SOUND ON SOUND
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Dynaudio have concentrated on high-quality internal and external engineering to create a communicative new ported monitor which isn't afraid to go loud.
Expanding on the modelling technology used in their Variax and Variax Acoustic, Line 6 have dropped an octave and turned their attention to the bass guitar. The Variax Bass features 24 models of 'classic' instruments — is it all the bass you'll ever need?
Although perhaps better known as a leading UK manufacturer of hi-fi speakers, Mission have now launched their first active nearfield specifically designed for studio use.
Behringer's cost-effective take on amp and cabinet modelling, plus effects, is now available for bass players
This affordable miniature mic from one of the top names in condensers can neatly solve a variety of common recording problems.
Blue Sky's new active studio monitors use cutting-edge cone technology and closed-box speaker loading for improved performance.
We conclude our two-part examination into whether the traditional distinction between studio monitors and hi-fI speakers is justified. This month, the power-handling and compression characteristics of our four test monitors come under scrutiny...
Cutting-edge technology, incredible dynamics, but is it really a studio monitor?
Loudspeakers are traditionally designed for either monitor or hi-fi applications, but is there actually any difference? And just how suitable are hi-fi speakers for nearfield monitoring in the project studio? In Part 1 this month, we examine measured responses.
You may know Naim as a UK-based hi-fi manufacturer, but they also own a record label, and apply the same esoteric standards to the records they release as they do to their audio equipment. Phil Ward investigates the label's obsession with sound and explains their recording and mastering techniques.
Can these unconventional plastic-bodied speakers possibly be suitable for studio work?
What do the manufacturer's frequency response figures tell you about your studio monitors? Less than you might think, as Phil Ward discovers...
Monitor speakers affect nearly all the descisions we make when recording and mixing — yet most of us know very little about how they are designed, and why they sound the way they do. In the first of a new series, Phil Ward explains what goes into the design of typical passive nearfields, and the effects they can have on what we record.
HEDD’s new A‑Core range sees the company return to making all‑analogue monitors — and the results are impressive.
David Mellor explores how the Yamaha NS-10M monitors became a studio staple and why, decades after being discontinued, engineers are still seeking out second-hand pairs.
I was just watching an online tutorial by iZotope, and they discussed NS‑10s and Auratone cubes being used to focus on the midrange. Is this a sound I can achieve with EQ?
After many years of planning, Rick Wakeman has succeeded in putting on a show that is a worthy successor to follow his theatrical '70s son et lumière extravaganzas — Return To The Centre Of The Earth. Paul Ward was present as production of the album of the story neared completion at CTS Studios in London.
The SOS team pick their favourite hardware and software from the past 12 months.
The latest incarnation of Fluid's unusual FPX7 monitor combines the bold, concentric-ribbon design of the earlier version with an altogether more satisfying tonality.