Tag Archives: studio

Flock Audio propagates PATCH digitally-controlled, 100%-analog patch bay routing system selection with LT and XT hardware

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Flock Audio propagates PATCH digitally-controlled, 100%-analog patch bay routing system selection with LT and XT hardware


KELOWNA, BC, CANADA: having revolutionized recording studio setups worldwide with its innovative PATCH system’s killer combination of (PATCH APP) software and 64-point connection-providing (PATCH) hardware working together in perfect harmony as the world’s most advanced digitally-controlled, 100%-analog patch bay routing system allowing anyone to easily control analog audio routings without having to resort to the use of manual patch cables, pro audio manufacturer Flock Audio is proud to introduce its (impending) PATCH LT and PATCH XT hardware releases — respectively representing ‘light’ (condensed) and ‘extra’ (expanded) selections anchored around the same award- winning architecture as the original, offering reduced and increased I/O count — at The 2020 NAMM Show, January 16-19, Anaheim, CA, USA…
Revolutionary as it incontrovertibly was when turning heads and opening musical minds with a show-stopping showcase at The 2019 NAMM Show, subsequently being adopted by hundreds of audio engineers worldwide with workflows benefitting from a design that just makes sense, today the original PATCH hardware remains revolutionary, beautifully built but simple and sleek in operation. On the face of it, becoming the hub of any studio setup is at its creative core, thanks to 64-point (32-input/32-output) connections via eight standard 25-pin D-SUB connectors allowing analog routing control courtesy of the accompanying MacOS- and Windows-compatible PATCH APP routing software, so users can create, store, and recall complex routings in seconds as well as create complex multing combinations with no impedance issues and no AD/DA conversion with a 100%-analog signal path using Flock Audio’s patented Matrix Technology. Simply speaking, the USB 2.0-equipped hardware works with the software in perfect harmony. Furthermore, Flock Audio sensibly saw fit to also include 32 independent channels of 48V phantom power — and allows or denies the ability to enable 48V on any input connected to the PATCH system, so accidental damage to any costly microphone investment is thankfully avoidable. Additionally, two front panel-positioned TRS/XLR Combo inputs and two XLR outputs for quick hardware, microphone, or instrument integration into the routing system are always available — and all without having to unplug anything already connected to the rear of the rack-mounted unit itself. Moreover, multiple PATCH expansion is perfectly possible for those needing more connections.
Conversely, perhaps, PATCH’s 64-point connection capability could conceivably be deemed overpriced overkill for those whose studio setups are a little lighter on the analog audio hardware front. Fortunately, Flock Audio always aims to accommodate, as evidenced by the timely introduction of its (impending) PATCH LT hardware at The 2020 NAMM Show. Small but mighty sums up PATCH’s perfectly-formed simple, sleek, and spectacular sibling, with just enough I/O to create a musical masterpiece. This time, however, Flock Audio allows access to the analog routing matrix of anyone’s dreams as a 32- point (16-input/16-output) connections-adorned affair featuring four standard 25-pin D-SUB connectors, 16 independent channels of 48V phantom power, and one front panel-positioned TRS/XLR Combo input and one XLR output. Out of sight, out of mind, the same reliable connections that seriously cemented PATCH’s recording reputation so speedily are also built into PATCH LT. Indeed, it includes the same external five-pin 24V DC power supply with IEC cable and 10-foot USB 2.0 (USB-A to USB-B) cable. Conveniently, it also works with the same PATCH APP routing software — relatively recently upgraded to instantly identify the connected PATCH hardware model, meaning quick creation, storage, and recall of complex routings as well as creating complex multing combinations with no impedance issues and no AD/DA conversion with a 100%-analog signal path using Flock Audio’s patented Matrix Technology remains the same. Should that smaller studio setup grow, then multiple unit expansion with any PATCH model is perfectly possible, so no need (necessarily) to trade up!
Ultimately, of course, more serious studio setups more often than not have more serious patch bay routing requirements. Really representing everything that is great about PATCH… expanded, PATCH XT packs 192-point (96-input/96-output) connections via 24 standard 25-pin D-SUB connectors into a 3U eye-catching casing that means business but also acts as a reminder that analog routing need not be be the ugly part of audio production! Put it this way: with 96 independent channels of 48V phantom power, lockable USB 2.0 connector with included 10-foot USB 2.0 (USB-A to USB-B) cable, more room to house an internal power supply with included IEC cable, cooling-without-compromise redesigned airflow, and (optional) CAT5 Ethernet host control for bridging longer distances between the hardware unit itself and the PATCH APP routing software host, PATCH XT is extra extraordinary! And as if this is not enough to keep the most serious studio owner seriously satisfied with Flock Audio’s ultimate development of the world’s most advanced digitally- controlled, 100%-analog patch bay routing system allowing anyone to easily control analog audio routings without having to resort to the use of manual patch cables, multiple unit expansion with any PATCH model is also available.
As company founder and Flock Audio CEO Darren Nakonechny notes: “We believe every audio engineer, whether developing their craft in the basement or award-winning professional studio, deserves superior recording tools.” Thanks to the timely introduction of PATCH LT and PATCH XT at The 2020 NAMM Show — uniting over 115,000 registrants from 130 countries and regions at the global crossroads of music, sound, and entertainment technology, the trailblazing Canadian pro audio manufacturer has taken two selective steps towards making that happen for even more audio engineers worldwide with workflows benefitting from ‘light’ (condensed) and ‘extra’ (expanded) designs that make more sense than ever! 

PATCH LT is scheduled to ship in Summer 2020 with an MSRP (Manufacturer’s Suggested Retail Price) of $1,499.00 USD — pricing subject to change without notice — through Flock Audio’s growing global network of authorized dealers (https://www.flockaudio.com/dealers) or online directly from Flock Audio itself (https://www.flockaudio.com/buynow).

For more in-depth information, please visit the dedicated PATCH LT webpage here: https://www.flockaudio.com/patchlt
PATCH XT is scheduled to ship in Winter 2020 with an MSRP of $9,999.00 USD — pricing subject to change without notice — through Flock Audio’s growing global network of authorized dealers (https://www.flockaudio.com/dealers)
or online directly from Flock Audio itself (https://www.flockaudio.com/buynow).
For more in-depth information, please visit the dedicated PATCH XT webpage here: https://www.flockaudio.com/patchxt 





Krk released limited white noise edition g4 monitors

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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. 

My Zaor Miza Jr bedroom set up

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The Idea is simple… create a small bedroom set up to be able to create music, work on sample pack layouts, and have FUN with synths and samples WITHOUT my computer. I think with this set up I am off to a great start.

Everything sits atop the Zaor Studio Furniture Miza Jr desk. this helps keep the cables out of sight and the look matches the original 1960’s wall print in our bedroom. the Miza features a nice pull out tray designed for 61 key controllers and slim synths. here I have the jdxa on it which is admittedly a bit deep but, hey I just got it and wanted to feel it out. I will likely swap the Jdxa for the Deepmind 12 in the coming weeks. https://zaorstudiofurniture.com/index.php?page=miza

for monitoring I am using the Ik Multimedia iLoud micro monitors… whats great about these is that not only are they a sleek white that goes great with the wall, but they sound quite nice without being bulky or overbearing in the room. For added convenience they have bluetooth and the bluetooth MIXES with the incoming audio. so if you pair your phone to them you can still use them as monitors and a playback device. really nice!

The Arturia Minibrute 2s plus Rackbrute combo is allowing me to have a mini version of my larger modular rig for sample fodder. currently I am using the ReBach Catch vco-AB and VCF-AB along with the D-Env and TraniModule for the bulk of sound creation to add depth to the minibrute 2s sound engine. the onboard sequencer of the 2s is really quite powerful and allows me to get 3 melodic lanes of sequencing at once.

The main sequencer and overall scratch pad is the MPC live. This is a nice compact way to sample in my synth sources without having to rely on a laptop computer. Built in features like through put monitoring allow me to run all my gear through the mpc and jam in realtime. I then use the looper function to catch my sources in real time. often I like to work without midi to keep a loose human feel on the productions.

In the coming weeks I expect this set up to evolve with gear coming in and out of this set up but the goal will be for it to remain small and clean. pretty far opposite of my main studio set up.

Heritage audio announces successor stereo compressor

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Heritage Audio announces SUCCESSOR STEREO BUS COMPRESSOR missing link like no other


MADRID, SPAIN: having made sizeable (sound) waves when bringing its innovative RAM Systemrange of monitor- controlling solutions pioneering Bluetooth audio streaming, plus premium processing, excellence-exhibiting ELITE SERIES mic preamps to market in 2018, European pro audio manufacturerHeritage Audio aims to repeat its successes several times over during the course of 2019, starting with an announcement of the upcoming SUCCESSOR STEREO BUS COMPRESSOR — a new stereo bus compressor like no other on the market — as of January 22…
What better way to make a formal introduction, then, than withHeritage Audio CEO Peter Rodriguez’s rallying call, centred around a bold opening statement: “SUCCESSOR is the missing link between your separate tracks and a full and round-sounding hit, allowing vocals to shine through without muddying the backing track.”
That being boldly said, why settle for sterile VCAs (Voltage Controlled Amplifiers) in mix or instrument bus applications now that theSUCCESSOR STEREO BUS COMPRESSOR — to give it its full and apt appellation — will soon be on the market?Meanwhile, back to the man with a successful SUCCESSOR STEREO BUS COMPRESSOR-centred plan, Peter Rodriguez: “Feel how your separate tracks interact and blend together in a way that’s not possible when master bus compression duties are relegated to the mastering stage.”
So what’s the thinking behind the SUCCESSOR STEREO BUS COMPRESSOR, then? Traditionally, bus compression has been taken care of by VCA-style devices, based on ICs (integrated circuits), which are wholly unrelated to the warmth, fatness, and character associated with discrete Class A technology trading on chunky transformers and diode bridge-based gain reduction. Results show that the SUCCESSOR STEREO BUS COMPRESSOR can capably deliver on all of those attributes and then some.
“Snare drums can be more present, and the stereo image widens as there is more natural room for tracks to breathe; vocals stand out in the mix without being overwhelming or muddying guitars or other instruments.” So says Peter Rodriguez. And he should surely know.
Knowingly making use of Carnhill transformer-coupled balanced inputs and outputs for added character and vintage vibe, Heritage Audio’s new SUCCESSOR STEREO BUS COMPRESSOR is, indeed, a true stereo diode bridge-based bus compressor with advanced sidechain filtering and built-in parallel processing capabilities, sharing the same Class A ’73-type output stage that the Spanish company is famous for.
Fortunately for the discerning, diode bridge-based bus compression excels at bringing about 2nd order harmonic distortion characteristics and true vintage tone while eliminating nasty odd harmonic content. Clearly, by being based on legendary vintage diode bridge designs, the SUCCESSOR STEREO BUS COMPRESSORkeeps the sonic character of such units alive, albeit adding new features into a pleasingly-musical mix, making for a very different animal in its own right — one which will make mixes shine in modern production environments. Ultimately, ultra-fast ATTACKand RELEASE control times that are not present in vintage designs allow for far more flexible settings, such as FET-like sounds and volume maximising without transient artefacts.
Are there any additional noteworthy features to be found on the soon-to-be-market-leading SUCCESSOR STEREO BUS COMPRESSOR? Why, of course! Complex sidechain filtering options, which work well with already commonplace high-pass filters to introduce mid-band peak filters and high-frequency compression to allow bus correction that was not previously possible — ultimately, users can tailor their mixes in ways not previously possible, in other words; SIDECHAIN L and SIDECHAIN R SEND and RETURNconnections, allowing for external sidechain signals or further external processing of the internal one; BLEND control (with dedicated ON/OFF button allowing for instant comparison betweenWET and DRY signals), offering built-in parallel compression with no external equipment required; and, last but not least… true stereo operation on single controls with matched gain cells for extremely precise left/right tracking and almost zero offset between channels — compression tracking works in ‘Oxford’ mode, meaning that the highest signal takes over compression as opposed to summing the left and right channels.
From FET-like, all-buttons-in drum sounds — now in stereo! — to VCA-style mix bus compression with the added warmth and fatness that only transformers can bring to the table, the SUCCESSOR STEREO BUS COMPRESSOR literally lives up to its notable name. After all, it is designed to stay hooked up to the mix bus and make mixes shine forth for all to hear, so making mixes a success is the name of the (Heritage Audio) game (plan)!
Planning on attending The 2019 NAMM Show, January 24-27 in Anaheim, California? Come feast your ears on Heritage Audio’sSUCCESSOR STEREO BUS COMPRESSOR alongside other tasty pro audio treats there on RAD Distribution’s booth (15318). 

The SUCCESSOR STEREO BUS COMPRESSOR will be available by the end of Q1 via Heritage Audio’s growing global network of dealers (https://www.heritageaudio.net/where-to-buy/) with an MSRP of€1,299.00 EUR (excluding VAT) and MAP of $1,499.00 USD.

For more in-depth information, please visit the dedicated SUCCESSOR STEREO BUS COMPRESSOR webpage here:https://heritageaudio.net/catalogue/successor/
Watch Heritage Audio’s informative introductory SUCCESSOR STEREO BUS COMPRESSOR video here:https://youtu.be/KbtJPrV1DaY 



New zaor studio furniture maestro series announced

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studio furniture designer and manufacturer ZAOR Studio Furniture is proud to announce availability of its Maestro series — symbolising a new line of workflow-focused desk developments — as of January 14…
A Maestro is often defined as a distinguished conductor or performer of classical music — or, alternatively, a distinguished figure in any sphere. So, given that ZAOR Studio Furniture’s latest line of desk designs were developed in close collaboration with some of the best mastering/mixing professionals around, as well as manufacturers of some of the best mastering gear available anywhere, such as award- winning audio gear developer SPL, theMaestro moniker is, indeed, highly appropriate. As such, the new product line’s many features were carefully chosen to suit.
Starting with the larger Maestro 36, all aspects of its intended workflow were thoroughly analysed with new or improved solutions implemented for each as a direct result. Reality dictates that mastering Maestros will form its primary — though not necessarily exclusive — user base, so, since they will be applying final polishing touches to the sound of mixes or edits, listening experience enhancement lies at the heart of this thoroughbred design: an extra low profile prevents the desk from getting in the way of the all-important sound reproduction, aided by back- sited VMT absorption panels by self-styled Innovative Acoustics Solutionsprovider Vicoustic to minimise chaotic reflections and resonances, while the work surface itself is made from AERstop, an acoustic material that reduces reflections and deftly doubles as a mouse pad. Perfectly sized, an armrest aids smooth typing and reduces wrist stress.
Since Maestro 36 itself is effectively more ‘air’ than structure, sound is not boxed in — improving the listening experience from an acoustic standpoint; it also allows air to flow freely — keeping working temperatures at optimal operating levels. Additionally, a dual (audio/power) cable path separates signals from power leads, thereby keeping hum and other inductive noise to a minimum. Meanwhile, chrome bars with pre-fitted Velcro strips allow for fast and clean (re-)cabling.
As implied by name, Maestro 36 features 36 rack units, ultimately divided into three sections of 12U apiece, angled upwards at a gentle incline across the desk to accommodate all the tools essential to the job at hand. Here they are positioned within easy reach, realising focused workflow within a minimal footprint. Furthermore, an additional 18U of forward-facing rack space — split into three 6U sections — can be installed at floor level where visual contact is less important; installing only 12U of forward-facing rack space (split into the two 6U sections located to the left and right) as an alternative allows the user to stretch their legs in the space between them while working. Behind the angled rack units is a flat plane — lowered so as not to impede sound travel — that can comfortably carry computer screens at eye-level, near-field monitors — sited on optional isolators to avoid sound transmission through the desk itself, which would lead to smearing in the lower frequencies — for cross-checking mixes, and/or metering… nothing superfluous, nothing amiss, as ergonomics and acoustics are beautifully integrated to live together in perfect harmony. Mr McCartney might well approve; at any rate, his chosen mastering engineer would — with certainty!
Again, as implied by name, the smaller Maestro 24 tempts users with packing 24U of the most essential pieces of rack gear (in two sections of 12U angled at a gentle incline) across a desk design superficially similar to its Maestro 36 bigger brother to form a processing powerhouse suited to smaller spaces with all attributes present and correct — cue padded armrest, dual cable path, low profile, acoustic optimisation, and integrated mouse pad. Again, taking its innovative design cues from its Maestro 36 bigger brother, an additional 12U of forward-facing rack space — split into two 6U sections this time — can be installed at floor level.
Literally symbolising a new line of workflow-focused desk developments, then, the family Maestro members are constructed from MDF (Medium-Density Fibreboard) and hand-selected solid wood to cater for today’s production-savvy pro audio specialist. Simply put, they each encompass everything engineers, musicians, and producers always dreamed of owning. Of course, now that dream has become reality — realised as compact, great-looking, and affordable packages available to anyone. All are flat packed for easy transportation and assembled and disassembled easily, thanks to professional hardware.
Handily, the must-see Maestro series will be showcased by ZAOR Studio Furniture on Booth 17214 at The 2019 NAMM Show, January 24-27 in Anaheim, California. Come check them out! 

Maestro 36 and Maestro 24 are available to order (in Cherry Black, Silver Black, or Black finishes), either directly through the Zaor Online Shop (https://zaorstudiofurniture.com/shop/en/order) — including free shipping within the EU — or via ZAOR Studio Furniture’s growing global dealership network (https://zaorstudiofurniture.com/index.php?page=dealers) with respective RRPs of€2,999.00 EUR and €2,399.00 EUR, including tax.

For more in-depth information, please visit the dedicated Maestro 36 product webpage here:https://zaorstudiofurniture.com/index.php?page=classicmaestro36
For more in-depth information, please visit the dedicated Maestro 24 product webpage here:https://zaorstudiofurniture.com/index.php?page=classicmaestro24




Zaor Updates the MIZA range to MKII with refinement and style

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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

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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 (https://www.avantonepro.com/us-dealers.php) in August 2018, priced at $699.00 USD per pair. (Worldwide Distributors are listed by country here: https://www.avantonepro.com/worldwide.php)
For more in-depth information, please visit the dedicated CLA-10TM webpage here: https://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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