monitors & headphones guide 2015

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Monitors & Headphones

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TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

InternationalTECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

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BUYER’S GUIDE

BUYER’S GUIDE

Guide 2015

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www.audiomediainternational.com September 2015 03

Sign up for your digital AMI at www.audiomediainternational.com CONTENTS

CONTENTS04 Q&A – For Your Reference

06 Opinion – Carl Tatz

08 Audio-Technica

10 EVE Audio

12 Pioneer

14 Directory

ADVERTISER INDEX

07 Fluid Audio

02 Neumann

13 Pioneer

15 Sennheiser

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> Editor Adam Savage [email protected]

> Managing Editor Jo Ruddock [email protected]

> Head of Design Jat Garcha [email protected]

> Designer Tom Carpenter [email protected]

> Production Assistant Warren Kelly [email protected]

MEET THE TEAM

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Welcome to the latest Audio Media International Buyer’s Guide, which sees us switch our attention to the Monitors & Headphones sector.

Your headphones and monitors might sit at the end of what is usually a very lengthy signal chain, but many would argue that this category of equipment is the most important of the lot. After all, what’s the point in splashing out on the best microphones, preamps, converters and interfaces, only to end up critically listening to your work through a pair of inferior speakers or cans?

Deciding which models to invest it can be difficult though, which is why we’ve assembled this Guide to help make the decision process that little bit easier.

As well as a number of promotional articles from manufacturers, we’ve gone back to studio design expert Carl Tatz to tell us more about the best way to set up a pair of monitors in a control room, following his popular contribution to the May issue of Audio Media International.

We’ve also found another three experienced pros to explain what they look for in a pair of monitors or headphones and share their top tips: audio engineer Dean McCarthy of the SAE Institute in Oxford; Frank Morrone, a veteran re-recording mixer known for his work on Lost and current hit TV series The Strain, as well as Neil Pickles, owner of mastering house Reveal Sound.

Our series of 2015 Guides concludes later in the year with a look at the Consoles market.

Adam Savage, Audio Media Internationalwww.audiomediainternational.com


AUDIO MEDIA INTERNATIONAL

Audio Media International is published by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England. Telephone: 0207 354 6001www.audiomediainternational.com

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Monitors & Headphones

Produced by:

International

TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

InternationalTECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL

THE

THE

BUYER’S GUIDE

BUYER’S GUIDE

Guide 2015

23 FC AMI BGuide 2015_Final.indd 1 27/08/2015 16:37

25 Leader & Contents_Final ISSUU.indd 1 01/09/2015 11:46

Q&A

As a continuation of AMI’s series of Q&A articles with top audio professionals published in our previous 2015 Buyer’s Guides on Microphones and DAWs & Plug-ins, we requested the assistance of three more audio experts to share their views on headphones and monitoring equipment. Step forward Dean McCarthy, audio engineer and degree programme leader in audio production and music business at the SAE Institute in Oxford; re-recording mixer Frank Morrone (Lost, Sex and the City, The Strain) and mastering engineer Neil Pickles…

What do you look for in a set of monitors?McCarthy: Clarity, transparency, punch at low and high levels and a neutral frequency response. I like to work on a range of different monitors during production. Recently I’ve been using a pair of Unity Audio Boulders, which have a wonderful transparency to them. For a few years I worked on PMC IB1s, which can make most things

sound fantastic. For near-fields I tend to work a lot on Genelec 8040s and also reference my mixes off Yamaha NS10s. I consider these my ‘warts and all’ monitors, often revealing some of the other gremlins hiding in the mix.

Morrone: When I listen to monitors I always audition them with material I know intimately, that has a wide dynamic range and full spectrum material from the low to top end. I test them with film and music mixes.

A good monitor will maintain its efficiency at low and high volumes and especially at higher volumes will not alter its flat response and get colored or boosted in the mid range.

I’m immediately aware of monitors that boost the top or low end to make them sound punchier. This is a big problem for me when you are mixing because you will adjust your mix to compensate and then it doesn’t translate to the outside world.

Pickles: I like speakers that are non fatiguing over a long period of time, that deliver a good sound at all volumes, not just loud – this is

crucial – and are quite neutral, though enjoyable to listen to.

And what about headphones? What are the most important factors to consider when picking a pair?McCarthy: Firstly, I prefer to go for open-back units. I find the frequency response and the feel to be more similar to monitors than closed back. I also find I can listen for longer periods and not feel as fatigued.

Secondly, I need to consider comfort. Sometimes you might find yourself wearing these units for long periods, so ensuring they fit nicely is important. I’ve found both the Sennheiser HD650 and beyerdynamic DT990 units are very comfortable and they don’t bother me after hours of editing.

Morrone: With headphones I look for exactly the same criteria I use for monitors. They need to be a reference monitor on my ears. I also look at the comfort factor. When using them for five to

For Your Reference

Still on the hunt for that perfect set of monitors and/or headphones? Our trio of experts are here to help.

04 September 2015 The International Guide To Monitors and Headphones 2015

Neil PicklesPIcture: Mike Banks

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Sign up for your digital AMI at www.audiomediainternational.com Q&A

eight hours they need to be light or well padded to not feel them on your ears. Too much pressure and you have to take them off after a couple of hours and give your ears a break.

Pickles: A lot of consumer headphones are designed to have a smiley curve-type response. Again, they should be neutral and comfortable for long durations of wearing/listening and closed – not open – for sound isolation, and to avoid spill into microphones.

What are your favourite monitors at the moment, and why?McCarthy: The Unity Boulders have been in our main studio for a while and they are very nice. They have a great frequency response with an amazing amount of detail in the high end. They retain a lot of punch and detail when monitoring mixes at low levels. However, I still have a huge fondness for PMC; every unit I have tried from them has been fantastic. I think the IB1s have one of the clearest midranges I’ve heard from any speaker.

Morrone: I have been using the Genelec 8250A in a 5.1 configuration with a 7270A subwoofer. I became a fan of these after using them to do a show in LA and had them installed on my stage at Technicolor. I like them as nearfields because of the detail you hear, especially on the dial. Using their GLM calibration software I find them to match really well to the main monitors. As far as the mains I have always preferred the Meyers. The Acheron 100 is a fantastic main reference monitor.

Pickles: My current speakers are Focal SM9s. I tried a lot of speakers in my room and these are the ones that suited me. The Focals have a smooth top end that I did not find fatiguing, they extend down to 30Hz accurately and they have an amazing focus mode whereby the bass gets disabled and the mid and high speakers (which are sealed) switch to a new crossover for an atypical bookshelf NS10-like speaker.

Which headphones do you use most currently, and what made you choose

those? Do you like to have a number of options available for different projects, or do you use the same pair for more or less everything?McCarthy: For critical listening I often use the beyerdynamic DT990s. I find they have a nice frequency response and are really comfortable. Another pair I was very surprised with was the M-Audio Q40s. Although lower budget and closed-back, I tend to check my projects through these a lot. If it sounds good here, it’s likely to sound good on most consumer-grade headphones.

Morrone: Currently I’m using the Blue Mo-Fi on the mixing stage. They are well designed and have everything that I need as far as comfort, dynamic range, frequency response etc, and when I switch over to my main monitors they match so there are no surprises. The isolation is incredible. I can be listening to dialogue offline while my mixing partner is on the mains.

Pickles: I use Focal Spirit Professional in the studio as they have a very neutral tonal balance and extend quite low. They are great for identifying clicks and pops, detailed editing and ignoring the room when mixing. A lot of people listen with earbuds these days so it’s important to check your mix’s stereo imaging. I use beyerdynamic DT150s for tracking – for musicians and live recordings/location work – as they give the best noise isolation and offer ultimate comfort on very long sessions, but still sound good.

How crucial are your headphones/monitors as part of your set-up? Some consider monitors to be the most important thing of all – do you agree with that?McCarthy: It’s difficult to say what is the one most important thing, but they are certainly very important. There’s no point having great monitors if you have terrible room acoustics, there is no point having great converters if you have terrible monitors, etc. I believe it’s about finding a balance within your budget and within the space you have to work in. Very good monitors tend to have a lot more longevity than many of the other parts of your studio signal path. Computers, converters, software and most other things in the digital domain have a shelf life which could cease when a supplier decides to end support for it. Analogue kit doesn’t have the same issues, so a good set of speakers may last you longer and be a better investment.

Pickles: The most important thing is that your room dimensions are acoustically OK, after that find the speakers that fit you and the room – treatment is easier if the room ratios are

good. It’s all about the room. If your room has issues that can’t be fixed easily, you may want to consider new technology like the Genelec 8260A with auto calibration or the Trinnov system; these are excellent, but a better room is always the best place to start. The headphones must work for you, if you find yourself fighting them you don’t have the right ones. Everything is important; it’s all part of one very big chain. A weak link lessens the worth of everything else.

Do you have any tips on using monitors effectively that you’d like to share?McCarthy: Having a consistent monitoring setup is key, while also making sure to check your mixes against other reference sources like your car and home hi-fi. Don’t listen too loud and for too long – take regular breaks and don’t make big decisions when feeling fatigued. I often listen to mixes at low levels to get another impression of how a mix is balanced. I sometimes also turn it up but take a walk just outside the control room to see if any other warts in the mix appear.

Morrone: I think it’s important that you feel totally comfortable with your choices and the only way to do that is by trying them and then taking your mixes to other studios to see how they translate. Also, always have two references – if not three – in the studio to compare your mix against. With music I always go between small, medium and large monitors, with the small being the Auratones. Each gives you a different perspective on how the mix will sound in the real world.

Pickles: Yes, if working on full-range speakers you need to check your kick drum and bass on smaller systems, which is why I like the focus mode on the SM9s, which have a limited frequency response of 90Hz to 40kHz. People listen to music these days on laptop speakers and cheap earbuds so your ‘massive’ bass drum could disappear for 90% of your intended listeners as these systems roll off below 90Hz or even higher, and you really need to boost a higher harmonic – not the fundamental – to get it back for these listeners.www.athingcalledmusic.comwww.frankmorrone.comwww.revealsound.com

Dean McCarthy

Frank Morrone

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06 September 2015 The International Guide To Monitors & Headphones 2015

OPINION

There are many elements to consider whensetting up a control room monitoring system, such as room symmetry, proper placement of absorption panels at the monitor’s first reflection points, acoustic treatment to calm down reverberation and ultimately subwoofer integration and digital processing.

However, if I were to be asked what one ‘desert island’ do-it-yourself piece of advice I would share with an audio professional, it would unquestionably be what I have coined The Null Positioning Ensemble – the acoustic trinity between the speakers, console and listener. Nothing you do will offer a more impressive result than applying this concept to your existing

set-up, and is an important element to Carl Tatz Designs’ proprietary monitor tuning protocol, the PhantomFocus System.

The accompanying diagram is fairly self-explanatory. You will want to pick up a large 60/30º triangle and use some console tape stretched between the outside corners of your speakers while you place the triangle between the speakers and tape as you work towards getting your 30º angle. The operative word here is ‘work’ because as soon as you change the angle on one speaker, the distance between the two tweeters will change and a sort of see-saw effect will have you quite busy for a while. It takes my assistant and I an entire day to lock them in using a four-

As a follow-up to the ‘How-To’ article in the May issue of AMl, studio designer Carl Tatz explains why his Null Position Ensemble should be adhered to when arranging monitors in a control room.

Carl Tatz is the award-winning studio designer and principal of Nashville-based Carl Tatz Design.www.carltatzdesign.com

The NULL POSITIONING ENSEMBLE™ For Near-Field Monitoring

30 67.5” Tweeter To Tweeter 30

60 60

MONITOR SET-UP 4’ Null Positioning Ensemble™

67.5” 67.5”

6” Console

Focus Triangle 18” Listen More To Music 60 Apex ` Listen More To Speakers

Monitor tweeter height should be approximately at ear level or slightly above – typically between 48” and 50”.

6666 Brookmont Terrace, Suite 1109 Nashville TN 37205 Telephone 615.354.6242 Fax 615.356.4791 www.carltatzdesign.com

Monitor tweeter height should be approximately at ear level or slightly above – typically between 48in and 50in

� e NULL POSITIONING ENSEMBLE™For Near-Field Monitoring

Tatz helpfullaser system we’ve developed. You should be able to get them reasonably close within a couple of hours or so. Remember it is critical that the tweeters are adjusted to the engineer’s sitting ear height – usually around 48-50in.

The apex of your 67.5in triangle should be 18in in front of the console bolster. The listening position is approximately 6in in front of the console bolster as indicated in the diagram. Placing a mic stand at the apex will facilitate getting your distance. Of course, before you start you will want to make sure the console is centred in the width of the room and that your apex is positioned at the centre of the console.

Incidentally, I am frequently asked about the specific 67.5in distance from tweeter to tweeter and how I arrived at the measurement. Frankly, this measurement could deviate an inch or two without having the protocol collapse. It was originally distilled from the meter bridge near-field mounting position on an SSL 400G Plus console. We’ve found that it works quite well with any console or workstation and the reason we keep to the exact measurement is because it allows all our near-field PhantomFocus System installations to be totally consistent all over the US.

Most of you will be using speaker stands and you will likely need to have your speakers cantilever over the console or workstation to get them into position. A suggestion here is that you find a way to adhere your monitors to the stands with some sort of no-slip rubber or even two-way tape, otherwise the speakers will be constantly moving around as you pull the tape across them and you will be chasing your tail.

Careful adherence to the specifics in the diagram is required to experience the desired results. Ball parking the angles, height and distances won’t render the ‘pop’ that you’re looking for. Like finding the pocket for thevocal or guitar in a mix, you’ll know whenyou’ve found it.

If you have taken into consideration the other elements mentioned earlier – in the May issue of Audio Media International – about your control room acoustics, then the results of your labour will be the best imaging possible because you have obeyed the laws of symmetry and physics. The centre image will be very strong as the speakers will seem to disappear and your recognition of pan positioning will be accentuated. This is the way stereo was intended to be experienced and renders a very useful tool for mixing.

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AUDIO-TECHNICA

Audio-Technica’s 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.

The 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 ear pads and three detachable cables.

Pure. Professional. PerformanceThe latest addition to the critically acclaimed M-Series line, the ATH-M70x professional studio monitor headphones feature proprietary 45mm large-aperture drivers and are tuned to accurately reproduce extreme low and high frequencies (5 to 40,000Hz) while maintaining perfect balance. They are ideal for studio mixing and tracking, FOH, DJing, mastering, post-production, audio forensics and personal listening. Crafted for lasting durability, the studio headphones provide excellent sound isolation and are equipped with 90° swivelling ear cups for easy, one-ear monitoring.

The ATH-R70x is Audio-Technica’s first pair of open-back reference professional headphones. Together with the ATH-M70x, they stand as a

flagship model in A-T’s line-up of professional studio headphones. Featuring specially designed drivers and acoustically transparent housings fashioned from aluminium honeycomb mesh, these headphones provide an accurate and natural open-back sound. They also incorporate a new, improved design of our popular 3D wing support system to provide even greater comfort during the prolonged use often required in professional settings. Robust yet lightweight, and equipped with a unique, dual-sided detachable cable that automatically maintains proper stereo orientation (no matter how it’s attached), the R70x headphones are built for lasting comfort, convenience and audio purity.

The Award-Winning ATH-M50xThe original ATH-M50 has been praised by leading audio engineers and journalists worldwide, and the latest ATH-M50x features

Brand New Flagship Models From Audio-TechnicaAudio-Technica’s well-respected professional headphone range has been bolstered again in 2015 with the addition of the M70x closed-back and R70x open-back models.


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the exact same coveted sonic signature as the original, with the addition of refined ear pads 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 ear cups 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 dark green (ATH-M50xDG).

Seen on the heads of everyone from R&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 M40xThe 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 swivelling ear cups for convenient one-ear monitoring, and professional-grade ear pad 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.

Affordable PerformanceThe sonic characteristics of the M40x and M50x are shared even by the less expensive models in the 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.


Sign up for your digital AMI at www.audiomediainternational.com AUDIO-TECHNICA

Audio-Technica LtdUnit 5 Millennium Way Leeds LS11 5AL

E: [email protected] T: 0113 277 1441

INFORMATION

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EVE AUDIO

German manufacturer EVE Audio has quickly risen up the ranks and made a name for itself in the monitor market since its first steps in 2011. In just four years, the company has moved from entry level to build a network of over 50 distributors globally, and with an ever-widening product range for both broad and niche applications covering studio and home recording, post production and more, the company is keen to draw attention to the new arrivals in its offering.

Sales and marketing manager Kerstin Mischke chatted to Audio Media International to reflect on past successes and what 2015 and beyond means for the company and its clientele.

How do you feel about how far the company has come since its formation four years ago?

The constant growth we are currently experiencing nicely demonstrates that our young brand is receiving more and more attention and is becoming more and more known. One of the reasons we consider EVE to be attractive as a newcomer to the market is that our in-house development is of a very high and innovative level. This is something people find in our products and appreciate.

Where does EVE Audio fit into the current market?There are a lot manufacturers in the field and when EVE was officially launched no one was really waiting for another speaker brand. Nevertheless we have managed to establish the brand nicely so far and it has been accepted and welcomed. We believe one of the reasons for this is that EVE Audio is mid-priced; we wanted to

create good-sounding speakers for a reasonable price, and to achieve this we looked at what to focus on and where to invest.

How do you ensure the high quality of product that EVE Audio has become known for?Quality control is done entirely in our headquarters in Berlin, Germany; we established a very intense and very detailed quality control procedure where every speaker is tested for at least 30 hours on a non-stop test run. We can connect them to different voltages and while they are connected they are automatically switched on and off. Those on-and-off-switches happen up to 600 times, dependent on the length of the quality control. We also program the DSP here in Berlin in order to keep full control of how our products sound. Before it leaves the Berlin headquarters

BeliEVEing in betterSatisfied with their foothold in the industry as they continue to go from strength to strength, EVE Audio are now bringing focus onto their latest product offering.


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each speaker receives careful quality control.On the other hand the assembly of certain

products has been outsourced. That means for instance that the assembly of smaller speakers takes place in Asia before we take each speaker to Berlin for quality control and programing. All four-ways and main systems are completely assembled and tested in Berlin.

What does EVE Audio offer customers that other manufacturers don’t?Products and innovative technology, and as a young company we also react very quickly to customer requests. With a small hierarchy but a vast knowledge base, we are able to offer solutions very quickly.

The products speak for themselves; the team behind them support that with strong sales and marketing and a close connection between R&D and support, which works to our advantage.

Although the company is still quite young, our experience in pro-audio and music has grown over more than 20 years; that’s a good fundament to run and maintain a business. We are not only focused on the technical side of studio equipment; our team also has a background in music, instruments and recording.

What key products are taking your company forward?

EVE Audio has a wide product range, from small active speakers to medium-sized models for regular studios, up to main monitors to be used in very large professional and broadcast studios. That includes speakers, subwoofers and also accessories such as mounting solutions or our Passive Monitor Router PMR 2.10, which is a modern switching device to switch between up to 10 pairs of studio monitors and connect two sources max.

While our 5in two-way speaker SC205 and 6.5in two-way SC207 are the top sellers in our two-way range, the 6.5in double woofer SC307 is a very remarkable speaker and the top seller in our range of three-ways.

This year we launched our smallest speaker system – the SC203, which is a master-slave-system with a 3in woofer, a newly developed small µAMT tweeter and a passive radiator to provide an astonishingly low end for a speakerof that size. This master-slave-principle offersan easy connection to different devices: USB,digital optical and of course analogueconnections are possible.

The analogue output allows connecting the SC203 to a subwoofer, for those who need even more low end. That new desktop system SC203 will open new markets for us as we see them being used as pure desktop speakers for workplaces such as video post production, for

gamers and simply as a speaker for home users who want to connect an active speaker to any mobile device.

How do you plan to further establish yourselves?We do a lot of market research and have many ideas for our next steps. This not only means new products but also future upgrades. Besides R&D and the work on actual products, we pay high attention to optimising our CRM so that customers can get information about our monitors and how to use them 24 hours a day, seven days a week. And when it comes to new products our CEO Roland Stenz does not run out of ideas, but it’s too early to reveal details!

EVE AudioErnst Augustin Str. 1a 12489 Berlin Germany

T: +49-30-6704 4180 W: www.eve-audio.com

INFORMATION

SC203 3in Master/Slave SystemThe EVE Audio SC203 is the perfect solution for multimedia application in professional desktops with limited amounts of physical space, as well as for discerning home and gaming users. Each SC203 setup is configured as a two-way master-slave system. It utilises a 3in multilayer woofer and a newly constructed High Resolution µA.M.T. tweeter for astonishing high frequency resolution, combined with extraordinary precision and absolute clarity. Non-detachable loudspeaker grilles protect both woofer and µA.M.T. tweeter against damage, while a dedicated 20W PWM amplifier with separate filter section for precise control completes the system. Passive radiator technology supports the reproduction of low frequencies, allowing the system to go down to a surprisingly low 62Hz (-3dB). All of the frequency response parameters are controlled by high-resolution DSP electronics, supported with a high-quality A/D converter from Cirrus Logic. As the PWM-amplifiers are directly connected to the DSP section, no additional conversion is necessary, which ensuresextreme reliability. For optimal connectivity, the SC203 houses three inputs – analogue RCA, digital optical and USB – which will allow you to conveniently connect a wide range of sources. A volume controlled subwoofer output lets you connect an additional subwoofer (EVE Audio TS107 or TS108) to the master speaker and create a powerful 2.1 system.To further extend its flexibility, each speaker is provided with the FlexiPad, a v-notch shaped orange rubberised pad to decouple the speaker from its base and angle it precisely at 0°, 7.5° or 15°.

PMR 2.10 Passive Monitor RouterThe PMR 2.10 Passive Monitor Router is a modern high-quality 2-in/10-out monitor-switching device designed to be a useful tool wherever there’s the need to connect multiple pairs of speakers.A 19in 1U chassis features two analogue balanced stereo inputs and 10 stereo outputs, all using 6.3mm (0.25in) TRS jack sockets of the highest grade. While the first ones are indicated with green LEDs, orange LEDs display the latter.Speaker selection is made using the included wired-remote via its big and sturdy rotary switch, while the source selection can be made directly at the PMR 2.10’s front panel.An included seven-segment digital display which, with a height of 10cm and two user-defined brightness levels, can be placed in a convenient location to let listeners know immediately what speakers they’re listening to.With its clean and transparent sound characteristics, the included wire-based remote control, and the seven-segment digital display, the PMR 2.10 is a simple but powerful idea.

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RM SERIES MONITOR SPEAKERSDrawing on Pioneer’s rich heritage in speaker design, the RM Series of coaxial active reference monitor speakers for professional studios are the ideal companion for near-field studio monitoring of high-res sounds. The speaker’s coaxial driver unit from Pioneer pro-audio brand TAD ensures that audio from the tweeter and woofer emanates from the same point to provide crisp sound separation across the frequencies up to 50kHz. Designed to look and sound superb, the rigid die-cast aluminium cabinets are contoured to eliminate resonance and are equipped with a proprietary acoustic tube to reduce standing waves and ensure the delivery of clean low to mid frequencies. A three-band EQ and multiple inputs offer producers great flexibility and simplicity in any environment. The speakers come in two sizes – RM-05 (5” woofer) and RM-07 (6.5” woofer).

HRM-7 HEADPHONESPart of a new line of professional studio products, Pioneer DJ’s HRM-7 monitor headphones are designed to deliver accurate, neutral sound to music producers. The HMR-7s feature a newly developed 40mm HD driver unit for a neutral, crystal clear, high-res sound, while dual airflow chambers and a damping structure enhance the bass response. The fully enclosed ear pads deliver optimum sound isolation and are roomy enough inside to enable a wide sound stage and clear audio separation. A freely adjustable headband and memory-foam cushions with velour covers ensure that as well as delivering superb sound, the HRM-7s offer the ultimate in comfort for long studio sessions.

PIONEER

Pioneer Sharpens Studio Sound With New Production LinePioneer has launched a new line of studio products with the release of the HRM-7 monitor headphones and RM Series monitor speakers. Both lines are firmly focused on delivering sound clarity of the highest order across the broadest spectrum of music production.


Pioneer DJ Europe LimitedAnteros Building Odyssey Business Park West End Road, South Ruislip, HA4 6QQ

T: +44 (0)203 761 7220 W: www.pioneerproaudio.com

INFORMATION

n HD-Coaxial driver unit for accurate point source monitoring and sound isolationn 50kHz tweeter for precise high frequenciesn 1.5” hard dome aluminium 50kHz tweetern Rigid die-cast aluminium cabinet with curved contours for superb sound clarity and a great visual aestheticn Pioneer’s patented AFASTiii acoustic tube reduces standing waves for clear low-mid frequenciesn Front-loaded bass re�ex system with grooves for a smooth, clean bassn Low/Mid/High EQ settings for added �exibility and controln Wide range of inputs (XLR and RCA)

Key Features

ACCESSORIES INCLUDE:Detachable 1.2m (coiled) and 3m (straight) cables Replacement velour ear pads Gold Plated 6.3mm stereo jack

n New 40mm HD driver unit with copper-clad aluminium wire faithfully reproduces frequencies of up to 40kHz n Fully enclosed housing improves sound insulation and reduces ambient noisen Large ear chamber for a wider sound stagen Freely adjustable headband and �exible ergonomic design enables both size and angle adjustment for maximum user comfortn Memory foam ear pads with velour covers for comfort and a true sound

Key Features

34 Pioneer Advertorial_Final ISSUU.indd 1 01/09/2015 11:51

The Café D’Anvers installation comprises the GS-WAVE series

3-metre dance fl oor stack with GSA technology, and the XY Series

in-fi ll speakers. All powered by Powersoft’s high performance

K Series amps with built-in DSP. This comprehensive line-up

guarantees versatile installations that deliver superb sound and

complete coverage throughout venues of every shape and size.

visit www.pioneerproaudio.com to learn more about our GLOBAL installations,

venues include Sound Nightclub LA, Sankeys Ibiza, UshuaÏa, Pikes and Bierfabriek

Pioneerproaudiocafe d’anvers | antwerp | belgium

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ACOUSTIC ENERGYwww.acoustic-energy.co.uk+44 1285 654432

ADAM AUDIOwww.adam-audio.com+49 30/86 30 097 0

AKGwww.akg.com+43 01866540

ALESISwww.alesis.com+44 1252 896000

AMBIANCE ACOUSTICSwww.calcube.com+1 858 485 7514

ATC LOUDSPEAKERSwww.atcloudspeakers.co.uk+44 1285 760561

AUDIO-TECHNICA www.audio-technica.com

+44 113 277 1441

AUDIXwww.audixusa.com+1 503 682 6933

BOWERS & WILKINSwww.bowers-wilkins.co.uk+44 0800 232 1513

BAG END LOUDSPEAKERSwww.bagend.com+1 847 382 4550

BEYERDYNAMICwww.beyerdynamic.com+49 7131 617 0

BLUE SKYwww.abluesky.com+1 516 249 1399

CANFORDwww.canford.co.uk+44 191 418 1000

DENONwww.denon.co.uk+44 2890 279830

DYNAUDIO PROFESSIONALwww.dynaudioprofessional.com

EMESwww.emes.de+49 8222 965954

ESIwww.esi-audio.com+49 7152 398880

EVE AUDIOwww.eve-audio.com+49 30 6704 4180

EVENT ELECTRONICSwww.eventelectronics.com+61 2 9648 5855

EXIGYwww.exigy.co.uk+44 1494 761526

FLUID AUDIOwww.fluidaudio.co.uk

FOCAL PROFESSIONALwww.focalprofessional.com+33 4 77 43 57 00

FOSTEXwww.fostex.com+44 03 301 222500

GENELECwww.genelec.com+358 17 83 881

GRADO LABSwww.gradolabs.com+1 718 435 5340

GRIFFIN AUDIO USAwww.griffinaudiousa.com+1 914 248 7680

GRIMM AUDIOwww.grimmaudio.com+31 40 213 1562

HARBETHwww.harbeth.co.uk+44 1444 484371

JBLwww.jbl.com+44 1707 278113

KRK SYSTEMSwww.krksys.com+1 800 444 2766

KS AUDIOwww.ksaudio.com+1 727 447 9656

LEGACY AUDIOwww.legacyaudio.com+1 800 283 4644

LIPINSKI SOUNDwww.lipinskisound.com+1 240 406 7706

MACKIEwww.mackie.com+1 425 892 6500

M-AUDIOwww.m-audio.com+1 401 658 5765

ME GEITHAINwww.me-geithain.de+49 34341 3110

MEYER SOUNDwww.meyersound.com+1 510 486 1166

MISSIONwww.mission.co.uk+44 1480 452561

MK LOUDSPEAKERSwww.mkloudspeakers.com+44 845 262 2882

NADY SYSTEMS www.nady.com

510 652 2411

NEUMANNwww.neumann.com+49 (30) 41 77 24 0

PELONIS SOUND & ACOUSTICSwww.pelonissound.com+1 805 242 1041

PIONEER PRO AUDIOwww.pioneerproaudio.com+44 203 761 7220

PMC LOUDSPEAKERSwww.pmc-speakers.com+44 870 4441044

PRESONUSwww.presonus.com+1 225 216 7887

PSI AUDIOwww.psiaudio.com+41 24 426 04 20

QUESTEDwww.quested.com+44 1404 41500

SAMSON TECHNOLOGIESwww.samsontech.com+1 631 784 2200

SE ELECTRONICSwww.seelectronics.com+44 845 500 2 500

SENNHEISERwww.sennheiser.com+44 333 240 8185

SHUREwww.shure.co.uk+44 1992 703058

SONODYNEwww.sonodyne.com+91 33 23990418

SOUND PROJECTSwww.soundprojects.com+31 36 53 94 570

TANNOYwww.tannoystudio.com+44 1236 420199

TASCAMwww.tascam.com+49 611 7158 0

TRIDENT AUDIOwww.trident-audio.com+44 1803 612 700

TRUTH AUDIOwww.truthaudio.com+1 850 830 7168

ULTRASONEwww.ultrasone-headphones.com+49 881 901150 0

UNITY AUDIOwww.unityaudio.co.uk+44 1799 520786

WESTLAKE AUDIOwww.westlakeaudio.com+1 805 499 3686

YAMAHAwww.yamahaproaudio.com+44 1908 366700

DIRECTORY


36 Directory_Final ISSUU.indd 1 01/09/2015 11:52

Beyond mere headphones, the HD 800 experience takes you to unprecedented spatial acoustics, clarity, and brilliance in reproduction, the finest materials, and handcraftsman-ship “made in Germany.” From the revolutionary idea of its ring-shaped transducer to the principle of the angled sound front to the layered construction of the headband, there was only one criterion: perfection. Beyond headphones begins the world of pure sound – Sennheiser’s world. www.sennheiser.com

Crafted for Perfection

ANZ HD800.indd 1 19.10.2010 17:03:27 UhrProzessfarbe CyanProzessfarbe MagentaProzessfarbe GelbProzessfarbe SchwarzPantone 2925 CV

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monitors & headphones guide 2015

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