Event TR5 & TR8

Active Monitors

Published in SOS December 2003
Bookmark and Share

Reviews : Monitors

Event build on their tried and tested design principles to offer two new sets of affordable active speakers.

Paul White

Photos: Mike Cameron
EventMonitors1.s

The Event two-way active TR8 monitor has evolved from the popular Event 20/20BAS model and utilises the same specification of cabinet, driver and fourth-order electronic crossover. Where the new model differs from its predecessor is in the use of a newly designed, high-efficiency amplifier circuit that claims lower distortion, smoother amplitude and phase response, and an extended frequency response. It can also give out a slightly higher SPL, while at the same time being quieter and offering better common mode rejection via the balanced inputs.

Examining Past Events

For the benefit of those unfamiliar with the Event lineage, the TR8 and earlier 20/20BAS both use a one-inch, magnetically shielded soft-dome silk tweeter that is ferrofluid-cooled and driven by a neodymium magnet. This crosses over at 2.6kHz to an eight-inch bass/mid-range unit, again magnetically shielded. The driver utilises a mineral-filled polypropylene cone in a damped rubber surround, where each driver is fed from its own power amplifier, giving a maximum SPL of 108dB at one metre. Curiously, the amplifier power is omitted from the spec sheet, but in an active system such as this the maximum SPL is the figure that really matters. The circuitry includes RF filtering, output current limiting, over-temperature protection, anti-thump powering up/down and a subsonic filter to remove ultra-low frequencies that might otherwise compromise headroom and which may cause excessive speaker cone excursions below the cutoff frequency of the ports.

The quoted frequency response is 35Hz-20kHz ±3dB, and the overall size of the monitor is just 10.25 x 14.75 x 11.75 inches, where the drivers and reflex port are mounted centrally in the cabinet. To ensure that the money goes where it matters, the cabinets (which weigh 24.7 pounds) are built from 5/8-inch vinyl-laminated MDF, and have a tidy, no-frills appearance with radiused front edges. Connection is via a panel on the back of the cabinet, where balanced jack or XLR inputs are accommodated along with an unbalanced RCA phono socket. There are no controls for tweaking the frequency response of the speakers, but there is an input sensitivity trim pot with a 20dB adjustment range. Mains is via an IEC socket, and a green LED on the front panel shows when the speakers are powered up.

For applications where a smaller monitor is required, the TR5 is based on the cabinet and drivers of the Event Project Studio 5, but again fitted with the new power amplifiers. The TR5 incorporates a similar-size silk-domed tweeter to the TR8 (though a different model, incorporating a protective grille) teamed with a five-inch bass/mid-range unit, again crossing over at 2.6kHz. The available SPL is slightly less, at 105dB, and the frequency response is 53Hz-19kHz ±3dB, so there isn't so much bass extension, which could actually be an advantage in very small control rooms. The cabinet is significantly smaller at 7.5 x 10.5 x 9 inches and the weight is almost exactly half that of the TR8.

Critical Listening

EventMonitors3.s
The input section for both monitors features balanced inputs on TRS jack and XLR sockets, as well as an unbalanced input on an RCA phono. A gain trim control is provided for precise level alignment.
The input section for both monitors features balanced inputs on TRS jack and XLR sockets, as well as an unbalanced input on an RCA phono. A gain trim control is provided for precise level alignment.
The input section for both monitors features balanced inputs on TRS jack and XLR sockets, as well as an unbalanced input on an RCA phono. A gain trim control is provided for precise level alignment.

It is now many years since I reviewed the original 20/20BAS active monitor, but I remember it being my favourite of all their monitors at the time, combining a solid low end with smooth mid-range and high end. The TR8 certainly shares those characteristics, though with perhaps a slightly more open sound. In comparison with seriously high-end monitors (in this case a pair of ADAM speakers I'm currently reviewing that cost around three to four times the price of the TR8s), the sound lacks a little detail and air, and the bass sounds less tightly controlled, but within their price bracket they perform surprisingly well, delivering a generally honest appraisal of the music being played without sounding at all harsh or edgy. Their bass extension is more than adequate for most project studios located in converted domestic rooms, and it would be no problem to mix dance music on them provided that you don't get silly with the playback level. They're also revealing enough to make a good stab at mixing sensitive acoustic material.

As you might expect, the little TR5s have a similar family sound, but without the same depth of bass. However, as is so often the case, the lack of bass extension brings the mid-range more clearly into focus, as it's no longer fighting the deep bass for your attention. Despite their small cabinet size, the speakers don't sound boxy or thin, even at fairly robust monitoring levels. Though the maximum SPL is 3dB less than from the TR8s, that isn't a lot in subjective terms, so you still get plenty of clean level at typical nearfield distances. Furthermore, the frequency response rolls off fairly gracefully beyond the stated frequency extremes, and there's also useful bass end down to 45Hz or so.

Verdict

Event monitors are designed by an engineer who has a long and successful track record in both loudspeaker design and manufacturing techniques, and I think this shows, as the available budget has been spent on the drivers and components rather than on fancy packaging. The use of soft-dome tweeters delivers a smooth and adequately detailed sound, without the rough edge that some metal tweeters have been known to exhibit, while the bass end is a sensible compromise between the available bass extension from relatively small cabinets, and having enough damping to make the bass notes sound controlled. While direct comparison with more esoteric models will reveal their shortcomings to the discerning ear, as a practical solution to affordable project studio monitoring they do a great job, and at the price they're a tough act to follow.

Event TR5 & TR8 £399/£599
pros
Overall accurate sound, with good bass extension on the TR8.
Smooth and non-fatiguing to work with.
Good cost/performance ratio.
cons
No significant cons at the price.
summary
Every monitor is a compromise, but Event have managed to achieve a sensible combination of sound, build quality and accuracy at an affordable price.
information
TR5, £399 per pair; TR8 £599 per pair. Prices include VAT.
Hand In Hand +44 (0)1579 326155.
+44 (0)1579 326157.


SOS Readers Ads
GRAB A BARGAIN

£471,933

of Second-User Gear for sale now — don't miss out!

AVI Neutron Five

2.1 Monitor System

Thumbnail for article: AVI Neutron Five

This interesting monitor system uses the natural roll-off of the satellite speakers to provide the crossover with the subwoofer.

Tannoy Reveal 601A

Studio Nearfield Reference Monitors

Thumbnail for article: Tannoy Reveal 601A

Building to a price inevitably entails compromises. The art is in choosing the right ones...

Quested V3110

Three-way Active Monitors

Thumbnail for article: Quested V3110

Sometimes, a dose of old-fashioned good engineering delivers something well worth listening to...

Adam A7X

Active Two-way Studio Monitors

Thumbnail for article: Adam A7X

Their A7 nearfield monitors received many plaudits, not least in the pages of SOS, but manufacturer Adam thought there was room for improvement.

PMC TB2S AII

Active Nearfield Monitors

Thumbnail for article: PMC TB2S AII

PMC broke new ground a decade ago with their TB2 monitors, but the competition have been catching up. Does PMCs new activated design nudge them back to the front of the pack?

Avantone Active MixCube

Secondary Reference Monitors

Avantone have added on-board amplification to their contemporary take on the classic Horrortone secondary monitor, and the result is something quite special...

Sonodyne SM 50AK

Two-way Nearfield Active Monitors

Thumbnail for article: Sonodyne SM 50AK

India may be a growing force in most industries these days, but few Indian pro-audio companies have made it into Western markets. Can Sonodynes speakers change all that?

Unity Audio The Rock

Monitor Speakers

Thumbnail for article: Unity Audio The Rock

The time-domain response of monitors is often sacrificed for level, but this sealed-cabinet design tackles that issue head-on...

Infrasonic Blow 4D

Nearfield Monitor Speakers

Thumbnail for article: Infrasonic Blow 4D

With digital and analogue inputs, these small speakers from newcomers Infrasonic promise a lot for the money. Can they outperform their budget price tag?

Blue Sky Sat 8 & Sub 212

2.1 Monitoring System

Thumbnail for article: Blue Sky Sat 8 & Sub 212

If you demand brutal and revealing precision from your monitors, read on...

Barefoot Sound MicroMain 27

Active Three-way Monitors

Thumbnail for article: Barefoot Sound MicroMain 27

As well as a distinctive design, these huge nearfield monitors offer a frequency and time-domain performance that compares with the best.

Adam S3XV

Studio Reference Monitors

Thumbnail for article: Adam S3XV

Adam make the leap to a three-way speaker design that seems to pay dividends in clarity and separation.

JBL LSR 2300

Monitor Speakers

Thumbnail for article: JBL LSR 2300

JBL have a reputation for clinically precise monitors, but this time theyve come up with something a little smoother...

Equator Audio Q8

Active Monitors

Thumbnail for article: Equator Audio Q8

Coaxially-mounted speakers may seem a bit old-school, but theres nothing wrong with the theory — and a touch of DSP can make them very modern indeed!

M-Audio Studiophile DSM1

DSP Reference Monitors

Thumbnail for article: M-Audio Studiophile DSM1

Built-in DSP extends the flexibility and usefulness of these capable speakers.

Event Opal

Studio Monitors

Thumbnail for article: Event Opal

Events new owners make some extravagant claims for these new high-end monitors, whose design is said to put quality first. Do they live up to the hype?

Samson Resolv A6 & 120A

Studio Monitors & Subwoofer

Thumbnail for article: Samson Resolv A6 & 120A

Samsons new low-cost nearfields can produce a big sound, but do they measure up for serious mixing? We find out.

Prodipe Pro Ribbon 8

Active Monitors

Thumbnail for article: Prodipe Pro Ribbon 8

Ribbon tweeters can yield a smooth sound, while still capably reproducing transient detail — and the Pro Ribbon range promises to do so for an attractive price.

Focal CMS65

Active Nearfield Monitors

Thumbnail for article: Focal CMS65

Focal control everything from design to manufacture in their factory in France — and this approach appears to be paying off.

Klein+Hummel O410

Active Midfield Monitors

Thumbnail for article: Klein+Hummel O410

Getting the balance right between the benefits and disadvantages of ported and non-ported speaker designs is a tricky job, and K+H do it better than most with this ported model.

WIN Great Prizes in SOS Competitions!

 

Home | Search | News | Current Issue | Tablet Mag | Articles | Forum | Subscribe | Shop | Readers Ads

Advertise | Information | Privacy Policy | Support | Login Help

 

Email: Contact SOS

Telephone: +44 (0)1954 789888

Fax: +44 (0)1954 789895

Registered Office: Media House, Trafalgar Way, Bar Hill, Cambridge, CB23 8SQ, United Kingdom.

Sound On Sound Ltd is registered in England and Wales.

Company number: 3015516 VAT number: GB 638 5307 26

         

All contents copyright © SOS Publications Group and/or its licensors, 1985-2014. All rights reserved.
The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.

Web site designed & maintained by PB Associates | SOS | Relative Media