MIXING MONITOR


In spite of the fact that the tonal balance, phase coherence, and impulse response of all traditional AVALON Acoustics products is impeccable, professional products must surpass these qualities. Loudspeakers used for the professional recording practice tend to be moved around a lot and play a determining role in the final mix of an audio production. Soundstaging in the monitoring phase of recording must precisely match the actual placement of microphones and instruments. Phase cancellations between microphones must be clearly heard; a two-inch change in mike position must be easily hearable through the monitoring system. They must, above sounding very good, be ultimately revealing towards flaws in the rest of the recording chain. This is evident not only in issues of misplacement of microphones or instruments, but even things such as broken cables or other related disturbances

This means a speaker that is correct in all possible audio disciplines, easy for transportation, and with a robust finish that fits a professional outfit. The recording engineer and record producer are integral elements in creating the mood and dynamic of a recording. We believe that only by providing those artists with the proper tools, will their contribution to a project be fully realized
AVALON Acoustics loudspeakers have traditionally created a musical sound stage, a harmonic balance of instruments and singers, which is as correct as possible in comparison to the world of real space. Since these designs have proven to be successful in this respect, many professional engineers have asked us for a product that would also have more practical characteristics for the professional; in other words a working tool.

What a scalpel is for a surgeon, this speaker is for the professional audio engineer. Knowing how to use the tool is as important as the precision of the tool itself, but ultimately the latter is much easier to master then trying to do the job with the wrong tool. Removing an appendix with a chainsaw is possible, but most likely it will kill the patient'…. Recording with a loudspeaker that reproduces it's own character by scattering the sound image with a spread impulse response, and changing the tonal balance by harmonic inter-modulation distortion, is a bit like chainsaw surgery. You end up with a recording that might sound OK on that particular speaker, but the lack of control makes reproduction on other sets unpredictable and mistakes in the recording arrangement might not be detected in time.
AVALON Professional Products has spent a lot of time and effort together with those engineers to produce a product that works like a scalpel and sounds like real music.

The basis of this monitor speaker is the same as traditional AVALON loudspeakers with respect to the essential shapes that have proven to produce impeccable phase coherence across the frequency spectrum. Impulse testing (Figure 1) demonstrates the correct time alignment of tweeter and woofer. The facets and the backward leaning architecture are fundamental for any AVALON product.
What is new is the extra emphasis we put into transient response. It is a proven fact that human hearing has several mechanisms that determine what a sound is and where it comes from. Transient response is likely to be responsible for the localization part of our hearing and thus it should be immaculate in a transducer. Any smearing of impulses causes the ear to start looking for other cues in the sound, like amplitude (volume) and frequency determination. This proves to be a tiring exercise and distracts the mind from the emotional content the musical program has to offer. Stereo reproduction then sounds 2 dimensional and tiresome to listen to, many things we all recognize as being the biggest difference between live music and reproduced music.
Special Crossover filtering and signal manipulation, along with carefully chosen materials for the drivers and passive components, gave us the ability to engineer a speaker that can follow the natural impact of sound sources registered by good microphones. Many microphones these days have a transient response (rise and settle time) of less then 15 to 20 microseconds. The new media like SACD and DVD can capture these transients correctly by using very high sample rates and gentle filtering. This means the loudspeaker must be able to follow and reproduce these cues that are so important to our hearing. Figure 2 shows the 3-D waterfall plot, detailing frequency response over time. The smooth decay plot reveals the Mixing Monitor to be free from resonance and distortion.
The combination of State-of-the-Art diaphragm materials, proprietary crossover circuitry, and renowned cabinet construction in The Mixing Monitor produces a smooth and wide polar response (Figure 3) that reproduces music unparalleled in accuracy, imaging, and resolution. Note the cardioid pattern that is smooth, wide, and without "lumps". This result translates directly into size relationships remaining constant whether in the center of the mix, or placed off to the sides. An open stage presentation without size or tonal distortion is the result.

This monitor is designed as a quasi mid-field speaker. This means the distance for optimal frequency and impulse response is between 1.2x and 1.4x (with x being the distance from tweeter to tweeter). Theoretically the loudspeakers can be as close or as far apart as required, the limitation being first reflection artifacts from wall or other surfaces, and the ability of the amplifier to deliver coherent and resolute energy. This latter effect limits the distance the speakers can be spread apart, but is not a function of the speaker itself. Soundstage and tonal balance are reproduced optimally with this formula, given the restriction of a relatively neutral control room. If the latter is less ideal you may change the bass response of the units by replacing the port on the bottom-side This then will introduce a trade-off situation between impulse response and frequency response. Beyond about 2.5x, the loudspeakers will once again throw a wide and coherent soundstage. This affords musicians standing at the rear of the control room who are listening to playback the ability to get a good feel for what they have recorded. What you will find however is that the performance of this speaker is less likely to be dependent on the room it is used in, primarily because the coherence of initial transient response is very high, and will build up the sound stage very easily. Where you would have to spend a long time tuning traditional speakers during set-up, this process will be a lot easier with these units; again an advantage for the professional recording engineer. What you will find is that the clearness and accuracy of the reproduced sounds offers you a wide range of choices as to how to manipulate these sounds, and ultimately, improve your work. Again the cuts you are able to make with this scalpel are very delicate…



Figure 1: Impulse testing of the Mixing Monitor demonstrating correct time alignment of drivers.






Figure 2: 3-D Waterfall graph of The Mixing Monitor






Figure 3: Polar Response of the Mixing Monitor with smooth and wide dispersion.




Complement: 1" concave ceramic dome tweeter
7" Nomex-Kevlar woofer
Sensitivity: 87 dB (2.83V, 1 meter)
Impedance: 6 ohms (5.5 ohms minimum)
Frequency Response: 58Hz to 24kHz (+/ 1.5 dB, anechoic) (In room, typical 3 dB point is below 46Hz)
Recommended Amplifier Power: 75 to 200 Watts
Wiring Methods: Two position terminal block
Weight: 14Kg each



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Nuove Mixing Monitor,
verniciatura Black Grand Piano



 
Acustica Applicata - Tel. +39 0583 730322 - Cell. +39 340 7565285
Fax +39 0583 730914 - info@acusticaapplicata.com - P.I. 01441820469
2009 - Realizzato da: Michele Lucchina