GEAR GUIDE

GEAR GUIDE
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STUDIO
MONITORS
2013
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1 Color - 0 Cyan / 100 Magenta / 99 Yellow / 4 Black
I NSI DE
Speaker Specs: What Do They Mean ................................... 4
Of Mixes And Monitors: User Perspectives ....................... 12
Review: ADAM Audio A77X AX-Series
Powered Studio Monitors ................................................... 16
Review: Dynaudio DBM50 Desktop Active Monitors ........ 17
Review: Focal Professional
SM9 3-/2-Way Active Studio Monitor ................................ 18
Review: JBL Control 2P Compact
Powered Desktop Monitor ................................................. 19
Product Showcase .............................................................. 20
Directory ............................................................................. 22
ON THE COVER: Engineer Alex Oana at NRG Recordings Studio B with Genelec
nearfields and Dynaudio main monitors (out of frame).
STUDIO MONITORS
GEAR GUIDE 2013
N
othing else has the potential to improve an audio engineers work like the abil-
ity to monitor accurately. A superior monitoring source allows its users to better
assess each decision made throughout a production. And, unlike the pursuits of
purely recreational listeners, the ultimate goal is not simply about a subjective better
sound. Its about reliable translatabilitythe more accurate a monitor is to the source,
and the more consistently the engineers listening experience is to that of the audience
across a broad spectrum of consumer monitoring options, the better.
Sure, options in monitoring for audio production abound: purpose-built, wall-
mounted loudspeakers, headphones and even in-ear monitoring (IEM) devices are avail-
able for every budget.
The most popular choice in monitor devices today would be the self-powered
nearfield studio monitor, chosen for comfort (long sessions with headphones and IEMs
can be fatiguing), spatial imaging, consistency of reference and convenience (you cant
carry a great set of studio mains with you place-to-place, not to mention the physical
space where they were designed to perform their best). Virtually every modern monitor
manufacturer offers at least one such model, most of which are easily transportable and
efficient two-way designs.
Here, we examine the technology behind good studio monitors, talk to end-users
about what they look for in a set of monitors, and take a peek at some of the most
impressive, innovative and great-sounding models in the marketplace.
2013 STUDIO MONITOR G E A R G U I D E 3
FEATURE
BY LYNN FUSTON
I
s it possible for me to buy a pair of speakers and have
some idea what Ill hear based solely on specifica-
tions? If so, how do I interpret the typical specs to
hopefully make an informed choice?
Some speaker shoppers have probably wondered exactly those
things, especially ones who are doing research for a speaker pur-
chase without the advantage of hearing the speakers in person.
Interpreting meaningful data from speaker spec sheets can be a
frustrating task. What do they mean? Lets walk through the typical
speaker specs and learn how to interpret them.
THE BASICS
Studio speakers can be listed as 2-way, 3-way or 4-way, and the
number identifies how many times the audible spectrum is split up.
A 2-way speaker has a woofer and a tweeter, covering low frequen-
cies and high frequencies, respectively. A 3-way adds a midrange,
and a 4-way can split the midrange (Lo-Mids and High-Mids), or add
a supertweeter for extremely high frequencies. Some manufacturers
make dual-concentric speakers that feature the tweeter and woofer
in the same driver, with the tweeter opening in the center of the
woofer. The advantage of this system is time alignment of the high
and low frequencies, which some listeners are more sensitive to than
others. I also like to look at the crossover frequencies, the frequen-
cies where the audio is passed from one driver to another driver. If
the crossover frequency is listed as 2500 Hz in a 2-way speaker, it
means that the woofer reproduces up to 2500 Hz and not above and
the tweeter reproduces down to 2500 Hz and not below. In truth,
there is a handoff between the two speakers at that frequency which
involves filtering of the audio. That handoff in the midrange can be
seamless or problematic depending on the design of the crossover
network, the filter network that sends the appropriate audio content
to each driver (HF to tweeter, LF to woofer).
Another consideration is whether or not a subwoofer will be
used. If a powered speaker system (meaning a single cabinet con-
taining all the drivers and amplification) is going to be used with a
subwoofer, then the lowest frequency it will reproduce becomes
less significant because the sub will augment or replace its response
below the cutoff frequency.
FREQUENCY RESPONSE
The first criteria many listeners will consider is frequency response
(FR). When looking at a FR chart, the flatter and smoother the line is,
the better. That will mean its output is matched at all frequencies in
4 STUDIO MONITOR G E A R G U I D E 2013
SPEAKER SPECS: WHAT
DO THEY MEAN?
Lynn Fuston records an orchestra session at
Sound Kitchen, Nashville, using his Tannoy
DMT-10 MkII, dual-concentric speakers
FEATURE
the audible band. Thats the ultimate
goal, at least. A speaker that has a bump
(peak) in the midrange (say at 3-5 kHz)
may sound better to the listener but will
result in a mix that has the inverse of that
bump, thus a dip, at those frequencies.
This is because an engineer will compen-
sate for what he is hearing. So a speaker
that is lacking in the low frequency range
will cause the mixer to compensate for
that deficiency by adding EQ, or pushing
up the fader on low frequency instru-
ments, which will create a bass heavy
mix. The same is true at all frequencies,
so using a bright speaker will likely result
in a dull mix.
While many speakers will actually
reproduce 40 Hz (or close to it) to 20
kHz, the far more important criteria is
how tight the tolerance is, meaning how
far the speakers output strays from a
relative zero in terms of plus and minus. The tolerance is stated as
a + and figure and typically is amended to the stated frequency
response, for example: 60 Hz to 22 kHz, +1, - 1.5 dB. Some manufac-
turers will specify FR with very tight tolerances, like +/- 1 dB, while
others, in an attempt to make the speakers response look wider
and flatter, will state the FR at +/-3 dB. A spec of +/- 3 dB means
that there is a 6 dB variance in output level between the loudest and
softest frequencies. Thats huge, especially when considering that an
engineer is often making sonic judgment calls on music material and
adjusting EQ in 1 to 2 dB increments. Its clear how a 6 dB variance
could severely impact equalization judgment calls.
Here are some real world specs one might encounter, copied
from mfr. spec sheets:
n 60 Hz to 22 kHz, +1, -1.5 dB
n 33 Hz to 50 kHz, +/- 1.5 dB
n 37 Hz to 21 kHz, +/- 2.5 dB
n 31 Hz to 20 kHz (no tolerance listed)
n 30 Hz to 40 kHz, +/- 3 dB
So if a speaker manufacturer wants to make their speakers FR
range look particularly wide, then they can just broaden the toler-
ance. A speaker that can only reproduce from 80 Hz to 12 kHz +/- 1
dB, might easily accomplish 25 Hz to 22 kHz at +/- 5 dB. So if I see
a frequency response rating that states no tolerance figure, like #4,
then that spec is meaningless. It doesnt mean its a bad sound-
ing speaker; it just means that theres no way to tell how flat its FR
really is.
INPUT SENSITIVITY
The input sensitivity simply means the speakers ability to convert
electrical signals into audible output at what level stated in dB SPL.
The standard for passive speakers is measuring the speakers output
in dB SPL at 1 meter with 1 watt of input power. Frequently stated as
88 dB/1 W/1 m, a dB number that is lower means the speaker is less
efficient and a higher number means a speaker is more efficient. This
is important for passive speakers (ones without built-in amplification)
when selecting an amplifier because an inefficient speaker will require
more power to achieve the same output level in dB SPL. Conversely, a
very efficient speaker can use an amplifier with half or even a quarter
the power output and play louder. With the advent of powered speak-
ers, this spec is less meaningful because the amplifiers are integrated
into the speaker enclosure. On many speakers amplifiers, the input
sensitivity is adjustable, sometimes over a wide range (-20 to +8) in
coarse or fine steps. I encountered one powered speaker with a low
input sensitivity, meaning for the same input level it would put out
about 15 dB less sound than a competitor. That could be a concern
depending on the input source and if it was easily adjustable.
WEIGHT
This can occasionally be overlooked, but it is an important criteria
depending on how the speakers will be mounted. Some speakers are
very light (15-20 lbs.) but others, with multiple amplifiers built in, can
easily tip the scale at 80 or more pounds. If the intended application
is a workstation surface or console top, this can be a deal breaker or
a budget-buster if heavy-duty speaker stands are required, which can
cost as much as the speakers. The best thing about this spec is that
every manufacturer lists it and its non-negotiable.
DISTORTION
While distortion (both THD-Total Harmonic Distortion and
IM-Intermodulation Distortion) is easy to measure in electronic devic-
es, the electric/acoustic transfer makes it challenging to come up
with a meaningful spec. If someone is accustomed to looking a THD
specs for consoles or amplifiers or ADCs stated in the hundredths
(0.02%) or thousandths (0.004%) of a percent, then speaker THDs will
seem abysmally large, often over 1%. Since THD is so high in loud-
speakers, in my years of listening, I have never seen a meaningful
spec or noticed a corollary between those numbers and my listening
experience, although a lower figure is most certainly better. But as a
source for comparison, unless both figures are derived by the same
method (such as from a single manufacturer), it may be a meaning-
less comparison.
POWER SPECS
For powered speakers (with active crossovers and built-in amps),
the power spec is the power rating (quoted in watts-the electrical
6 STUDIO MONITOR G E A R G U I D E 2013
PMCs MB2 SA is a
3-way speaker with
woofer, midrange and
tweeter.
This frequency response chart of the JBL 6332 speaker system
shows its very smooth frequency response from 60 Hz to 20 kHz.
FEATURE
power transferred to the speaker from the amp) for each amplifier,
specd according to the frequency band it is supplying. Though
some manufacturers will specify this as peak power or music power
to make the number higher (a commonly used trick in the consumer
market, since peak power can be 10-100 times higher than RMS), the
more meaningful continuous power rating is stated in watts RMS.
Another term one might see is short term, which is sometimes
cited when the limiting circuits in an amplifier keep it from delivering
maximum output in RMS. Some manufacturers will include the ampli-
fier type within that spec: PWM or Class AB or other class.
Another problem with stating a spec in peak power is that the
duration of the peak is often unspecified and can be incredibly short,
like a few milliseconds or even microseconds (thousandths or mil-
lionths of a second) and, unless the THD of the amplifier is stated at
that peak power output, its a meaningless spec.
Examples of power ratings for 3-way speakers, lifted from manu-
facturers specs:
n Low/Mid/High
n 250/250/50 (music power 350/350/100)
n 80/30/30
n 180/120/120 (short term)
n 400/400/100
n 200/200/200
These numbers show that different manufacturers have different
philosophies concerning how much power is required for each fre-
quency band, varying from all the same (200/200/200) to less on the
MF or even less on the HF. Higher frequencies require less power to
reproduce than lower frequencies, so a smaller amplifier is frequently
utilized. The concern to me is whether the included amplifier has
sufficient headroom to handle the demands of the incoming audio.
Higher wattage amplifiers have more headroom and can accom-
modate dynamic music and transient peaks with less stress on the
amplifier. In my experience, having an oversized amplifier with lots of
headroom is always preferable sonically. Plus the amplifier require-
ments are directly related to how loud the listener likes to monitor,
hence the importance of the next spec (you might find this a useful
link if you want to further explore the topic of amplifier power: http://
www.meyersound.com/support/papers/amp_power.htm)
MAXIMUM SPL
If the goal is listening loudly, then this is one spec that really
matters. While most speakers will do loud, not many will do loud
accurately. While many speaker manufacturers quote a Max SPL rat-
ing (some actually dont), sometimes the specifics of that spec are
curiously missing. Is that rating for continuous SPL or peak SPL? For
what duration? At what distance?
Here are some examples:
n Max SPL (@1m) 116 dB (continuous)
n Max SPL 116 dB (peak @ 1m)
n Max Peak Acoustic Power per pair @ 1.7 m with music 126 dB
n Max Peak SPL 113 dB
Clearly, theres little standardization in this spec as well, but if I
need a speaker that will play loudly, then I look for continuous, not
peak, ratings. Comparing written specs to determine which speaker
will play louder will be a tough call unless both specify the same
conditions.
Another issue to consider here is accuracy. Many powered speak-
ers these days include limiters in the amplifier circuits. Is that for
sonic reasons, to make them sound better? No. Its insurance for the
manufacturers so they (or you) arent replacing blown drivers fre-
quently. These limiters can kick in at surprisingly low SPL levels. And
while some speakers have indicators on the front to let the listener
know when the limiter is engaged, surprisingly, some do not. So if
I start listening at a level that is beyond the realistic capabilities of
the speakers design, all bets are off. Theres no telling what I am
hearing. And since the limiter is built into the amp, I may be hearing
limiting on the woofer and not the mids or highs. Good luck making
educated sonic decisions based on that performance.
DISPERSION
Another incredibly critical and enormously under-specd consider-
ation of loudspeaker design is dispersion or directionality. Dispersion
is the output volume of different frequencies, based on the angle of
the ear to the driver. It can also be referred to as off-axis response.
Heres one test I do when listening for the first time to a speaker. (It
takes guts to do this because it is guaranteed to elicit some odd looks
from anyone standing nearby.) I plug one ear with my finger and use
my open ear like a test microphone with it facing the speaker front.
Then I move my head across the horizontal front plane of the speaker.
And then I do another pass in the vertical plane. This will work with
either a broadband noise source or with music. I listen as the fre-
quency balance changes as I move off the center of the speaker. The
change in what I hear (usually most noticeable in the high frequencies,
with cymbals or vocal presence) is due to the dispersion characteristics
of the speaker. It can also be caused by other factors (like reflections
off a console surface or desk), but Ill assume that Im listening in a
free-field environment for now. The differences that I hear as I move
off-axis can be the most critical factor in selecting a studio monitor.
Why? The reason it is such a crucial consideration is because of
how we work in the studio. Were either reaching for an EQ or com-
pressor, turning our head to adjust something or moving out of the
8 STUDIO MONITOR G E A R G U I D E 2013
These polar plots reveal the off-axis response of the Renkus-
Heinz T15/4-2T speakers, in both the vertical and horizontal
planes at six different frequencies.
FEATURE
sweet spot so the artist or producer can listen. Every time we move
back and forth horizontally and when we stand up, the sound arriv-
ing at our ear changes. The goal is to make that change as small and
insignificant as possible. Many sonic decisions will be made or influ-
enced when listening off-axis, not to mention that when my head is
in between the speakers, the artist or producer will be making all his
decisions off-axis. So having a smooth off-axis response is crucial.
Some speakers can be very directional at the highest frequen-
cies, which I call beaming. It is most noticeable when things sound
bright and clear directly in front of the speakers, but drastically less
so when off to the sides. Unless the listener is in a situation where
all the sonic decisions can be made without moving, then having
a smooth off-axis response is critical. Unfortunately, this is an area
where specs will typically be of little help. While some manufactur-
ers provide polar plots (a 360 overhead view of the output level of
the speaker, plotted at different frequencies), most do not. If a polar
plot is provided, then look for even and wide dispersion at upper
frequencies (low frequencies are much less directional).
ADJUSTMENTS
Frequently, the task of matching a speaker to a room is as impor-
tant as the choice of the loudspeaker itself. (And positioning the
speaker is hugely important, too, but thats a whole different ball
of wax.) Some speakers offer adjustments for all or none of these
parameters: low frequency shelving, high frequency shelving, high
pass filtering (in case of use with subs), high frequency shelving, low
frequency EQ, low-mid frequency EQ, mid frequency EQ, driver gain.
These adjustments are not offered on
some speakers but can be very impor-
tant when matching the speaker to
the individual space. Having the ability
to taper the speakers output without
resorting to external EQ or acoustic
modifications within a room can be a
big factor, so check on what controls
the speaker offers before purchasing.
AN EXPERT OPINION
Sean Olive, the Director for
Acoustic Research for Harman
International, summed up the desir-
able characteristics to look for in a
loudspeaker this way, based on years
of research and testing thousands of
listeners at JBLs listening lab. The speaker should be flat on-axis
from 20 Hz to 20 kHz, offering a listening window of +/- 30 % off-axis,
the first reflections should be smooth along with the sound power
and directivity. His research indicates that listeners will prefer a flat
speaker to one that is hyped in the majority of the cases, when the
two are compared side by side in a controlled, level-matched test.
LISTENING
Listening is the absolutely most critical step in evaluating a
loudspeaker. Finding a speaker that offers what I like to hear while
also providing what I need to hear is the ultimate goal. I dont want
a speaker that flatters me and makes me think that my recording
sounds better than it actually does, because that will result in my
mix sounding worse everywhere outside my control room. I need
a speaker that appeals to my ear but is critical enough, accurate
enough, that it will tell me where and when problems exist.
And listening to the speaker in the space where it will be used
is crucial as well. Unfortunately, read-
ing the specs can only inform a lis-
tener about whether or not a speaker
system might meet his/her needs, but
being able to understand and intel-
ligently evaluate the speaker specs
will get a listener further down that
road. The truth is that there is no one
perfect speaker that fits everyones
needs. The ultimate test is sitting
down and listening. And for that,
youre on your own.
Lynn Fuston is a Nashville-based
recording and mixing engineer, the
proprietor of 3D Audio (3daudioinc.
com), and Technical Editor for Pro
Audio Review.
10 STUDIO MONITOR G E A R G U I D E 2013
The control panel of the Focal SM9, which shows the extensive
control available: five bands of EQ plus Hi-Pass.
Frequency plots showing the audible effects of the
controls on the Genelec 1037c.
A sonically transparent curtain assures listeners will not be
visually biased as they audition speakers at the Multichannel
Listening Lab at Harman International headquarters in
Northridge, California.
FEATURE
BY STEVE HARVEY
T
ranslationthe ability of a fin-
ished mix to sound uniformly
at its best and as it was intend-
edregardless of what system it is
played on, from studio to home to
car to ear budsis all-important in
music recording. One of the most
critical elements for ensuring trans-
lation is the studio monitor system.
But the speakers should not be
considered in isolation. Reference
monitors are part of a larger system
that also includes the monitor control-
lerwhatever is providing the switching
and volume control, and sometimes the
convertersand the listening environ-
ment. The environment, including the
acoustic treatment of a room, is largely
off-topic for this discussion, but one
element, isolation, is affordable and
can make an enormous difference to
the performance of even an expensive
monitor speaker system.
The monitor controller is one of
the most important components of the
listening chain, according to Junior
Sanchez, a DJ, remixer, producer and
engineer long associated with elec-
tronic dance music, but who has worked with artists as diverse as
Madonna, Good Charlotte and Gorillaz. Sanchez, who most recently
collaborated with Steve Angello from the Swedish House Mafia, has
long since made the transition from commercial multitrack studios to
his own home-based facility.
You want the monitor source to be a very real, clean, efficient
source, says Sanchez. You dont want to listen to nonsense. People
dont seem to realize that its a cause-and-effect thing. You invest a
certain amount of dollars and go and get the best monitors you can,
but then youre monitoring through a [cheap controller]. Dont spend
seven grand on a pair of monitors and then monitor through any of
these not-up-to-par pieces of equipment.
Sanchez currently employs a monitor setup that includes a pair
of ADAM S3As with a Focal Sub, a pair of Barefoot MicroMain35s,
and a pair of Auratones. I was a Genelec user, he reports. I had
1031As for a long time. When I came across the ADAMs, I fell in love
with them: I love the high end, the ribbon tweeter and the way it
sounds. Its very open and very true.
But over the years, Sanchez began to feel the need for a second
set of monitors to offer an alternative. I wanted something else,
just so I could A/B, and rest my ears, and have a different source of
reference.
He recalls, I was in L.A. and listened to the Barefoot MM27s
and I fell in love with them; I thought they were amazing. I started to
do more research; I spoke to Jeff [Ehrenberg] at Vintage King, and
got to talk with Thomas Barefoot and saw some of his videos. I saw
how theyre built and structured, and how the subs are positioned
in a way that they cancel the inertia, and the frame basically doesnt
vibrate. You can put them on a desk and youre listening to the
monitors; youre not listening to wood. You could put a feather on
top of one and the feather wouldnt vibrate. I havent been so blown
away by a pair of monitors in a long time.
But, first things first, he says: Before I got my ADAMs, years ago,
I got my Dangerous Music stuff. Sanchez has a Dangerous Monitor
ST with integrated DAC ST for consistent digital-to-analog conver-
sion, plus a Dangerous 2-Bus LT for summing.
Perhaps no less important than his Dangerous monitor control
chain, he continues, are the Primacoustic Recoil Stabilizer isola-
12 STUDIO MONITOR G E A R G U I D E 2013
OF MIXES AND MONITORS
Junior Sanchez
FEATURE
tion pads. I have the pads on all of my monitors, including the
Barefoots, which didnt really need them, Sanchez reports. Those
things are incredible, genius; I dont know why somebody didnt
think of those before. You can really hear the differenceyou get to
hear the monitor for the first time.
Summing up, he says, If somebody really cares about their mixing
environment and theyre willing to go the extra mile, those three ingre-
dientsspeakers, controller, and isolation padsare cost effective.
Your monitors, how you monitor, and isolation, and youre good to go.
Chris Vrenna, drummer with Nine Inch Nails until 1997, and
drummer-turned-keyboard player with Marilyn Manson from 2007
through 2011, is now a busy producer, engineer, remixer, songwriter
and programmer. Vrenna operates out of The Treehouse of Terror,
a well-equipped private production studio in Sherman Oaks, CA,
mainly working with artists at the lower end of the recording budget
scale, such as up-and-coming industrial metal bands Dawn of Ashes
and Italys Army of the Universe, with whom he also performs.
For me, more is better, says Vrenna, who
utilizes four pairs of monitors. I know the prob-
lem with most people in the real world is that
most rooms arent big enough for the speakers
they buy. The two biggest problems for any
home studio, due to the fact that its a garage
or a bedroom or whatever, is that the room isnt
acoustically perfect. As a result, translation can
be a big problem: You take it somewhere else
and its awful.
Vrennas monitor preferences have evolved
over the years, more recently also broadening
to a diverse collection that ensures his mixes
translate. Ive gone through a speaker renais-
sance in the last couple of years. I had always
been a Tannoy guy. I had a pair of 800As, the
active version with the eight-inch concentrics. I
used them for over 10 years.
But then he got to work on a project in
Germany. They had Mackies and ADAMs, with
a sub. ADAMs are great speakers, but, no disre-
spect, theyre harsh to me; I fatigue out on the
high end with them.
The Mackie HR824s were really solid, he
continues. I called West L.A. Music and bought
them. The Mackies get so loud, almost like
mid-fields. Everything I do on them translates.
He then sold his Tannoy speakers and bought
a pair of Dynaudio Acoustic BM5 MkIIs, plus a
fourth set, a pair of Genelec 6010A desktop speakers.
People ask why I have so many speakers: I want to make abso-
lutely sure. I can go between all four sets. We all make our music in
a vacuum but its got to play everywhere. The bass reproduction
is obviously different between all four sets, he observes, but if the
vocals and mid-range stay solid from one set to the next, the mix will
translate outside of the studio.
But ultimately, he comments, he cant advise anyone what speak-
ers they should buy. You cant tell people, this speaker is awesome.
A speaker is a combination of your ears, what sounds good to you,
what fits in the room that you work in, and time. When I bought the
Dyns, I could tell instantly that they were awesome. You just throw the
faders up through Genelecs and it sounds mixed because they have
this hi-fi-ness about them. But they may suck in their room.
That said, there are a lot of really great speakers out there, says
Vrenna: For $1,000 a pair, there is a choice of six or seven amazing
speakers.
Like Sanchez, Vrenna has Primacoustic pads under his main moni-
tors. I have three pairs. They made a huge difference, he says.
Vrenna also agrees with Sanchez that the monitor speaker is
not the only critical piece in the chain. The most important piece
of gear in this room is that Dangerous D-Box. I bought it because I
wanted the summing, but the monitor control was crucial. Pro Tools
goes into it, and my CD player, and its the switcher for the speakers.
Prior to that, I had a $500 piece that has the same featuresit ruined
every mix I did. I had a year where everything was so bad; nothing
worked outside of this room. It was that box. If theres any piece
of gear in-line that is distorting things in such a violent way that it
makes you do something that is not really happening, youre f***ed.
That was happening to me.
Pilsound Studios, a tracking and songwriting studio attached to the
Southern California home of Jeff Pilson, founding member of Dokken
and longtime bass player with Foreigner, features three sets of moni-
tors: Mackie HR824s, vintage Yamaha NS10s, and a pair of Altec
computer speakers. Most recently at the studio, Pilson has recorded
2013 STUDIO MONITOR G E A R G U I D E 13
Chris Vrenna
FEATURE
album projects with T&N, featuring
three original members of Dokken;
Adler, which features former Guns
n Roses drummer Steven Adler;
and tracks for Foreigners three-disc
(two CDs, one DVD) retrospective
and live greatest hits set, Feels
Like the First Time. His next project
at Pilsound will be tracking a new
Starship album, which will include
eight songs written by Pilson, with
singer Mickey Thomas.
The Mackie monitors were
a recommendation from Kelly
Hansen, Foreigners singer, Pilson reports. We were working
together a couple of years ago and I just had the Yamaha NS10s at
the time. He kept saying, My ears get so fatigued on the NS10s. So
he brought over his Mackies. We set them up and I thought, wow!
They were just dimensionally so much better. I still like NS10s for cer-
tain things, which is why Ive held onto them, even though thats not
the ideal listening position for them, but my mixes improvedwhat I
was taking out of here was 30 percent more accurate.
Pilson adds, The Primacoustic pads added another 10 percent
on top of that. I could not believe the difference they made. Bass is
always a problem, and they really cleared that up a lot. Ive got the
sub for the NS10s, but thats not always an accurate read either.
Of his three sets of monitors, Pilson says, Id say 70 percent of
the time, Im on my Mackies, 20 percent on the Altecs, and 10 per-
cent on the NS10s. With NS10s, you have to work to make it sound
good. The problem is, theyre very shy in certain frequency areas,
and dimensional areas. That is something I really enjoy more and
more now, listening to dimension
in recordings. The Mackies just
improved that so much for me.
Pilson frequently takes proj-
ects, including Foreigner, to Total
Access studios in Redondo Beach,
CA for mixing, where owner Wyn
Davis has a pair of Meyer monitors.
The Meyers are really, really nice,
but for a fraction of the money,
these Mackies have the same effect
for me. Not to the same degree;
the Meyers are beautiful. But I
really like these Mackies a lot.
I do a lot of tracking in here. When Im tracking drums, I try
not to use much EQ on tracking; in fact, I prefer none. These help
me get the microphones placed in a way that I think is just so much
more effective. Ive not had any complaints about drums in the last
few things that Ive done from the engineers, says Pilson. I think
those speakers have something to with it.
Perfect Sound Studios, discreetly tucked away in the Hollywood
Hills, recently traded out the main monitors in its control room for a
new pair of PMC IB2S speakers. We refer to them as a game chang-
er, says Jason Donaghy, chief engineer at the tracking, mixing and
mastering studio located close to the heart of Hollywood.
Perfect Sound, which recently remodeled its attached luxury
accommodations, features a new SSL AWS console and a classic 1970s
analog Neve 8014 desk. The world-class facility has attracted projects
by Sum 41, Band of Horses, Ryan Adams and a host of others. Most
recently, says Donaghy, Ive been working with a band called Cynic,
a metal band. Weve been working with producer Maki, whos also an
artist, and a band called Tallahassee,
from the east coast. Ive got two mixes
for a band called Scattered Hamlets
coming up.
Donaghy continues, I love mixing
on the PMCs. I still mix on my NS10s.
But when it comes to tracking, I never
have any doubt about what Im hearing
with the PMCs, which is just a weight
off my shoulders. Theyre great speak-
ers when youre trackingvery detailed
and articulated, and youre hearing
everything that you want to hear. You
can also turn them up and get a good
vibe going, if the guitarist is tracking
in the control room or you need to
impress the client.
In fact, Donaghy and the staff had
considered opting for the next model
up in size in order to get plenty of level
in the room, but PMC recommended
the smaller model. The IB2s are an
absolutely perfect fit for our control
room. Anything bigger would have been
14 STUDIO MONITOR G E A R G U I D E 2013
Jeff Pilson
You cant tell people, this
speaker is awesome. A
speaker is a combination of
your ears, what sounds good
to you,what fits in the room
that you work in, and time.
Chris Vrenna
FEATURE
overbearing, he says. Bryston 7B amplifiers are
driving the passive monitors.
Set up was quick and easy, he reports.
They didnt take much tweaking; we put
the speakers up and that was it. Our room is
treated: we had [acoustician] Vincent Van Haaff
help with it. But theres no tuning on the speak-
ersits pretty much straight out of the board
and into the speakers. I cant speak highly
enough about them. Theyre fantastic speakers,
and very much worth the investment.
The studios trusty NS10s are being driven
by a pair of Bryston 4B-ST amplifiers, with a
Yamaha sub. Ill never get rid of those NS10s;
I grew up using those, so theyre my point of
reference for 99 percent of what Im doing,
says Donaghy. Its a comfort issue.
Perfect Sound also has a set of computer
speakers for reference. We use a little baby
Altec iPod dock sometimes, But thats very
rarely used, he says. Since I got the PMCs, I
dont really need to reference my mix on too
many other things.
Perfect Sound hosted the U.S. VIP debut of PMCs twotwo monitors, shown here side-
by-side in the studios control room with their PMC IB2S models.
REVIEW
BY ROB TAVAGLIONE FOR PRO AUDIO REVIEW
I
n 2010, ADAM Audio first introduced the AX-Series fea-
turing its updated X-ART tweeter plus significantly lower
prices than its flagship SX-Series. The A77X horizontally
positioned, three-way loudspeaker is the top of the five-
model AX-Series.
The X-ART tweeter has an actual diaphragm area (if
unfolded) of four square inches (the equivalent of a 56mm
dome tweeter in area). Crossover is at 3 kHz and the tweeter
reaches up to 50 kHz. The A77Xs 7-inch woofers feature a
double sandwich of fiberglass/carbon fiber/Rohacell and
high excursion. One of its woofers handles only 400 cycles
and below, while the other reproduces lows as well as mid
content up to 3 kHz, where the ribbon takes over. A 100W
PWM-type amp powers each woofer, whereas the tweeter has
its own 50W Class A/B amp. The rear panel houses both XLR
and RCA inputs, a low- and high-frequency shelving EQ con-
trol (at 300 and 5 kHz, respectively, +/- 6 dB) and a tweeter
level control (+/- 4 dB).
The cabinet is a bass reflex design with dual front-panel
ports and optional magnetic shielding. ADAM Audio defines
the A77X as suitable for both nearfield and mid-field monitor-
ing considering its high power (114 dB SPL output long-term),
high SPL levels (122 dB max.) and radiation characteristics.
I incorporated the A77X pair into my workflow, atop my
Primacoustic Recoil Stabilizers and workstation furniture. I
chose to position the mid-woofers towards the outsides of my
sweet spot (the A77X pair are marked as either A or B models
for this), which was the placement that sounded the best with
the best imaging. I proceeded to do only clientless editing and
rough mixing work for the next week and a half. During that
time, I honestly never felt comfortable with the A77X monitors.
After a break-in period, the A77X pair changed completely:
The top end was extremely detailed; high-mids musical; and
low-mids now sounded woody and rich. I was impressed with
ample bottom and punch, even with my subwoofer bypassed.
Dont let the smallish A77X cabinet size, diminutive weight
or 7-inch woofers surprise you: These boxes will rock. They
never shut down, although they will distort if pushed very
hard and they get plenty loud enough to cut guitars in the
control room. My only significant concern is a narrow sweet
spot, making the A77Xs not ideal for situations with more
than one critical listener.
At approximately $2,800 per pair, the A77X is certainly not
a budget monitor; they are destined for professional use. Yet
for the market, I believe they are ideally priced, as the quite
similar Adam SX-Series S3X-H (with identical drivers and same
horizontal config as the A77X) are priced at approximately
$7,000 per pair. Ive listened to the S3X-H monitors, too, and I
find the A77X to be its impressively affordable alternative.
ADAM Audio | adam-audio.com
16 PORTABLE PA G E A R G U I D E 2013
ADAM AUDIO A77X AX-SERIES
POWERED STUDIO MONITORS
REVIEW
BY JERRY IBBOTSON FOR AUDIO MEDIA WORLDWIDE
T
hese are fairly big speakers compared to what
Id been expecting 13.7 high. That puts
them on a par with many compact studio
speakers that youd happily put on stands or
even soffit mount. But thats not the point; what
makes the DBM50s special is the angled front
face. Its tilted upwards, directing the 1-inch
tweeter and 7.5-inch woofer at the users ears.
The idea is that they can be placed directly on
the desktop or working surface, for use in more
confined spaces.
Specifications include 50 Watts of power each
to tweeter and woofer, frequency response from
46Hz to 21KHz, 1.5kHz crossover frequency, an
MDF cabinet, XLR balanced and RCA unbalanced
inputs. On rear of each speaker are an input level
selector (+4dB and -10dB), a high-pass setting for
those using a separate sub, an LF boost/cut, a MF
cut, and an HF boost/cut. These allow for simple
adjustments according to environment; for
example, dialing back the bass if theyre placed
close to a wall.
My source was a Focusrite Saffire Pro 24,
which handily has a Monitor knob on the front,
running off a VAIO laptop. There is an optional
and very posh-looking dedicated volume con-
troller ($69) for the DBM50s ($499 each), but
that wasnt available for the review. The envi-
ronment in which I was testing is my home-
working setup.
Though the DBM50s were fairly close
together and in close proximity to me
(my desk isnt that big), for familiar music
playback, there was still a cracking [British
speak for good Ed] stereo image and
incredible detail to the sound. This wasnt a jaw-
on-the-floor moment as Ive had with other speakers that
Ive tested, but it perfectly suited my listening environment. I then
played back some interview material that I had recently recorded for
a project, using a Roland R-26 and Rode NTG3 mic. Now, this was a
jaw/floor interface moment. Id been listening to this material over
and over on both speakers and headphones and Id never heard it
sound this good. The voices were stunningly reproduced.
Maybe a set of normal right-angled speakers could do the
same job, but youd have to mount them either angled, or high
enough for alignment with the ears. If you were editing video
and needed excellent sound reproduction, these could be just
the thing. Small voice studios and radio production environments
could also put them to great use. But they are truly cracking
speakers and should definitely be on your short-list. Just make
sure your desk is big enough.
Dynaudio Professional | dynaudioprofessional.com
2013 PORTABLE PA G E A R G U I D E 17
DYNAUDIO DBM50 DESKTOP
ACTIVE MONITORS
REVIEW
18 STUDIO MONITOR G E A R G U I D E 2013
BY RUSS LONG FOR PRO AUDIO
REVIEW
F
ocals latest offering, the SM9,
offers the tremendous sound
quality that Focal is known for
as well as the revolutionary concept
of offering essentially two monitor-
ing speakers (a 2-way and a 3-way)
in one unique 12.8 x 19.6 x 15.6
cabinet ($3,995 each).
In 3-way operation, its a three-way
monitor equipped with a Focal hallmark,
one-inch, pure Beryllium inverted dome
tweeter; a 6.5-inch mid/low frequency
driver; an 8-inch cone low-frequency
driver; and an 11-inch cone piston,
extra wide inverted surround passive
radiatorthe last three all Focal W
composite sandwich cones. When set to
Focus mode, it becomes a two-way mon-
itor, utilizing only the tweeter and the
6.5-inch mid/bass driver, making it easy
to preview how well a mix will transfer to
a low-frequency challenged system. The SM9s Treble and Midrange
components are each powered by a 100 W, Class A/B amplifier and
the low frequency driver is powered by a 400 W, Class A/B amp.
In three-way mode, the speaker has a rated frequency response
of 30 Hz 40 kHz (+/- 3 dB) with a maximum SPL of 116 dB (peak @
1 meter) and in two-way (Focus) mode, it is rated at a 90 Hz 20 kHz
(+/- 3 dB) frequency response with a 106 dB maximum SPL (peak @
1 meter). The input is a 10 kOhm, electronically balanced, fed from
an XLR jack switchable between +4 dBu/-10 dBV. The extensive
tone-shaping controls include hi-pass, (45, 60, 90 Hz) Low and High
frequency shelving (+/- 3 dB in 0.5 dB steps) and EQ settings for
Low, Low-Mid and Mid frequencies, 50, 160 and 1 kHz respectively
(+/- 3 dB in 0.5 dB increments). The rear panel also includes a volt-
age selector, IEC connector and power switch.
At 77 pounds per cabinet, these babies are heavy! I guess I
shouldnt be surprised that three powerful class A/B amps in a single
enclosure make for a pretty hefty piece of gear.
After spending three weeks working non-stop on the SM9s, Im
sold. The imaging is spectacular and they provide a flat, smooth and
natural sound regardless of volume level. When the band comes in
the control room for a listen, I can crank up the monitors and kick
butt, but they also sound great at extremely low levels. I like that
there are significantly more tonal shaping tools on the SM9 than on
any other monitor Ive encountered. This allows the SM9s response
to be sonically adjusted to work in spaces with a strong sonic thumb-
print. Low apparent levels of distortion provide non-fatiguing moni-
toring, which is another strong suit of the monitors.
The dual monitor feature is a brilliant idea. I wish there was a
footswitch input so the speaker mode could be changed by stepping
on a single footswitch instead of having to press a button on the
side of each of the monitors.
The implementation of a passive radiator over a ported design
works wonderfully. The low-frequency reproduction in the monitors
is punchy, tight and full. Its nice to use a monitor that provides full-
range reproduction without the need for a sub.
Focal | focalprofessional.com
FOCAL PROFESSIONAL SM9
3-/2-WAY ACTIVE STUDIO
MONITOR
REVIEW
2013 STUDIO MONITOR G E A R G U I D E 19
BY CHRISTOPHER WALSH FOR PRO AUDIO REVIEW
J
BL has hit the sweet spot with the versatile Control 2P
($249 list), a compact powered monitor that fits multiple
applications from audio production to AV, electronic
instruments and home entertainment.
The newest member of the Control Series, the Control 2P is an
ideal size for desktop audio and video. The 35 W/channel system
fits nicely in a DAW setup: in my application, a set of Control 2Ps
provided sound for an iMac-based Logic/Final Cut/Pro Tools home
studio that doubles as a hub for iTunes and CD playback, Internet
radio streaming and DVD-Video playback.
Control 2P monitors are very simple to set up and operate.
Powered master and passive extension speakers, an extension
speaker wire and power supply (all included) are all one needs to be
up and running. For desktop audio, be sure to snap on the included
pedestals for on-axis listeningthe Control 2Ps are quite directional.
For wall mounting, JBL offers the optional MTC-2P kit.
The master speaker features a
white LED on the front to indicate
power. A red LED flashes when
the speaker is approaching
thermal protect mode, and
glows continuously to indi-
cate that the system should
be turned off to cool (in my
experience, neither has yet
to occur).
On the master speakers
side is a large volume con-
trol and eighth-inch head-
phone jack. The rear panel
houses the power switch,
DC power input and most
of the Control 2Ps in- and
outputs. Near the center
are combination Neutrik
XLR/TRS balanced inputs
for the master and exten-
sion speakers. RCA
inputs are also found on
the master speakers back
panel, as is the quarter-inch
extension speaker jack. Lastly, an HF adjust switch applies a +2 or -2
dB high frequency shelf.
Having tested and worked with a variety of desktop monitoring
systems, I found the Control 2Ps the best solution, to date, for my
needs. With an 80 Hz 20 kHz frequency range, they deliver a broad,
accurate spectrum at low and moderate levels (the Control 2Ps can
get plenty loud, too, and remain accurate at high levels). Solid low
frequencies without the need for a bulky subwoofer crowding the
floorthats a welcome change.
In my application, the multiple outputs allow monitoring directly
from the computer, via an eighth-inch to RCA adapter, for Logic and
Final Cut (and iTunes and DVD), or from a Digidesign Mbox for Pro
Tools. My Steinway grand pianowell, the virtual Steinway in Logics
EXS24 mkII samplersounds fantastic through the Control 2Ps; if
that were their only function, they would be well worth the (attrac-
tive) price.
JBL | www.jblpro.com
JBL CONTROL 2P COMPACT
POWERED DESKTOP
MONITOR
PRODUCT SHOWCASE
20 STUDIO MONITOR G E A R G U I D E 2013
Neumann KH 310 A Three-
way Active Monitor
The new Neumann KH 310 A incorporates
newly developed drivers in a sealed cabinet
for accurate, linear reproduction over its entire
frequency response range, fast LF transient
response and the potential for high reproduc-
tion levels. The KH 310 A treble, midrange
and bass drivers, all Neumann designs, have
all been optimized using acoustic simula-
tions and an extensive series of measure-
ments. Bass response extends to 34 Hz, mid
frequencies are re-produced by a dedicated
soft dome midrange driver and high frequen-
cies are handled by an alloy fabric dome tweeter in an elliptical
Mathematically Modeled Dispersion waveguide.
Three class-AB amplifiers and a high capacity SMPS power sup-
ply give the system a high headroom and performance sculpting EQ
allows the system to be adapted to its environment. Tight manufac-
turing tolerances allow any two KH 310A monitors to function as a
matched pair.
ADAM Audio F Series
ADAM Audio has introduced its more affordable F Series profes-
sional monitors, including the F5 and F7 nearfield monitors and SubF
dedicated subwoofer. Both the F5 and F7 employ the companys
new ART tweeter that provides performance similar to ADAMs
acclaimed X-ART tweeter in a smaller size to fit the new form factor.
Designed for smaller rooms, the compact F5 pairs the ART
tweeter with a five-
inch midwoofer, each
component individu-
ally powered by 25 W
(rms) A/B amplifiers.
The F7 has a 40 W
amp for the tweeter
and a seven-inch
woofer powered by a
60 W amp. The SubF
features an eight-inch
woofer with a 150 W
(rms) PWM power
amplifier.
PMC twotwo Active Monitors
PMCs new active series of monitors makes the design approach
of PMCs top lines available at a lower price range. The twotwos
employ PMCs ATL (Advanced Transmission Line) bass loading/
extension approach along with built-in amplification and high
resolution digital filtering. The UK-built line initially comprises two
models, the twotwo.5 and twotwo.6 (pictured here). A third, the
twotwo.8, is slated to extend the line in the first quarter of 2013.
All three share the same core design and features with five-, six-
and eight-inch woofers. An onboard DSP engine is used to opti-
mize driver response, provide a highly precise crossover, maximize
dispersion, and provide component protection. The built-in Class
D dual-amplification delivers 50 W to the tweeter and 150 W to
the bass driver.
Dynaudio M3XE
Studio Main Monitors
Dynaudio Professional has introduced its
20th Anniversary M3XE monitors, pow-
ered by two Lab.gruppen PLM10000Q
amplifiers: a significant upgrade from its
predecessor, the renowned M3A 3-way
monitor. Features include a 20 Hz to 22
kHz frequency response, beyond 133 dB
SPL output potential, Lake Processing,
and more.
The M3XE cabinet includes dual
12-inch woofers with aluminum voice
coils; dual 6-inch Midrange drivers with
75 mm aluminum voice coils; a 1.1-inch
(28 mm) soft dome tweeter, also with an
aluminum voice coil; and a total weight of
132 lbs. Amplification, via the Lab.grup-
pen PLM10000Q, provides 4 x 2300 watts (2 x 2300 W woofer, 1 x 2300 W Mid, 1 x 2300
W HF) with analog and AES/EBU inputs.
PRODUCT SHOWCASE
2013 STUDIO MONITOR G E A R G U I D E 21
Focal Twin6 Be Studio Reference Monitors
The Twin6 Be is a
three-way active
speaker, Focals
best selling model,
built for horizontal
mounting. The
speakers enclo-
sure (black-bodied
with red veneer
sides) houses
two Focal 6.5 inch composite sandwich cone drivers loaded by two
large cross-section laminar bass ports. Focals signature LF drivers
were developed to control cone weight, rigidity, and damping for
transparency of performance with excellent phase response and low
distortion. Both of the 6.5 drivers handle low frequencies but only
one of the two (selectable) passes lo-mid frequencies.
The equally characteristic Focal reversed dome Beryllium tweeter
affords response rated to 40 kHz with accurate image and transient
response. The Twin6 is powered internally by two 150 W RMS ampli-
fiers for the LF and MF drivers and a 100 W RMS amplifier for the
tweeter.
JBL MSC1 Monitor Controller
The MSC1 is both an
automated room correc-
tion tool and a source/
monitor selector/volume
controller for use with any
two pairs of speakers and a
subwoofer. The JBL Room
Mode Correction system
uses a test microphone
and software algorithms to
measure monitor performance in a given environment, and calculates
and applies corrective EQ to optimize the loudspeaker performance.
The MSC1 is housed in a sturdy desktop-ready chassis. All I/O is
on the back of the unit, allowing for three separate stereo sources:
two input pairs are available, one using balanced quarter-inch TRS
and the other using unbalanced RCA connectors. Outputs to two
sets of monitors and one subwoofer are all provided via quarter-inch
balanced TRS outputs. There is also a quarter-inch headphone jack,
eighth-inch I/O jacks for the RMC mic, and a USB connection to uti-
lize the RMC process with a host computer. The MSC1 ships with a
calibration mic, USB cable, and eighth-inch TRS cables.
Genelec SE DSP Monitoring System
The Genelec SE (Small
Environment) DSP moni-
toring system is a full sys-
tem surround solution for
small to mid-sized pro-
duction rooms in need
of precise two-channel
or five-channel surround
monitoring. The sys-
tems include Genelecs
AutoCal self-calibration
system and GLM.SE
(Genelec Loudspeaker Manager for Small Environments) software for
intelligent and automated room-correction processing.
The heart of the Genelec SE DSP System is the 10-inch SE7261A
DSP subwoofer. The 59-pound subwoofer is built around a single
10-inch driver powered by a 120-watt amp, with a 19 Hz to 100 Hz
free field frequency response. The subs eight-channel, digital-only
input is capable of 24-bit, 192 kHz resolution (a companion A/D is
available).
The 8130A monitors have twin 40 W amplifiers driving a 5-inch
woofer and 3/4-inch metal dome tweeter for a 58 Hz to 20 kHz rated
frequency response. Its AES 3 inputs also support 192 kHz/24-bit
digital audio inputs. The 8130A is part of Genelecs latest monitor
designs with the wave guide an integral part of the minimum dif-
fraction die-cast aluminum
IsoAcoustics ISO-L8R130
Studio Monitor Stands
IsoAcoustics has extended its line of surface decou-
plers with the ISO-L8R130 speaker stands, specifically
designed for small speakers with widths exceeding 5
and weights of not more than 20lbs. The ISO-L8R130
stands share all the features found in the award-winning
ISO-L8R155 and ISO-L8R200 (the ISO-L8R family is pic-
tured) including flexibility in height and tilt and patented
floating architecture for audio image stabilization.
The new speaker stands measure 5.1 wide and 6
deep and come with tubing to configure it to either 2.5 or 8 in height and 2 sets of end plugs to provide 14 possible tilt adjustments.
The ISO-L8R130 was developed in response to end-user requests for an ISO-L8R model suited for smaller monitors.
STUDIO MONITOR MANUFACTURERS DIRECTORY
22 STUDIO MONITOR G E A R G U I D E 2013
ADAM Audio
adam-audio.com
516-681-0690
Alesis
alesis.com
401-658-5760
Ambiance Acoustics
calcube.com
858-485-7514
ATC
atcloudspeakers.co.uk
transaudiogroup.com
702-365-5155
Audix
audixusa.com
503-682-6933
Auralex
auralex.com
317-842-2600
Avantone Pro
avantonepro.com
828-523-4311
B&W
bowers-wilkins.com
978-664-2870
Bag End Loudspeakers
bagend.com
847-382-4550
Behringer
behringer.com
425-672-0816
Blue Sky
abluesky.com
516-249-1399
Bose
bose.com
800-869-1855
Dynaudio Professional
dynaudioprofessional.com
519-745-1158
Edirol
roland.com
323-890-3700
Emotiva Pro
Emotivapro.com
615-791-6254
Equator Audio
equatoraudio.com
888-772-0087
Event Electronics
eventelectronics.com
805-566-7777
Focal
focal.com
800-663-9352
Fostex
fostex.com
800-431-2609
Genelec
genelecusa.com
508-652-0900
Griffin Audio
griffinaudiousa.com
914-248-7680
Harbeth Loudspeakers
harbeth.co.uk
603-437-4769
Hot House
hothousepro.com
845-691-6077
IsoAcoustics
isoacoustics.com
905-294-4672
JBL
jblpro.com
818-894-8850
KRK
krksys.com
800-444-2766
Lipinski Sound
lipinskisound.com
877-876-4844
Mackie
mackie.com
508-234-6158
M-Audio
m-audio.com
401-658-5765
Me-Geithain
me-geithain.de
Meyer Sound
meyersound.com
510-486-1166
MK Sound
mksoundsystem.com
855-657-6863
Nady Systems
nady.com
510-652-2411
Neumann
neumannusa.com
860-434-9190
NHTPRO
nhthifi.com
800-648-9993
Pelonis Sound & Acoustics
www.chrispelonisspeakers.com
805-242-1041
PMC
pmc-speakers.com
888-653-1184
Primacoustic
primacoustic.com
604-942-1001
PSI Audio
psiaudio.com
858-414-3900
Quested
quested.com
888-653-1184
Roland
roland.com
323-215-2111
Samson Audio
samsontech.com
631-784-2200
SE Munro
seelectronics.com
800-222-4700
SLS Loudspeakers
slsloudspeakers.com
417-883-4549
Sonodyne
sonodyne.com
transaudiogroup.com
702-365-5155
Tannoy
tannoy.com
519-745-1158
Tascam
tascam.com
323-726-0303
Trident Audio
pmi-audio.com
310-323-9050
Truth Audio
truthaudio.com
850-830-7168
Unity Audio
unityaudio.com
888-572-5825
Westlake Audio
westlakeaudio.com
323-851-1222
Yamaha
yamaha.com
714-522-9105