Audio Media Monitors Headphones Guide 2014

GUIDE TO

THE

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

BROADCAST INTERNET AUDIO MULTIMEDIA POST PRODUCTION RECORDING

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

In association with:Produced By:

Monitors &Headphones

2014

© Les Cunliff e - Fotolia.com

www.audiomedia.com June 2014 03

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

> Commercial Director

Darrell Carter [email protected]

> Editor Jory MacKay [email protected]

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

> Production Executive Jason Dowie [email protected]

> Designer Jat Garcha [email protected]

>>> CONTENTS

>>> MEET THE TEAM

> 4

Monitoring Commandments

> 6

Monitoring Methodology

> 10

MONITORS: Dynaudio

> 12

MONITORS: Eve Audio

> 14

MONITORS: Genelec

> 16

MONITORS: KRK

> 18

MONITORS: PMC

> 20

MONITORS: PSI Audio

> 22

MONITORS: PreSonus

> 26

MONITORS: Tannoy

> 28

Headphone Essentials

> 29

HEADPHONES: Audio-Technica

> 30

HEADPHONES: KRK

> 32

HEADPHONES: ULTRASONE

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© 2014 NewBay Media. All rights reserved.

Welcome to the 2014 edition of the International

Guide to Monitors & Headphones, an overview

of the monitor and headphone market for the

audio production professional.

Bring up the subject of monitoring with any producer, engineer, or

recording professional and you’re bound to get more than an earful back

(no pun intended). That’s because what we hear, obviously, defines what

we create. Our ears are only as good as the sound that is getting to them.

So whether it’s the box, the magnetics, the materials, the electronics, or

even just the room they’re in, the term ‘reference’ is never used lightly

among those who rely on accurate and natural voicing, spot-on transients,

and that little, indefinable ‘something’ special during their day-to-day of

audio production.

Within the pages of the 2014 International Guide to Monitors &

Headphones we’ve put together promotional articles from 10 of the

world’s leading monitor and headphone manufacturers detailing the

ethos and design choices that go into producing these critical audio

production components.

We’ve also included informative articles from some of the top studio

designers and monitor and headphone aficionados who will help you

create the perfect monitoring sweet spot, or choose the right set of studio

cans for your application.

Looking for tips on setting up your studio? Level Acoustic Design

founder Chris Walls runs us through his process whether you’re in music,

mastering, film, or any other area of audio production, while White

Mark managing director David Bell gives us five of his steadfast rules of

monitoring.

What about headphones? Do you need open or closed back? How

much should you spend? And what sort of features should you be looking

for? We get these answers and more from the CEO of headphone

specialist retailer HeadRoom.

So if you’re in the market for new monitors or headphones, or just

want to see what’s new and interesting, this Guide is here for you.

This Guide, along with the others in the series (DAWS & Plug-ins,

Theatre Sound, Microphones, Broadcast Audio, and Consoles) are Audio Media projects and are designed to help you navigate your way through

the swaths of products available.

For more details visit www.audiomedia.com

Jory MacKay, editor.

AUDIO MEDIA (UK)

Audio Media is published by

Intent Media London,

1st Floor, Suncourt House,

18-26 Essex Road,

London N1 8LN, England.

www.audiomedia.com

Telephone: +44 (0) 20 7354 6001

www.nbmedia.com

>ADVERTISER INDEXAdvertiser Page

Dynaudio 2

Genelec 9

Neumann 7

PreSonus 36

PMC 31

Tannoy 35

MONITORING

BEFORE launching into a view of the

loudspeaker itself, the key features of the

environment into which it is to be placed must

be understood. This piece is not the place for a

tutorial on the acoustic properties of enclosed

spaces but the salient issues should be set out,

such that a context for the following remarks can

be established. Important aspects of the room

to be considered are its modal response and the

fundamentally different relationship it has to the

differing regions of the frequency response it is to

be asked to support during audio reproduction.

The key influence can be very heavily

simplified to the observation that: all spaces that

are enclosed by walls will have a series of modes,

perceived as maxima and minima in sound level

at given frequencies. These modal effects are

spatially distributed within the space as a direct

result of the geometry of the room’s boundaries.

The distribution across the frequency spectrum

of these modes, and their Q, are affected by the

shape and the structure of the room boundaries

and there is only so much that can be undertaken

to alter this using acoustic treatment, once the

space within it has been defined.

The way that the room volume interacts

with frequencies within it as they vary over

the audible range varies. The effect of the low

frequency response of a room is limited in the

range below the fundamental frequency relating

to its principal axial dimension. Above this

region the response is principally affected by

the modal response of the room until a value

is reached, relating to the RT60 of the space

and its volume, known as the cut off frequency.

Above a value, roughly four times the cut off

frequency, geometric reflection combinations

are the fundamental mechanism of effect that

the room has on the sound within it. Between

these two figures, the room affects the sound in

a mixture of ways including geometric reflection

combination and modal effects. As the frequency

rises within the space, the modal density

increases and, as the upper frequency figure is

approached, their effect becomes minimal.

And so, to the requested Commandments,

or fundamental observations:

1. Choose the right monitorsSimply put, a loudspeaker should be selected

that will give as wide a frequency response as

possible at a consistent level to suit both the

room in which it is to be used, and the use to

which it is being put.

Dispersion characteristics should be

considered as a fundamental aspect of the

performance of the monitor. There are

arguments for a restricted dispersion angle

and others for a wide spread but, whichever is

selected, this aspect of the performance should

be even with frequency as far as is possible.

Uneven dispersion will result in a great disparity

between the on axis (and possibly perfect)

response and the off axis energy that is poured

into the room which, in turn, can result in a

serious disparity between the reverberant field

characteristics and those of the direct field.

A loudspeaker is the fundamental interface

between the recorded sound signal and the user

who is assessing it. Thus, the monitor chosen

must perform across a range of frequencies at

a level that is compatible with that at which

the user wishes to work. In Dolby-licensed

post-production environments this is set out

carefully, depending on the approval level

sought, so that consistency is achieved across

studios and cinemas the world over. Music

users must ensure that their frequency response

and level requirements are realistic when

auditioning possible monitors.

Consider the topology of the units you wish

to audition. A pure approach to monitor design,

avoiding ported enclosures to give ‘enhanced’

bass response, can be likened to the search for

the pure signal path in the electronics. High-

04 June 2014 The International Guide To Monitors and Headphones 2014

Monitoring CommandmentsDavid Bell, managing director of acoustic and technical design

firm White Mark, gives us his five steadfast rules for getting the

most out of your monitors.

Tony Germano’s Studio One in New York

White Mark managing director David Bell


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

power amplifiers and large-excursion bass

drivers have made this more possible than in

past times and consideration should be given to

the transient response and phase effects around

the driver/port summation that allow the

ported enclosure to work. Listen to fretless bass

or similar sounds and check that pitch and tone

are maintained down to low frequencies and

not sacrificed for ‘punch’ and measurable output

extension that is not musical.

2. Put the monitors in the right placeMonitoring exists as the result of the

loudspeaker and the listener combining with

their environment. Placements of both the

loudspeaker within a room and of the observer

are fundamentally affected by the modal at

low frequencies and by reflections from room

boundaries at higher frequencies. Thus, all

steps should be taken to assist the loudspeaker

to give off its best by mitigating the adverse

effects caused by placement.

The loudspeakers should be positioned to

minimise reflections from their immediate

surroundings. Nearfield monitors should be

placed to minimise multi-path effects from a

console or work surface; free-standing mid-

field and even soffit-mounted units should be

adjusted in position to reduce comb filtering

from reflection paths via the walls, ceiling,

floor, and equipment. Height, particularly, can

be used to great advantage to maximise path

difference lengths between direct and reflected

sound from such surfaces as the console/

work station, equipment racks behind the

engineer and the floor. Care taken to observe

the variation in response as free field mounted

loudspeakers are moved can reap great benefit

in minimising the colouration produced by

reflected multi-path interference.

Soffit mounting of monitors is the best

solution for minimising reflection-originated

colouration. It should be well known that,

as frequency drops, the loudspeaker outputs

energy in a progressively increased solid angle

until, at low frequencies, the energy emitted to

the rear and sides is close in level to that which

radiates forwards. Correct soffit mounting

prevents this energy from reflecting with any

time delay and, thus, colouring the perceived

sound at the listening position.

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

is in the support of the loudspeakers in the

position in which they are to be used. In

common with every aspect of studio design,

resonance should be avoided at all cost. It

is noticed, time and again, how edit and

composition workstations are set upon tables,

with the small or medium-sized loudspeakers set

either side of the screen. While this can be fine,

a swift knock on the table surface will reveal the

resonant nature of the usually lightweight units

and it is a fundamental truth that the sound

radiated by the table when struck will match

the absorption characteristics that the surface

is applying to the loudspeaker. Many smaller

monitors try hard to eke out as much bottom

end as possible and it seems pointless to just

throw this away with uncontrolled low frequency

absorption into the supporting structure.

An example to illustrate this comes from a

studio that called us in to look at a poor bass

response from a pair of midfield monitors

they were using. They had a client who had

recorded and mixed a number of tracks on

his own monitors which he had positioned

over the meter bridge and, when these were

submitted for mastering, they were found to be

deafeningly bass heavy. Upon measurement,

the suck out was not in evidence when the

main monitors were in use, nor when the small

nearfields were tried. The client was asked

to reproduce the set up used for the sessions

and he brought in a pair of Unicol TV stands,

which he positioned overhanging the console.

The midfields were duly mounted upon them

and a massive loss of bass became immediately

obvious. Removing the stands and placing the

loudspeakers on the very substantial meter

bridge restored the bass immediately.

4. Set the monitors up to the best of your ability (or the availability of budget)If possible, a competent engineer should set

up the monitors in the room in which they

are to be used. If free field mounting is used,

the moving of the loudspeaker, even by very

small distances, can cause significant changes

in response and it is easiest to accurately assess

this using instrumentation. Soffit-mounted

units are best placed to avoid these problems

and the designer should have positioned them

to minimise any problems at the drawing stage.

A competent measurement system should

be used for all but the lowest cost monitors as

the expenditure necessary for this process to be

undertaken is limited and the benefits obtained

far outweigh the effects of oxygen-free

cabling, gold interconnects, and esoteric stand

geometries, all of which often appear higher up

the priority list. Failing this, listen to familiar

programme material and perform adjustments

of position until the result is what is expected.

5. Apply GENTLE frequency response correctionAs described above, the listening environment

affects the performance of the monitors in a

number of ways. The modal response of the

room will cause peaks and troughs in any

response, and some reflections will do likewise,

and there is no point in trying to equalise these

out. If repositioning of the monitors or listening

position is possible, then this should be tried.

The remaining anomalies should be minor and

are the characteristic features of the room. If the

room has been designed properly these will be

spread out evenly across the relevant parts of the

frequency range and cause no noticeable effect.

The use of a parametric equaliser to adjust

the loading of the monitor in the room volume

and topology is important. DSP units designed

for use with the loudspeaker system chosen can

also offer delay and phase correction and these

adjustments should only ever be undertaken by

the supplier or their nominated expert.

The tuning of the monitors is a process

thought unnecessary in times past, the claim

being that a linear monitor and a linear room

should just fit together and be ‘right’. The

adjustment of a monitor/room interface, taking

into account all of the above, is important. The

room/monitor interface is complex and gentle

tuning is part of its correct optimisation.

Free standing monitors at Extreme Music in London

MONITOR METHODOLOGY

WITH EXPERIENCE designing studios

for artists and labels including Mark Ronson,

U2, Coldplay, Spitfire Audio, MTA Records,

and more, Level Acoustic Design founder (and

former Munro Acoustics principal acoustician)

Chris Walls is a man who knows a thing or

two about setting up your space.

Here, we ask the man himself to put

together his tips and tricks for setting up

monitors for a number of applications.

You’ve got a new client who wants you to design a control room, which will be used primarily for music mixing – what’s your first step in creating an optimal monitoring environment?We can assume that any good quality studio

monitor will have a nominally flat frequency

response when measured in a free-field (i.e.

anechoic conditions) so the aim of the design

is to retain that accuracy when the monitors

are set up in the studio, while at the same time

creating a comfortable acoustic environment in

which to work. This means achieving the right

balance between sound arriving at the mix

position directly from the monitors and sound

arriving after one or more reflections from

room boundaries or equipment. In practice this

is usually achieved through careful geometric

design of the studio and by introducing

acoustic treatment to the space.

So the first step is to establish what

equipment and monitors will be installed in

the studio. From here we can lay everything

out and, if space allows, design the geometry

to minimise strong early reflections at the

mix position. Then we can design acoustic

treatment to deal with prominent room modes

and provide the desired acoustic response.

It is important to find the best spot for the

mix position in terms of the room’s modal

response. You want to avoid it being right

in the middle of the room as many room

modes have a node in the middle of the room,

meaning that there will be very little sound

energy at several bass frequencies. A good

starting point for the mix position is around

one-third of the way along the axis that the

speakers are firing along; the

modal distribution is normally

pretty good at this point.

How much does monitor choice affect the design?It can have a big impact; at

one extreme you have flush-

mounted ‘main’ monitors, which

essentially dictate the geometry

and layout of the front third of

the studio. The size, mounting

conditions and design principle of the monitors

will determine things like the optimum listening

distance, position within the control room and

the type and positioning of acoustic treatment.

The fundamental aim of the design remains

the same, but the tools that you use to achieve

it can be affected by the choice of monitor.

What about monitor placement – can you give us a rundown of how to create the perfect monitoring sweet spot? The left and right monitors should be aimed

at a point slightly behind the mix position;

exactly how far behind depends on the type of

monitors and the size of the room, but 300-

450mm tends to work well for small to mid-

sized control rooms.

The position of free-standing monitors has

Figure 1 multiple interference dips

Finding the Sweet SpotWhether you work in music, post, games, or any other discipline that requires accurate listening, your

ears are only as good as the sound they are receiving. Acoustician and Level Acoustic Design founder

Chris Walls talks to Jory MacKay about how to create the best listening environment for your mix.



MONITOR METHODOLOGY

a big effect on the low frequency response due

to interference from reflections from room

boundaries, especially from the wall behind the

monitors. At a certain frequency related to the

distance between the monitor and the wall, the

reflected sound will arrive back at the monitor

180° out of phase and cause a cancellation.

In smaller rooms it is common to see these

interference dips from the rear wall, rear

corners, side walls, and ceiling all within a few

tens of Hertz of each other, leading to a deep,

broad dip in the frequency response. Figure 1

shows a monitor frequency response exhibiting

three distinct interference dips relating to the

rear wall, corner and side wall reflections. I

hasten to add that this isn’t one of my studios!

The acoustic treatment can help to reduce

the magnitude of the interference dip by

absorbing some of the incident sound, but you

can further improve things by optimising the

loudspeaker positions. One way is to move the

monitors close to the wall, thus shifting the

interference to a frequency where the speaker is

radiating more directionally, and to a frequency

that can be more effectively absorbed. This

will also result in an increase in the monitor’s

low frequency efficiency so you will normally

need to apply a bit of low end roll-off to

compensate, which is a feature that most active

monitors provide. Figure 2 shows how the low

frequency monitor response can be improved

in a small control room by optimising the

loudspeaker position in this way.

Alternatively, you can move the monitors

further away from the room boundaries to

shift the interference dip lower in frequency.

Depending on the monitor, it might be possible

to move the interference dip below the low

frequency cut-off. However that will normally

mean being 1.5m or more from the boundary,

which is not practical in many control rooms.

The next thing to consider is the acoustical

symmetry about the mix position. Ideally a

control room will be absolutely symmetrical

left-to-right to ensure that both monitors

‘see’ the same acoustic environment. This

dramatically improves the stereo image. Strong

side wall reflections can pull the stereo image

off to one side so, again, it is important to

consider monitor directivity and design the

treatment to deal with potentially problematic

reflections.

Are there any examples from projects you’ve worked on that you can use to highlight the differences?I designed two similar-sized control rooms

next door to one another, one with flush-

mounted monitors and the other with

stand-mounted monitors. The studio with

stand-mounted monitors required significantly

more absorption at the front of the room to

deal with boundary reflection interference,

which resulted in a shorter decay time. Both

rooms have good, flat frequency responses but

the flush-mounted speakers have greater bass

extension due to the increased efficiency from

being mounted in a wall.

Another interesting point is that, while the

isolation shells for the two studios are virtually

the same size, the studio with stand-mounted

monitors has 25% more useable floor area as

space wasn’t eaten up by a huge wall to house

the monitors!

Are there any differences when working with mastering clients?

Mastering studios tend to use

large stand-mounted or free-

standing monitors so there

is almost always a boundary

interference notch to deal with,

and the studios on the whole are

slightly more live than tracking

or mixing control rooms.

Historically this is to reflect the

conditions in home listening

environments, though I suppose

this is becoming less and less

relevant now that listening is

predominantly on headphones.

Are there any industry-wide standards that you follow, or is your work done on a case-by-case basis?Film mixing studios have to fulfil certain

acoustic requirements relating to frequency

response and reverberation time in order to

attain Dolby certification, so there are clear pass/

fail performance criteria for these studios.

There aren’t really any equivalent standards

for studio control rooms. Probably the closest

thing is the EBU specification for listening

rooms which sets out recommendations

for frequency response, decay times, and

early reflections. While it is by no means an

industry-wide standard, the parameters and

values it specifies are broadly in line with some

of the more commonly used approaches to

control room design.

My approach varies job to job depending on

the equipment, monitoring, available space, and

budget, but the aim of achieving a nominally

flat frequency response and comfortable

working environment is a constant.

What about working with film clients? Are there additional concerns when dealing with a surround set-up? Most control room design principles are based

on the assumption that sound energy is flowing

from one end of the studio to the other, and the

geometry and acoustic treatment are designed

with this in mind. When moving from stereo to

surround monitoring you suddenly have sound

sources sending energy in other directions, so

you end up with more absorption to deal with

reflections from the surrounds, which results in

a slightly ‘drier’ acoustic.

Let’s say you’ve got a client who, like most these days, does a bit of everything – how would you go about setting up their monitoring system?I would try to understand as much as possible

about what the client does and how they work.

If there is a particular function that accounts

for most of the work and income then the

design would probably be biased to those

monitoring requirements. I have often found

that people ostensibly working in surround are

only really doing critical work in stereo, with

the surrounds simply providing a bit of reverb.

In these cases the design would prioritise the

performance of the left and right monitors.

When a studio is genuinely going to be used

to monitor in different formats then I design it

with the client’s most complicated and onerous

monitoring requirement in mind; this ensures

that simpler formats also work well.

www.levelacousticdesign.com

Figure 2 example of optimising monitor position to reduce

boundary interference effects

DYNAUDIO PROFESSIONAL


Chosen by Ear

BM mkIII SeriesThe Dynaudio Professional BM mkIII

series near-field monitors and the

BMS II-series precision subwoofers

are made by hand in Denmark using

only the finest materials and hand-

crafted drivers. The result is incredible

consistency and performance across the

entire line.

These monitors perform to their

true potential with innovative

stand technology. Each monitor

arrives in your studio paired with its

own IsoAcoustics monitor stand that

allows each monitor to ‘float’ in free

space. Now you hear an authentic and

uncolored sound which eliminates

energy transfer to

surrounding surfaces:

bass frequencies becomes tighter

and overall imaging is enhanced.

The strategic partnership

between Dynaudio Professional and

IsoAcoustics gives you a complete

monitoring solution

of superiorquality.

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

professionals, and Dynaudio Professional Air and BM series are chosen this way again and again by

leading post, film, broadcast and recording studios.

BM Compact mkIIIThe BM Compact mkIII is a premium quality, small-

format near-field monitor. With an ultra-high dynamic

range, it hits well above its weight class thanks to

intelligent design. Using ultra lightweight aluminum

wire and aluminum voice coils in its handcrafted drivers,

along with a Class D amplifier the BM Compact mkIII

provides outstanding performance.

BM5 mkIIIThe BM5 mkIII is the next generation of the

tremendously successful BM5A mkII. With greater

SPL, broader frequency and power response compared

to the previous model, its ultra-high dynamic range and

hand-crafted drivers deliver performance superior to

many larger, more expensive monitors.

BM6 mkIIIThe BM6 mkIII builds on the success of the BM6A mkII design, re-

voiced around Dynaudio’s next-generation waveguide. Designed and

often chosen as a bridge to mid-field, its small size belies its ability to

deliver high SPL and broad frequency response, while the hand-crafted

drivers deliver superior performance.

BM12 mkIIIThe BM12 mkIII expands on the legacy of the classic BM12A

design. Re-voiced around Dynaudio’s next generation waveguide, the

BM12 mkIII has been designed around highly efficient hand-crafted

neodymium drivers, providing faithful transient response and an SPL of

123 dB for larger listening environments.

BM14S II & BM9S IIThe Dynaudio tradition continues in the new II-series

subs, delivering premium, professional sound quality and

performance. Dynaudio Professional II-series precision

subwoofers are made in Denmark using hand-crafted drivers

that have made Dynaudio the industry standard in studios the

world over.

The BM9S II is specifically designed to complement BM

Compact mkIII and BM5 mkIII monitors, adding extended

bass in smaller mixing and recording environments. The

BM14S II is a precision subwoofer designed to complement

BM6 mkIII and BM12 mkIII monitors, adding extended bass

in mid-sized mixing and recording environments.


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

AIR Control – Configuration and Installation SoftwareThe AIR

Control

software gives

you complete

editing, saving

and preset-

based recall

of room adaptation DSP, precise timing

and SPL calibration, bass management

and monitor control in AIR systems

configurations spanning 2.0 to 7.1. The

AIR Control application for Mac and PC

allows you to carry out advanced calibration

and alignment of your AIR monitoring

system. The software provides access to

advanced tools and features inside AIR

monitors and subwoofers including timing

and SPL calibration and parametric EQs for

each monitor. AIR Control lets you define

and store custom setups and presets with

selective parameter locking, and a special

measurement mode provides EQ line signal

out from selected monitors.

AIR Control runs on Mac, PC and

Windows-based tablets, and will be available

free of charge June 2014.

Choosing by EarMonitor selection by blindfold testing

is increasingly common among audio

professionals so we asked talented media

professional, writer and editor, Paul Mac,

to provide both an overview of current

professional practice and a practical guide to

choosing by ear for aspiring professionals.

We encourage you to Choose by Ear.

Download the full guide (PDF) here:

dynaudioprofessional.com/choosing-by-ear

Volume BoxVolume Box provides level control for

Dynaudio BM Compact mkIII and BM5

mkIII desktop monitors with unprecedented

precision and ease. Volume Box’s unique

quality is that absolutely no audio flows

through it. It focuses solely on precise

volume control information.

The result? Perfect tracking.

small studios to OB vans on up.

AIR RemoteAIR Remote is a

dedicated hardware

remote control that

ensures convenient

daily operation.

You get

instant access

to all

significant

operation parameters

such as global volume, reference levels,

preset recall as well as solo and mute status

for each monitor. When working with

wide dynamic range audio, it is essential to

control volume at the latest possible stage

to assure maximum resolution at all times.

The AIR Remote gives you this control

with low noise, perfect tracking across

multiple channels, and the ability to control

the level regardless of the condition of the

surrounding equipment. There are three

storable reference levels, presets, and mute/

solo functionality, too.

AIR SeriesAIR is a complete and networked solution for critical

monitoring. Chosen by ear, you’ll find Air in the world’s

leading broadcast and production studios. Stereo to

multichannel, analogue to full digital path, Air is

consistent, reliable and transparent.

INFORMATION

TC GroupSindalsvej 34

DK-8240 Risskov

Denmark

T: +45 8742 7000

F: +45 8742 7010

E: [email protected]

W: www.tcgroup.tc

W: www.dynaudioprofessional.com

TC Group is the worldwide

distributor for Dynaudio Proffesional.

EVE AUDIO

EVE Audio of Germany is going places fast:

from its establishment in 2011 it has made a

strong and positive impression manufacturing

cost-effective active monitor loudspeakers with

DSP control. From the SC204 two-way at one

end of the range to the larger new three-way

SC3010 and SC3012, all models use Class

D amplification together with the company’s

signature Air Motion Transformer (AMT)

high frequency driver. There’s also a range of

subwoofers, four TS models featuring passive

radiators as an alternative to conventional ports.

Audio Media caught up with Roland Stenz

(managing director) and Kerstin Mischke (sales

and marketing), at their Berlin headquarters

to find out more about the company’s success

story and philosophy.

Recent developments

With so many loudspeaker manufacturers,

what separates EVE monitors from the rest?

Roland Stenz: They are amazing! (laughs). I

think it’s important for a customer to buy from

a company that can offer, beside the product

itself, a complete range so they see there is real

experience in making loudspeakers, and that

it’s not, say, an electronic component company

making cheap speakers as an additional

business. I think customers like specialised

companies with specialist tools such as our

anechoic chamber, and we see this in our sales.

What’s been happening over the last year?

RS: We’ve made a big step forward to larger

loudspeakers. We now have two main monitors,

the SC3010 and SC3012, using a completely

new set of drivers developed here. This

includes a larger AMT with significantly lower

distortion and higher sound pressure level,

which helps when designing bigger monitors.

Smaller drivers have distortion level limits when

used at lower crossover frequencies, but our new

AMT can cross over as low as 1.5kHz and has

distortion of only 0.2% or better. The new mid

and low frequency drivers have a similar level

of quality: the the 10in woofer in SC3010, for

example, can move plus or minus 10mm, the

12in in SC3012 can move plus or minus

15mm! The new monitors are suitable for larger

music recording and mastering and also film

studios where a bigger setup is needed.

Technical background

Why is Digital Signal Processing (DSP)

important to EVE?

RS: In the analogue domain we have to deal with

wider tolerances – for example, even the best

capacitors are 5%, resistors are a better situation

with 1% tolerance, but potentiometers can be up

to 20% and you have to decide where to place the

range of greatest accuracy; with DSP you don’t

have these tolerances on the electronics side.

Incidentally, all our DSP is programmed here in

Berlin. Of course, by the nature of mechanical

systems we have to deal with the tolerances of

the drivers, but we adjust every speaker to a

normal curve and allow a variation of no more

than 0.5dB. I wanted to combine the usability of

an analogue studio monitor with more modern

DSP technology: this means you can switch off


Progress and ConsolidationEVE Audio has had a busy year adding to the upper end of its extensive range of

active loudspeakers, while continuing to build on early success.


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

INFORMATION

EVE AudioRoland Stenz, Managing Director

Kerstin Mischke, Sales and Marketing

EVE Audio GmbH

Ernst Augustin Str. 1a

12489 Berlin

Germany

T: +49-30-6704 4180

F: +49-30-6704 4188


W: www.eve-audio.com

UK distribution

Nova Distribution Trading Ltd

Phil Skins

Unit 36

88-90 Hatton Garden

London EC1N 8PN

England

T: +44 (0)20 3589 2530


W: www.nova-distribution.co.uk

US distribution

TruNorth Music and Sound Inc.

101 Omer DeSerres

Unit 103

Blainville, QC J7C0C9

Canada

T: 855.878.6668

F: 514.360.5765


W: www.trunorthmusicandsound.com

an EVE monitor using the main studio power

switch and no data will be lost, something our

customers have told us is important.

Why does EVE use Class D amplifiers?

RS: The quality of Class D has improved in

recent years. We did a lot of blind testing, and

found that going beyond personal preference

people couldn’t tell the difference with the

type of amplifier or whether the speaker was

analogue or digital. You can see the advantages

of a Class D design with things such as heat

dissipation, which is important in a studio, and

power supplies where there’s no need for a big

transformer. Having said that, you also have to

take care that the right Class D design is used.

How is equalisation implemented in

EVE loudspeakers?

RS: We use a sensible emulation of analogue

filters and adjust them to work with the driver

design. We avoid an FIR combination to keep

delay times short – if someone is sitting between

the speakers and someone else has headphones

and we have a 20-50ms delay, not a good idea!

What is the significance of the Air Motion

Transformer in your designs?

RS: This type of driver can reproduce high

frequencies without a feeling of stress. The

impedance curve is flat, and you don’t have

resonance peaks because there’s no voice coil:

traditional high frequency drivers can have

peaks in the 18-22kHz range, and this affects

the sound so high frequencies are present but

there is an additional stress factor - it sounds

more metallic than it should.

The next step for EVE

What does the future hold for EVE Audio?

SubwoofersRoland Stenz: We have four models, 7in,

8in, 10in and 12in. The most important

thing about them is the use of a passive

radiator on the underside so we don’t

have bass reflex ports. With the passive

diaphragm we can reach lower frequencies

without port noise. The subwoofers have a

stereo input and outputs for the satellites,

together with an LFE input and an LFE

Thru. All functions, including sub and

system volumes, crossover frequencies and

sub phase, are adjustable from the front of

the sub and via remote control. You can also

switch between unfiltered satellites where

they are running full-range and filtered

satellites with the sub-woofer by pressing

a button on the remote control – a good

function if you want to check your mix in

both modes.

The marketing viewpointKerstin Mischke: Soon after we first came to

the market we managed to find distribution

partners in 45 countries, so we’re already at

a really high level. We still have some parts

of the world, the Middle East and mid and

South America, where we’re still looking for

distributors but all the rest is now covered.

Our products are seen to be well made,

with someone, Roland, behind them with

experience both in manufacturing and as

a user. We want to make something that

is user-friendly and great sounding, and I

believe it’s this that has brought our sales to

a level we did not expect, where things have

gone so fast in such a short period of time.

RS: There’s

always room to

improve and

plenty of things

to do, and we’re

thinking about

the broadcast

sector and also

new product

development.

Can you say

more about the

proposed new

products?

RS: I can only

say that, of

course, I have a lot

of ideas. I do have guidelines for the next four

years, but I can’t say too much about them at

the moment.

Kerstin Mischke: The range of speakers we

have at the moment is definitely not the last!

SC407 at the University of Northampton (UK)

The TS112 control panel

GENELEC OY


Smart Active Monitors - Designed to AdaptGenelec 1237A and 1238A Smart Active Monitors are Designed

to Adapt to the listening space they are placed in. In this article,

Genelec’s Christophe Anet and Aki Mäkivirta describe the features

of these new professional three-way monitors in more detail.

PROFESSIONAL audio customers

repeatedly voice the dilemma of production

work happening in smaller control rooms,

with tighter budgets, yet with increasing

requirements for the highest audio quality.

Today’s recording and mixing environments

are much smaller than they used to be and such

rooms behave unevenly at low frequencies.

Additionally because of the varying types of

audio production, most rooms need to be

reconfigured for a new type of production

during the day or after a week’s booking.

In order to address such challenges, and

based on the highly successful active three-way

models, 1037A and 1038A, Genelec releases

two new three-way Smart Active Monitors

(SAM™), the 1237A and 1238A. This

expansion to the SAM product line combines

in a single package Genelec’s experience in

the design of three-way systems with their

state of the art AutoCal™ and Genelec

Loudspeaker Manager (GLM™) control

network technologies. The new models are

now available for shipping.

Three-Way for PerformanceFor 35 years Genelec has manufactured highly

efficient, low distortion three-way systems with

proven accuracy and reliability for the most

demanding applications. Three-way designs

are the optimum, in many ways, as they allow

selection and optimisation of individual driver

characteristics (linearity, output capacity,

directivity) for a well-defined, suitably narrow

frequency range. Crossover frequencies can

be selected ideally based on the acoustical

constraints defined by drivers and the enclosure

characteristics.

Featuring not only outstanding electro-

acoustic designs, the new SAM 1237A and

1238A integrate into the listening environment

by automatically compensating any detrimental

room influences. The end result is a highly

precise monitoring system with very neutral

sound characteristics and excellent imaging

accuracy. Key to the critical reproduction of

Genelec Smart Active Monitors for

professionals – Designed to Adapt


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

INFORMATION

Genelec OyIn Europe:

Genelec Oy

Olvitie 5, 74100 Iisalmi, Finland

T: +358 17 83 881

F: +358 17 81 2267


W: www.genelec.com

In the US:

Genelec Inc.

7 Tech Circle, Natick,

Massachusetts 01760, USA

T: +1 508 652 0900

F: +1 508 652 0909


the midrange frequencies is the proprietary

midrange driver designed and hand-made in

the Genelec factory in Finland.

Advanced Directivity Control Waveguide The revolutionary Directivity Control

Waveguide (DCW™) technology greatly

improves the performance of a direct

radiating three-way monitor. The 1237A

and 1238A DCWs have been designed to

match the frequency responses and directivity

characteristics of each transducer. This results

in excellent flatness of the overall frequency

response for on and off-axis listening positions.

The consequence of the improved directivity

control is reduction of reflected sound energy

at the listening position, translating into

significant improvement of the sound stage

imaging.

Smart Active MonitoringSmart active monitoring adds a layer of

intelligence to monitors. Both 1237A and

1238A are members of the Smart Active

Monitoring (SAM) family of products and can

be easily combined with all other monitors and

subwoofers in the SAM Series.

SAM monitors are connected with a

dedicated Genelec GLM control network

which allows adjustments of all aspects of

monitor settings and full system control while

sitting at the main listening position. It enables

aligning monitors and subwoofers in terms of

level, timing, and equalisation of room response

anomalies. All of this is done

automatically but can also be fully

configured by the end user.

Naturally, SAM monitors

can also be set up to be operated

without being connected to

a control network as all the

individual settings can be stored

inside each monitor.

Amplifiers and Signal ProcessingNew power amplifier technologies are used

in both 1237A and 1238A models. Two

highly linear, low noise Class D amplifiers

power the woofer and midrange drivers. The

inherent benefit of Class D technology is high

efficiency and minimal heat dissipation. A

Class AB amplifier powers the tweeter. This

tweeter amplifier design is based on Genelec’s

earlier designs, used and tested for 30 years

in larger three-way main monitors. This low

noise, high bandwidth Class AB amplifier is

fully implemented using discrete electronic

components.

All professional audio sources can be directly

connected to 1237A and 1238A ensuring

the cleanest signal path to the monitoring

equipment. The analogue input is converted

for digital signal processing and reproduction.

Direct monitoring of digital audio in the AES/

EBU format is also supported up to a sampling

rate of 192 kHz and with full 24-bit resolution.

Digital audio is sample rate converted to ensure

perfect synchronization with all sources. An

AES/EBU thru output is provided, enabling

daisy-chaining to more monitors. The

digital and analog audio signals are internally

processed at 96 kHz sampling frequency. There

is a true 48 kHz wide electronic audio path

from the input to the output.

New Integrated Amplifier ModuleThe 1237A and 1238A both feature the new

advanced RAM-L (Remote Amplifier Module)

amplifier. In the standard configuration

the RAM-L is mounted on the back of the

enclosure. The RAM-L amplifier unit can

easily be removed from the monitor’s enclosure

and mounted into a 19 inch rack requiring a 3U

high rack space. All mechanical hardware to

perform the rack-mounting is included in the

monitor package.

Sustainable performanceSince the very beginning Genelec’s design

philosophy has been emphasising sustainability

and environmental values. Conservation of

natural resources and efficient use of materials

and energy in all levels of manufacturing,

shipping, and during the product lifetime

are essential to us. All our products are

manufactured under the same roof in Finland

allowing us to select environmentally efficient

solutions, designed from the start for long life

time and low carbon footprint.

All components in the 1237A and 1238A

have been designed for long service life. All

parts are serviceable. Easy change-of-module

principle guarantees fast service turn-around

time whenever service is needed. Both monitor

models also support Genelec’s Intelligent

Signal Sensing (ISS). The ISS circuitry puts

the monitor to a low-power sleep mode when

not in use, and as an input signal is detected,

waking the monitor immediately on again. ISS

low-power mode removes all electronic stress

inside the monitor, stops heat generation, and

contributes to the longevity of the products, in

addition to saving electricity.

All Genelec SAM Series active monitors

and subwoofers provide uncompromised sound

quality and precise imaging also in acoustically

challenging environments, a benefit obtained

through the Smart Active Monitoring concept

pioneered by Genelec.

Genelec 1237A and 1238A are the latest

three-way monitors added to Genelec’s

range of professional monitoring products

utilising DSP technology. They are already

shipping, so you can place your order

through Genelec distributors today

Technical specifications of Genelec 1237A and 1238A

KRK

1. Vocal clarity with extended bass responseMany manufacturers compromise the midrange frequencies in order to

deliver lots of bass. KRK’s sonic response gives you both: vocal clarity and

low-frequency extension. Check it out yourself and listen your favorite vocal

piece that includes a bass guitar. Notice how the KRK presents, in detail, all

the vocals and midrange audio, as well as the notes of the bass guitar.

2. Clean, tight bass reproductionEveryone loves clean, tight bass reproduction. This is achieved with the

proper tuning of the woofer, cabinet and port; otherwise, you’ll experience

muddy bass. Grab a kick drum demo and notice how the KRK produces

low end that is punchy, tight, and well defined.

3. High sound pressure levels – without distortionSome monitors play loud, but distort at higher SPLs. At KRK, we believe

if it isn’t clean, it isn’t true at any volume level. That’s why you’ll find

precision limiters, matched to our amplifiers in every speaker, designed

to maintain distortion-free sound and balanced response. So turn up any

KRK speaker, and hear not just loud, but hear clean.

4. Precise imaging from defined sweet spotPlace yourself in the sweet spot and listen to any demo selection: now

notice the crisp defined image and depth that’s being provided.

See how you can hear each vocal and instrument where the recording

engineer placed them. Even if you move your head off axis you will

notice the sound character remains consistent and you don’t lose either

side of your mix.

5. Clean high-frequency extensionSome monitors boost high-frequencies or use gimmicky tweeters to

achieve what appears to be superior high-frequency reproduction.

The result often is a harsh high-end that quickly becomes fatiguing

particularly at high volumes. Listen to the KRK monitors at any SPL and

note the high frequencies are crisp, clean and don’t overwhelm the rest of

the audio range.

A studio monitor is a tool used to aurally ‘measure’ the changes in an

audio path. Any seasoned recording professional thinking what makes

a great studio monitor will likely give you the same answer: “Accuracy,

transparency, flat response, and the truth.” In other words…honesty.

Simply put, recording engineers want the electrical signal entering their

monitor to be reproduced mechanically by the transducers and they

want this to occur without any deviation or compromise to the original

signal. Professionals depend upon their monitors to deliver their artistic

vision in a way that will translate as accurately as possible to a variety of

audio mediums.

All KRK studio monitors lines, independent from their price point,

are designed with expertise, detail and passion to meet each of the

requirements stated above and be judged the best monitor in its class.

ROKIT Generation 3 KRK ROKIT studio

monitors have been the popular choice for accurate, near-field monitoring

for more than one decade. KRK’s new ROKIT Generation 3 continues

the legacy of performance ROKIT’s have become known for. So whether

you’re just starting out in desktop recording, or you’ve already laid down

a few thousand tracks, give a listen to the ROKIT Generation 3 line of

monitors and experience a performance and accuracy that raises the bar

once again.

KRK’s ROKIT G3 (Generation 3) powered studio monitors offer

professional performance and accuracy for recording, mixing, mastering

and playback. The system consists of a 1” soft dome tweeter and 5”, 6” or

8” glass-Aramid composite woofer. It delivers high frequencies up to 35

kHz, vocal clarity and extended bass response. The proprietary bi-amped,

class A/B amplifier delivers SPL up to 109dB (RP8). The ROKIT

waveguide is designed to ensure detailed imaging in the listening position.

The front-firing bass port reduces boundary coupling to allow flexible

positioning in the room while the engineered surface reduces diffraction

distortion. Multiple input connections and LF/HF-tuning options ensure

the ROKIT G3 will easily integrate in any system configuration.

“…it seems that KRK has succeeded in producing a studio monitor that

sounds much more expensive than it is, and will surely be a popular choice

for recording engineers, DJs, live sound-mixers and audio enthusiasts.” (Mix

Magazine 2013 KRK ROKIT G3)

“The G3 exceeded the G2’s legacy in every way. It maintains the larger-

than-average sweet spot and excellent frequency separation.” (Electronic

Musician 2013 KRK ROKIT G3)


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

the-art design facility, KRK engineers create products that deliver a natural and balanced spectral response with

low distortion and superior imaging. With KRK monitors, recording engineers and artists hear every nuance of

the audio being reproduced.

Regardless of your musical style, genre, or particular mixing needs, KRK reference Monitors will deliver all

the benefits you expect from a studio monitor. Based on the feedback from world-class producers all over

the globe, here are just a few differentiating aspects, which make KRK an industry standard when it comes to

mixing, mastering and recording:


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

INFORMATION

KRK UK distributor:Focusrite Audio Engineering Ltd.Windsor House, Turnpike Road

High Wycombe, Bucks

HP12 3FX, UK

T: +44 (0) 1494 462 246


KRK Systems, Inc.Gibson Brands, Inc.309 Plus Park

Nashville, TN 37217

T: 1-800-4 GIBSON


W: www.krksys.com®

The popular ROKIT Line expands

with the RP (ROKIT Powered) 10-3

three-way mid-field. The ROKIT

RP10-3 is a mid-field 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.

“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)

“I was surprised by a very good, contoured bass response, precise stereo

imaging, and needle-sharp mid-range response.” Studio Magazin (Germany)

KRK ROKIT Powered 10-3

VXT SeriesWhether 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 features key

design elements that continue to make the KRK sound a studio standard.

The VXT Series has been designed to present the true nature of the audio

material without coloration or enhancement.

The domed tweeter (for fast transient response) and the woofer design

(with its stiffer, lighter Kevlar cone for low distortion and extended

low-end) are vented to remove heat and reduce the effects of power

compression, enabling the VXT monitors to maintain their

sonic signature.

With uncompromising attention to detail that includes tamper-

resistant switch covers, integrated Omni Mount support and more,

the VXT Series is an outstanding choice for a broad range of

monitoring applications.

So when you use a VXT powered monitor, you can be confident that

you get the most accurate reproduction of your mix. VXT’s diffraction-

limiting curved surfaces, seamless crossover, and KRK’s trademark yellow

Kevlar woofer provides superior audio imaging, outstanding transient

response, and amazing detail. For over 20 years, KRK has mastered the art

of recording monitors, and the VXT is the culmination of this art. Listen

for yourself, and believe!

Exposé E8BUtilizing state-of-the-art components

to achieve a level of clarity and sonic

accuracy that is unprecedented, the

Expose E8B is the flagship of KRK’s

product line. With its stunning,

highly functional enclosure featuring

thick, non-parallel, internal walls

that eliminate standing waves,

and magnetic shielding for use in

close proximity to video monitors,

the Expose E8B elevates KRK’s

reputation as a manufacturer of

premium studio reference monitors to

an entirely new level.

SubwoofersFor additional low frequency extension, consider adding one of KRK´s

three Subwoofers. There are numerous reasons (room size, speaker

size, musical content) when extra low-end is required, KRK powered

subwoofers are the perfect choice when you need to hear what is

happening at frequencies below the capability of the studio monitor.

With various features such as integrated Bypass Footswitch Control

allowing you to engage and

disengage the subwoofer

from the audio path and

provide full-range audio to

your recording monitors for

use with a standard latching

1/4 inch mono footswitch,

or integrated limiters for

protecting drivers and

amplifier, or the variable

crossover to perfectly match

the subwoofer to the main

system. All this is where the

performance of KRK family

of subwoofers shines.

Visit us at www.krksys.com to find out why our focus is your mix!

PMC

BASED in Luton, England, PMC is a leading manufacturer of

precision reference monitors for discerning audio professionals and

audiophiles. The company’s products, which include active and passive

models, use the best available materials and design principles, including

the company’s proprietary Advanced Transmission Line (ATL™) bass-

loading technology (see box), cutting-edge amplification, and advanced

DSP techniques to create loudspeakers that present sound and music

exactly as it was when first created, with the highest possible resolution,

and without colouration or distortion.

With a history and reputation lasting over two decades, PMC

remains one of the few audio-related manufacturers to have been

awarded an Emmy® for its technical excellence, and has customers at

the very top of the pro audio, broadcast, and film industry worldwide.

Its customers range from musicians and composers, professional audio

equipment companies, and recording studios at one end of the audio

production chain, to record companies, broadcasters, Internet service

providers, and discerning listeners at the other. In the limited space

available in this pro-audio-orientated guide, it would be impossible to

give an overview of the company’s entire consumer and professional

passive 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 midfields.

twotwo™ Series

Like the IB2S-A, the twotwo series of reference-grade monitors

combines PMC’s low- distortion ATL™ bass-loading technology,

digital inputs and signal processing, and active Class-D amplification;

but presents these features in the form of three nearfield two-way

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

and the recently released twotwo sub1 subwoofer.

All three models in the twotwo range share the same core design

and features, as well as the same tonal transparency and neutrality. The

model number refers to the approximate size (in inches) of the bass

driver. The larger two models have a greater cabinet volume, offer more

bass extension, and a higher possible maximum SPL, and are therefore

better suited to use in medium-sized rooms where more power and

dynamics are required.

The onboard DSP engine, derived from that employed in the

larger IB2S-A, optimises the crossover and the response of the drivers,

maximises dispersion, and provides non-invasive protection using

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

system builds on the amplifiers developed for PMC’s powered range,

delivering 50W to the tweeter and 150W to the bass driver, and

producing high-resolution audio with plenty of headroom and detail.

One design aim was to make the twotwos as easy to set up in a

rehearsal or hotel room with a phono cable and a laptop, as 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 horizontal version of the

speaker for use as a centre channel, or in environments where horizontal

use is a necessity for height reasons. This makes the smaller models in

the range well suited to nearfield monitoring of music and speech in

situations where space is at a premium. Despite only being launched

in autumn 2012, the twotwo is already an award-winning success with

high-profile users including producer Kid Harpoon (Florence And The

Machine), renowned mix engineer and producer Spike Stent, and Red

Bull Studios, among many others.

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

an ultra-low distortion, active subwoofer that can be used in a 2.1

configuration with twotwo series monitors to gain extra bass extension

and headroom. Additionally, it can be used to reproduce a low frequency

effects (LFE) channel in a surround monitoring system.

The electronics include an audiophile Class-D power amplifier with

DSP-based filtering and bass management functions. Balanced stereo


PMC: Precision Reference Monitors, Trusted by Discerning ProsIntroducing the latest high-resolution Active ATL™ designs with analogue and digital inputs; the last

word in flexible, transparent monitoring.

PMC’s twotwo.5,

twotwo.6, twotwo.8.

and the new twotwo sub1

analogue and AES3 digital inputs are accepted, and are combined

to feed the subwoofer system, as well as being passed through to the

analogue and digital outputs for connection with other devices.

IB2S-ActiveThe stand-alone IB2S-Active offers

discerning users the attributes of

PMC’s large ATL™ reference active

monitors, such as the flagship BB5

XBD-A, but in a more compact form

and with an AES3 digital input built

in as standard. They are the ideal

monitors for high-end reference

monitoring and mastering applications.

The DSP-tuned, Class-D powered

cabinets provide a controlled, high-

resolution, low-frequency response

from the three drivers, all of which are

designed in house and manufactured to

strict tolerances.

The bass units in the cabinets,

which are identical, feature the 10-

inch carbon-fibre/Nomex™ piston

drivers from the earlier IB1S and IB2S

speakers, while the IB2S-A cabinet

features the highly respected hand-

built 75mm fabric-dome driver to

handle the mid-range, and the 34mm

soft-dome tweeter from the flagship

BB5 XBD-A. 960W of independent,

audiophile-quality power is available to

each active master cabinet: 200W for

the high-frequency and mid-range drivers, with 560W directed to the

LF driver for extended, low-distortion precision monitoring all the way

down to 20Hz.

The IB2S-A features user-adjustable HF and LF shelving filters,

per-channel ±8dB input level trims, an AES3 digital input, and the

ability to adjust the input sensitivity of the balanced analogue inputs

from +4dB to +20dB. The EQ, level trims, and analogue/ digital

input selection settings may be adjusted from a distance with an RJ45-

connected remote supplied as standard.

The three-way IB2S-A master cabinet may be purchased as a speaker

in its own right, or together with the single-driver XBD bass cabinet.

This forms the IB2S XBD-A system, with the XBD cabinet providing

+3dB of additional LF headroom and a more even in-room LF response.

Last year, the IB2S XBD-A was used in London by film score

composer Thomas Newman while he created the soundtrack to the

James Bond 50th anniversary film Skyfall, now the most successful

British film of all time.

PMC’s Signature Bass-loading Technology – ATL™All PMC loudspeakers are Advanced Transmission Line™ (ATL™)

designs incorporating sophisticated cabinet construction, PMC-

designed drive units, and patented absorption materials and techniques.

The ATL concept has existed in loudspeaker engineering for many

years, but under the guidance of PMC’s co-founder and Chief Engineer

Peter Thomas, the theory has been refined and honed to a very advanced

level, outperforming the many sealed and ported speakers available on

the market today.

In a PMC ATL design, the bass driver is placed at one end of a long

tunnel (the transmission line), which is heavily damped with absorbent

acoustic material. This is specified to absorb the upper bass and higher

frequencies that radiate from the rear of the bass driver. The lowest

frequencies, which remain in phase, then emerge from the large vent at

the end of the line, which essentially acts as a second driver.

One advantage to this approach is that the air pressure loading

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

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

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

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

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

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

A further advantage of the transmission line approach is a cabinet

that produces a higher volume and greater bass extension than a

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

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

all volumes, the frequency response also remains consistent regardless

of listening level – a most important attribute for professionals whose

hearing is their most precious tool.

Benefits of ATL™:


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

INFORMATION

PMC LimitedHolme Court

Bedfordshire

SG18 9ST

UK

T: +44(0) 870 4441044

F: +44(0) 870 4441045

W: www.pmc-speakers.com

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ctiv

e

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

horizontal twotwo.6s in an LCR arrangement

PSI AUDIO

Quality – Technology – Experience – CoherencyDesigned and manufactured at our Yverdon workshops in Switzerland,

the latest generation of PSI Audio speakers is the culmination of

more than 35 years of development guided by a thorough understanding

of acoustics.

We strive to deliver the most coherent sound and design across the

whole product range. In order to achieve this compatibility between

models, the transfer function must be the same, not only in frequency

response but also phase which is our speciality.

At the heart of our speaker performance is an electronic design based

on two unique technology concepts – CPR and AOI.

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

wide area of Compensated Phase Response generating a constant

group delay.

A speaker system represents the reference tool of every sound engineer.

An accurate transient response enables fine tuning of reverb effects

during mixing and positioning of the sound in the stereo or surround field.

The CPR system by PSI Audio enables extremely accurate and

superior surround sound image and a much improved working

environment. A unique advantage provided by the CPR, thanks to the

perfectly accurate phase response, is to enable a user to mix different

models of PSI Audio speakers in a surround system.

Not only will the PSI Audio surround system sound much more

accurate and therefore provide a superior working tool, but it can also

introduce significant cost and space savings when investing in a new

monitoring system.

The AOI circuitry joins the transducer and the amplifier into a perfect coupleThe AOI system detects the velocity of the moving coils. This detection

is used in a filtered feedback. The goal is to adjust the damping rate

continuously across the whole frequency range.

The AOI system featured in PSI Audio speakers enables more

superior impulse behaviour than traditional amplifier designs. During the

movement of the coil, the AOI circuitry seamlessly adapts the amplifier’s

output impedance to ensure ideal acceleration of the membrane needed to

reproduce the desired impulse.

When using sub woofer technology in surround sound systems,

the importance of a monitoring system that has pure reproduction

becomes essential.

With AOI, PSI Audio monitors feature a highly accurate impulse

response, and reduce the coloration of the transducers.

For these technical innovations and sound precision reasons, more and

more producers and engineers world-wide are choosing PSI Audio as their

reference monitor. Please visit our website www.psiaudio.com for more

information, detailed graphs and specifications.


Precision Sound ImageOur 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


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

INFORMATION

PSI AudioHQ

Relec SA

Z.I. Petits-Champs 11 a+b

CH-1400 Yverdon-les-Bains

Switzerland

T: +41 (0) 24 426 04 20

F: +41 (0) 24 426 04 51


UK distributor:Emerging Ltd

T: +44 (0) 118 402 5090


W: www.emerginguk.com

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

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

Pixelsound is a modern structure using A21-M for recording

and mixing, A25-M and sub for mixing & mastering and

A14-M for general purposes.

A25-M and 3 subwoofers

A225-M were the ultimate

choice for mixing and

mastering live music in

stereo and surround at

the RSI, Switzerland.

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

PRESONUS

ERIS SERIES HIGH-DEFINITION 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 monitor

speakers deliver very accurate response, with a

tight bass and very clear upper end. They can

also be user-adjusted to the acoustic space,

allowing you to create a more accurate listening

environment or to simulate different common

listening environments – a feature not typically

provided by studio monitors in this price point.

With Kevlar™ low frequency transducers,

low-mass silk-dome tweeters, responsive Class

AB amplification, and professional acoustic-

adjustment controls, the compact Eris series is

an outstanding value in its class. Eris speakers

include RF shielding, current-output limiting,

over-temperature protection, and subsonic

protection. The Eris E5 and E8 have individual

balanced XLR and quarter-inch TRS input

connections, in addition to unbalanced RCA

inputs. The E4.5 provides quarter-inch TRS,

stereo 1/8-inch, and RCA inputs.

Users can make several types of custom

adjustments. A three-position Acoustic Space

switch controls a shelving filter at 800Hz that

provides three attenuation points, allowing you

to control the bass response relative to the wall

proximity of your speakers. A High Pass switch

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

continuously adjustable High Frequency and

Mid-Range controls.

This combination of controls lets you create

a linear response for accurate monitoring.

Sceptre Series CoActual Studio Monitors

The first time you hear Sceptre™ Series

CoActual™ two-way studio monitors, you’ll


PreSonus Studio MonitorsPreSonus offers two 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.

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

discover fine nuances of your music that can’t

be reproduced by conventional designs. The

Sceptre’s panoramic soundstage, clarity, fine

detail, and stunning dynamics will astonish you.

This exceptional performance is the result

of an advanced coaxial design by Fulcrum

Acoustic’s Dave Gunness that works integrally

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

running Fulcrum Acoustic’s TQ™ Temporal

Equalization technology. Gunness was also

responsible for final tuning and voicing of the

Sceptre monitors.

TQ employs multiple, fully addressable,

Finite Impulse Response (FIR) filters. This

approach requires advanced algorithms and

subtle, sophisticated transducer design, which

is why such systems have, in the past, been

limited to very high-end systems with external

processors. Yet Sceptres are an affordable

investment for project-studio owners – a first

for DSP-controlled, TQ-based systems.

These systems are biamplified: Each

transducer is powered by a 90W RMS, Class

D power amp with an internal heat sink. All

Sceptre 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 enviro

nment. A four-position Acoustic Space switch

controls a shelving filter centered at 100Hz,

with four attenuation settings so that you can

account for the bass response relative to room

dimensions and speaker placement. A High

Pass Filter switch sets the 24dB/octave filter’s

low-frequency cut-off. A High Frequency

Driver Adjust switch adjusts the tweeter’s

overall level. The Sensitivity control ranges

from +4dB to -10dB.

All Sceptre Series monitors offer RF

shielding, current-output limiting, over-

temperature protection, and have internal

power supplies with IEC connectors and power

switches with on/off LEDs. An amplifier ‘soft

start’ feature eliminates popping on power-up.



PRESONUS

ERIS

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

transducer

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

silk-dome, high-frequency transducer

25W (E4.5)/80W (E5)/130W (E8), Class AB; E5 and E8 are

biamplified

Front-firing acoustic port for superior bass-frequency reproduction

Midrange (±6dB, continuously variable), HF (±6dB, continuously

variable), High Pass (Off, 80 Hz, 100 Hz), and Acoustic Space settings

(flat, -2dB, -4dB) for accurate mixing contour

RF interference, output current limiting, over-temperature, transient,

and subsonic protection

Optimised, resonance-suppressing internal bracing

Balanced quarter-inch, stereo 1/8-inch, and unbalanced RCA inputs

(E4.5); balanced XLR/quarter-inch, and unbalanced RCA inputs (E5/E8)

100dB (E4.5), 102dB (E5), 105dB (E8) maximum continuous SPL


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

INFORMATION

[]

PreSonus Audio Electronics18011 Grand Bay Court

Baton Rouge, LA 70809 USA

T: +1 225 216 7887

F:+1 225 926 8347

W: www.presonus.com/products/

studio-one

United Kingdom & Ireland

Source Distribution (UK distributor)

Unit 6, Pembroke Buildings

Cumberland House Business Park

London UK NW10 6RE

T: +44 020 8962 5080

F: +44 020 8968 3218


W: www.sourcedistribution.co.uk

Germany & Benelux

Hyperactive Audiotechnik GmbH

Neukirchner Str. 18

65510 Hünstetten, Germany

T: +49 (6126) 95 36 50

F: +49 (6126) 95 36 569


W: www.hyperactive.de

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

symmetrical soundstage and micro-definition imaging

Unique coaxial transducer integrates 8-inch (S8)/6.5-inch (S6) midrange driver and

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

Alignment

32-bit, 96 kHz, dual-core, active floating-point DSP provides critical Temporal

Equalization™ with multiple FIR filters

Acoustic-tuning controls:

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

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

12 dB/octave slope

180W Class D biamplification with internal heat sink

RF shielding, current-output limiting, and over-temperature protection

Balanced XLR and quarter-inch TRS line-level inputs with A-taper level control

Amplifier ‘soft start’ feature eliminates popping on power-up

Brushed-aluminum faceplate

109dB (S6)/116dB (S8) maximum continuous SPL

Internal power supply with IEC connector

Power switch with on/off LED

SCEPTRE

TANNOY


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

Monitors draws upon decades of experience in loudspeaker design to produce an incredibly

transparent listening experience – without breaking the bank.

Three different sizes – same great soundThe three monitors in the new Reveal lineup include the ultra-compact 4-inch, a

versatile 5-inch and an extremely powerful 8-inch model, all of which have been

voiced by Tannoy’s resident speaker guru, Dr. Paul Mills. He has driven the

design of everything from amplifier sections to active crossover filters, woofers

and tweeters – leading to results that are, quite simply, unheard of for this class

of monitor.

Ample amounts of power, in combination with custom-

designed super-efficient woofers, allows for impressive

and precise bass performance. Expertly tweaked crossover-

filters ensure optimal timing between the custom

designed drivers. This produces an incredibly wide stereo

field – a massive sweet spot – allowing users to move

around in their workspace without losing the stereo

imaging of their mix. Now others can sit in during

mixing sessions while maintaining a precision listening

experience for everyone.

Aux Link: Studio On The GoIncluded with each monitor, is a 16’ / 5

meter Mini Jack cable. This allows you to

plug directly into the AUX Link of your

monitors quicker and easier than ever

before. Whether you’re mixing on the

go or just listening to some of your

favourite music from your mobile device,

it’s simple to connect.


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

INFORMATION

TC GroupSindalsvej 34

DK-8240 Risskov

Denmark

T: +45 8742 7000

F: +45 8742 7010


W: www.tcgroup.tc

Reveal 402 –Small Speaker, Unparalleled PunchIt’s easy to get fooled by the compact size of Reveal 402, but the clarity and punch emitted

from these tiny boxes easily rivals 5” and 6” models in the same category. The source of this big

monitor sound is a super-efficient 4” woofer and ultra-precise 3⁄4” tweeter, making the Reveal

402s the go-to monitors for anyone concerned about space and portability without having to

sacrifice true studio feel.

Reveal 502 – A New Standard for Power & DetailWhether it’s Pop, Rock, Jazz, Hip Hop, Electronic music or Metal, the 502 remains

unbiased and provides the brutal honesty that’s crucial for studio production – it reveals the

details of your mix. With a powerful 75 Watts of output and pristine sound, Reveal 502 is

sure to become the reference standard for its class.

Reveal 802 – The Ultimate Lover of Low EndFor anyone mixing hip-hop or bass-heavy electronic music, Reveal 802 is

the ultimate near-field monitor. It’s got all the love for the low-end that a

modern producer needs while still keeping the mid and high-frequencies

crystal clear. The custom 8” woofer and 1” tweeter use a finely tuned

active crossover filter to tell you exactly what is going on in your mix.

Combine this with a new 100 Watt bi-amp module and you get rock solid

bass at any volume…

Golden EarsA living legend, Dr. Paul Mills has

been with Tannoy for nearly 30 years

and is responsible for the acoustic

design of all Tannoy residential

loudspeakers, including the

unparalleled sonic flagship, Kingdom

Royal. As the company’s Director of

Residential Products, Engineering,

he’s truly a man with an impeccable

sense for sound. His work embodies

the renowned Tannoy experience;

exclusive voicing and premium aural

characteristics.

Legendary MusicTannoy is one of the oldest and most prestigious audio brands in

the world. It has had a presence in the audio industry for almost a

century, beginning with the Tulsemere Manufacturing Company

in 1926. Its rich history is ingrained into every loudspeaker it

produces. Since 1947 Tannoy studio monitors have been the staple

of recording gold, playing an integral part in the creation of some

greatest music in the world: The Beatles, Pink Floyd, Queen,

Michael Jackson, Beyoncé, Lady Gaga, Jason Mraz, and Jay Z, to

name just a few.

EXPERT WITNESS

HEADPHONES are an essential tool for

recording studios. Having spoken with a

variety of recording engineers, producers,

mastering engineers, and musicians, I’ve

learned a few key aspects about headphones

or questions I always ask when somebody is

looking for their first pair or for a pile to fill

their studio needs. I’ll start off by covering

what I consider to be the three main concerns

when choosing headphones for your studio.

Open vs. Closed Headphones?This is the first big question to answer and it’s

a relatively simple one. If you will be recording

sounds with a microphone such as acoustic

guitar, voice, or drums you’ll likely want closed

headphones. Closed headphones help to keep

sound from leaking out and getting into your

mic feed. If you’re recording or producing

music using direct input or software-based

instruments this is not an issue. If you’re only

mixing or mastering music and don’t need

isolation then you can use open headphones.

It is usually easier to get more natural, accurate

sound from an open headphone than from a

closed headphone of similar design. This is not

always the case as we have heard a few open

design headphones that sound worse than

good quality closed headphones. Ultimately

it depends on how much attention the

manufacturer paid to sound quality vs. cost/

style/comfort, etc.

DurabilityStudio headphones need to be durable and

repairable. Many well-respected studio

cans these days have removable cables and

replaceable ear pads and headbands. Some

manufacturers such as Sennheiser go so far as

to make almost all parts replaceable. All of the

headphones we have listed in this guide offer

replaceable cables and parts.

Sound QualityYou would think I would have put this as the

first criteria but the truth is if your headphones

don’t work or break often you’ll be making less

music. The quality of sound you get from a

headphone depends on many different factors

including design and price.

Entry-level or Low-cost HeadphonesWhen outfitting a studio with headphones for

the whole band it’s helpful to keep the cost

per unit down. Right at the $100 mark, the

Shure SRH440 is a great sounding headphone

providing plenty of isolation for recording with

microphones. They also sound good enough to

be used as the only headphone for those on a

budget. For a small increase in price stepping

up to the Audio-Technica M50x will get you

a little more natural and accurate sound and

a few extra cables included in the package. At

the higher end of entry-level headphones we

often recommend the Shure SRH840 which

provides more comfortable ear cups, fuller bass

response, and an extra set of earpads.

Mid-priced HeadphonesIf you want the best bang for your buck without

compromising your mixing or mastering abilities

we recommend the Sennheiser HD600 and

HD650 as well as the AKG K712. These are

open style headphones providing very natural

and accurate sound. A nice mid-priced closed

headphone is the Shure SRH1540. While it

leaks a little more sound than your standard

closed headphone, it isolates enough to be our

top recommendation for tracking in the studio.

High-end HeadphonesOn the extreme end of the spectrum we are

seeing a lot of new products from all the

known manufacturers. From Sennheiser we

have the HD800 ($1,499), possibly the world’s

best headphone, its open design with angled

driver and proprietary ‘ring radiator’ driver

yield the widest soundstage and precise details

of anything we’ve heard. AKG released the

K812 this year offering its signature sound in

a more refined package. A newcomer to the

audio world, Audeze released its LCD-X in

2013 delivering planar magnetic headphones

with a luscious, dynamic, and very linear bass

response. If you’re looking for the top of the

line in closed headphones the Fostex TH-900

and Audeze LCD-XC are sure to delight the

ears of any musician or engineer.

Headphone AmpsA word on headphone amps. Why would

you need such a thing? A headphone is really

just a set of miniature speakers. Behind

every headphone jack is a miniature power

amplifier to drive headphones. Sometimes the

manufacturers put this in as an afterthought

or simply don’t pay much attention to the

headphone output. If you’re considering

investing in a high-end headphone you should

consider pairing it with a dedicated headphone

amp to get the most out of it. High on our

recommended list is the Grace Design m920.

While it costs more than any headphone

we’ve mentioned this could be the centre of

your production and serves many purposes

other than just an amp. The m920 includes a

digital to analogue converter with all standard

connections, switchable inputs to act as the heart

of your monitoring centre, and can be used as a

preamp for your main speakers. Also included

with the m920 is a Crossfeed setting which is

meant to more closely simulate the sound of

speakers, reducing listening fatigue. If the idea

of Crossfeed is appealing to you, also consider

the SPL Phonitor which offers a customisable

crossfeed to suit your listening tastes.


The Principle Importance of Studio HeadphonesSpecialist headphone retailer HeadRoom CEO Jamey Warren gives us the whys and wherefores of headphone purchasing.

Expert witness

Jamey Warren is the CEO/president of HeadRoom, a dedicated headphone retailer for over 20 years.www.headphone.com


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

AUDIO-TECHNICA’S M-Series

professional monitoring headphones have long

enjoyed a reputation for accurate and well-

balanced tonal response, making them ideal

partners in the studio or on location.

Updated for 2014, the new M-Series

models take cues from the sound and

proprietary design of the company’s acclaimed

ATH-M50 professional monitor headphones

and the new ATH-M20x, ATH-M30x

and ATH-M40x deliver accurate audio and

outstanding comfort, perfect for long recording

sessions (wherever they’re taking place) and live

sound applications.

The M20x, M30x and M40x all feature

40mm drivers with rare earth magnets and

copper-clad aluminium voice coils, as well as

a circumaural design that contours around

the ears for excellent sound isolation in loud

environments. The ATH-M50x (featuring

45mm drivers) has the exact same sonic

signature as the original ATH-M50 and adds

refined earpads and three detachable cables.

The Flagship M50xThe original ATH-M50 has been praised

by leading audio engineers and journalists

worldwide, and now the ATH-M50x sees

the addition of refined earpads and three

detachable cables (a 1.2m-3m coiled cable,

3m straight cable and 1.2m straight cable).

From the large aperture drivers to sound

isolating earcups and robust construction,

the M50x provides an unmatched experience

for the most critical audio applications,

including recording, broadcast, DJ, live sound

and personal listening. The ATH-M50x is

available in black, white (ATH-M50xWH)

and limited-edition blue (ATH-M50xBL).

Seen on the heads of everyone from r’n’b

superstar John Legend (his Live In The Studio

video series with The Roots) to live monitor

and front of house engineers Pablo McCarte

(Aloe Blacc, Deap Vally), Stuart Macaulay

(Rudimental) and Ben Hammond (Deaf

Havana), the M50x continues the evolution of

a studio heavyweight.

Feature-packed M40xThe high-performance ATH-M40x

professional headphones are tuned flat for

incredibly accurate audio monitoring across

an extended frequency range. The studio

experience is enhanced with superior sound

isolation and swiveling earcups for convenient

one-ear monitoring, and professional-grade

earpad and headband material provides

exceptional durability and comfort.

The collapsible design offers space-saving

portability and storage, and the headphones

come with two detachable cables (a 1.2m-3m

coiled cable and 3m straight cable).

Engineered with pro-grade materials and

robust construction, the M40x excels in

professional studio tracking and mixing,

as well as DJ monitoring.

M-Series Monitoring Headphones Get 2014 MakeoverAudio-Technica’s well-respected M-Series professional headphones have been improved this year,

with the whole range now sharing a true family identity.

Affordable PerformanceThe sonic characteristics of the M40x and

M50x are shared even by the less expensive

models in the new M-Series line-up. The

M20x and M30x bring tonal accuracy

and comfort to a cost-conscious audience

while still delivering exemplary build and

wearability.

Both sets of headphones combine

modern engineering and high-quality

materials to deliver a comfortable listening

experience, with enhanced audio clarity and

sound isolation. Tuned for highly detailed

audio, with strong mid-range definition,

these versatile monitoring headphones are

ideal in a variety of situations. Designed

primarily for studio tracking and mixing,

the M30x also offers added features for

increased portability, making them a great

choice for field recording. Both the ATH-

M20x and ATH-M30x feature a convenient

single-side cable exit with a permanently

attached 3m cable.

INFORMATION

Audio-Technica Ltd Unit 5, Millennium Way

Leeds LS11 5AL

E:[email protected]

T: 0113 277 1441

Audio-Technica’s recently updated

ATH-M50x monitor headphones

The M-Series range now shares the same sonic

characteristics of the flagship M50x model

KRK

KRK Systems is one of the world’s most

respected manufacturers of studio

reference monitors.

Mixing and even mastering on headphones

is gaining traction. Mobile musicians can’t

always tote monitor speakers around, and with

so many people using earbuds and headphones,

it’s essential to keep the playback medium

in mind. Also, headphones eliminate room

acoustics issues with home studios,

and premium headphones cost less than

premium speakers.

However, not all headphones are created

equal. Many “hype” the low-end, high-end,

or both. But even with accurate headphones,

music doesn’t sound the same on headphones

as on speakers. The sound is in your head, not

in front of it, and there’s no channel crossfeed.

What’s more, your mix has to sound great on

living room speakers, cheap ear buds, on the

dance floor, or in the car. Can mixing with

headphones help accomplish that goal?

With the KNS Studio Headphones you

can enjoy the same KRK engineering and

innovation when being on the road travelling,

when portability, and the use of superior

isolation from the surrounded environment

is required. 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.

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. KNS Headphones give you

accurate reproduction of your music or

mix and will help you achieve just what

the artist intended – especially when

the artist is you.

A Pro Looks at KNS HeadphonesWe asked Craig Anderton, who has reviewed

multiple headphones in the past, to give us his

comments about the KNS8400 because he has

been using them on all his recent projects.

“Initially, I was shocked at how suitable

the KNS8400 headphones were for mixing.

I compared the KNS8400 to my other

headphones, and it bested all of them. It

doesn’t hype the bass, so I had to acclimate to

the KNS8400’s response; but after mixing with

the KNS8400 headphones for a while, I noticed

several other details. Although the bass isn’t

“forward,” it’s extremely well defined. Picking

a bass line out of a busy mix is easy, and the

bass response is consistent (no “response holes”)

down to the lowest bass ranges.

Headphones that hype the bass fool you

into thinking there’s more bass in the mix than

what is really there, so I had to be careful not

to “undermix” the bass. With the KNS8400’s

accurate low end, that’s not an issue.

Perhaps the biggest surprise was a wider

soundstage, which I think in this case relates to

the transient response. More accurate attacks

define stereo field positions better. Also a

noticeable attribute was the real comfort – I

didn’t feel like the headphone was a clamp.

And for those who wear glasses, I found the

headphones “glasses-friendly” when they sit

on your head. Probably a lot of the “comfort

factor” is due to the “memory foam” pads which

easily mold to the head’s shape, resulting in

superior isolation. During recording this offers

a huge benefit, as it minimizes ‘bleed’ into

the microphone. For the artist another useful

add-on is the integrated volume control.

Of course, the KNS8400’s design isn’t for

everyone because the typical consumer doesn’t

mix or master sound over studio monitors

– they want a bigger-than-life listening

experience. That’s fine, but not for mixing.

If I had to sum up the KNS8400 in a single

sentence, I’d say it provides a studio monitor

experience in a headphone format. I wish I’d

discovered these headphones years ago, but

better late than never.”

“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

“Expect excellent isolation from the KNS

6400 closed-back ear cups 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 KNS8400s 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

“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 sound staging experience than

other headphones in their class, one that’s

likely to win over musicians from some other

headphones costing much more.”

Recording Magazine


Headphones for Educated EarsThe KNS Series of Headphones from KRK

INFORMATION

KRK UK distributor:Focusrite Audio Engineering Ltd.Windsor House, Turnpike Road

High Wycombe, Bucks

HP12 3FX, UK

T: +44 (0) 1494 462 246


KRK Systems, Inc.Gibson Brands, Inc.309 Plus Park

Nashville, TN 37217

T: 1-800-4 GIBSON


W: www.krksys.com

ULTRASONE

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

beneficial 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? Definitely!

The patented S-Logic™ technology is

described as ‘Natural Surround Sound System’.

No other digital surround system can compare

with this standard. The sound of normal

headphones will sound direct and even on

both sides, while the S-Logic™ system pushes

sound around your head. It appears as though

you are listening to speakers metres away. Even

at very low levels, this spacious sound

allows you to hear and listen to each and

every individual sound. And on top of that,

the S-Logic™ technology does not require

additional equipment!

How doesS-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 define the direction and

distance of where a sound comes from?

Instead of hitting the inner ear directly, with

S-Logic™ the signals are reflected off the

surface of the outer ear in different directions

before entering the auditory canal, to create a

natural three-dimensional sound. S-Logic™ is

the only headphone system that includes your

entire sense of hearing. S-Logic™ does not

change your personal hearing, but it intensifies

it for your individual needs and listening

pleasure. S-Logic™ doesn’t need artificial

echo, digital sound processing, or cross over

run time delay. You can hear the sound just the

way the sound engineer has mastered it.

Safer 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 profits directly from

innovations developed for our flagship

Edition range, the ultimate headphones for

critical listening. This sophisticated new

technology combines precision dampening

with micro-acoustic reinforcement, allowing

driver, bufferboard, and spatial parameters

to complement one another in an optimal

manner. So, the acoustically redesigned ear-

cups of these new models and their tonal

fine-tuning result in a most neutral

sound impression with more

vivid perception of voices and

instruments

Ultrasone’s ULE-TechnologyMost headphone drivers

produce low-frequency

magnetic fields as they

convert an electrical signal

into the acoustical signal that we hear as music.

Ultrasone has developed a special MU-Metal

shielding that we call ULE (for Ultra Low

Emissions) to reduce this radiation by up to

98%, compared to conventional headphones.

This technology has withstood the test of

international review and is recommended by

technical surveillance organisations. Ultrasone

originally developed ULE-technology for

professionals, since they spend half of their

lives in headphones.

Professional Sound Quality & Accessories The highest sound quality is guaranteed due

to high profile technologies and high-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

INFORMATION

Ultrasone

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.

W: www.ultrasone.com



The International Audio Guide seriesfrom Audio Media

Each International Audio Guide focuses on an important pro-audio product line, giving independent articles followed

by in depth advertorials, covering the history and current range from the leading manufacturers in their field.

Available now:2014 International Console Guide

2014 International DAW & plugins Guide

2014 Live Sound & Theatre Guide

2014 International Monitors & Headphone Guide

Later in the year:2014 International Microphone Guide

2014 Broadcast Audio Guide

2015 International Console Guide

Contact me today to discuss

your requirements and to make

sure your company is represented.

Darrell CarterTel:+44 (0) 20 7226 7246

e-mail: [email protected]

DIRECTORY


Acoustic Energy

www.acoustic-energy.co.uk

ADAM Audio

www.adam-audio.com

+49 30 86 30 097 0

AKG

www.akg.com

+43 (0)1 86654 0

Alesis

www.alesis.com

+44 (0) 1252 896000

Ambiance Acoustics

www.calcube.com

858 485 7514

ATC Loudspeakers

www.atcloudspeakers.co.uk

+44 (0)1285 760561

Audio-Technica

www.audio-technica.com

+44 (0) 113 277 1441

Audix

www.audixusa.com

+1 503 682 6933

Bowers & Wilkins

www.bowers-wilkins.co.uk

+44 0800 232 1513

Bag End Loudspeakers

www.bagend.com

+1 847 382 4550

beyerdynamic

www.beyerdynamic.com

+49 7131 617 0

Blue Sky

www.abluesky.com

+1 516 249 1399

Canford

www.canford.co.uk

+44 (0) 191 418 1000

Denon

www.denon.co.uk

+44 (0) 2890 279830

Dynaudio Professional

www.dynaudioprofessional.com

Earthworks

www.earthworksaudio.com

+1 603 654 2433

Edirol

www.edirol.com.au

+61 (02) 9982 8266

EMES

www.emes.de

+49 (0)8222 965954

ESI

www.esi-audio.com

+49 (0)7152 398880

EVE audio

www.eve-audio.com

Event Electronics

www.eventelectronics.com

+61 2 9648 5855

Excel Audio

www.excelaudio.eclipse.co.uk

+44 (0)20 8354 0820

Exigy

www.exigy.co.uk

+44 (0) 1494 761526

FAR

www.farloudspeaker.com

+32 475411969

Focal Professional

www.focalprofessional.com

+33 4 77 43 57 00

Fostex

www.fostex.com

+44 03 301 222500

Genelec

www.genelec.com

+358 17 83 881

Grado Labs

www.gradolabs.com

Griffin Audio USA

www.griffinaudiousa.com

+1 914 248 7680

GrimmAudio

www.grimmaudio.com

+31 40 213 1562

Harbeth

www.harbeth.co.uk

+44 (0)1444 484371

Hot House Professional Audio

www.hothousepro.com

+1 845-691-6077

JBL

www.jbl.com

+44 1707 278113

KRK Systems

www.krksys.com

1 800 444 2766

KS Audio

www.ksaudio.com

+1 727 447 9656

Legacy Audio

www.legacyaudio.com

800 283 4644

Lipinski Sound

www.lipinskisound.com

+1 240 406 7706

Mackie

www.mackie.com

+1 425 892 6500

M-Audio

www.m-audio.com

401 658 5765

ME Geithain

www.me-geithain.de

Meyer Sound

www.meyersound.com

+1 510 486 1166

Mission

www.mission.co.uk

+44 (0)1480 452561

MK Loudspeakers

www.mkloudspeakers.com

+44 (0)845 262 2882

Munro

www.munro.co.uk

+44 (0)20 7403 3808

Nady Systems

www.nady.com

510 652 2411

Neumann

www.neumann.com

+49 (30) 41 77 24 0

NHThifi

www.nhthifi.com

800 648 9993

PMC Loudspeakers

www.pmc-speakers.com

+44 (0)870 4441044

PreSonus

www.presonus.com

+1 225 216 7887

PSI Audio

www.psiaudio.com

+41 (0) 24 426 04 20

QUESTED

www.quested.com

+44 (0)1404 41500

Roland Systems Groupwww.rolandsystemsgroup.co.uk+44 01792 702701

Samson Technologieswww.samsontech.com+1 631 784 2200

sE Electronicswww.seelectronics.com+44 (0) 845 500 2 500

Sennheiserwww.sennheiser.com+44 (0) 333 240 8185

Shurewww.shure.co.uk+44 (0) 1992 703058

SLS Audiowww.slsloudspeakers.com417 883 4549

SONODYNEwww.sonodyne.com+91 33 23990418

Sound Projectswww.soundprojects.com+31 (0)36 53 94 570

Surround Technologieswww.surroundtech.com(239) 405 8427

Superluxwww.superlux.com.tw+886 2 2693 1323

Tannoywww.tannoy.com+44 (0) 1236 420199

Tascamwww.tascam.com+49-611-7158-0

Trident Audiowww.trident-audio.com+44 (0)1803 612 700

Truth Audiowww.truthaudio.com850 830 7168

Ultrasonewww.ultrasone-headphones.com+49 (0) 881 901150 0

Unity Audiowww.unityaudio.co.uk+44 (0)1799 520786

Westlake Audiowww.westlakeaudio.com(323) 851-9800

Pelonis Sound & Acousticswww.pelonissound.com805 242 1041

Yamahawww.yamahaproaudio.com+44 (0)1908 366700