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
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www.audiomedia.com June 2014 03
Sign up for your digital AM at www.audiomedia.com CONTENTS
> Commercial Director
Darrell Carter
darrell.carter@intentmedia.co.uk
> Editor
Jory MacKay
jory.mackay@intentmedia.co.uk
> Group Head of Design & Production
Adam Butler
adam.butler@intentmedia.co.uk
> Production Executive
Jason Dowie
jason.dowie@intentmedia.co.uk
> Designer
Jat Garcha
jat.garcha@intentmedia.co.uk
>>> 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.
Formoredetailsvisitwww.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
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>ADVERTISER INDEX
Advertiser 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 monitors
Simply 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
Commandments
David 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 place
Monitoring 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 correctly
A 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
correction
As 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 Spot
Whether 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 Series
The 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 mkIII
The 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 mkIII
The 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 mkIII
The 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 mkIII
The 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 II
The 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 Software
The 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 Ear
Monitor 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 Box
Volume 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 Remote
AIR 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 Series
AIR 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 Group
Sindalsvej 34
DK-8240 Risskov
Denmark
T: +45 8742 7000
F: +45 8742 7010
E: info@tcgroup.tc
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 Consolidation
EVE 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 Audio
Roland 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
E: info@eve-audio.com
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
E: sales@nova-distribution.co.uk
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
E: sales@trunorthmusicandsound.com
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?
Subwoofers
Roland 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 viewpoint
Kerstin 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 Adapt
Genelec 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 Performance
For 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 Oy
In Europe:
Genelec Oy
Olvitie 5, 74100 Iisalmi, Finland
T: +358 17 83 881
F: +358 17 81 2267
E: genelec@genelec.com
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
E: genelec.usa@genelec.com
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 Monitoring
Smart 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
Processing
New 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 Module
The 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 performance
Since 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 response
Many 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 reproduction
Everyone 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 distortion
Some 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 spot
Place 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 extension
Some 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 Music
KRK 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
E: sales@focusrite.com
KRK Systems, Inc.
Gibson Brands, Inc.
309 Plus Park
Nashville, TN 37217
T: 1-800-4 GIBSON
E: service@krksys.com
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 Series
Whether you are making critical mixing
decisions or need to capture the stable
nuances of a unique sound, you will quickly discover that the VXT Series
is as precise about your work as you are. The VXT Series 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 E8B
Utilizing 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.
Subwoofers
For 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 Pros
Introducing 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-Active
The 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™:
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INFORMATION
PMC Limited
Holme Court
Bedfordshire
SG18 9ST
UK
T: +44(0) 870 4441044
F: +44(0) 870 4441045
W: www.pmc-speakers.com
IB2SXBD-Active
PMC’s BB5 XBD-A monitors at Metropolis Studios in Chiswick, plus
horizontal twotwo.6s in an LCR arrangement

PSI AUDIO
Quality – Technology – Experience – Coherency
Designed 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 filters
Each 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 couple
The 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 Image
Our vision is to be globally recognised as pioneers
in precision audio combining innovation, creativity
and technology.
An impressive impulse behavior due to the combined
technologies of AOI and CPR

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INFORMATION
PSI Audio
HQ
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
E: info@psiaudio.com
UK distributor:
Emerging Ltd
T: +44 (0) 118 402 5090
E: sales@emerginguk.com
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.com
Follow us on www.facebook.com/
psiaudio

PRESONUS
ERIS SERIES HIGH-DEFINITION STUDIO
MONITORS
When 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 Monitors
PreSonus 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.

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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

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INFORMATION
[]PreSonus Audio Electronics
18011 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
E: sales@sourcedistribution.co.uk
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
E: info@hyperactive.de
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 Mix
Tannoy 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 sound
The 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 Go
Included 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.

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INFORMATION
TC Group
Sindalsvej 34
DK-8240 Risskov
Denmark
T: +45 8742 7000
F: +45 8742 7010
E: info@tcgroup.tc
W: www.tcgroup.tc
Reveal 402 –Small Speaker, Unparalleled Punch
It’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 & Detail
Whether 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 End
For 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 Ears
A 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 Music
Tannoy 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.
Durability
Studio 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 Quality
You 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 Headphones
When 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 Headphones
If 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 Headphones
On 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 Amps
A 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 Headphones
Specialist 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 M50x
The 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 M40x
The 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 Performance
The 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:sales@audio-technica.co.uk
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 Headphones
We 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 Ears
The 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
E: sales@focusrite.com
KRK Systems, Inc.
Gibson Brands, Inc.
309 Plus Park
Nashville, TN 37217
T: 1-800-4 GIBSON
E: service@krksys.com
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 Unique
Ultrasone 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™ Technology
Unique? 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 does
S-Logic™ work?
S-Logic™ sends
music around your head, not
just into it, because this
technology uses decentralised driver
positioning. Did you know that you use and
need the outer ear for your three-dimensional
understanding to 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 Hearing
S-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™ Plus
S-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-
Technology
Most 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 Professionals
Specialist 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
E: Infodesk@ultrasone.com

The International
Audio Guide series
from 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 Carter
Tel:+44 (0) 20 7226 7246
e-mail: darrell.carter@intentmedia.co.uk

Audio Media Monitors Headphones Guide 2014

Audio Media Monitors Headphones Guide 2014

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