Black Lion Audio PG-P Portable Power Conditioner with power filtering

Black Lion Audio announces availability of PG-P Portable Power Conditioner complete with proprietary PG-P PORTABLE FILTERING TECHNOLOGY


CHICAGO, ILLINOIS, USA: boutique audio company Black Lion Audio is proud to announce availability of its PG-P Portable Power Conditioner — a studio-class power conditioner complete with proprietary PG-P PORTABLE FILTERING TECHNOLOGY to provide the same noise filtering found in the majority of rack-mount power conditioners, despite looking like a run-of-the-mill surge protector — as of July 15…
Poor-quality power is the bane of many musician’s lives. Let’s face it, poor-quality power knows no bounds — in homes, on stages, and especially rehearsal rooms. Whether working with modern modeling amplifiers or vintage synthesizers, poor-quality power has a nasty habit of adversely affecting signal paths, which is never a good thing. Thankfully, Black Lion Audio has been trusted by musicians for years to modify the best gear and make it even better, which is exactly what it took to create the PG-P Portable Power Conditioner — taking industry-standard designs, and improving them to the point of peak performance.
Power conditioning, of course, comes naturally to Black Lion Audio. After creating an acclaimed line of confidence-inspiring, rack-mountable power conditioners, including the recently released PG-2 (https://www.blacklionaudio.com/store/products/pg-2/) — a full-featured peak performance power conditioner with a 120V Power Grid of 14 outlets providing an average of 99.7% of noise filtering, thanks to proprietary PG-99 Filtering Technology, the Chicago-based boutique audio company collectively felt that the time had come to provide the world with proper portable power.
Put it this way: while the resulting PG-P (Power Grid Portable) might well look like a run-of-the-mill surge protector, in reality it is a studio-class power conditioner that not only provides more noise filtering than other portable power conditioners but the same noise filtering found in the majority of rack-mount power conditioners! Cue proprietary PG-P PORTABLE FILTERING TECHNOLOGY, as boldly blazoned in writing across its top panel. Pictures paint a thousand words, according to the saying, so picture this: the PG-P itself is built using premium Panasonic capacitors, selected due to their superior execution in eliminating high-frequency noise that robs equipment of its peak performance. Interestingly, in testing, this provided an average of three times the noise filtering capability of other portable power conditioners at the same price point.

Perfect for any musician’s rig, the PG-P provides studio-grade power on the go via six wall-wart-spaced outlets, backed by confidence-inspiring Ground OKProtection On, and Clean Power On LEDs. Let the music play… in homes, on stages, and even rehearsal rooms! 

PG-P is available to purchase through Black Lion Audio’s growing global network of dealers/distributors (https://www.blacklionaudio.com/dealers) with a MAP (Minimum Advertised Price) of $69.00 USD and an SSP (Suggested Selling Price) of 69.00 EUR (excluding VAT).

For more in-depth information, please visit the dedicated PG-P webpage here: https://www.blacklionaudio.com/store/power-conditioners/pgp/

Focal Adds to the affordable Alpha Evo monitor line with two new entries

Focal Releases Two New “Alpha Evo” MonitorsNew affordable Focal monitors offer 5-inch and 6.5-inch drivers


Montreal, Canada — March 25, 2021 — Today Focal has announced that it is shipping the new Alpha Evo monitors, Alpha 50 Evo, and Alpha 65 Evo. These replace the current Focal Alpha 50 and 65 models in that range, while the current Alpha 80 are still available. The two new Focal Alpha Evo products are available at retailers in the US and Canada on March 25, 2021, and have suggested retail prices of Alpha 50 Evo $349. USD each, and Alpha 65 Evo $449. USD each. 

Alpha Evo 6.5

Focal evolves its Alpha range with the newly unveiled Alpha Evo. New features, new technologies, new design: The Alpha 50 Evo and Alpha 65 Evo studio monitors offer high performance at a price unrivaled in their market, providing ultra-powerful, professional tools to more people than ever. With these new products, the French brand showcases once again its sound expertise and its position as a global leader. 

Performance & Versatility
Dedicated to music creation and all reproduction, the Alpha 50 Evo and Alpha 65 Evo offer excellent sound coherence, no matter where a user is listening. For renewed performance, Focal has chosen an aluminum inverted dome tweeter to ensure vast sound dispersion, as well as the Slatefiber cone. This recycled carbon cone, produced exclusively by the French brand at its Saint-Étienne workshops, has been chosen for its neutrality and dynamics. Focal is constantly renewing its offerings, drawing on its acoustics expertise of over 40-years and its innovation capacity. This is demonstrated by the new large laminar port, which limits distortion noise. 

New Features: Evo for Evolution. 
The Alpha Evo monitors boast a new ?-inch (6.35mm) TRS input jack, in addition to the XLR and RCA analog inputs, an automatic standby mode that can now be switched off by the user, and inserts for wall and ceiling fastening. All these new features make Alpha Evo a truly versatile monitor range for Mixing, Mastering, DJs, and Broadcast. In terms of amplification, the monitors are each equipped with two class D amplifiers. The high current capacity of these amplifiers allows full control of the signal dynamics. They also allow high volumes to be reached without distortion. Each of the loudspeakers picks up the smallest details in the mix, across all musical styles. 

Design and Cabinet-Making 
The monitors feature a 5/8-inch (15mm)-thick MDF cabinet and incorporate internal braces to ensure it is highly robust, even at the highest levels of acoustic pressure. The bass-reflex design has been used to ensure easy acoustic integration in even the most cramped spaces. In terms of aesthetics, the traditional cube monitor shape makes way for rounded contours. The side panels create a sophisticated, robust, and modern design which contributes to excellent acoustics and a unique and harmonious signature style across the collections. 

Key features of Focal Alpha Evo monitors: 
* Excellent dynamics 
* Wide dispersion enabling the same sound to be maintained throughout the entire room 
* Slatefiber cone manufactured in France 
* Identical tonal balance at both low and high volume 
* Connect up to 3 audio sources 
* Inserts for wall fastening 
* Automatic standby mode can now be switched off by the user
* Protective grills included 

The new Focal Alpha Evo products are available at retailers in the US and Canada on March 25, 2021, and have suggested retail prices of Alpha 50 Evo $349. USD each, and Alpha 65 Evo $449. USD each. 

Discover Alpha Evohttps://www.focal.com/en/pro-audio/monitoring-speakers/alpha-evo

For more information on Focal Professionalhttps://www.focal.com/en/pro-audio

About Focal Naim America
Focal Naim America (formerly Audio Plus Services) is a leading North American importer and distributor of premium consumer and professional electronics brands including Focal Professional, SPL of Germany, IsoAcoustics, Zaor Studio Furniture, Vicoustic, and EarSonics. Based in Montreal with U.S. shipping facilities in Champlain, NY, the company has sales personnel located throughout the United States and Canada to professionally service their active roster of more than 350 specialty A/V and Pro Audio dealers. The company specializes in products and services for the professional audio and performing musician markets, as well as the home theater and custom integration (CI) market – both residential and commercial – for North America. 

For more information about Focal Naim America visit their website at https://www.focalnaimamerica.com or call (800) 663-9352.

All trademarks are the property of their respective holders.###
Many more Focal Alpha Evo photos available & high-resolution available, email: pauljdb@gmail.com

New Focal Alpha 50 Evo and Alpha 50 Evo: 

My thoughts on the SPL Marc One Monitor and Recording Controller

In a home studio setting there are a few things to consider when working on a mix, sound designing , or generally exploring sound that will be eventually played back in other listening environments. One of the major factors is of course how a mix will translate across different audio monitors.

Because of this necessity for mix translation, it is not uncommon to have more than one set of monitors in your set up. Often times this can pose an issue for home producers on how to accurately switch between monitors and gauge how a mix is translating between monitors.

I tend to handle a lot of preset design, and testing of gear pre and post release. This means I am often trying to evaluate sound for a variety of environments and use cases. Often I need to be critical of strange unexpected behavior in audio gear. Listening on more than one set of monitors and with a variety of options can be critical for this task.

This is where the SPL Marc One comes into play. The obvious actions are of course the ability to simply flip a switch and flick between two sets of monitors. This sounds trivial but there is more to it than that.

The first is that there are two sets of monitor inputs, one with a sub and one without, I tend not to use the sub output as my monitors sub has a built in cross over so the stereo out routes through the sub. Between the A/B monitor switch is the OFF position. This is a handy quick mute function to turn off both monitors.

The volume control is a large knob with analog control. This is important to me. It means monitoring at lower volumes will not reduce audio quality of playback as some digitally controlled devices may do. It also means that I always have direct hands on control of my audio level, no glitches or hang ups will prevent control.

The Marc One Front and back

Next to the volume is our Stereo controls. This allows us to quickly flip between mono, stereo and Flipped monitor configurations (flipping the left channel to come out the right speaker and visa versa.) I have to admit while I am used to using a mono control for mixing , the left right flip was a bit of an eye opener to me. Many people have a dominant ear and its been proven that we perceive music differently in one ear and speech in the other. I found myself using this switch more often than I expected and it really helped me trouble shoot some strange audio issues.

Next up are two small LED that indicate if the converters are being overloaded. This can not be understated. I have become very aware of the sound of modern day converters overloading and how they can alter your sound. in the modern age this can be slightly more complicated than in the past due to converters having soft clipping built right into them. Often times this soft clipping isn’t the harsh digital clipping we have grown accustomed to spotting so easily. Having a quick overload LED indicator is quite nice to just confirm that you are within the limits before any sort of distortion can occur.

Now before moving on lets just talk a bit about those converters. These days converter tech has really exploded and we have some fantastic chips out there. the SPL Marc One takes advantage of this by using the AK4490 converter chip for the USB audio which enables sampling frequencies up to 768kHz. Those numbers are rather astounding and delivering a 10Hz–200kHz frequency range, 121dBu of dynamic range, -99dBu of self-noise, and 0.002% total harmonic distortion. These are literally top shelf numbers.

These Analog audio inputs can be blended with USB digital audio inputs utilizing the convert mentioned above. there is a smooth control to blend between these inputs.

Next up with have the Headphone controls. Here you will notice a familiar volume control but then you are presented with a “Crossfeed” control. This is the Phonitor Matrix headphone controls. What this does is essentially allows your headphone output to have a bleed across left and right channels while also simulating speaker angle of 30 degrees and a center level of -1db. All controlled through one Crossfeed knob to adjust to taste and your headphones no longer sound like static left right cans on your head. They feel like speakers in a physical space. What I like about this is that it didn’t feel like an effect slapped onto a mix. listening to familiar material it simply made my headphones melt away and I felt like I had a pair of monitors at a proper listening positioning in front of me. There is still proper channel separation going on but it doesn’t feel hard line like headphones usually feel. I found my self enjoying music with headphones on and preferring the crossfeed turned up about 3/4 of the way up.

My Use case might be a tad different from others. One of the recommended methods of operation is of course to send your DAW output direct to the USB input on the Marc One. For me I was primarily using the Analog inputs and I would use an Ipad input into the Marc one for sound designing presets on the ipad. I like to work stand alone from my computer quite a bit and my audio interface often acts as a patch bay without forcing me to use a DAW. This method was seamless with the Marc one and VERY helpful. It essentially means you have the highest quality iOS audio output available… whats not to like?

So lets get to the cons… I had tho really think about this and honestly I think the only thing I would have liked to see included on this would be a way to disengage the sub on channel A with a footswitch while still sending audio out channel A (this is often a separate device though and understandable.) I also would have really liked a Dim as well.

Overall I really enjoy it. much of the design is over the top with quality. Thats something I can always get behind. Who do I think really benefits from a controller like this? I think especially people with audio interfaces that do not already have monitor controlling built in certainly. However I currently use a MOTU 828es as my main interface and it has monitor controlling built in already. Thing is the MOTU has a Mute and mono but it does not have the immediate analog volume control, the channel swap, the Crossfeed Phonitor headphone mix nor the ability to add in the USB audio of an external source without having to dive into my software.

SPL Marc One Monitor and Recording Controller Features:

  • Monitor and recording controller built with top-drawer components
  • Switchable outputs for 2 pairs of speakers
  • Subwoofer output switches on and off with speaker pair A
  • 2 analog stereo inputs and 1 digital input — enough to hear your mix and reference tracks
  • 3 monitoring modes: Stereo, Mono, and Channel Swap
  • AK4490 converter chip enables sampling frequencies up to 768kHz
  • Class AB output stage with ample power for a wide range of popular headphone models
  • Phonitor Matrix with Speaker Angle, Center Level, and Crossfeed parameters for a speaker-like monitoring experience
  • Supplied 12V plug-in power supply
  • Secondary internal power supply generates +/-17V for the analog audio sections for pro levels up to +22.5dB

Price $799 USD

If you don’t want the USB capabilities. you can opt for the SPL Control one which offers the same features minus the USB input and monitor blend for $599

Krk released limited white noise edition g4 monitors

KRK LIMITED EDITION ROKIT G4 “WHITE NOISE” MONITORS NOW AVAILABLEStylish White Finish Gives the Recently Launched ROKIT G4 Range a Whole New Look
NASHVILLE, DECEMBER 2, 2019 – KRK Systems, part of the Gibson family of brands, is adding a new family of studio monitors to its latest ROKIT Generation 4 (G4) range, the limited edition ROKIT G4 White Noise. Available in 5-, 7-, and 8-inch bi-amp models, these stylish limited-edition monitors offer the same impressive features as the newly released ROKIT G4s, but with an enticingly different aesthetic. Art and science come together with the new White Noise editions of these professional monitors, taking music and sound creativity to a whole new industry-level.  Providing wide, deep and dynamic listening, along with incredible imaging, KRK’s ROKIT G4 studio monitors have been scientifically re-engineered and re-designed from the ground up. They are ideally suited to the way modern artists work—in all genres and environments. The entire ROKIT G4 range features on-board DSP-driven Graphic EQ with 25 settings to help condition any acoustic environment while offering new levels of versatility in a studio monitor—making them the only monitors in their class with an LCD screen to display DSP-driven EQ settings. The flat setting is great for most environments, but low-, mid- and high-frequency presets can be adjusted to help compensate for common trouble spots in different sound environments. This on-board system works in conjunction with the KRK Audio Tools App, available for free on the Android and iOS stores. Additionally, all system elements of the ROKIT G4 monitors are cohesively designed and engineered to work perfectly with their advanced drivers made with Kevlar®, efficient Class D power amplifiers and front-firing port, which offers exceptional low-end extension, punch and flexible room-positioning. These features collectively extend accurate and tight bass reproduction and improve audio integrity while minimizing listening fatigue—offering an overall balanced listening experience. 

IK Multimedia’s iRig Stream stereo audio interface now available

ovember 7, 2019 – IK Multimedia announces the availability of iRig Stream. This mobile-friendly audio tool is part of IK’s Creator Series for video content creators, YouTubers, live streamers, musicians, DJs, podcasters and other social media broadcasters looking to capture high quality audio directly using a mobile device.

Ideal for content creators and musicians, iRig Stream is a mobile audio interface that combines multiple audio sources down to one track for recording or streaming in mono or stereo with the user’s mobile device and their favorite app.

Two line-level RCAs offer quick connection to mixers, keyboards and outboard gear, and the included Lightning, USB-C and USB-A cables can connect to the latest smartphones, tablets and laptops.

An innovative headphone/microphone jack offers both direct monitoring and an easy way to add a voice-over to a stream. Compatible with most earbud/mic combos as well as IK’s analog iRig accessories, it offers a comprehensive solution in an ultra-compact unit.

An intuitive set of gain indicators and gain control make it easy to set the appropriate level, and 24-bit, 48 kHz A/D converters ensure superior sound. A Stereo/Mono switch ensures compatibility with the widest range of apps, including mono-only apps like Instagram, and a loopback feature lets users playback music on their device at the same time they stream.

Five-time Latin GRAMMY-nominated producer, composer and percussionist Tony Succar has relied heavily on tools in the iRig range to grow his social media following. In the video here, he gives a glimpse into the way the new iRig Stream can now help artists and social media creators stream their videos and performances more easily.

Pricing and availability
iRig Stream is available for $/€99.99* from the IK Multimedia online store and from authorized IK dealersworldwide.

* All prices excluding taxes

For more information, please visit: www.ikmultimedia.com/irigstream

To see iRig Stream in action, visit: www.ikmultimedia.com/irigstream/video

ELK audio releases open source dev kit for raspberry pi

Elk Audio OS for everyone! – Elk releases open source version of award winning Audio Operating System and Development Kit for Raspberry Pi.

Elk Audio OS is the award-winning Audio Operating System from Elk (​formerly known as MIND Music Labs) ​that allows you to run existing VST and other plugin formats on hardware instruments and audio devices in real time with ultra low latency. And this using only ​general purpose ARM and x86 CPUs, opening up for a new generation of digital instruments and remote 5G network experiences.
In the upcoming weeks a beta version of the Elk Audio Operating System will be made available under a Dual licensing model (open-source & commercial), but already today, the Elk Audio OS SDK & documentation is available and is free for anyone to start using. Available on ​elk.audio is also an ​Elk Audio OS Development Kit for Raspberry Pi​ that includes a custom​ Elk Pi Audio Hat. The Elk Pi Hat alone is one of the most advanced pro Audio Hats in the markets with down to 1 ms latency, multichannel and support for Raspberry 4 coming up in the very near future.
“The idea behind the Elk Audio OS is to make a whole new generation of connected musical instruments possible. Instruments that can connect people around the world and spur new kinds of musical creativity. We believe there are so many potential instrument makers out there who could create fantastic things if they just had the right tools, and it is for them we have created Elk. So today I’m very happy to announce that we have reached a major milestone in our company, when we can make Elk available to everyone through the open source release.”– Michele Beninicaso CEO at Elk (former MIND Music Labs)
Elk Audio OS is officially endorsed by ​Steinberg​, owners of the ​VST format, is supported in the VST3 SDK and is fully compatible with plugins written in ​JUCE​, making Elk the perfect solution for companies and makers alike interested in developing new digital hardware instruments. With VST being the defacto standard for software instruments and effects there is already a vast library of existing world class plugins out there waiting for a new life as hardware. An example of this is theRetrologue desktop prototype synth built on the VST synth with the same name debuted earlier this year at ​SuperBooth​ in Berlin.
“When working with Elk Audio OS on the Retrologue we immediately recognized something that could be a game changer. Running the same VST plugin on hardware as you do on desktop opens up for new possibilities and new ways of working. Getting Elk Audio OS available under open source is really exciting and I believe that this could make Elk a standard for digital hardware instruments.”– Florian Haack, Steinberg
ADCIf you are one of the lucky ones to have grabbed a spot at the ​Elk workshop at this years ​ADC (Audio Developer Conference) this news should be even more exciting. Not only will you get a hands on workshop from the core team of developers behind the Elk Audio OS, but you are also the first ones out to get access to the full ​Elk Audio OS Development Kit​, including the ​Elk Pi Audio Hat​. For those of you who have not secured a spot, make sure not to miss the planned ​talk on Elk Audio OS​!

Zaor Updates the MIZA range to MKII with refinement and style

ZAOR Studio Furniture furthers MIZA range reach with MkII modifications and additions
ORADEA, ROMANIA: stylish, ergonomic, and affordable studio furniture-maker ZAOR Studio Furniture is proud to announce availability of several new revisions and additions to its marketable MIZA product line (catering to the ever-widening range of musicians, DJs, video artists, and such like looking for a comfortable and yet affordable working environment) — namely, the MIZA D-Stand MkII desktop speaker stand, MIZA Jr. MkII flexible media desk, MIZA Rack 12 MkII and MIZA Rack 16 MkII side racks, and MIZA V-Stand 36 and MIZA V-Stand 42 speaker stands — as of September 20…
As implied by name, MIZA D-Stand MkII marks ZAOR Studio Furniture’s new and improved revision of its original MIZA D-Stand desktop speaker stand from four years back. Benefitting from a more modernised (all-black) look, it includes more features. For starters, it is now height-adjustable by up to 50mm (above its 200mm-high horizontal configuration) and can also be angled at up to 9° while providing better acoustic isolation courtesy of four hemispheres made out of a synthetic viscoelastic urethane polymer that minimises transmission by up to 95%. With weight-bearing capabilities belying its diminutive (260mm x 260mm) footprint — up to 25kg when used horizontally and 15kg when angled, a pair of MIZA D-Stand MkII desktop speaker stands can be added to any desk to turn it into a production environment easily and speedily.
Similarly, MIZA Jr. MkII marks ZAOR Studio Furniture’s revision of its original MIZA Jr. flexible media desk for computer-based workflow while targeting video and audio applications. As such, this time the company set about streamlining the production process, resulting in a reduced RRP (Recommended Retail Price) — down to €439.00 EUR (for MIZA Jr. MkII) from €499.00 EUR (for MIZA Jr.), so the end result remains focused on providing the user with a no-compromise workspace without breaking the bank. Better still, specifications remain remarkably similar to what they were with a perfectly sized (1250mm: W x 650mm: D) top plate for fitting into smaller spaces. Saying that, this is supplemented by a 61-note keyboard controller-accommodating (1129mm: W x 308mm: D) pullout draw, which is height adjustable in seven steps of 7mm, while a lower passageway positioned rearwards retains unsightly cables, conveniently keeping them out of sight. Strongly constructed from Melamine-faced chipboard with a strip of solid wood along the front edge of its top plate for aesthetic and protective purposes, MIZA Jr. MkII is available in Cherry/Black and Wenge/Grey finishes, flat packed for easy transportation and assembled easily.
Appropriately-monikered, the MIZA Rack 12 MkII and MIZA Rack 16 MkII side racks represent revisions of ZAOR Studio Furniture’s original MIZA Rack 12 and MIZA Rack 16, stylish 12U and 16U open airflow designs that both benefit from a repositioned cable passageway — sited behind the practical low-level drawer — to comfortably accommodate rack-mountable equipment without any depth restrictions via quality rails angled at a gentle incline using the included cage nuts, screws, and washers. What’s more, both feature a sizeable (600mm: W x 500mm: D) top plate, providing an additional work surface suited to any studio setup. Strongly constructed from Melamine-faced chipboard, MIZA Rack 12 MkII and MIZA Rack 16 MkII are available in (MIZA Jr. MkII-matching) Cherry/Black and Wenge/Grey finishes, flat packed for easy transportation and assembled easily.
Ending on a new-fashioned note, the self-explanatory MIZA V-Stand 36 and MIZA V-Stand 42 speaker stands are an all-new addition to ZAOR Studio Furniture’s marketable MIZA product line. Like the musician-friendly MIZA D-Stand MkII before them, they marry a modern (black-finished) look with a moderate cost, but not at the expense of delivering a stable solution with zero resonance — everything needed in a fixed-height 36-inch (MIZA V-Stand 36) or 42-inch (MIZA V-Stand 42) speaker stand, in other words. While absolutely affordable, MIZA V-Stand 36 and MIZA V-Stand 42 adhere to the best standards of technical performance and design, both benefitting from a (300mm x 300mm) top plate-affixed Aerstop absorption pad for decoupling speakers weighing up to 40kg from within whatever room they are asked to perform — perfectly levelled, thanks to adjustable feet on the (300mm x 300mm) bottom plate.
Put it this way: with the MIZA V-Stand 36 and MIZA V-Stand 42 additions available alongside the MIZA D-Stand MkII, MIZA Jr. MkII, and MIZA Rack 12 MkII and MIZA Rack 16 MkII revisions, ZAOR Studio Furniture is now even better positioned to cater to that ever- widening range of musicians, DJs, video artists, and such like looking for comfortable and yet affordable working environments.
The MIZA D-Stand MkII desktop speaker stand, MIZA Jr. MkII flexible media desk, MIZA Rack 12 MkII and MIZA Rack 16 MkII side racks, and MIZA V-Stand 36 and MIZA V-Stand 42 speaker stands are available to order either directly through the Zaor Online Shop (https://zaorstudiofurniture.com/shop/en/) or via ZAOR Studio Furniture’s growing global dealership network (https://zaorstudiofurniture.com/index.php?page=dealers) with an RRP of €179.00 EUR (per pair), €439.00 EUR, €369.00 EUR, €399.00 EUR, €139.00 EUR (each), and €159.00 EUR (each), respectively.
For more in-depth information, please visit the dedicated MIZA product webpages via here: https://zaorstudiofurniture.com/index.php?page=miza

Avantone Pro CLA-10TM brings the Classic white cone monitor back

Avantone Pro brings ‘back’ to market much-loved nearfield studio monitoring mainstay with closely-matched CLA-10TM
“I put my mixing reputation on these great speakers… I am mixing on them as I write this.”
– Chris Lord-Alge, GRAMMY® Award-winning mix engineer (Avril Lavigne, Green Day, Bruce Stringsteen, Tina Turner), 2018
TALLMAN, NY, USA: affordable high-quality audio products producer Avantone Pro is proud to announce availability of its CLA-10TM classic studio reference monitor — manufactured as a full-range, two-way passive pair for fixed or remote locations while also accurately recreating an iconic studio monitoring mainstay, much loved in the music industry among pop and rock recording engineers to this day as a valuable mixing tool with which to reveal shortcomings in recordings — as of June 22…
Times change, as does technology. That being said, today’s newly developing age of high-definition audio does not necessarily negate recording shortcomings. Studios still primarily use two- or three-way large monitors designed to represent a wide range reference viewpoint at higher listening levels and there is still a need to hear what a mix will sound like when played back over small systems, such as car stereos, clock radios, computer speakers, and televisions. Indeed, it is important to make mixing judgements based on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full-range drivers. Paying particular attention to the critical midrange vocal/guitar/keyboard areas is always advised.
As such, over a year of R&D (Research & Development), comparative listening, and tweaking went into voicing Avantone Pro’s CLA-10TM while working in close collaboration with five-time GRAMMY® Award-winning mix engineer Chris Lord-Alge — hence having his signature grace the finished, familiar-looking cabinet. The result is a very accurate recreation of an iconic studio monitoring mainstay, much loved in the music industry among pop and rock recording engineers to this day (despite discontinuation of the original product in question back in 2001). Much more recently, listening tests in studios show that recording engineers accept the CLA-10TM as a transparent replacement — just ask Chris Lord-Alge, an assuredly talented and incontrovertibly impressed individual, as evidenced by his following flattery: “I put my mixing reputation on these great speakers… I am mixing on them as I write this.”
The CLA-10TM clearly meets its engineering and performance objectives, attributed, in part, to a 10.4-litre sealed design cabinet constructed of non-layered, high-rigidity MDF (Medium-Density Fibreboard) — chosen for its natural low-resonance characteristics — finished with an outer layer of real wood veneer. Visually and tonally fusing the past with the present, Avantone Pro utilised the latest in FEA (Fine Element Analysis) modelling to achieve its custom-designed 180mm AV10-MLF low-frequency driver based on paper cone construction with ‘old-school’ speaker design artistry, thanks to the finest pulp material that performs as closely as possible to the original by being press formed rather than die cut for tonal consistency. Cloth surround material is made in Japan for added authenticity and has unique damping characteristics, enabling a predictable compliance over the lifespan of the driver. Avantone Pro’s custom-tooled frame supports the driver/cone combo to minimise mechanical transfers while the 35mm AV10-MHF high frequency silk dome-based tweeter is as close a match to the original as can be made, making for both a frequency (60Hz – 20kHz) and voicing match to the classic sound so admired by the likes of Chris Lord-Alge — hardly surprising since those aforesaid AV10-MLF and V10-MHF critical components have been extensively field-tested in top LA and NY studios to universal acclaim as drop-in replacements for both Avantone Pro’s own CLA-10TM and also the iconic studio monitoring mainstay it recreates so accurately.
Anyone seeking a transparent replacement for their much-loved nearfield studio monitoring mainstay as a valuable mixing tool with which to reveal shortcomings in recordings should seriously consider investing in Avantone Pro’s CLA-10TM. Clearly its sound should be as familiar as the distinctive looks it also accurately recreates. Indeed, its (381.5mm x 215mm x 197.5mm) cabinet dimensions and (6.3kg) weight will make transitioning to the carefully crafted CLA-10TM when waving goodbye to the ‘dearly departed’ seem seamless. Some studio visitors may even do a double take when told that the same speaker stands or console bridge boast new classic studio reference monitors!
The CLA-10TM arrives at Avantone Pro’s US Dealers (http://www.avantonepro.com/us-dealers.php) in August 2018, priced at $699.00 USD per pair. (Worldwide Distributors are listed by country here: http://www.avantonepro.com/worldwide.php)
For more in-depth information, please visit the dedicated CLA-10TM webpage here: http://www.avantonepro.com/cla-10.php
Watch five-time GRAMMY® Award-winning mix engineer Chris Lord-Alge’s compelling CLA-10TM introductory video here: https://youtu.be/ZFLmP9XWyhg
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