Studio Monitors Gear Guide 2013
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Transcript of Studio Monitors Gear Guide 2013
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Gear GuideGearGuide
& present
Studio
monitorS
20
ponSored by
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G ear G u i d e
Studio MonitorSExEcutivE vicE prEsidEnt/group publishEr
AdAm Goldstein
Editorial
FRANK WELLS EditoR
212-378-0400 x535, [email protected]
CLivE YouNg mANAgiNg EditoR
212-378-0424, [email protected]
KELLEigh WELCh, StRothER BuLLiNS
ASSoCiAtE EditoRS
advErtisingtARA PREStoN ASSoCiAtE PuBLiShER
917-331-8904, [email protected]
KAREN godgARt AdvERtiSiNg diRECtoR
323-868-5416, [email protected]
art & production
NiCoLE CoBBAN SENioR ARt diRECtoR
WALtER mAKARuChA, jR.
ASSoCiAtE ARt diRECtoR
FREd vEgA PRoduCtioN mANAgER
nEwbay MEdia l.l.c.
StEvEN PALm PRESidENt/CEo
PAuL mAStRoNARdi ChiEF FiNANCiAL oFFiCER
toNY SAvoNA
viCE PRESidENt, CoNtENt & mARKEtiNg
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All Rs Resere. Reprcn w pers-
sn s prbe. gear ge s pblse by
NewBay mea L.L.C. All prc nfran s sb-ec cane; pblser asses n respnsbly
fr sc cane. All lse el nbers an pr-
c naes are anfacrers resere raeark.
te pblser es n ake respnsbly fr any f
e prcs aerse wn.
PRiNtEd iN thE u.S.A.
inside
Speaker Specs: Wa d tey mean ............ ............ ........... 4
of mxes An mnrs: user Perspeces ............ ........... 12
Reew: AdAm A A77X AX-Seres
Pwere S mnrs ................................................... 16
Reew: dyna dBm50 deskp Ace mnrs ........ 17
Reew: Fcal Prfessnal
Sm9 3-/2-Way Ace S mnr ............. ............ ....... 18
Reew: jBL Cnrl 2P Cpac
Pwere deskp mnr ................................................. 19
Prc Swcase .............................................................. 20
drecry ............................................................................. 22
ON THE COVER: Engineer Alex Oana at NRG Recordings Studio B with Genelec
nearfields and Dynaudio main monitors (out of frame).
Studio MonitorS
Gear Guide 2013
nothing ls has th potntial to improv an audio nginrs work lik th abil-
ity to monitor accuratly. A suprior monitoring sourc allows its usrs to bttr
assss ach dcision mad throughout a production. And, unlik th pursuits of
purly rcrational listnrs, th ultimat goal is not simply about a subjctiv bttr
sound. Its about rliabl translatabilityth mor accurat a monitor is to th sourc,
and th mor consistntly th nginrs listning xprinc is to that of th audinc
across a broad spctrum of consumr monitoring options, th bttr.
Sur, options in monitoring for audio production abound: purpos-built, wall-
mountd loudspakrs, hadphons and vn in-ar monitoring (IeM) dvics ar avail-
abl for vry budgt.
Th most popular choic in monitor dvics today would b th slf-powrdnarfild studio monitor, chosn for comfort (long sssions with hadphons and IeMs
can b fatiguing), spatial imaging, consistncy of rfrnc and convninc (you cant
carry a grat st of studio mains with you plac-to-plac, not to mntion th physical
spac whr thy wr dsignd to prform thir bst). Virtually vry modrn monitor
manufacturr offrs at last on such modl, most of which ar asily transportabl and
fficint two-way dsigns.
Hr, w xamin th tchnology bhind good studio monitors, talk to nd-usrs
about what thy look for in a st of monitors, and tak a pk at som of th most
imprssiv, innovativ and grat-sounding modls in th marktplac.
2013 studio monitor G e a r G u i d e 3
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By LyNN FuSTON
is it possible for me to buy a pair of speakers and have
some idea what Ill hear based solely on specifica-
tions? If so, how do I interpret the typical specs to
hopefully make an informed choice?
Some speake shoppes have pobably wondeed exactly those
things, especially ones who ae doing eseach fo a speake pu-
chase without the advantage of heaing the speakes in peson.
Intepeting meaningful data fom speake spec sheets can be a
fustating task. What do they mean? Lets walk though the typical
speake specs and lean how to intepet them.
the BAsics
Studio speakes can be listed as 2-way, 3-way o 4-way, and the
numbe identifies how many times the audible spectum is split up.
A 2-way speake has a woofe and a tweete, coveing low fequen-
cies and high fequencies, espectively. A 3-way adds a midange,
and a 4-way can split the midange (Lo-Mids and High-Mids), o add
a supetweete fo extemely high fequencies. Some manufactues
make dual-concentic speakes that featue the tweete and woofe
in the same dive, with the tweete opening in the cente of the
woofe. The advantage of this system is time alignment of the high
and low fequencies, which some listenes ae moe sensitive to than
othes. I also like to look at the cossove fequencies, the fequen-
cies whee the audio is passed fom one dive to anothe dive. If
the cossove fequency is listed as 2500 Hz in a 2-way speake, it
means that the woofe epoduces up to 2500 Hz and not above and
the tweete epoduces down to 2500 Hz and not below. In tuth,
thee is a handoff between the two speakes at that fequency which
involves filteing of the audio. That handoff in the midange can be
seamless o poblematic depending on the design of the cossove
netwok, the filte netwok that sends the appopiate audio content
to each dive (HF to tweete, LF to woofe).
Anothe consideation is whethe o not a subwoofe will be
used. If a poweed speake system (meaning a single cabinet con-
taining all the dives and amplification) is going to be used with a
subwoofe, then the lowest fequency it will epoduce becomes
less significant because the sub will augment o eplace its esponse
below the cutoff fequency.
Frequency response
The fist citeia many listenes will conside is fequency esponse
(Fr). When looking at a Fr chat, the flatte and smoothe the line is,
the bette. That will mean its output is matched at all fequencies in
4 studio monitor G e a r G u i d e 2013
Speaker SpecS: What
do they Mean?Lnn Fston records an orchestra session at
Sond Kitchen, Nashville, sing his Tanno
DMT-10 MkII, dal-concentric speakers
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th auil an. Thats th ultimat
gal, at last. A sak that has a um
(ak) in th miang (say at 3-5 kHz)
may sun tt t th listn ut will
sult in a mix that has th invs f that
um, thus a i, at ths fquncis.
This is caus an ngin will cmn-sat f what h is haing. S a sak
that is lacking in th lw fquncy ang
will caus th mix t cmnsat f
that ficincy y aing eQ, ushing
u th fa n lw fquncy instu-
mnts, which will cat a ass havy
mix. Th sam is tu at all fquncis,
s using a ight sak will likly sult
in a ull mix.
Whil many saks will actually
uc 40 Hz ( cls t it) t 20
kHz, th fa m imtant citia is
hw tight th tlanc is, maning hwfa th saks utut stays fm a
lativ z in tms f lus an minus. Th tlanc is stat as
a + an figu an tyically is amn t th stat fquncy
sns, f xaml: 60 Hz t 22 kHz, +1, - 1.5 b. Sm manufac-
tus will scify Fr with vy tight tlancs, lik +/- 1 b, whil
ths, in an attmt t mak th saks sns lk wi
an flatt, will stat th Fr at +/-3 b. A sc f +/- 3 b mans
that th is a 6 b vaianc in utut lvl twn th lust an
sftst fquncis. Thats hug, scially whn cnsiing that an
ngin is ftn making snic jugmnt calls n music matial an
ajusting eQ in 1 t 2 b incmnts. Its cla hw a 6 b vaianc
cul svly imact qualizatin jugmnt calls.
H a sm al wl scs n might ncunt, ci
fm mf. sc shts:
n 60 Hz t 22 kHz, +1, -1.5 b
n 33 Hz t 50 kHz, +/- 1.5 b
n 37 Hz t 21 kHz, +/- 2.5 b
n 31 Hz t 20 kHz (n tlanc list)
n 30 Hz t 40 kHz, +/- 3 b
S if a sak manufactu wants t mak thi saks Fr
ang lk aticulaly wi, thn thy can just an th tl-
anc. A sak that can nly uc fm 80 Hz t 12 kHz +/- 1
b, might asily accmlish 25 Hz t 22 kHz at +/- 5 b. S if I s
a fquncy sns ating that stats n tlanc figu, lik #4,
thn that sc is maninglss. It snt man its a a sun-
ing sak; it just mans that ths n way t tll hw flat its Fr
ally is.
input sensitivity
Th inut snsitivity simly mans th saks aility t cnvt
lctical signals int auil utut at what lvl stat in b SpL.
Th stana f assiv saks is masuing th saks utut
in b SpL at 1 mt with 1 watt f inut w. Fquntly stat as
88 b/1 W/1 m, a b num that is lw mans th sak is lss
fficint an a high num mans a sak is m fficint. This
is imtant f assiv saks (ns withut uilt-in amlificatin)
whn slcting an amlifi caus an infficint sak will qui
m w t achiv th sam utut lvl in b SpL. Cnvsly, a
vy fficint sak can us an amlifi with half vn a quat
th w utut an lay lu. With th avnt f w sak-
s, this sc is lss maningful caus th amlifis a intgatint th sak nclsu. on many saks amlifis, th inut
snsitivity is ajustal, smtims v a wi ang (-20 t +8) in
cas fin sts. I ncunt n w sak with a lw
inut snsitivity, maning f th sam inut lvl it wul ut ut
aut 15 b lss sun than a cmtit. That cul a cncn
ning n th inut suc an if it was asily ajustal.
WeiGht
This can ccasinally vlk, ut it is an imtant citia
ning n hw th saks will munt. Sm saks a
vy light (15-20 ls.) ut ths, with multil amlifis uilt in, can
asily ti th scal at 80 m uns. If th intn alicatin
is a wkstatin sufac cnsl t, this can a al ak
a ugt-ust if havy-uty sak stans a qui, which can
cst as much as th saks. Th st thing aut this sc is that
vy manufactu lists it an its nn-ngtial.
distortion
Whil isttin (th THd-Ttal Hamnic disttin an
IM-Intmulatin disttin) is asy t masu in lctnic vic-
s, th lctic/acustic tansf maks it challnging t cm u
with a maningful sc. If smn is accustm t lking a THd
scs f cnsls amlifis AdCs stat in th hunths
(0.02%) thusanths (0.004%) f a cnt, thn sak THds will
sm aysmally lag, ftn v 1%. Sinc THd is s high in lu-
saks, in my yas f listning, I hav nv sn a maningful
sc ntic a cllay twn ths nums an my listning
xinc, althugh a lw figu is mst ctainly tt. but as a
suc f cmaisn, unlss th figus a iv y th sam
mth (such as fm a singl manufactu), it may a maning-
lss cmaisn.
poWer specs
F w saks (with activ cssvs an uilt-in ams),
th w sc is th w ating (qut in watts-th lctical
6 studio monitor G e a r G u i d e 2013
PMCs MB2 SA is a
3-way speaker with
woofer, midrange and
tweeter.
This frequency response chart of the JBL 6332 speaker system
shows its very smooth frequency response from 60 Hz to 20 kHz.
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ow tasf to th sak fom th am) fo ach amlifi,
sc accoig to th fqucy a it is sulyig. Though
som maufactus will scify this as ak ow o music ow
to mak th um high (a commoly us tick i th cosum
makt, sic ak ow ca 10-100 tims high tha rMS), th
mo maigful cotiuous ow atig is stat i watts rMS.
Aoth tm o might s is shot tm, which is somtimscit wh th limitig cicuits i a amlifi k it fom livig
maximum outut i rMS. Som maufactus will iclu th amli-
fi ty withi that sc: pWM o Class Ab o oth class.
Aoth olm with statig a sc i ak ow is that th
uatio of th ak is oft uscifi a ca icily shot,
lik a fw milliscos o v micoscos (thousaths o mil-
lioths of a sco) a, ulss th THd of th amlifi is stat at
that ak ow outut, its a maiglss sc.
examls of ow atigs fo 3-way saks, lift fom mau-
factus scs:
n Low/Mi/High
n 250/250/50 (music ow 350/350/100)
n 80/30/30n 180/120/120 (shot tm)
n 400/400/100
n 200/200/200
Ths ums show that ifft maufactus hav ifft
hilosohis cocig how much ow is qui fo ach f-
qucy a, vayig fom all th sam (200/200/200) to lss o th
MF o v lss o th HF. High fqucis qui lss ow to
ouc tha low fqucis, so a small amlifi is fqutly
utiliz. Th coc to m is whth th iclu amlifi has
sufficit haoom to hal th mas of th icomig auio.
High wattag amlifis hav mo haoom a ca accom-
moat yamic music a tasit aks with lss stss o th
amlifi. I my xic, havig a ovsiz amlifi with lots of
haoom is always fal soically. plus th amlifi qui-
mts a ictly lat to how lou th list liks to moito,
hc th imotac of th xt sc (you might fi this a usful
lik if you wat to futh xlo th toic of amlifi ow: htt://
www.mysou.com/suot/as/am_ow.htm)
mAximum spl
If th goal is listig louly, th this is o sc that ally
matts. Whil most saks will o lou, ot may will o lou
accuatly. Whil may sak maufactus quot a Max SpL at-
ig (som actually ot), somtims th scifics of that sc a
cuiously missig. Is that atig fo cotiuous SpL o ak SpL? Fo
what uatio? At what istac?
H a som xamls:
n Max SpL (@1m) 116 b (cotiuous)
n Max SpL 116 b (ak @ 1m)
n Max pak Acoustic pow ai @ 1.7 m with music 126 b
n Max pak SpL 113 b
Claly, ths littl staaizatio i this sc as wll, ut if I
a sak that will lay louly, th I look fo cotiuous, ot
ak, atigs. Comaig witt scs to tmi which sak
will lay lou will a tough call ulss oth scify th sam
coitios.
Aoth issu to cosi h is accuacy. May ow sak-
s ths ays iclu limits i th amlifi cicuits. Is that fo
soic asos, to mak thm sou tt? no. Its isuac fo th
maufactus so thy (o you) at lacig low ivs f-
qutly. Ths limits ca kick i at suisigly low SpL lvls. A
whil som saks hav iicatos o th fot to lt th listkow wh th limit is gag, suisigly, som o ot. So if
I stat listig at a lvl that is yo th alistic caailitis of
th saks sig, all ts a off. Ths o tllig what I am
haig. A sic th limit is uilt ito th am, I may haig
limitig o th woof a ot th mis o highs. Goo luck makig
ucat soic cisios as o that fomac.
dispersion
Aoth icily citical a omously u-sc cosi-
atio of lousak sig is issio o ictioality. dissio
is th outut volum of ifft fqucis, as o th agl of
th a to th iv. It ca also f to as off-axis sos.
Hs o tst I o wh listig fo th fist tim to a sak. (Ittaks guts to o this caus it is guaat to licit som o looks
fom ayo staig ay.) I lug o a with my fig a us
my o a lik a tst micoho with it facig th sak fot.
Th I mov my ha acoss th hoizotal fot la of th sak.
A th I o aoth ass i th vtical la. This will wok with
ith a oaa ois souc o with music. I list as th f-
qucy alac chags as I mov off th ct of th sak. Th
chag i what I ha (usually most otical i th high fqucis,
with cymals o vocal sc) is u to th issio chaactistics
of th sak. It ca also caus y oth factos (lik flctios
off a cosol sufac o sk), ut Ill assum that Im listig i a
f-fil viomt fo ow. Th iffcs that I ha as I mov
off-axis ca th most citical facto i slctig a stuio moito.
Why? Th aso it is such a cucial cosiatio is caus of
how w wok i th stuio. W ith achig fo a eQ o com-
sso, tuig ou ha to ajust somthig o movig out of th
8 studio monitor G e a r G u i d e 2013
These polar plots reveal the off-axis response of the Renkus-
Heinz T15/4-2T speakers, in both the vertical and horizontal
planes at six different frequencies.
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swt st s th atist uc can listn. evy tim w mv
ack an fth hizntally an whn w stan u, th sun aiv-
ing at u a changs. Th gal is t mak that chang as small an
insignificant as ssil. Many snic cisins will ma influ-
nc whn listning ff-axis, nt t mntin that whn my ha is
in twn th saks, th atist uc will making all his
cisins ff-axis. S having a smth ff-axis sns is cucial.
Sm saks can vy ictinal at th highst fqun-
cis, which I call aming. It is mst ntical whn things sunight an cla ictly in fnt f th saks, ut astically lss
s whn ff t th sis. Unlss th listn is in a situatin wh
all th snic cisins can ma withut mving, thn having
a smth ff-axis sns is citical. Unftunatly, this is an aa
wh scs will tyically f littl hl. Whil sm manufactu-
s vi la lts (a 360 vha viw f th utut lvl f
th sak, ltt at iffnt fquncis), mst nt. If a la
lt is vi, thn lk f vn an wi issin at u
fquncis (lw fquncis a much lss ictinal).
Adjustments
Fquntly, th task f matching a sak t a m is as im-
tant as th chic f th lusak itslf. (An sitining th
sak is hugly imtant, t, ut thats a whl iffnt all
f wax.) Sm saks ff ajustmnts f all nn f ths
aamts: lw fquncy shlving, high fquncy shlving, high
ass filting (in cas f us with sus), high fquncy shlving, lw
fquncy eQ, lw-mi fquncy eQ, mi fquncy eQ, iv gain.
Ths ajustmnts a nt ff n
sm saks ut can vy im-
tant whn matching th sak t
th iniviual sac. Having th aility
t ta th saks utut withut
sting t xtnal eQ acustic
mificatins within a m can a
ig fact, s chck n what cntls
th sak ffs f uchasing.
An expert opinion
San oliv, th dict f
Acustic rsach f Haman
Intnatinal, summ u th si-
al chaactistics t lk f in a
lusak this way, as n yas
f sach an tsting thusans f
listns at JbLs listning la. Th sak shul flat n-axis
fm 20 Hz t 20 kHz, ffing a listning winw f +/- 30 % ff-axis,
th fist flctins shul smth alng with th sun w
an ictivity. His sach inicats that listns will f a flat
sak t n that is hy in th majity f th cass, whn th
tw a cma si y si in a cntll, lvl-match tst.
listeninG
Listning is th aslutly mst citical st in valuating a
lusak. Fining a sak that ffs what I lik t ha whil
als viing what I n t ha is th ultimat gal. I nt want
a sak that flatts m an maks m think that my cing
suns tt than it actually s, caus that will sult in my
mix suning ws vywh utsi my cntl m. I n
a sak that aals t my a ut is citical nugh, accuat
nugh, that it will tll m wh an whn lms xist.
An listning t th sak in th sac wh it will us
is cucial as wll. Unftunatly, a-
ing th scs can nly infm a lis-
tn aut whth nt a sak
systm might mt his/h ns, ut
ing al t unstan an intl-
ligntly valuat th sak scs
will gt a listn futh wn that
a. Th tuth is that th is n n
fct sak that fits vyns
ns. Th ultimat tst is sitting
wn an listning. An f that,
yu n yu wn.
Lynn Fuston is a Nashville-based
recording and mixing engineer, the
proprietor of 3D Audio (3daudioinc.
com), and Technical Editor forp
Aui rviw.
10 studio monitor G e a r G u i d e 2013
The control panel of the Focal SM9, which shows the extensive
control available: five bands of EQ plus Hi-Pass.
Frequency plots showing the audible effects of the
controls on the Genelec 1037c.
A sonically transparent curtain assures listeners will not be
visually biased as they audition speakers at the Multichannel
Listening Lab at Harman International headquarters in
Northridge, California.
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Feature
By STEVE HARVEy
translatinthe ability f a fin-
ished mix t sund unifrmly
at its best and as it was intend-
edregardless f what system it is
played n, frm studi t hme t
car t ear budsis all-imprtant in
music recrding. one f the mst
critical elements fr ensuring trans-
latin is the studi mnitr system.
but th saks shoul not
consi in isolation. rfnc
monitos a at of a lag sstmthat also inclus th monito contol-
lwhatv is oviing th switching
an volum contol, an somtims th
convtsan th listning nvion-
mnt. Th nvionmnt, incluing th
acoustic tatmnt of a oom, is lagl
off-toic fo this iscussion, ut on
lmnt, isolation, is affoal an
can mak an nomous iffnc to
th fomanc of vn an xnsiv
monito sak sstm.
Th monito contoll is on of
th most imotant comonnts of th
listning chain, accoing to Junio
Sanchz, a dJ, mix, ouc an
ngin long associat with lc-
tonic anc music, ut who has wok with atists as ivs as
Maonna, Goo Chalott an Goillaz. Sanchz, who most cntl
collaoat with Stv Angllo fom th Swish Hous Mafia, has
long sinc ma th tansition fom commcial multitack stuios to
his own hom-as facilit.
you want th monito souc to a v al, clan, fficint
souc, sas Sanchz. you ont want to listn to nonsns. pol
ont sm to aliz that its a caus-an-ffct thing. you invst a
ctain amount of ollas an go an gt th st monitos ou can,
ut thn ou monitoing though a [cha contoll]. dont sn
svn gan on a ai of monitos an thn monito though an of
ths not-u-to-a ics of quimnt.
Sanchz cuntl mlos a monito stu that inclus a ai
of AdAM S3As with a Focal Su, a ai of bafoot MicoMain35s,
an a ai of Auatons. I was a Gnlc us, h ots. I ha
1031As fo a long tim. Whn I cam acoss th AdAMs, I fll in lov
with thm: I lov th high n, th ion twt an th wa it
souns. Its v on an v tu.
but ov th as, Sanchz gan to fl th n fo a scon
st of monitos to off an altnativ. I want somthing ls,
just so I coul A/b, an st m as, an hav a iffnt souc of
fnc.
H calls, I was in L.A. an listn to th bafoot MM27s
an I fll in lov with thm; I thought th w amazing. I stat to
o mo sach; I sok to Jff [ehng] at Vintag King, an
got to talk with Thomas bafoot an saw som of his vios. I saw
how th uilt an stuctu, an how th sus a osition
in a wa that th cancl th intia, an th fam asicall osnt
viat. you can ut thm on a sk an ou listning to th
monitos; ou not listning to woo. you coul ut a fath on
to of on an th fath woulnt viat. I havnt n so lown
awa a ai of monitos in a long tim.
but, fist things fist, h sas: bfo I got m AdAMs, as ago,
I got m dangous Music stuff. Sanchz has a dangous Monito
ST with intgat dAC ST fo consistnt igital-to-analog conv-
sion, lus a dangous 2-bus LT fo summing.
phas no lss imotant than his dangous monito contol
chain, h continus, a th pimacoustic rcoil Stailiz isola-
12 studio monitor G e a r G u i d e 2013
of MixeS and MonitorS
Junior Sanchez
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Feature
ti as. I hav th as all f m mits, icluig th
bafts, which it all thm, Sachz ts. Thsthigs a icil, gius; I t kw wh sm it
thik f ths f. yu ca all ha th iffcu gt tha th mit f th fist tim.
Summig u, h sas, If sm all cas aut thi mixig
vimt a th willig t g th xta mil, ths th ig-itssaks, ctll, a islati asa cst ffctiv.
yu mits, hw u mit, a islati, a u g t g.
Chis Va, umm with ni Ich nails util 1997, aumm-tu-ka la with Mail Mas fm 2007
thugh 2011, is w a us uc, gi, mix, sgwita gamm. Va ats ut f Th Thus f T,
a wll-qui ivat ucti stui i Shma oaks, CA,mail wkig with atists at th lw f th cig ugt
scal, such as u-a-cmig iustial mtal as daw f Ashsa Itals Am f th Uivs, with whm h als fms.
F m, m is tt, sas Va, whutilizs fu ais f mits. I kw th -
lm with mst l i th al wl is thatmst ms at ig ugh f th saks
th u. Th tw iggst lms f ahm stui, u t th fact that its a gaag
a m whatv, is that th m istacusticall fct. As a sult, taslati ca
a ig lm: yu tak it smwh lsa its awful.
Vas mit fcs hav vlvv th as, m ctl als aig
t a ivs cllcti that sus his mixstaslat. Iv g thugh a sak ais-
sac i th last cul f as. I ha alwas a Ta gu. I ha a ai f 800As, th
activ vsi with th ight-ich cctics. Ius thm f v 10 as.
but th h gt t wk a jct iGma. Th ha Mackis a AdAMs, with
a su. AdAMs a gat saks, ut, is-sct, th hash t m; I fatigu ut th
high with thm.Th Macki Hr824s w all sli, h
ctius. I call Wst L.A. Music a ughtthm. Th Mackis gt s lu, almst lik
mi-fils. evthig I thm taslats.H th sl his Ta saks a ught
a ai f daui Acustic bM5 MkIIs, lus afuth st, a ai f Glc 6010A skt saks.
pl ask wh I hav s ma saks: I wat t mak as-lutl su. I ca g tw all fu sts. W all mak u music i
a vacuum ut its gt t la vwh. Th ass uctiis viusl ifft tw all fu sts, h svs, ut if th
vcals a mi-ag sta sli fm st t th xt, th mix willtaslat utsi f th stui.
but ultimatl, h cmmts, h cat avis a what sak-s th shul u. yu cat tll l, this sak is awsm.
A sak is a cmiati f u as, what sus g t u,
what fits i th m that u wk i, a tim. Wh I ught thds, I cul tll istatl that th w awsm. yu just thw th
fas u thugh Glcs a it sus mix caus th havthis hi-fi-ss aut thm. but th ma suck i thi m.
That sai, th a a lt f all gat saks ut th, sas
Va: F $1,000 a ai, th is a chic f six sv amazigsaks.
Lik Sachz, Va has pimacustic as u his mai mi-
ts. I hav th ais. Th ma a hug iffc, h sas.Va als ags with Sachz that th mit sak is
t th l citical ic i th chai. Th mst imtat icf ga i this m is that dagus d-bx. I ught it caus I
wat th summig, ut th mit ctl was cucial. p Tlsgs it it, a m Cd la, a its th switch f th saks.
pi t that, I ha a $500 ic that has th sam fatusit uiv mix I i. I ha a a wh vthig was s a; thig
wk utsi f this m. It was that x. If ths a ic
f ga i-li that is isttig thigs i such a vilt wa that itmaks u smthig that is t all haig, u f***.
That was haig t m.pilsu Stuis, a tackig a sgwitig stui attach t th
Suth Califia hm f Jff pils, fuig mm f dkka lgtim ass la with Fig, fatus th sts f mi-
ts: Macki Hr824s, vitag yamaha nS10s, a a ai f Altccmut saks. Mst ctl at th stui, pils has c
2013 studio monitor G e a r G u i d e 13
Chris Vrenna
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Feature
alum jcts with T&n, fatuig
th igial mms f dkk;
Al, which fatus fm Gus
rss umm Stv Al;
a tacks f Figs th-isc
(tw Cds, dVd) tsctiv
a liv gatst hits st, FeelsLike the First Time. His xt jct
at pilsu will tackig a w
Stashi alum, which will iclu
ight sgs witt pils, with
sig Mick Thmas.
Th Macki mits w
a cmmati fm Kll
Has, Figs sig, pils ts. W w wkig
tgth a cul f as ag a I just ha th yamaha nS10s at
th tim. H kt saig, M as gt s fatigu th nS10s. S
h ught v his Mackis. W st thm u a I thught, ww!
Th w just imsiall s much tt. I still lik nS10s f c-
tai thigs, which is wh Iv hl t thm, v thugh thats tth ial listig siti f thm, ut m mixs imvwhat I
was takig ut f h was 30 ct m accuat.
pils as, Th pimacustic as a ath 10 ct
t f that. I cul t liv th iffc th ma. bass is
alwas a lm, a th all cla that u a lt. Iv gt th
su f th nS10s, ut thats t alwas a accuat a ith.
of his th sts f mits, pils sas, I sa 70 ct f
th tim, Im m Mackis, 20 ct th Altcs, a 10 -
ct th nS10s. With nS10s, u hav t wk t mak it su
g. Th lm is, th v sh i ctai fquc aas,
a imsial aas. That is smthig I all j m a
m w, listig t imsi
i cigs. Th Mackis just
imv that s much f m.
pils fqutl taks j-
cts, icluig Fig, t Ttal
Accss stuis i r bach,
CA f mixig, wh w Wdavis has a ai f M mits.
Th Ms a all, all ic,
ut f a facti f th m,
ths Mackis hav th sam ffct
f m. nt t th sam g;
th Ms a autiful. but I
all lik ths Mackis a lt.
I a lt f tackig i h. Wh Im tackig ums, I t
t t us much eQ tackig; i fact, I f . Ths hl
m gt th michs lac i a wa that I thik is just s much
m ffctiv. Iv t ha a cmlaits aut ums i th last
fw thigs that Iv fm th gis, sas pils. I thik
ths saks hav smthig t with it.pfct Su Stuis, isctl tuck awa i th Hllw
Hills, ctl ta ut th mai mits i its ctl m f a
w ai f pMC Ib2S saks. W f t thm as a gam chag-
, sas Jas dagh, chif gi at th tackig, mixig a
mastig stui lcat cls t th hat f Hllw.
pfct Su, which ctl ml its attach luxu
accmmatis, fatus a w SSL AWS csl a a classic 1970s
aalg nv 8014 sk. Th wl-class facilit has attact jcts
Sum 41, ba f Hss, ra Aams a a hst f ths. Mst
ctl, sas dagh, Iv wkig with a a call Cic,
a mtal a. Wv wkig with uc Maki, whs als a
atist, a a a call Tallahass,
fm th ast cast. Iv gt tw mixs
f a a call Scatt Hamlts
cmig u.
dagh ctius, I lv mixig
th pMCs. I still mix m nS10s.
but wh it cms t tackig, I v
hav a ut aut what Im haig
with th pMCs, which is just a wight
ff m shuls. Th gat sak-
s wh u tackigv tail
a aticulat, a u haig
vthig that u wat t ha. yu
ca als tu thm u a gt a g
vi gig, if th guitaist is tackig
i th ctl m u t
imss th clit.
I fact, dagh a th staff ha
csi tig f th xt ml
u i siz i t gt lt f lvl
i th m, ut pMC cmm
th small ml. Th Ib2s a a
aslutl fct fit f u ctl
m. Athig igg wul hav
14 studio monitor G e a r G u i d e 2013
Jeff Pilson
You cant tell people, this
speaker is awesome. A
speaker is a combination of
your ears, what sounds good
to you,what fits in the room
that you work in, and time.
Chris Vrenna
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7/30/2019 Studio Monitors Gear Guide 2013
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Feature
verearig, he sas. brst 7b amlifiers are
rivig the assive mitrs.
Set u was quick a eas, he rerts.
The it take much tweakig; we ut
the seakers u a that was it. our rm is
treate: we ha [acusticia] Vicet Va Haaff
hel with it. but theres tuig the seak-ersits rett much straight ut f the ar
a it the seakers. I cat seak highl
eugh aut them. There fatastic seakers,
a ver much wrth the ivestmet.
The stuis trust nS10s are eig rive
a air f brst 4b-ST amlifiers, with a
yamaha su. Ill ever get ri f thse nS10s;
I grew u usig thse, s there m it f
referece fr 99 ercet f what Im ig,
sas dagh. Its a cmfrt issue.
perfect Su als has a set f cmuter
seakers fr referece. We use a little a
Altec ip ck smetimes, but thats verrarel use, he sas. Sice I gt the pMCs, I
t reall ee t referece m mix t
ma ther thigs.Perfect Sond hosted the u.S. VIP debt of PMCs twotwo monitors, shown here side-
by-side in the stdios control room with their PMC IB2S models.
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review
By ROB TAVAGLIONE FOR Pro Audio review
in 2010, AdAM Aui fist intuc th AX-Sis fa-
tuing its uat X-ArT twt lus significantl lwics than its flagshi SX-Sis. Th A77X hizntall
sitin, th-wa lusak is th t f th fiv-ml AX-Sis.
Th X-ArT twt has an actual iahagm aa (ifunfl) f fu squa inchs (th quivalnt f a 56mm
m twt in aa). Cssv is at 3 kHz an th twtachs u t 50 kHz. Th A77Xs 7-inch wfs fatu a
ul sanwich f figlass/can fi/rhacll anhigh xcusin. on f its wfs hanls nl 400 ccls
an lw, whil th th ucs lws as wll as micntnt u t 3 kHz, wh th in taks v. A 100W
pWM-t am ws ach wf, whas th twt hasits wn 50W Class A/b am. Th a anl huss th XLran rCA inuts, a lw- an high-fqunc shlving eQ cn-
tl (at 300 an 5 kHz, sctivl, +/- 6 b) an a twtlvl cntl (+/- 4 b).
Th caint is a ass flx sign with ual fnt-anlts an tinal magntic shiling. AdAM Aui fins
th A77X as suital f th nafil an mi-fil mnit-ing cnsiing its high w (114 b SpL utut lng-tm),
high SpL lvls (122 b max.) an aiatin chaactistics.I incat th A77X ai int m wkflw, at m
pimacustic rcil Stailizs an wkstatin funitu. Ichs t sitin th mi-wfs twas th utsis f m
swt st (th A77X ai a mak as ith A b mlsf this), which was th lacmnt that sun th st with
th st imaging. I c t nl clintlss iting anugh mixing wk f th nxt wk an a half. duing that
tim, I hnstl nv flt cmftal with th A77X mnits.Aft a ak-in i, th A77X ai chang cmltl:
Th t n was xtml tail; high-mis musical; anlw-mis nw sun w an ich. I was imss with
aml ttm an unch, vn with m suwf ass.dnt lt th smallish A77X caint siz, iminutiv wight
7-inch wfs suis u: Ths xs will ck. Thnv shut wn, althugh th will istt if ush v
ha an th gt lnt lu nugh t cut guitas in thcntl m. M nl significant cncn is a naw swt
st, making th A77Xs nt ial f situatins with mthan n citical listn.
At aximatl $2,800 ai, th A77X is ctainl nta ugt mnit; th a stin f fssinal us. yt
f th makt, I liv th a iall ic, as th quitsimila Aam SX-Sis S3X-H (with intical ivs an sam
hizntal cnfig as th A77X) a ic at aximatl$7,000 ai. Iv listn t th S3X-H mnits, t, an I
fin th A77X t its imssivl affal altnativ.AdAM Aui | aam-aui.cm
16 portABle pA G e a r G u i d e 2013
adaM audio a77x ax-SerieS
poWered Studio MonitorS
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review
By JERRy IBBOTSON FOR Audio MediA worldwide
these are fairly ig seakers comare to what
I een execting 13.7 high. That uts
them on a ar with many comact stuio
seakers that you haily ut on stans or
even soffit mount. but thats not the oint; what
makes the dbM50s secial is the angle front
face. Its tilte uwars, irecting the 1-inch
tweeter an 7.5-inch woofer at the users ears.
The iea is that they can e lace irectly on
the eskto or working surface, for use in moreconfine saces.
Scificatis iclu 50 Watts f w ach
t twt a wf, fqucy ss fm46Hz t 21KHz, 1.5kHz cssv fqucy, a
MdF cait, XLr alac a rCA ualaciuts. o a f ach sak a a iut lvl
slct (+4b a -10b), a high-ass sttig fths usig a saat su, a LF st/cut, a MF
cut, a a HF st/cut. Ths allw f simlajustmts accig t vimt; fxaml, ialig ack th ass if thy lac
cls t a wall.My suc was a Fcusit Saffi p 24,
which haily has a Mit k th ft,uig ff a VAIo lat. Th is a tial
a vy sh-lkig icat vlum c-tll ($69) f th dbM50s ($499 ach), ut
that wast availal f th viw. Th vi-mt i which I was tstig is my hm-
wkig stu.Thugh th dbM50s w faily cls
tgth a i cls ximity t m(my sk ist that ig), f familia music
layack, th was still a cackig [bitishsak f g e] st imag a
icil tail t th su. This wast a jaw--th-fl mmt as Iv ha with th saks that
Iv tst, ut it fctly suit my listig vimt. I thlay ack sm itviw matial that I ha ctly c f
a jct, usig a rla r-26 a r nTG3 mic. nw, this was ajaw/fl itfac mmt. I listig t this matial v
a v th saks a hahs a I v ha itsu this g. Th vics w stuigly uc.
May a st f mal ight-agl saks cul thsam j, ut yu hav t mut thm ith agl, high
ugh f aligmt with th as. If yu w itig vi
a xcllt su ucti, ths cul justth thig. Small vic stuis a ai ucti vimts
cul als ut thm t gat us. but thy a tuly cackigsaks a shul fiitly yu sht-list. Just mak
su yu sk is ig ugh.
dynauio professional | ynauiorofessional.com
2013 portABle pA G e a r G u i d e 17
dynaudio dBM50 deSktop
active MonitorS
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review
18 studio monitor G e a r G u i d e 2013
By RuSS LONG FOR Pro Audio
review
focals latest offering, the SM9,offers the tremendous sound
quality that Focal is known for
as well as the revolutionary conceptof offering essentially two monitor-ing speakers (a 2-way and a 3-way)in one unique 12.8 x 19.6 x 15.6
cabinet ($3,995 each).
In 3-way atin, its a th-way
mnit quid with a Fcal hallmak,
n-inch, u byllium invtd dm
twt; a 6.5-inch mid/lw fquncy
div; an 8-inch cn lw-fquncy
div; and an 11-inch cn istn,
xta wid invtd suund assiv
adiatth last th all Fcal W
cmsit sandwich cns. Whn st t
Fcus md, it cms a tw-way mn-
it, utilizing nly th twt and th
6.5-inch mid/ass div, making it asy
t viw hw wll a mix will tansf t
a lw-fquncy challngd systm. Th SM9s Tl and Midang
cmnnts a ach wd y a 100 W, Class A/b amlifi and
th lw fquncy div is wd y a 400 W, Class A/b am.
In th-way md, th sak has a atd fquncy sns
f 30 Hz 40 kHz (+/- 3 db) with a maximum SpL f 116 db (ak @
1 mt) and in tw-way (Fcus) md, it is atd at a 90 Hz 20 kHz
(+/- 3 db) fquncy sns with a 106 db maximum SpL (ak @
1 mt). Th inut is a 10 kohm, lctnically alancd, fd fm
an XLr jack switchal twn +4 dbu/-10 dbV. Th xtnsiv
tn-shaing cntls includ hi-ass, (45, 60, 90 Hz) Lw and High
fquncy shlving (+/- 3 db in 0.5 db sts) and eQ sttings f
Lw, Lw-Mid and Mid fquncis, 50, 160 and 1 kHz sctivly
(+/- 3 db in 0.5 db incmnts). Th a anl als includs a vlt-
ag slct, IeC cnnct and w switch.
At 77 unds caint, ths ais a havy! I guss I
shuldnt suisd that th wful class A/b ams in a singl
nclsu mak f a tty hfty ic f ga.
Aft snding th wks wking nn-st n th SM9s, Im
sld. Th imaging is sctacula and thy vid a flat, smth and
natual sund gadlss f vlum lvl. Whn th and cms in
th cntl m f a listn, I can cank u th mnits and kick
utt, ut thy als sund gat at xtmly lw lvls. I lik that
th a significantly m tnal shaing tls n th SM9 than n
any th mnit Iv ncuntd. This allws th SM9s sns
t snically adjustd t wk in sacs with a stng snic thum-
int. Lw aant lvls f disttin vid nn-fatiguing mni-
ting, which is anth stng suit f th mnits.
Th dual mnit fatu is a illiant ida. I wish th was a
ftswitch inut s th sak md culd changd y sting
n a singl ftswitch instad f having t ss a uttn n th
sid f ach f th mnits.
Th imlmntatin f a assiv adiat v a td dsign
wks wndfully. Th lw-fquncy ductin in th mnits
is unchy, tight and full. Its nic t us a mnit that vids full-
ang ductin withut th nd f a su.
Focal | focalprofessional.com
focal profeSSional SM9
3-/2-Way active StudioMonitor
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review
2013 studio monitor G e a r G u i d e 19
By CHRISTOPHER WALSH FOR Pro Audio review
JbL has hit the sweet sot with the versatile Control 2p($249 list), a comact owered monitor that fits multile
alications from audio roduction to AV, electronicinstruments and home entertainment.
Th wst mm f th Ctl Sis, th Ctl 2p is a
ial siz f skt aui a vi. Th 35 W/chal systmfits icly i a dAW stu: i my alicati, a st f Ctl 2ps
vi su f a iMac-as Lgic/Fial Cut/p Tls hm
stui that uls as a hu f iTus a Cd layack, Itt
ai stamig a dVd-Vi layack.
Ctl 2p mits a vy siml t st u a at.
pw mast a assiv xtsi saks, a xtsi
sak wi a w suly (all iclu) a all s t
u a uig. F skt aui, su t sa th iclu
stals f -axis listigth Ctl 2ps a quit ictial.
F wall mutig, JbL ffs th tial MTC-2p kit.
Th mast sak fatus a
whit Led th ft t iicat
w. A Led flashs wh
th sak is aachig
thmal tct m, a
glws ctiuusly t ii-
cat that th systm shul
tu ff t cl (i my
xic, ith has yt
t ccu).
o th mast saks
si is a lag vlum c-
tl a ighth-ich ha-
h jack. Th a al
huss th w switch,
dC w iut a mst
f th Ctl 2ps i- a
ututs. na th ct
a cmiati nutik
XLr/TrS alac iuts
f th mast a xt-
si saks. rCA
iuts a als fu
th mast saks ack
al, as is th quat-ich
xtsi sak jack. Lastly, a HF ajust switch alis a +2 -2
b high fqucy shlf.
Havig tst a wk with a vaity f skt mitig
systms, I fu th Ctl 2ps th st sluti, t at, f my
s. With a 80 Hz 20 kHz fqucy ag, thy liv a a,
accuat sctum at lw a mat lvls (th Ctl 2ps ca
gt lty lu, t, a mai accuat at high lvls). Sli lwfqucis withut th f a ulky suwf cwig th
flthats a wlcm chag.
I my alicati, th multil ututs allw mitig ictly
fm th cmut, via a ighth-ich t rCA aat, f Lgic a
Fial Cut (a iTus a dVd), fm a digisig Mx f p
Tls. My Stiway ga iawll, th vitual Stiway i Lgics
eXS24 mkII samlsus fatastic thugh th Ctl 2ps; if
that w thi ly fucti, thy wul wll wth th (attac-
tiv) ic.
JbL | www.jlro.com
JBl control 2p coMpact
poWered deSktopMonitor
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product showcase
20 studio monitor G e a r G u i d e 2013
na Kh 310 A t-
way Av m
Th w numa KH 310 A icooats
wly vlo ivs i a sal cait
fo accuat, lia ouctio ov its ti
fqucy sos ag, fast LF tasit
sos a th ottial fo high ouc-
tio lvls. Th KH 310 A tl, miag
a ass ivs, all numa sigs, havall otimiz usig acoustic simula-
tios a a xtsiv sis of masu-
mts. bass sos xts to 34 Hz, mi
fqucis a -ouc y a icat
soft om miag iv a high fqu-
cis a hal y a alloy faic om twt i a llitical
Mathmatically Mol dissio wavgui.
Th class-Ab amlifis a a high caacity SMpS ow su-
ly giv th systm a high haoom a fomac scultig eQ
allows th systm to aat to its viomt. Tight maufac-
tuig tolacs allow ay two KH 310A moitos to fuctio as a
match ai.
AdAm A F s
AdAM Auio has itouc its mo affoal F Sis ofs-
sioal moitos, icluig th F5 a F7 afil moitos a SuF
icat suwoof. both th F5 a F7 mloy th comays
w ArT twt that ovis fomac simila to AdAMs
acclaim X-ArT twt i a small siz to fit th w fom facto.
dsig fo small ooms, th comact F5 ais th ArT
twt with a fiv-
ich miwoof, ach
comot iiviu-
ally ow y 25 W
(ms) A/b amlifis.
Th F7 has a 40 W
am fo th twt
a a sv-ich
woof ow y a
60 W am. Th SuF
fatus a ight-ich
woof with a 150 W
(ms) pWM ow
amlifi.
pmc ww Av m
pMCs w activ sis of moitos maks th sig aoach
of pMCs to lis availal at a low ic ag. Th twotwos
mloy pMCs ATL (Avac Tasmissio Li) ass loaig/
xtsio aoach alog with uilt-i amlificatio a high
solutio igital filtig. Th UK-uilt li iitially comiss two
mols, th twotwo.5 a twotwo.6 (ictu h). A thi, th
twotwo.8, is slat to xt th li i th fist quat of 2013.
All th sha th sam co sig a fatus with fiv-, six-
a ight-ich woofs. A ooa dSp gi is us to oti-
miz iv sos, ovi a highly cis cossov, maximiz
issio, a ovi comot otctio. Th uilt-i Class
d ual-amlificatio livs 50 W to th twt a 150 W to
th ass iv.
dya m3xe
s ma m
dyauio pofssioal has itouc its
20th Aivsay M3Xe moitos, ow- y two La.gu pLM10000Q
amlifis: a sigificat uga fom its
csso, th ow M3A 3-way
moito. Fatus iclu a 20 Hz to 22
kHz fqucy sos, yo 133 b
SpL outut ottial, Lak pocssig,
a mo.
Th M3Xe cait iclus ual
12-ich woofs with alumium voic
coils; ual 6-ich Miag ivs with
75 mm alumium voic coils; a 1.1-ich
(28 mm) soft om twt, also with a
alumium voic coil; a a total wight of132 ls. Amlificatio, via th La.gu-
pLM10000Q, ovis 4 x 2300 watts (2 x 2300 W woof, 1 x 2300 W Mi, 1 x 2300
W HF) with aalog a AeS/ebU iuts.
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product showcase
2013 studio monitor G e a r G u i d e 21
Fa tw6 B s rf m
Th Twin6 b is a
th-way activ
sak, Fcals
st slling ml,
uilt f hizntalmunting. Th
saks ncl-
su (lack-i
with vn
sis) huss
tw Fcal 6.5 inch cmsit sanwich cn ivs la y tw
lag css-sctin lamina ass ts. Fcals signatu LF ivs
w vl t cntl cn wight, igiity, an aming f
tansancy f fmanc with xcllnt has sns an lw
isttin. bth f th 6.5 ivs hanl lw fquncis ut nly
n f th tw (slctal) asss l-mi fquncis.
Th qually chaactistic Fcal vs m byllium twt
affs sns at t 40 kHz with accuat imag an tansintsns. Th Twin6 is w intnally y tw 150 W rMS amli-
fis f th LF an MF ivs an a 100 W rMS amlifi f th
twt.
jBl msc1 m c
Th MSC1 is th an
autmat m cc-
tin tl an a suc/
mnit slct/vlum
cntll f us with any
tw ais f saks an a
suwf. Th JbL rm
M Cctin systm
uss a tst michn
an sftwa algithms t
masu mnit fmanc in a givn nvinmnt, an calculats
an alis cctiv eQ t timiz th lusak fmanc.
Th MSC1 is hus in a stuy skt-ay chassis. All I/o is
n th ack f th unit, allwing f th saat st sucs:
tw inut ais a availal, n using alanc quat-inch TrS
an th th using unalanc rCA cnncts. oututs t tw
sts f mnits an n suwf a all vi via quat-inch
alanc TrS ututs. Th is als a quat-inch hahn jack,
ighth-inch I/o jacks f th rMC mic, an a USb cnnctin t uti-liz th rMC css with a hst cmut. Th MSC1 shis with a
caliatin mic, USb cal, an ighth-inch TrS cals.
G se dsp mg sy
Th Gnlc Se (Small
envinmnt) dSp mni-
ting systm is a full sys-
tm suun slutin f
small t mi-siz -
uctin ms in n
f cis tw-channl
fiv-channl suunmniting. Th sys-
tms inclu Gnlcs
AutCal slf-caliatin
systm an GLM.Se
(Gnlc Lusak Manag f Small envinmnts) sftwa f
intllignt an autmat m-cctin cssing.
Th hat f th Gnlc Se dSp Systm is th 10-inch Se7261A
dSp suwf. Th 59-un suwf is uilt aun a singl
10-inch iv w y a 120-watt am, with a 19 Hz t 100 Hz
f fil fquncy sns. Th sus ight-channl, igital-nly
inut is caal f 24-it, 192 kHz slutin (a cmanin A/d is
availal).
Th 8130A mnits hav twin 40 W amlifis iving a 5-inch
wf an 3/4-inch mtal m twt f a 58 Hz t 20 kHz at
fquncy sns. Its AeS 3 inuts als sut 192 kHz/24-it
igital aui inuts. Th 8130A is at f Gnlcs latst mnit
signs with th wav gui an intgal at f th minimum if-
factin i-cast aluminum
iA iso-l8r130
s m sa
IsAcustics has xtn its lin f sufac cu-
ls with th ISo-L8r130 sak stans, scifically
sign f small saks with withs xcing 5
an wights f nt m than 20ls. Th ISo-L8r130
stans sha all th fatus fun in th awa-winning
ISo-L8r155 an ISo-L8r200 (th ISo-L8r family is ic-
tu) incluing flxiility in hight an tilt an atnt
flating achitctu f aui imag stailizatin.
Th nw sak stans masu 5.1 wi an 6
an cm with tuing t cnfigu it t ith 2.5 8 in hight an 2 sts f n lugs t vi 14 ssil tilt ajustmnts.
Th ISo-L8r130 was vl in sns t n-us qusts f an ISo-L8r ml suit f small mnits.
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studio Monitor ManuFacturers directory
22 studio monitor G e a r G u i d e 2013
AdAm Aadam-audio.com516-681-0690
Aalsis.com401-658-5760
Aba Acalcub.com858-485-7514
Atcatcloudspakrs.co.uktransaudiogroup.com702-365-5155
Axaudixusa.com503-682-6933
Aaxauralx.com
317-842-2600
Ava pavantonpro.com828-523-4311
B&Wbowrs-wilkins.com978-664-2870
Bag e lakbagnd.com847-382-4550
Bgbhringr.com425-672-0816
B skablusky.com516-249-1399
Bbos.com800-869-1855
da pfadynaudioprofssional.com519-745-1158
e
roland.com323-890-3700
eva pemotivapro.com615-791-6254
ea Aquatoraudio.com888-772-0087
ev evntlctronics.com805-566-7777
Fafocal.com800-663-9352
Fxfostx.com800-431-2609
Ggnlcusa.com508-652-0900
Gff Agriffinaudiousa.com914-248-7680
hab lakharbth.co.uk603-437-4769
h hhothouspro.com845-691-6077
iAisoacoustics.com905-294-4672
jBljblpro.com818-894-8850
KrKkrksys.com800-444-2766
lk slipinskisound.com877-876-4844
makmacki.com508-234-6158
m-Am-audio.com401-658-5765
m-Gam-githain.d
m smyrsound.com510-486-1166
mK s
mksoundsystm.com855-657-6863
na snady.com510-652-2411
nanumannusa.com860-434-9190
nhtpronhthifi.com800-648-9993
p s & Awww.chrisplonisspakrs.com805-242-1041
pmcpmc-spakrs.com888-653-1184
paprimacoustic.com604-942-1001
psi Apsiaudio.com858-414-3900
qqustd.com888-653-1184
raroland.com323-215-2111
sa Asamsontch.com631-784-2200
se mslctronics.com800-222-4700
sls lakslsloudspakrs.com417-883-4549
ssonodyn.comtransaudiogroup.com702-365-5155
tatannoy.com519-745-1158
taatascam.com323-726-0303
t Apmi-audio.com310-323-9050
t A
truthaudio.com850-830-7168
u Aunityaudio.com888-572-5825
Wak Awstlakaudio.com323-851-1222
yaaayamaha.com714-522-9105
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