“There is so much low-end content in music being made today,” said Adam Cohen, Director of Business Development, Akai Professional, “we felt that a studio monitor specifically designed for extended low frequency playback would appeal to the people who already use our MPCs and production controllers.”

RPM8 studio monitors are sold individually and will be available from professional audio and musical instrument retailers Q4, 2009. Pricing is TBA.

Description:

RPM8 studio monitors are two-way, active, bi-amplified, nearfield loudspeakers. The two-way monitors each feature an eight-inch woven-kevlar low-frequency driver with 80W RMS of continuous amplification for full bass all the way down to 39 Hz. The monitors’ high-frequency system consists of a one-inch silk-dome tweeter with 40W RMS of continuous amplification, mounted on a custom, functionally optimized waveguide for excellent control of directivity and reduction of unwanted early reflections.

RPM8 studio monitors contain active, fourth-order crossovers for outstanding separation and optimal power management. Their cabinet is constructed of industry-standard MDF for low resonance, and is dually ported on the front baffle for bass extension in any setting including soffit-mounted installations. The bi-amplification, ported cabinet design and overall acoustical efficiency combine to produce a speaker that can deliver up to powerful 113 dB SPL and with accurate frequency response from 39 Hz to 20 kHz. Producers will appreciate the RPM8s’ bicolor LED clip indicator, which assists them in avoiding damage to their system. Engineers can connect their professional studio systems to the RPM8s’ combination XLR-balanced 1/4″ TRS inputs for compatibility with a wide variety of source equipment.

At the 2009 Winter NAMM Show, Alesis introduced the M1Active 520 USB – a set of studio monitors with USB audio connectivity.

M1Active 520 USB is a pair of active, bi-amplified, two-way reference monitors that are designed to reproduce frequencies from 20,000 Hz all the way down to 56 Hz, covering nearly all frequencies audible to human ears. You can send audio directly from your DAW via USB to the speakers, for low noise, low-distortion signal flow.

The M1Active 520 USB monitors are designed around a five-inch polypropylene low-frequency driver and a one-inch silk dome high-frequency driver. The low-resonance bass-reflex cabinet features beveled edges to reduce edge diffraction and a tuned port for bass extension

M1Active 520 USB’s bi-amplified design delivers 50W to the woofer and 25W to the tweeter. The monitors are magnetically shielded so you can place them near computer screens and hard drives without concern.

The M1Active 520 USB’s large, front-panel, bi-color display indicates presence of signal in blue and clipping in red for instant feedback on system status.

In addition to USB playback capability, M1Active 520 USBs boast a pair of TRS-balanced 1/4″ inputs, so they can be used as a high-quality computer audio interface. Users can connect a stereo source or two mono sources including a mixer, keyboard, sampler or tape deck and record directly to their computer through the speakers.

“The new M1Active 520 USB studio monitors make getting low-distortion signal from your DAW to your monitors simple,” said Adam Cohen, Director of Business Development, Alesis.

M1Active 520 USB studio monitors will be available in Q3 2009, at an MSRP of $299.99 and an estimated street price of $199.99.

Description:

The industrial design of the KRK10s leverages KRK’s research and development into baffle design and fabrication. The subwoofer’s curved front now matches the Rokit and VXT monitors’ diffraction reducing shape.

Updated electronics include a ground-lift switch for combating less than perfect electrical and audio grounding and a bypass footswitch that allows the subwoofer and crossover to be easily enabled and disabled. The bypass footswitch allows users to easily switch a mix from stereo or 2.1/5.1 sound environments. Improved amplifier heat sinking results in lower distortion at high power levels and the KRK10s has a lower noise floor than its predecessor.

The voicing has been slightly enhanced to provide even better mix clarity and precision and the scientifically designed front firing port reduces wall coupling and port turbulence.

I use a pair of first generation Rokit 5’s, paired with a Rokit 10s and have been happy with them – but the bypass footswitch is a great addition, along with the other tweaks.

Pricing and Availability:

The KRK10s replaces the existing RP10s subwoofer and will be available to buy in the UK from all good pro audio dealers for £299 inc. VAT

M-Audio has introduced Overdub – a new series of comic book style guides to audio studio production.

Volume One: A Guide to Studio Monitors details everything you need to know when setting up a reference monitor system.
Topics include:

• How to select the right monitors
• Guidelines for monitor placement
• Dealing with room acoustics
• Using acoustical treatment
• Testing your system

There’s an M-Audio bent, but there’s actually a lot of good info in this issue. (pdf)

The second generation Rokit incorporates several technologies from the company’s flagship VXT and E8B lines, including radically radiused edges along the front of the cabinet. The new Rokits replace the current Rokit 5″, 6″ and 8″ models.

I’ve got a pair of Rokit in the Synthtopia studio, and have found them to offer great sound for their price.

The new Rokits leverage KRK’s research and development into baffle design and fabrication. The Rokit G2’s curved front baffle was engineered to minimize diffraction of high-frequencies, resulting in a sweet spot that is significantly larger than products with square or lightly rounded baffles. The baffle also houses a molded front-facing bass port that minimizes low-frequency phase distortion and unwanted frequency emphasis typical of rear-facing bass ports. The end result is a harmonious yet accurate blend of low and high-frequency components that result in a more accurate speaker. Additionally, the Rokit G2’s voicing has been slightly enhanced to provide even better mix clarity and precision.

The new Rokit G2’s have a MAP price of $149, $199 and $249 for the 5, 6 and 8 inch versions, respectively. They are available now.

KRK Systems has released the VXT Series of studio monitors. The series was created using stringent design philosophies similar to KRK’s flagship close-field monitor, the Exposé E8B. The VXT Series has been designed to reproduce the true nature of the audio material and raises the bar for recording monitors used by professional engineers, musicians and DJs world wide. .

The VXT Series includes new proprietary woofers and tweeters, a newly designed curved face plate for excellent imaging, a new cabinet design that provides low resonance, improved structural integrity and extended low-end and slotted ports that greatly reduce port turbulence.

KRK engineers started with the functional cabinet design of the flagship monitor, the Expose? E8B to create a high performance yet attractive line of monitors. The curved cabinet and faceplate provide excellent imaging characteristics and a wider “sweet spot”. The use of ABS structural foam as the cabinet material provides excellent damping characteristics and extended low end due to more internal volume. The ABS foam also absorbs shocks really well so the cabinet is extremely impact resistant.

With the VXT Series, KRK engineers set out to improve transient response in the system. The tweeter’s dome is comprised of true silk, as opposed to cloth, which translates to fast transient response, excellent imaging and extended frequency response.

The new woofer inside the VXT Series has improved transient response by using a stiffer, lighter cone that provides very low distortion and extended low-end.

“It was important for us to have the VXT Series mirror the same look and performance of our flagship monitor, the Exposé E8B” commented Mike Newman, KRK System’s Product Manager. “The same expertise and care that went into the design of the Exposé, went into the design of the VXT Series. The wider sweet spot, excellent imaging and extended frequency response will make the VXT Series the preferred choice for recording professionals and musicians worldwide.”

The VXT Series features tamper resistant switch covers to protect against others changing your personal settings, integrated Omni Mount support for easy wall or corner mounting, ground lift, defeatable limiter and auto mute controls, and high and low frequency adjust switches on the VXT6 and VXT8.

The new KRK Systems VXT Series monitors will be in stores in late May and have the following list prices (per individual speaker): VXT8: $799, VXT6: $599, VXT4: $399.

For more information on KRK Systems and KRK Systems complete product line, go to www.krksys.com. To request additional information or images of the VXT Series, please contact PR Representative Brian Metcalf at (305) 576-1171 x11 brianmetcalf@maxborgesagency.com

Musikmesse: Mackie introduced the HRmk2 high-resolution studio monitor series. The THX-approved HR824mk2 and HR624mk2 monitors replace their predecessors, the HR824 and HR624, and offer a wide range of technological breakthroughs to meet the demands of the modern studio.

“While others have spent years copying the industry-standard HR824, we reset the bar with the HRmk2s. Engineered specifically for use with High Definition audio, they produce ultra-accurate—and incredibly natural—sound,” said James Woodburn, Mackie recording product manager. “Through improved tuning, frequency response and depth of field, the Mackie HRmk2s turn your studio’s sweet spot into a full-on sweet zone,” continued Woodburn.

Crafted from a single piece of cast aluminum, the HRmk2’s new Zero Edge minimizes diffraction for a crystal clear mix image, while its Optimized Waveguide delivers wide, even dispersion as well as full, articulate mids. Coupled with the passive radiator, the new baffle design also ensures tight, articulate bass extension. And with a real wood enclosure, the HRmk2s perform with maximum detail, clarity and warmth.

The HR624mk2 features a 6.7-inch low distortion LF transducer (woofer) and a 1-inch titanium dome tweeter. The HR824mk2 has a 8.75-inch low distortion LF woofer and a 1-inch titanium dome tweeter. They will be available late April 2007 and have a U.S. manufacturer’s suggested retail price of $779.99 for the HR824mk2 and $579.99 for the HR624mk2.

Musikmesse: Behringer has introduced the TRUTH B3031A and B3030A, 2-way active studio reference monitors featuring state-of-the-art ribbon tweeters and Kevlar woofers.

The main features are:

• Ultra-linear frequency response with individual frequency diagrams
• Built-in 150- and 75-watt power amplifiers for the B3031A respectively, 75- and 35-watt power amplifiers for the B3030A
• 2″ velocity ribbon transducer for ultra precise sound reproduction
• Long-throw 8-1/2″ (B3031A), 6-1/2″ (B3030A) woofer with die-cast chassis and Kevlar fibre diaphragm for ultimate bass response

The PUMP Series monitors are an example of SAC’s ability to deliver high quality products at a low price. These monitors are built with a thick 25mm faceplate and solid, rear ported speaker cabinets for powerful low frequency response and durability. The PUMP Series offers a choice of a 6″ or 8″ mineral-filled polypropylene cone with a high temperature voice coil and damped rubber surrounds coupled with high-efficiency ferrofluid-cooled natural soft dome tweeters with a dedicated filter for an exceptionally clean sound. Two high signal-to-noise ratio amplifiers (dedicated woofer and tweeter) with a fourth order electronic crossover circuit provides a smooth frequency response and SPLs up to 91 dB. The PUMP 6a features 120W of total power and a frequency response of 45Hz to 20kHz and the PUMP 8a features 150W of power and extends the low frequency down to 40Hz.

The PUMP Series are fully magnetically shielded, include a convenient front volume control, and rear XLR balanced and ¼” unbalanced inputs. Also included is a delay protection circuit to avoid pops and noise during power-up, making them the perfect solution for the computer-based digital recording studio.

The PUMP 6a sells for $449 per pair and the PUMP 8a sells for $529 per pair.

Yamaha

The new MSP STUDIO monitors are designed with an emphasis on reference-quality reproduction precision that lets you hear sonic details, rather than flattering sound. They carry on in the tradition of the venerable NS10M STUDIO monitor speaker, which was the definitive near-field speaker monitor in an overwhelming majority of professional studios throughout the world for many years from the 80’s onward.

The new top-of-the-line MSP7 STUDIO Powered Monitor Speaker is capable of delivering consistent quality and performance that you can rely on in modern production environments that handle any combination of digital and analog sources as well as stereo and surround formats.

“Recently it seems that some studio monitor designs are focused more on flashy design than accurate sound reproduction,” states Athan Billias, Director of Marketing for Technology Products at Yamaha. “The new MSP STUDIO series were designed By Akira Nakamura (designer of the original NS10M) for discerning people who make decisions on studio monitors with their ears and compare favorably with any studio monitor on the market in terms of accurate monitoring for critical mixing applications.”

In an advanced bi-amplified design, the MSP7 STUDIO incorporates a 6.5-inch polypropylene cone woofer powered by a high quality 80-watt amplifier and its 1-inch titanium dome tweeter employs a 50-watt amp. The frequency ranges are divided by an electronic crossover with steep and smooth high-pass and low-pass roll-off curves built into a one piece molded enclosure with a rounded baffle for exceptionally smooth and consistent performance.

Like the larger MSP7 STUDIO, the MSP5 STUDIO is a two-way, bi-amplified bass reflex system that delivers outstanding monitoring precision for digital or analog production in stereo or surrounds formats. The more compact dimensions of the MSP5 make it an ideal choice for smaller project studios and AW-based production

systems. The MSP5 features a 5-inch cone woofer driven by a 40-watt amplifier and a 1-inch dome tweeter driven by a 27-watt amplifier. Other than woofer size, enclosure size, and amplifier power, the MSP5 takes advantage of the same advanced materials and design technology that are behind the extraordinary performance of the MSP7.

Pricing and availability of the MSP7 STUDIO and MSP5 STUDIO is to be determined.

“The A7 encapsulates all the great things about ADAM monitors at an affordable price,” said Dave Bryce of ADAM Audio USA. “Whether you’re recording or mixing at home or in a studio, broadcasting, working in surround or in a remote truck, the A7 will give you that true, un-colored ADAM sound many of the top pros around the world rely on every day.”

The A7 is a two-way near field studio monitor that combines ADAM’s renowned A.R.T (Accelerated Ribbon Technology) folded ribbon tweeter with a state of the art 6.5” carbon fiber woofer, resulting in an extremely accurate monitor with all of the clarity, detail and spectacular imaging traditionally associated with the ADAM name.

Powered by two 50 W amplifiers, the A7’s front panel features a power switch and detented volume knob. The rear panel houses controls for tweeter level as well as two shelving filters for high and low frequencies. The A7 also provides both balanced (XLR) and unbalanced (RCA) connectors, allowing it to be used in almost any audio application.

Specifications

• Woofer – 6.5” Rohacell / Carbon Fiber
• Tweeter – A.R.T. Folded Ribbon
• Frequency Response – 46Hz – 35 kHz (± 3 dB)
• Panel (rear-mounted) – Input/HF gain, Hi/Lo EQ
• Power – 50W (sin), 80W (rms)
• Inputs – balanced XLR + unbalanced RCA
• W x H x D – 7″ x 13″ x 11″
• Weight – 17.8 lbs
• Warranty – 2 years

The A7 is now available at ADAM Audio dealers for $999 a pair.

More information is available at the Adam Audio site.

Behringer

Available in 2×20 or 2×40 Watt power ratings, Behringer’s new desktop monitors offers both analog and digital inputs, with the digital inputs capable of handling 24-bit/192 kHz resolution signals.

Features:

• 2-way active studio monitors ideally suited for computer studios, audio and multi media workstations and keyboard monitoring
• Ultra-high resolution 24-bit/192 kHz D/A converters
• Optical and coaxial inputs
• Two stereo analog inputs featuring 1/8” TRS and stereo RCA connectors can be used simultaneously or mixed with a digital stereo source
• Individual Volume controls for both Line inputs plus Bass and Treble EQ controls
• 1/4” TRS headphone connector with auto-mute loudspeaker function easily accessible on the front panel
• Magnetically shielded for placement near computer monitors

MSRP for the MS20 is $129.99 and $169.99 for the MS40. Both the MS20 and MS40 should ship in Q2 2005.

For more information, visit the Behringer site.

2005 NAMM Show

The 7W+7W powered monitors are shielded for placement near a computer and offer both RCA and stereo mini inputs. The MA-7As also come with a built-in Bass Enhancer which uses psychoacoustic principles causing the user to perceive accentuated low-end signals without over-driving the 76mm full range speakers.

The EDIROL MA-7A’s also have a “Sub out” to send audio to an external sub woofer. The MA-7A’s include front-accessible volume, treble, and bass controls as well as a stereo mini headphone output.

For more information, visit the Edirol site.

NAMM Show Update

The 15W+15W monitors are shielded for placement near a computer and offer both 1/4” and RCA inputs with independent volume control. The MA-15D’s also host S/PDIF Coax and Optical inputs to play audio directly from digital sources up to 24-Bit/192 kHz without any signal degradation between the device and the speakers.

The MA-15D comes with a built-in Bass Enhancer which uses psychoacoustic principles causing the user to perceive accentuated low-end signals without over-driving the 100mm woofers. The MA-15D’s also have a “Sub out” to send audio to an external sub woofer. The EDIROL MA-15D’s offer front accessible controls for Bass, Treble, Volume for Input 1/Digital, and Volume for Input 2 as well as a Headphone output.

Suggested retail price is $220.

For more information, visit the Edirol site.

JBL Professional

The bi-amplified LSR6325P is based on a 5.25″ high-excursion low frequency transducer powered by a 100 watt RMS amplifier and a 1″ damped titanium-composite high frequency transducer powered by a 50 Watt RMS amplifier. Housed in a cast aluminum enclosure with the dark graphite finish of the LSR6300 line, the LSR6325P produces very flat frequency response +1.5 dB/-2 dB 20 kHz — 70 Hz with bass extension –10 dB @ 48 Hz and peak SPL of 109 dB at 1 meter.

The new LSR6325P includes technologies to overcome problems in the room and optimize response at the mix position. Due to irregular off-axis response, a speaker which measures “flat” on-axis in an anechoic chamber, may not produce flat response at the mix position. JBL’s Linear Spatial Reference technology ensures that the mid and high-frequency content that reaches the mix position is also smooth and accurate, according to the company. This is accomplished by engineering into the system a +/- 30 degrees horizontal, and +/- 15 degrees vertical, radiated response.

To correct frequency response and overcome spectral shift when the system is mounted on a wall, in a corner or on a work surface, a boundary compensation setting is included in LSR6325P.

To meet the requirements of a broad range of recording and broadcast applications, the LSR6325P includes balanced +4 dBu XLR and unbalanced –10 dBV RCA inputs, user settings, and a convenient front panel volume control and power switch. To optimize positioning in stereo and multi-channel production rooms, the LSR6325P includes mounting points for use with readily available mounting brackets. The system is magnetically shielded for use near CRT monitors, and is THX pm3 approved for use in demanding production applications. The LSR6325P is available individually or in a 5.1 configuration with the LSR6312SP subwoofer and RMC Calibration kit.

MSRP: $399.00 each.

For more information, visit the JBL site.

Blue Sky International

Ideal for computer-driven audio recording and production in a close-field environment (less than one meter), MediaDesk incorporates two Blue Sky ultra-compact amplified satellite speakers, with a complementary powered subwoofer. Blue Sky’s monitoring solutions, including this new MediaDesk system, have been created in direct response to the needs and requests of end users. The company’s innovative approach to answering current trends with a steadfast commitment to quality has helped revolutionize industry reference standards, while offering unprecedented value. Credited with making the concept of full-range 2.1 monitoring an accessible reality for audio professionals and enthusiasts, Blue Sky is now bringing this breakthrough to the pervasive desktop environment.

Employing Blue Sky’s proprietary computer optimized crossover and 2.1 bass management network, MediaDesk delivers seamless full-range audio from the subwoofer to the main monitors with smooth on- and off-axis frequency response. As with all Blue Sky International systems, MediaDesk can be easily upgraded to a space-efficient 5.1 multi-speaker system with an upgrade kit that includes three more satellite speakers, a three channel amplifier, 5.1 bass management and a wired remote volume control with channel level trims.

At the heart of the system is a pair of Blue Sky MediaDesk 2-way satellite speakers, each featuring a high-quality 4″ Neodymium hemispherical driver and a 1″ soft dome Neodymium tweeter. Powered by a custom designed, low-distortion 60-Watt amplifier located in the subwoofer, each MediaDesk Satellite Speaker delivers clean, accurate sound with a frequency response of 110 Hz to 20 kHz ± 3 dB. The speaker level output connections are gold-plated binding posts and all required speaker cables are included. In addition, the satellite speakers are housed in solid 3/4″ MDF enclosures with a lacquer finish front baffle, measure 9.5″H x 6.25″W x 6.22″D, weigh 5 lbs. (each), feature full video shielding and come standard with (1/4″ x 20) mounting inserts that are compatible with OmniMountÆ series 10 brackets and BT Technologies BT-5 brackets.

The Blue Sky MediaDesk Subwoofer was specifically designed to complement the MediaDesk satellite speakers. Featuring a cast aluminum frame, 8″ forward-firing driver with 1.5″ voice coil, the MediaDesk Subwoofer has a dedicated 60-Watt amplifier with a frequency response of 35 Hz to 110 Hz ± 3 dB (anechoic) and a typical in-room response of 20 Hz to 110 Hz (for a 1500 cubic foot room). Measuring 15″H x 14″W x 15″D and weighing 45 lbs., the MediaDesk Subwoofer also features MDF construction and four removable spiked feet with M6 x 1 inserts.

MediaDesk features analog RCA (-10 dBv) and balanced XLR inputs (switchable from +12 dBu to +24 dBu maximum input level), providing the ability to interface MediaDesk to the latest consoles, digital audio workstations, soundcards and other consumer gear. In addition, MediaDesk has a built-in 2.1 bass management system with a 4th order 110 Hz Linkwitz-Riley low-pass filter and 2nd order 110 Hz high-pass filter for the satellite. Rear panel functions include a Subwoofer and Master Volume control, an input attenuator switch, voltage selector switch (115V or 230V) and a 2.1/5.1 mode switch.

Blue Sky Vice President Chris Fichera remarked, “Computer-based audio/video workstations are extremely powerful and increasingly more affordable. Today, thanks to great leaps in performance in hardware and software technology, even entry- to mid-level PCs can handle high-resolution audio and video content. What has been lacking until now are professional audio monitoring options that are not only compact, but also full-range, accurate and affordable.” Fichera continues, “Blue Sky has met these elevated expectations once again with the MediaDesk system, designed as the perfect match to the advanced capabilities of modern desktop computer technology. Today, thanks to MediaDesk, anyone working on a computer-based audio/video workstation can achieve more compelling results, rivaling what used to only be attainable in large recording and post production facilities. The possibilities are now greater than ever for all areas of production, including music, film, post, TV, video game content creation and home video editing.”

Additional information is available at the Blue Sky site.

Roland

The DS series delivers high-resolution performance with precise imaging, ultra-low coloration, and smooth, balanced energy output. Premium-grade discrete amp circuits and film capacitors provide the purest signal path. The new DS line is ideally suited for professional and project studios, fixed and mobile broadcast facilities, or any other recording/mixing environment where superior, transparent sound quality and accuracy are essential.

The DS series offers pristine, 24-bit audio handling (up to 192 kHz) for a truly all-digital signal path. Each monitor is equipped with digital inputs (AES/EBU, coax, and optical) and analog inputs (Neutrik 1/4″/XLR), which enable connectivity to a wide range of recording and workstation environments, including Roland’s VS-Series and other new-generation devices and formats.

Only the high grade, discrete amp circuits and film capacitors are employed in this benchmark line. The analog, digital, and power components are absolutely isolated, ensuring pure, low-noise performance. The DS series, features a rich, accurate sound field with exceptional stereo imaging and a consistent “flat” frequency response.

Interference from TV, radio, and other electronic devices is a thing of the past, thanks to the newly designed shielded cabinets that allow the DS monitors to be placed in close proximity to video monitors and computer screens. The power switch is located on the front panel for optimum convenience, and the highly efficient heat-sink power amplifier is fully compatible with IEC60065 safety standards.

Genelec

All three models use all aluminum, minimum difraction enclosure(MDE™) design, with large internal volumes, softly curved edges, and outstanding mechanical strength.

Ilpo Martikainen, MD of Genelec, comments: ‘Genelec changes models only when real performance improvements can be achieved. The design brief for the new 8000 series called for a reduction in various linear and non-linear distortions. After careful analysis of what improvements were technically and economically feasible, our engineering department devoted more than two years to achieving them all. As a result, the 8000 series probably offers the finest professional monitoring systems available today.

Genelec 8000 series

The 8030A, the smallest of the series, features a 5 inch bass driver along with a 3/4 inch tweeter loaded into a new advanced Genelec Directivity Controlled Waveguide™ (DCW™). The free field frequency response is 55Hz to 21kHz. Peak SPL per pair is 108dB driven by a pair of 40-watt amplifiers.

The intermediate sized 8040A, incorporates a newly designed 6 1/2 inch woofer and a 3/4 inch tweeter also set into the Advanced Genelec DCW™. The free-field frequency response is 45Hz to 21kHz. Peak SPL per pair is 115dB achieved utilising 90 watt amplifiers for each driver.

The 8050A is the largest model. Like its predecessor, the ubiquitous 1031A, it uses a new proprietary 8 inch bass driver and a 1 inch tweeter also set into the Advanced DCW™. The 8050A will produce peak SPLs of 120dB with a free-field frequency response of 35Hz to 21kHz. Bass and treble amplification is 150 and 120 watts respectively.

Each 8000 monitor system incorporates the unique Genelec Iso-Pod™, Isolation – Positioner Decoupler. The Iso-Pod™ is a clever mounting stand, which allows the system to perform in either the vertical or horizontal position. It also means the acoustic axis of the monitor can be aimed at the listener, while remaining acoustically mechanically decoupled from the surface it is resting on.

In addition to the new rounded enclosure design and driver selection, the 8040 and 8050 models also feature new crossover filters and room response controls. A “Desk-top (console) Bass control” has been added along with the customary Genelec Bass Tilt, Bass Roll-off, and Treble Tilt controls.

All 8000 systems are magnetically shielded for use in environments where video monitors are in close proximity. A variety of fixing holes for major standards are also standard.

Details are available at the Genelec site.

Their HR line of studio monitors are trusted by studio pros, and are considered a standard monitor. Their response is basically flat over nearly the entire audio range.

Mackie mixers are also industry standards, and range from compact mixers for studio and live use, to large studio consoles that integrate audio functions with digital technology.

For desktop musicians, the Mackie Universal Control Surface has set a high standard, by including 100mm motorized faders, a great display, and integration will all the major sequencers.

JBL has a complete line-up of portable speakers, stage monitors and subwoofers designed to handle the use and abuse that comes with touring. Their 4200, 4400 and LSR6300 series monitors provide highly accurate monitoring for a variety of uses, including music recording, broadcast, and post-production monitoring.