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March 2012 l 33 studiofeature

recording to be processed for conventional stereo broadcast and 5.1 DVD release. Post applications are also on the mind of Genelec’s Lars-Olof Janflod, who brooks no hesitation in nominating the 1238CF as the company’s latest innovation during a brief moment of respite at this year’s ISE. The active three-way monitor features DSP technology which takes responsibility for all loudspeaker functions, including crossover filters, driver equalisers, driver position and room response alignment, calibration and equalisation-related filters. The 1238CF repurposes a

number of techniques previously used in larger boxes to suit a more compact form. “We found that a lot of people wanted the same kind of dispersion and vocal tonality [as might be found in a larger monitor], but without the power of a bigger box,” says Janflod, adding that the 1238CF has found a home in a variety of post and smaller recording studios. A comparable multiplicity of purpose is on the mind of many other manufacturers, too. Yamaha, for example, says that its HS-series reference monitors complement a host of stereo and surround applications. The white- cone HS-series can handle applications ranging from relatively straightforward portable recording (two HS50Ms) to a surround production suite (five HS50Ms or HS80Ms with one or more HS10W subs). Sonodyne, meanwhile, has

found an audience in major recording, project, broadcast and post facilities with the SM300, a compact three-way with 8” Kevlar woofer, 4” fibreglass mid and 25mm soft- dome tweeter. The decision to design and manufacture in India, says Dave West from distributor The Audio Professionals, helps to explain the lower price point

than that attached to many comparable systems. “Sonodyne monitors are generally becoming popular for a number of reasons, including their great imaging, separation [and] stereo field. The most common compliments are down to their details and superb upper mids,” adds West.

STILL ‘BOX CLEVER’ London’s Premises Studios is among the latest install destinations of the KRK Rokit Powered 10-3, which is distributed in the UK by Focusrite. A three-way mid-field with a 140W triple amplification system, the 10-3 sports a unique rotatable tweeter and mid-range housing, allowing the proper orientation of the acoustic axis to be maintained. Designed to virtually eliminate diffraction and provide a wider, more natural sounding sweet-spot, the 10-3 includes front-firing slotted ports shaped to reduce port turbulence. RCF, meanwhile, has drawn on

a transducer design with its roots in the 1940s to create the Mytho – a speaker which, says the manufacturer, combines expertise garnered in both the live sound and studio worlds. Impedance Control Coil (ICC) technology, woofers with a 51mm voice coil, a high-definition metal dome tweeter with a high excursion soft polymer surround, a die-cast aluminium cabinet, two separate power amplifiers (200W power for the low frequencies, 100W to drive the trebles) and DSP processing are all part of the Mytho key spec. “With the Mytho Series, the main customer segments are the professional recording facilities and post-production suites; segments where the features and the shape of the sound is very important,” says RCF’s Kenneth Bremer. Traditional recording studio

environments are also still reaping rewards for ADAM

Audio, which attributes part of its success in this segment to the inclusion of proprietary Accelerating Ribbon Technology X-ART tweeters, found in all of the AX and SX monitors. “The A7X is our most popular entry-line model and has received many rewards. [It features] the X-ART tweeter perfectly integrated with a 7.5” woofer made from carbon, rohacell and glass fibre,” says ADAM Audio’s Kevin Bent, noting that a pair of the A7X’s predecessor – the A7 – were recently specified, along with the company’s S3X-Hs and S6Xs, into Italy’s acclaimed House of Glass studio. Finally, it is the mastering sector that is fuelling demand for

PSI’s A215-M two-way active studio monitor. “This is an interesting development [in terms of] the type of design, the incredible linearity of the speaker and the innovative directivity pattern, [and it is] made for new trends in mastering applications,” says Marc Chablaix from Relec.

SEEKING STABILITY? Invited to identify the primary trend in studio monitor design, RCF’s Bremer plumps for “stability. You haven’t seen major developments – [it’s more in the way of] slight improvements. The more radical changes came several years back when most of the manufacturers went from the traditional speaker box design to the more stylised and smooth look of the cabinets.” As Munro surmised in the main feature, it is ‘evolution’, not ‘revolution’, that is the guiding philosophy of the day. Nonetheless, there is plenty of reason to feel upbeat about a manufacturing sector that is eagerly exploring new design enhancements and, more to the point, successfully expanding beyond the traditional studio base into new and rewarding markets

populated by project studios,

producer-led facilities and post houses.

A variety of Choices

Large diaphragm transistor microphones … cardioid, super cardioid, wide cardioid … small and large … with and without transformer … with and without our spe- cially designed microphone amplifier … speech, vocal, instruments, ambience … presenter desks, sound studios, live recording … unimaginable variety?

… or

The 1238CF was on Genelec’s stand at ISE this year

London’s Premises Studios has installed the KRK Rokit Powered 10-3



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