lunedì 14 gennaio 2013

Acoustic Energy AE22-04 active monitor

Quality class A-B power amplifiers totalling 160 Watts for each speaker and including EQ presets to provide adjustment of tonal balance and low frequency bandwidth.
The Acoustic Energy AE22-04 is a low distortion, closed box speaker with an exceptional time domain performance (better than 40dB down within 5ms) and good horizontal off-axis consistency.
It doesn’t have the flattest anechoic amplitude response you’ll ever see, nor the widest bandwidth, but from 60Hz to 25kHz it is about as musically accurate as moving-coil driver technology can achieve at the price.
A high visibility LED display gives clear indication of all user settings ensuring both speakers are set up identically.

The AE22 bass/mid driver is unusual in a number of respects. Its use of a metal cone ensures a linear amplitude response and minimal time-domain errors up to frequencies well above the crossover point. The metal cone also acts as a heat-sink that increases thermal power handling and reduces thermal compression. The driver also has an ‘underhung’ magnet/voice-coil system (see diagram).
An under-hung system — a short voice-coil in a long gap — is inherently more stable and linear than the more usual, and far cheaper, over-hung arrangement. The voice-coil is 50mm in diameter (25-38mm is typical at this price point) and has a black anodised aluminium former — again to increase thermal power handling and reduce thermal compression.
The AE22 tweeter is a proprietary unit chosen for its good linearity, low compression, high power handling and ability to operate with a relatively low crossover frequency. It is often seen in high-end hifi speakers and is characterised by a clean and detailed sound with better than average high frequency dispersion.

lunedì 7 gennaio 2013

Avantone Active MixCubes Powered Full-Range

Engineering Objective

The Avantone Active Mixcubes are designed to be high-resolution, full-range powered mini-reference monitors for fixed or remote locations.    The secondary engineering facet was to create a timeless design that compliments a single full-range transducer.

Performance Objective 

Studios primarily use 2-way & 3-way larger monitors designed to represent a wide range reference viewpoint at higher listening levels. However, in this newly developing age of High Definition Audio, there is still a need to also hear what your mix will sound like when played back over small “bass-challenged” systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers. Particular attention is always paid to the critical mid-range vocal/guitar/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. Ten months of R&D comparative listening & tweaking went into the voicing of the AVANTONE MixCubes. The result is a very smooth sounding, full range upgrade from the original 5C Sound Cubes. Listening tests reveal that the MixCubes have a smooth, more open, transparent top end response with extended bass while maintaining their basic original character.

    Cabinet Design

The original 5C Sound Cubes™ were made of ½” particleboard covered with a glue-on wood grain contact paper. We chose to use thicker, denser MDF board because of its high rigidity and inherent low-resonance characteristics. We started with a 165mm (6 1/2") sealed cube design with radiused edges. We then chose an elegant Polyurethane high gloss “RETRO-CREAM” finish. The originals had either screws or on later models plastic binding posts mounted on a recessed plastic cup. We upgraded to high-end nickel plated, machined solid metal binding posts (Dual banana spacing) mounted on a black anodized ,milled and silk-screened aluminum terminal plate. Next we added a 7mm thick neoprene pad embedded into the base of the cabinet to serve as a skid-resistant acoustic isolator. Additionally, for creative mounting situations, we recessed an industry standard 5/8”-27 mic stand mount into the base.

Driver Design

The originals were a basic 5” stamped frame design. We designed a proprietary 5.25” die cast aluminum frame driver/cone assembly to exceed the performance of the originals. The mounting bezel is then polished for an elegant appearance. The paper cone, chosen for its musical character, is custom designed & craftedusing the finest New Zealand pulp with mica fibers added for lighter weight & rigidity. The cloth surround ismade in Japan to exacting uniform thickness tolerances. The Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel enabling the highest modeled flux density in the gap. The magnets are Y- 40 GRADE (MIL-SPEC) yielding a 43oz. High Power-low distortion motor structure.

Amplifier Design

We designed the amp module from the ground up to be a true professional-grade amplifier. It incorporates “overkill” concepts in component selection as well as safety. The result is a “no-compromise” amp with robust headroom characteristics that will rival the performance of much higher priced studio rack mount amps.

giovedì 27 dicembre 2012

Equator D5

Definitely ideal for any of us with personal studios who are looking for a small footprint but honest near-field. 
The stereo imaging is very good and solid, with a wide sweet-spot. Reverbs are detailed and revealed, but maybe with a little less depth perception than I was expecting. The transient response is good, except at higher levels: I suspect soft limiting is coming in early. This is OK for hyper-compressed material, but not so good with loud dynamic acoustic stuff like tabla, snare and guitar. But you have to remember these are tiny boxes! The mid range is excellent. Well defined, solid. Another good point is tiny 'headphony' details like clicks, mouth noises, distortion and so forth, precise, uncoloured reproduction is impressive enough: the D5 studio monitor is high quality, low in cost, sounds fantastic, offers amazing detail and imaging. 

1. The Overall Balance of the D5s is excellent. The D5s have a tight & focused bottom but do not possess (for lack of a better term) "the bowel moving sensations" of a larger monitor.

2. The Stereo Image is really amazing on the D5s. Listening back to everything from heavy metal to orchestral pieces, to soundtracks to pop records... the D5s really do a exceptional job of placing instruments in their place. I would say I am most impressed with the imaging on these and thats comparing them to some higher end monitors I mentioned earlier

3. Transients: The quick & punchy response of the D5s makes listening a pleasure without the harshness of a typically hyped speaker. Its nice to hear a high hats roundness/crispiness, a kick drums thump (instead of just feeling it) and vocals... 

lunedì 24 dicembre 2012

Elysya Alpha Compressor

is a mighty tool for professional dynamics processing.  Featuring innovative functions with perfect technical implementation and an absolutely uncompromising quality of sound, it sets new standards for mastering applications and for cultivating any kind of audio material.  It offers M/S processing, parallel compression as well as sidechain and audio filters, just to name a few.
The circuitry is a complete new development that provides an amount of openness and clarity which can hardly be found in present gear.  Every single part of its signal processing is realized by using single transistors running in constant class-A mode, and even the sidechain and power supply use discrete circuits.  All components are of the highest grade available and were exclusively chosen according to their tonal excellence.
These benefits result in an audio quality that is beyond all doubt.  Even when extreme adjustments are used, the sound characteristics stay clean and powerful. Consequently the alpha compressor offers suitable settings for nearly any style of music and can always be employed in profitable ways.  The enhanced functions exceed the potential of normal compressors by far and enable unimagined options for mastering and recording tasks.

venerdì 21 dicembre 2012

The Dangerous 2-Bus

The Original Summing Solution that Ignited the Out-Of-Box Revolution.

Born out of real-world necessity, this tool, the first of its kind, was created to bring back the analog sound-quality, feel and headroom that were missing from the digital mixing environment, while maintaining the fast DAW workflow, editing and recall capabilities that we all depend on. 
Through cutting-edge analog audio circuit design the 2-Bus allows the full potential of your studio to be realized--audibly, in terms of sound quality, spatial detail and headroom--and ergonomically in terms of outboard equipment integration in the mix process.  Designed and built with the highest quality components and a no-compromise attitude, this pristine audio path delivers nuance, depth and clarity to your mix without any added coloration, and thus allows the true nature of your recorded tracks and outboard gear to shine.

Searching for punch? Extended soundstage? Definition? Headroom? The Dangerous 2-Bus 16X2 summing device puts that all back  into a lifeless mix. Much like traditional vintage consoles brought together multiple channels of audio, the 2-Bus receives 16 analog outputs from any DAW interface and combines them to stereo. This is its sole purpose and it performs more transparently and musically than any other solution

- Massive Punch and Detail
- Clear Stereo Imaging
- Incredible Headroom
- Effortless Outboard Gear Integration
- The Top Choice of Mix Engineers Worldwide