backed headphones allow acoustical energy to leave the system through the back of each earpiece, which means less resonance and better sound quality than a closed system. Closed back headphones use materials to dampen that energy, which adds extra weight and impacts the nature of the sound.

Open back headphones can also be less tiring for your ears, so are worth considering if you plan to use them for long periods. For these reasons, open back headphones are more commonly used for high end studio mixing.

The disadvantage of open back headphones is the lack of isolation. You can hear whatever is happening around you, and others will hear whatever you’re listening to. A closed system typically provides isolation of around 30-40 dB.Conclusion: Open back for long periods where interference isn’t a concern, closed back if you need to compete with background noise.

Circumaural Or Supra-Aural?Circumaural headphones have large ear pads with an elliptical cushion that circles the ear. Supra-aural headphones (like the ones that came bundled with personal stereos in the 80s) sit on top of your ears.

Circumaural headphones should be more comfortable for extensive use, as the elliptical cushions contact each side of your head to remove pressure from your ears. These cushions can also provide extra isolation.

Supra-aural headphones can be more convenient for location sound as they tend to be signifi cantly smaller. It is also possible to play sounds more loudly through supra-aurals, as the acoustical volume being moved is smaller, resulting in higher sound pressure levels for the same amount of energy.

Conclusion: Circumaural if you intend to use them for long periods; supra-aural if portability is a major concern.

Heavy Or Lightweight?Our experts agreed that lightweight headphones were more comfortable, and therefore more desirable than heavy ones. Crucially, lower weight results in less pressure being applied to the user’s head and ears. They also agreed that the overall

weight had no bearing on sound quality. The only exception was in the magnet system, which has to be the right size to provide sufficient power.Conclusion: Lightweight.

Which Materials?Ideal materials for headphones are lightweight and non-resonant. Commonly used materials include magnesium, aluminium, and high tech plastics.

For constructive parts, Axel Grell prefers a good plastic material. “Good means not a cheap ABS or something like that,” he explains. “The better choice, from an acoustic point of view, is to use plastic materials that have an inner damping.” When metal parts are used, extra material is necessary to dampen resonance. “Plastic parts are more expensive,” he adds. “It takes really high tech plastic to get the same stability of the part as there would be with magnesium.”Conclusion: High tech plastic if you want lightweight headphones that sound good, metal if you like shiny things.

TransducersBy far the most commonly used transducer design is the dynamic, moving-coil, driver. These drivers use a stationary magnet and a wire voice coil to move a stiff diaphragm. However, within this design paradigm, several manufacturers have introduced their own design principles and proprietary elements.

Logan Helps describes transducers as “the envelope that’s continually being pushed.” Axel Grell tells us that “there are different design principles, but they are not so very different.”

Axel is in contact from time to time with colleagues at Beyerdynamic and AKG. “We have different philosophies, but we agree that the driver is the most important thing,” he explains. “We’ve all spent a lot of money on computer simulation models to improve the diaphragm, with different results.”Conclusion: You get what you pay for.

Coping With MarketingAs we all know from TV shampoo adverts, marketing places particular emphasis on certain

keywords. In the case of headphones, these tend to (justifi ably) revolve around transducer design; ‘computer optimised transducers’, ‘patented phase technology’, ‘optimised magnet systems’, etc. While these things are all great, they don’t tell us much other than that we should go out and buy them. The quality of any given headphone is certainly infl uenced by these things, but it also equally comes down to a multitude of less sexy factors that don’t lend themselves as well to buzzwords. Factors like the quality of the wire in the voice coil, and the kind of glue that’s used to attach the diaphragm. These kinds of details are less readily available,

but will make a noticeable difference to sound reproduction.

Conclusion: We hope that this guide will help to narrow your search. However, the best way to make a fi nal decision is also the most obvious, listen to lots of different sets and see for yourself. ∫

Who knew there was so much to know? Here, Audio Media distills the heaphone world down to its essence and fi nds out what audio professionals really need to know before buying their next pair of cans.

Headphone Buyer’s Guide

“Closed back headphones use materials

to dampen that energy, which

adds extra weight and impacts the

nature of the sound. ”

“Crucially, lower weight results in less pressure being applied to the user's head and ears. They also agreed that the overall weight had no bearing on sound

quality.”

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Highly-regarded for its comprehensive microphone line-up, Audio-Technica also produces a wide range of headphones for professional use, employed by engineers and producers both for live shows, and tracking and mixing in the studio (including Ben Hammond (Deaf Havana, The Blackout) and Adam Boole (You Me At Six)).

Audio-Technica’s enduringly popular ATH-M50 headphone is designed specifi cally for professional monitoring and mixing, delivering exceptional power handling and very high SPL capabilities. Tonally, the M50 is engineered for accurate bass and clarity throughout its extended frequency range (15-28,000Hz) and built for real comfort – generously padded ear cushions create an outstanding seal for maximum isolation.

Available in standard black and currently in a limited edition red fi nish and white (as M50RD and M50WH), the M50 sports 45mm drivers with neodymium magnets to ensure ultra-effi cient signal transfer. And the headphone is also remarkably ergonomic, with a collapsible design for portability and storage, and earpieces that swivel through 180 degrees for easy one-ear monitoring.

ATH-PRO700 Mk2Alongside the M50, Audio-Technica’s ATH-PRO700Mk2 is aimed specifi cally at DJs monitoring in loud environments. Large 53mm neodymium magnet-equipped drivers serve up outstanding sound reproduction and offer 3,500mW power handling. The headphone also has a huge frequency response of 5-35,000Hz.

Despite their abilities in demanding situations, the PRO700 Mk2 is a lightweight and exceptionally comfortable headphone, and its earpieces swivel 50/90 degrees for one-ear use – its advanced circumaural design also allows for remarkable isolation from ambient noise.

A detachable, replaceable cord completes the PRO700Mk2s spec list – the headphone comes with both straight and coiled cord types with screw-in connectors for security during use.

Studio And Stage Monitor HeadphonesThe dominant headphone brand in its domestic Japanese market, Audio-Technica also caters to the needs of professional users the world over.

Audio-Technica Limited (UK)Unit 5, Millennium Way

Leeds, LS11 5AL

t +44 (0) 113 277 1441

f +44 (0) 113 270 4836

e [email protected]

Celebrating more than 50 years of audio excellence worldwide, Audio-Technica is a leading innovator in transducer technology, renowned for the design and manufacture of microphones, wireless microphones, headphones, mixers, and electronics for the audio industry. Users of Audio-Technica microphones and headphones include Metallica, Gwen Stefani, Linkin Park, Deaf Havana, The Blackout, Freestylers, and Eddie Halliwell.

The PRO700

Mk2 DJ monitor

headphone.

Audio-Technica’s M50

monitor headphones.


At KRK, our focus is to develop studio solutions to help you create a great mix. KRK monitors and

subwoofers are legendary. The ERGO

room analysis and correction system is revolutionary. Now you can enjoy the same KRK engineering and innovation when using headphones. The KNS series are designed to provide what KRK has been delivering for 25 years: sonic accuracy, transparency, and consistency. And, with KRK you are assured

that what you hear is true, whether the source is on the console or on your head!

KRK Headphones provide a precise listening experience that takes you from personal studio to commercial studio to on-the-go track evaluations – and they allow you to evaluate and enjoy your music with the consistent voicing philosophy and honest reproduction top producers, studio musicians, performers, and engineers have come to trust. KRK headphones provide incredibly natural frequency response that gives you a reference standard unaffected by your location. Day or night. Studio or home. Without disturbing others. Without compromising your tracks. Whether you are listening to some tracks, or tracking your next recording, the KNS series gives you the famous KRK sound in an extraordinarily comfortable closed-back around-the-ear design with highly isolated surround pads. Having ‘One Voice’ that consistently gives you accurate reproduction of your music or mix will help you achieve just what the artist intended – especially when the artist is you.

Headphones for Educated EarsThe KNS Series of Headphones from KRK

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“Expect excellent isolation from the KNS 6400 closed-back earcups for

superb listening privacy in any setting and zero leakage into the mic during recording or vocal work. Highly recommended, well-priced headphone for recordists, mixers, and personal monitoring of all music genres. The KNS-8400’s offer nuanced tonal balance and clear timbral transparency at all frequencies. Low-end bass response is robust and full but with controlled impact while the uppermost highs remain present and brilliant without glare or screech.”Headphone.com

“The lack of high-end hype is appreciated for long or loud tracking sessions, and the bottom end is slightly plump without being too ‘poofy’ or having ‘one note bass’ syndrome. Their clarity, isolation, low weight, fold-ability, and comfortable ear pads make an ideal headphone experience.”Pro Audio Review

“For people who feel that headphones isolate the two sides of the stereo image unrealistically, the KRKs will be something of a revelation. Both phones are incredibly light – 7.4 and eight ounces – and this light weight greatly extended the comfortable listening period. These headphones provide a noticeably different listening and soundstaging experience than other headphones in their class, one that’s likely to win over musicians from some other headphones costing much more.”Recording Magazine

“The fi rst thing I want to know is whether the low frequencies are there. Does it feel like the Expose monitors? And it totally does, the comfort is incredible. They are lightweight – not these big, old heavy headphones that you feel like you want to take off after wearing them for fi ve minutes. Now when I take my mixes home or when I’m travelling, I can plug my KRK headphones into my laptop and feel like I’m still in the studio. That’s important when you’re making hits for the radio; you have to be spot on.”Rodney “Darkchild” Jerkins, Producer (Lady Gaga, Beyoncé, Britney Spears, Mary J. Blige)

“When its past 10pm and the kids are sleeping and you need to get this one more

mix fi nished, and you have to change from your speakers to your

headphones, you’re not losing anything. In a studio situation you’re wearing headphones for 12 hours, 14 hours, 16 hours. They’ve got to be

comfortable. They’ve got to be closed back because you’re

going to record with them. They’ve got to have a long cable

with a volume control on the cable that’s convenient. These have them. That’s great. A pair of headphones that gives you a really honest representation of what’s going on, they can be invaluable, and it’s probably the cheapest thing you’ll buy for your studio. Most headphones make you happy, these headphones might make you sad if your mixes aren’t good – and that’s what I want my clients to have, I don’t want them to be fooled into thinking their mixes are great!”Stephen Marsh (Mastering Engineer)

Focusrite Audio Engineering Ltd.Windsor House, Turnpike Road

High Wycombe, Bucks

HP12 3FX, UK

t +44 (0) 1494 462 246

e [email protected]

KRK Systems, Inc. Gibson Pro Audio

309 Plus Park

Nashville, TN 37217

1-800-4 GIBSON

e [email protected]

w www.krksys.com

®

For nearly 70 years, Sennheiser microphones and headphones have consistently offered the very best in audio performance. The company’s products are trusted by professionals worldwide and are used on a daily basis on live stages, by DJs, and in studios. Sennheiser delivers a wide range of closed-back monitor headphones and open audiophile headphones to cater to diverse monitoring requirements.

HD 25-1 IIThe closed-back HD 25-1 II is probably the most widely used headphone from the Sennheiser range by both live sound engineers and DJs. Offering high attenuation of background noise, they perform exceptionally well in challenging environments – for example ENG, sound reinforcement, studio monitoring, and audio equipment testing – and are capable of delivering very high sound pressure levels. Their lightweight construction and comfortable design with a split headband means they are suitable for long periods of use, yet they are also extremely robust for coping with the rigours of touring life. Featuring a tough, detachable steel cable, neodymium ferrous magnet systems, lightweight aluminium/copper voice coils, and a rotatable capsule for one-ear listening, the HD 25-1 II has a 70Ω nominal impedance for universal compatibility.

HD 26 ProHearing protection is becoming an integral element of the occupational health and safety legislation in a growing number of countries around the globe. The supra-aural HD 26 Pro monitor headphones comply with this requirement, combining hearing protection, accurate sound reproduction, and comfort for the wearer. Professional features include a split headband, a special low-noise cable design, and a defeatable active limiter that cuts off sudden audio peaks.

HD 280 Pro and HD 380 ProA closed-back, circumaural headphone designed for professional monitoring, the HD 280 Pro offers an exceptional 32dB attenuation of external noise, making it particularly suitable for use in high-noise environments. The HD 380 Pro also provides excellent passive attenuation of ambient noise and an extended frequency response of 8-27,000Hz, utilising Sennheiser’s Eargonomic Acoustic Refi nement (E.A.R.) design, which channels the audio signal directly into the user’s ears. Both models provide accurate sound reproduction for demanding use, while the lightweight and secure-fi t design offers a very comfortable, long-duration listening experience.

HD 25-SP IIThe HD 25-SP II are closed-back, dynamic headphones for monitoring, recording, and outdoor applications. A lower-cost alternative to the HD 25-1 II, featuring a simpler headband and slightly different capsule design, several features of the more expensive model are included, for example neodymium ferrous magnet systems, lightweight aluminium/copper voice coils, a tough, detachable OFC cable, high maximum sound pressure level, and a very lightweight and comfortable design.

HD 800Incorporating Sennheiser’s most advanced driver technology, the HD 800 open-backed, circumaural dynamic stereo headphones redefi ne the standard of reference-level audio. The reference-grade audio performance is matched by a striking design. The ring-shaped transducer is encased by a precision material made of stainless steel,

while the ear pads are handcrafted from a high-quality microfi bre fabric that is extremely comfortable to wear and easy to maintain. Featuring a specially-designed, four-wire, high-performance cable with Tefl on insulation, the HD 800 delivers the ultimate in both audio and aesthetic performance.

HD 700These open, circumaural dynamic stereo headphones promise an outstanding soundstage with a warm and balanced audio reproduction. They feature specially-tuned, highly effi cient drivers capable of delivering high sound pressure levels, an angled acoustic baffl e, plus a detachable, symmetrical, silver-plated four-wire OFC copper cable. Ventilated magnet systems minimise air turbulence and thus intermodulation and harmonic distortion.

HD 600 and HD 650The ideal choice for professional engineers recording classical music, the HD 600s deliver exceptionally natural, spatial, and accurate sound, with an advanced diaphragm design that eliminates standing waves. The audiophile HD 650s were developed from the HD 600 and feature improved materials for even better sound reproduction. Key features include highly optimised magnet systems for minimum harmonic and intermodulation distortion, lightweight aluminium voice coils to ensure excellent transient response, and a precise damping over the entire diaphragm surface – consistent in all climates.

Sennheiser Monitoring Headphones – Innovation and Expertise CombinedAfter more than half a century of innovation, Sennheiser continues to push the boundaries of what headphone technology is capable of delivering.

Sennheiser electronic GmbH & Co. KG t +49 (5130) 600 0

f +49 (5130) 600 300

w www.sennheiser.com

Sennheiser U.K. Ltd t +44 (0) 1494 551551

f +44 (0) 1494 551550

w www.sennheiser.co.uk

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monitors 2013

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

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Ultrasone, founded in 1991, is located close to the Alps in South Germany and specialises in headphones. Day-to-day commitment leads to explicit expert knowledge and makes Ultrasone one of the leading developers and manufacturers of headphones throughout the world. Constant development leads to high quality pro headphones equipped with the latest technologies and benefi cial accessories.

Ultrasone’s Technologies Are UniqueUltrasone invented the inimitable S-Logic™ Natural Surround Sound and Ultra Low Emission technologies, thus integrating safer hearing aspects without neglecting the latest technologies. The consideration of all these aspects is fundamental for modern headphones.

S-Logic™ TechnologyUnique? Yes! Revolutionary? Defi nitely! The patented S-Logic™ technology is described as ‘Natural Surround Sound System’. No other digital surround system can compare with this standard. The sound of normal headphones will sound direct and even on both sides, while the S-Logic™ system pushes sound around your head. It appears as though you are listening to speakers metres away. Even at very low levels, this spacious sound allows you to hear and listen to each and every individual sound. And on top of that, the S-Logic™ technology does not require additional equipment!

How does S-Logic™ work?S-Logic™ sends music around your head, not just into it, because this technology uses decentralised driver positioning. Did you know that you use and need the outer ear for your three-dimensional understanding to defi ne the direction and distance of where a sound comes from? Instead of hitting the inner ear directly, with S-Logic™ the signals are refl ected off the surface of the outer ear in different directions before entering the auditory canal, to create a natural three-dimensional sound. S-Logic™ is the only headphone system that includes your entire sense of hearing. S-Logic™ does not change your personal hearing, but it intensifi es it for your individual needs and listening pleasure. S-Logic™ doesn’t need artifi cial echo, digital sound processing, or cross over run time delay. You can hear the sound just the way the sound engineer has mastered it.

Safer HearingS-Logic™ allows at the same time a reduction of sound pressure levels at the eardrum by up to 40% (3-4dB). This may reduce the risk of hearing damage while ensuring hours of fatigue-free listening.

Ultrasone – S-Logic™ PlusS-Logic™ Plus is the newest advancement

in the S-Logic™ Natural Surround System, squeezing the BIG S-Logic™

soundstage found in our PRO series headphones into the more

streamlined ear-cups of select HFI & DJ models.

S-Logic™ Plus profi ts directly from innovations developed for our fl agship Edition range,

the ultimate headphones for critical listening.

This sophisticated new technology combines precision

dampening with micro-acoustic reinforcement, allowing driver, buffer-

board, and spatial parameters to complement

one another in an optimal manner. So, the acoustically redesigned ear-cups of these new models and their tonal fi ne-tuning result in a most neutral sound impression with more vivid perception of voices and instruments.

Ultrasone’s ULE-TechnologyMost headphone drivers produce low-frequency magnetic fi elds as they convert an electrical signal into the acoustical signal that we hear as music. Ultrasone has developed a special MU-Metal shielding that we call ULE (for Ultra Low Emissions) to reduce this radiation by up to 98%, compared to conventional headphones. This technology has withstood the test of international review and is recommended by technical surveillance organisations. Ultrasone originally developed ULE-technology for professionals, since they spend half of their lives in headphones.

Professional Sound Quality & AccessoriesThe highest sound quality is guaranteed due to high profi le technologies and high-class materials. Naturally, Ultrasone headphones offer accessories desired by professionals to support day-to-day needs in the studio or on the road. The headphones are placed in a safe transportation box together with accessories such as extra detachable cable and extra earpads.

First Choice For ProfessionalsSpecialist In Headphones

Take a closer look at our website. The options are

yours to explore. If you have any questions, please

feel free to contact the Ultrasone team any time.

Ultrasonew www.ultrasone.com

e [email protected]

MONITORING & HEADPHONES DIRECTORY 35

ACOUSTIC ENERGYwww.acoustic-energy.co.uk

ADAM AUDIOwww.adam-audio.de+49 30 863 00970

AKGwww.akg.com+43 1 866 540

ALESISwww.alesis.com+1 401 658 5760

AMBIANCE ACOUSTICSwww.calcube.com+1 858 485 7514

ATCwww.atc.gb.net+44 0 1285 760561

AUDIO-TECHNICAwww.audio-technica.com+44 0 113 277 1441

AUDIXwww.audixusa.com+1 503 682 6933

B&Wwww.bowers-wilkins.co.uk+44 0 1903 221500

BAG END LOUDSPEAKERSwww.bagend.com+1 847 382 4550

BEHRINGERwww.behringer.com+49 2154 9206 0

BEYERDYNAMICwww.beyerdynamic.com+49 7131 6170

BLUE SKYwww.abluesky.com+1 516 249 1399

CANFORD AUDIOwww.canford.co.uk

DENONwww.denon.co.uk+44 (0)2890 279830

DYNAUDIO ACOUSTICSwww.dynaudio.com+45 87 427 000

EARTHWORKSwww.earthworksaudio.com+1 603 654 6427

EDIROLwww.edirol.com+44 0 1792 702701

EMESwww.emes.de+49 0 8222 965954

ESIwww.esi-pro.com+49 0 7152 398880

EVE AUDIOwww.eve-audio.com

EVENT ELECTRONICSwww.event1.com+61 2 9648 5855

EXIGYwww.exigy.co.uk+44 0 1256 381944

FARwww.atd2.com+32 85 318 123

FOCALwww.focalprofessional.com+33 0 477 435700

FOSTEXwww.fostex.com+81 42 546 4974

GENELECwww.genelec.com+358 17 83881

GRADO LABSwww.gradolabs.com

GRIFFIN AUDIOwww.griffi naudiousa.com+1 914 248 7680

GRIMM AUDIOwww.grimmaudio.com+31 40 213 1562

HARBETHwww.harbeth.com+44 0 1444 484371

HOT HOUSEwww.hothousepro.com+1 845 691 6077

JBLwww.jblpro.com+1 818 894 8850

KRKwww.krksys.com+1 954 949 9600

KS DIGITALwww.ksdigital.de+681 761 804 63

LEGACY AUDIOwww.legacy-audio.com+1 217 544 3178

LIPINSKI SOUNDwww.lipinskisound.com+1 916 273 9726

MACKIEwww.mackie.com+1 425 892 6500

M-AUDIOwww.m-audio.com

ME-GEITHAINwww.me-geithain.de

MEYER SOUNDwww.meyersound.com+1 510 486 1166

MISSIONwww.mission.co.uk+44 0 845 458 1122

MITCHELL & TODDwww.excelaudio.co.uk+44 0 208 354 0820

MK SOUNDwww.mksoundsystem.com+1 818 439 3577

MUNRO ACOUSTICSwww.munro.co.uk+44 0 207 403 3808

NADY SYSTEMSwww.nady.com+1 510 652 2411

NEUMANNwww.neumann.com+49 30 41 77 240

NHTPROwww.nhthifi .com+1 707 747 0122

PMCwww.pmc-speakers.com+44 0 1582 405694

PRESONUSwww.presonus.com+1 225 216 7887

PSI AUDIOwww.psi-audio.com+41 0 24 426 0420

QUESTEDwww.quested.com+44 0 1404 41500

ROLAND SYSTEMS GROUPwww.rolandsg.co.uk+44 (0) 1792 702701

SAMSON AUDIOwww.samsontech.com+1 631 784 2200

SE MUNROwww.seelectronics.com+44 (0)845 500 2 500

SENNHEISERwww.sennheiser.co.uk+49 5130 6000SHUREwww.shure.co.uk+1 847 600 2000

SLS LOUDSPEAKERSwww.slsloudspeakers.com+1 417 883 4549

SONODYNEwww.sonodyne.com+44 0 1923 693770

SOUND PROJECTSwww.soundprojects.com+31 0 36 539 4570

SURROUNDTECwww.surroundtec.de+49 7131 797 54555

SUPERLUXwww.superlux.com+1 404 525 0700

TANNOYwww.tannoy-speakers.com+44 0 1236 420199

TAPCOwww.tapcoworld.com+1 425 892 6511

TASCAMwww.tascam.com+1 323 726 0303

TRIDENT AUDIO (PMI)www.pmi-audio.com+1 310 323 9050

TRUTH AUDIOwww.truthaudio.com

ULTRASONEwww.ultrasone.com+49 0 8158 90780

UNITY AUDIOwww.unityaudio.com +44 0 1440 785843

WESTLAKE AUDIOwww.westlakeaudio.com+1 323 851 1222

PELONIS SOUND & ACOUSTICSwww.chrispelonisspeakers.com

YAMAHAwww.yamaha.com+44 0 1908 366700

Monitors & Headphones Manufacturers Directory

ere’s a dirty little secret: Most monitors in Eris’ price range are designed so that they sound impressive in the store — lots of bonky bass and tizzy treble — but they aren’t accurate when you’re trying to do a serious mix in your studio.

Th e new Eris™ E5 and E8 are true pro monitors with the precise back-panel acoustic-tuning tools you need to tailor their sound to your room envi-ronment and musical genre*. You’ll end up with mixes

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

Eris monitors pack long-throw Kevlar® K100 low frequency transducers and low-mass, silk dome high frequency transducers with separate butt-kicking Class A/B amps for each.

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

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

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