This page contains a Flash digital edition of a book.
TECHNOLOGY FOCUS


Sonodyne has launched the SRP series. The five models are the SRP 350, SRP 400, SRP 500, SRP 600, and SRP 800. The monolithic, pressure die-cast moulded rigid cabinet eliminates coloration caused, typically, by cabinet vibration. The non-parallel edges minimise standing wave build-up. This results in a smooth and extended low frequency response. The SRPs use two discrete amplifiers per speaker. These hefty class AB amplifiers have oodles of power and headroom and provide a clean, undistorted signal. DSP- based internal processing with high quality ADC and DAC is employed for the crossover and also provides the 0.75dB step calibrated HF and LF room compensation EQs. The silk dome tweeter in each of the SRP models is nested in a custom waveguide to produce on- and off-axis linearity and a wide, detailed soundstage. The stiff woven fibre of the Kevlar cone minimises cone breakup. Combined with a powerful motor system this results in high-grade performance both in terms of deep bass and excellent transients. Sturdy wall mount brackets allow for smooth motion and positioning in both horizontal and vertical planes. On the front is a level control ranging from mute to +6dB with centre detent at 0dB. www.sonodyne.com


The SP Acoustics SP1MA is a three-way speaker exhibiting virtually no harmonic distortion, delivering a true representation of the sound perfectly suited to critical listening. From the choice of aluminium cones, constrained layer damped cabinets, and under hung voice coil drivers to their 24-bit/96kHz digital crossover, SP Acoustics monitors deliver detail with a wide bandwidth and accurate time and frequency response. The SP1 range includes the SP1M passive speaker, the SP1MA active monitor, and landscape counterparts the SP1ML and SP1MLA. SP Acoustics has just released the smaller passive SP25M and the active version SP25MA, which use the same high-quality components used in a smaller sized cabinet, ensuring the same stunningly transparent and neutral sound albeit a slightly smaller bandwidth and SPL. www.kmraudio.com


The next active professional monitor following the Unity Audio Rock is the Boulder. This shares some of the same interesting material and designs such as a Baltic birch plywood cabinet but this time 18mm instead of 12mm as used in the Rock. A Corian front baffle is used again like the Rock and bonded to an internal wooden baffle, but the Boulder uses a 30mm slab of Corian instead of the Rock’s 12mm and with large radius edges to reduce reflection. Like the Rock, this new model will boost true fidelity, fast, accurate detailed sound but with extended bass response, even more detailed mid range, and higher SPLs for larger rooms. Two 180mm (7in) woofers are used; the same woofer model as in the Rock, and this will increase low-frequency extension and achieve higher SPLs. A new dual coaxial midrange and tweeter is employed. This unit is a combination of a flat aluminium honeycomb midrange ring radiator and a concentrically arranged folded 50kHz ribbon tweeter. This design realises the vision of an acoustic point source. Due to the modular design of the Rock amplifier, the Boulder uses the same amplifier modules from the Rock but it employs a total of four amplifier cards per cabinet: one for each woofer, one for the mid, and one for the tweeter. www.unityaudioproducts.co.uk


The original Studiospares SN10 studio monitor was inspired by the demise of the Yamaha NS10. The NS10 was – and still is – used in studios to gauge the sound that the average listener would hear when they replay a track on a CD. Now the SN10 takes the same idea but improves it in three ways: giving it a more substantial tweeter that doesn’t blow so easily; a larger 8in driver to provide more low- frequency bottom end; and an enhanced power output of 80W. With its attractive price point it has found a home in thousands of studios over the last few years. More recently Studiospares has introduced an active version of the SN10, the SN10A. The difference between the two is the Aktivate85 powering unit, which Studiospares also offers as a separate product that will turn any passive monitor into an active one. www.studiospares.com


The second generation of Yamaha ‘HS’ nearfield reference monitors, like their predecessors, share the same design philosophy as the NS10M studio monitors and the subsequent MSP range. Providing accurate signal reproduction and excellent sonic performance, the new HS Series consists of three models – HS5, HS7, and HS8


– which employ a new, highly efficient tweeter providing an extended high frequency range up to 30kHz. The matching HS8S 150W powered subwoofer provides an extended bass when a well-defined bottom end is required. A low resonance bass-reflex enclosure built using a three-way mitred-joint technique ensures that the


corners of the speaker are firmly anchored leading to improved durability and the elimination of unwanted resonances that can colour the original sound. Yamaha’s ‘Vortex Sound Control’ technology is deployed to decrease unwanted airflows around the speaker ports. This in turn reduces audible noise by up to 6dB. www.uk.yamaha.com


The Focal SM9 concept is the result of over three years of R&D where every component and function was designed from scratch utilising over 30 years of design experience. The SM9 uses the best of Focal technologies such as a brand new pure Beryllium inverted dome tweeter, 6.5in and 8in ‘W’ composite sandwich cone drivers, and an 11in passive radiator. The SM9 also uses FOCUS, the latest Focal technology that combines two monitors within the same cabinet (three-way monitoring system and a two-way monitor) to verify mixes on a bass-limited speaker like televisions, computer systems, car systems, and iPod speakers. www.focal.com


38 January 2014 www.audiomedia.com


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52