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Ex Machina Soundworks Pulsar at Awave!

Ex Machina Soundworks Pulsar at Awave!

The smallest speaker in our family, Pulsar is an ideal choice for near to near-mid applications or as primary monitors in smaller rooms.  Don’t let the size fool you though. It features the same acoustically inert Valchromat cabinets, cutting edge drivers, Hypex Ncore amps and ultra-advanced DSP correction as its larger siblings employ.  Dead flat phase and magnitude linearity, an ultra-wide sweet spot and eerily realistic phantom center, vanishingly low distortion and superb transient response, clarity and detail all add up to give you non-fatiguing, effortless insight into your mix.  Allowing you to make better decisions, faster, every time.

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Avantones New Active CLA-10A Studio Monitor System

Avantones New Active CLA-10A Studio Monitor System

THE CLA MONITOR FAMILY — ONLY FROM AVANTONE

We’ve worked tirelessly to bring this classic monitor system back to the world — but it took more than just recreating a single speaker. A tremendous amount of attention has been put into every detail: matching the original MDF and wood veneer for the cabinet, matching the original winding dimensions/value/dc resistance of the inductors, profiling the most popular amplifier pairings of the original, just to name a few things. All of this development has culminated into a slew of monitor solutions.

  • The CLA-10 and CLA-10A: the iconic “white cone” monitors, in both passive and active configurations.
  • The CLA-100 and CLA-200: reference amplifiers with the perfect voicing to compliment the CLA-10 and original “white cones.”
  • AV10 MHF and AV10 MLF: the classic “white cone” drivers — now available for the first time in decades as direct replacements for the original.
  • AV10 MXO: replacement crossover for original Yamaha™ NS10M™ studio monitors.

Specifications

  • System Type: Active Full-Range Two-Way Stereo Pair
  • System Frequency Response: 60Hz-20,000Hz (Accessible Musical Range)
  • Components: Low Frequency: AV10-MLF 18Cm Cone, High Frequency: AV10-MHF 3.5Cm Soft Dome
  • Cabinet: 10.4 Liter Sealed Design, 18mm MDF With Real Wood Veneer
  • Cabinet Dimensions: 381.5mm X 215mm X197.5mm (15”X 8 ½”X 7- ¾ ”)
  • Weight: 8.2Kg / 18 Lbs (Each)
  • Shipping Weight: 18.5 Kg / 40.5 Lbs
  • SPL: 104dB
  • Peak Musical Output: 110dB (Music Program Material)
  • Amplifier: 200W Class Ab Linear Supply
  • THD: 0.05% At 1Khz, 1W
  • Balanced Inputs: Combination XLR & Phone Jack
  • Unbalanced Input: RCA Phono Jack
  • Volume: +0dB, -120dB
  • VTPC: Variable Tissue Paper Control Fc 1.8Khz +6dB, -30dB.
  • Power: On/off Switch
  • Ground Lift Switch
  • Power: 115Vac/230Vac Selectable
  • Power Consumption:
    • StandBy: 3W
    • Full Output: 250W
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Barefoot MicroMain45 – Big Studio Sound, Modern Day Flexibility

Barefoot MicroMain45 – Big Studio Sound, Modern Day Flexibility

Featuring the same signal path, amplifier and driver technologies as our flagship MiniMain12, the MicroMain45 is stripped down to the bare essentials in order to deliver renowned Barefoot resolution and translation at a more affordable price.  The MicroMain45 is becoming another industry standard, with top producers, artists and studios like Alex Da Kid, Nathan Willett (Cold War Kids) and EastWest Studios using them everyday.

As a 3-way active monitor, the Barefoot MicroMain45 utilizes the same amplifier, signal path and driver technology of the MiniMain12. Downsizing the hefty 130+ lbs size of the original to a tight 35+ lbs package, the MicroMain45 features an 8” aluminum woofer, two x 2.5” aluminum midranges and a 1” tweeter. With a bass response of -3dB @ 40Hz, frequency response of 40Hz – 45 kHz (±3dB) and 53Hz – 40kHz (±1dB), this is the sound that Barefoot enthusiasts have come to know and love.

Founded on the idea of creating a new type of audio monitor, Barefoot Sound was started by Thomas Barefoot to meet the growing needs of small to mid-sized project studios. By offering well-designed monitors that could take the space of several sets of speakers, audio enthusiasts are able to have more room for other types of gear, while still having an impeccable monitoring system. The Barefoot Sound MM45 monitors follow in this lineage of incredible speakers like the MicroMain27 and MicroMain35.

MEME™ Technology: Despite the advantages of high resolution monitors, Thomas Barefoot realizes that many engineers still use their NS10M’s † and mix cubes as secondary references. These speakers have long traditions and people find them familiar and useful for focusing in on certain aspects of their mix. However, crowding one’s console with those extra boxes degrades the sound field of the primary reference monitors. Not to mention, they are no longer manufactured, they need amplifiers, cable runs, and they consume more studio space. The solution is to make the MM45 sound and translate like those speakers. With the turn of a knob one can switch from the MicroMain45′s brutally revealing “Flat” response to the warmer and sweeter “Hi-Fi” setting, generically emulating the sound of some high end consumer audio gear. More specifically the “Old School” setting closely emulates the sound of the NS10M nearfield, while the “Cube” setting emulates the mid-centric sound of classic mix cubes The idea is not to perfectly replicate every subtle quirk of these venerable old speakers. That would be impossible. But the MM45 can capture the essence of how they behave and translate, modeling their frequency, phase and transient responses, dynamic compression and even specific distortion components. If you know how to work on these speakers you will feel very comfortable working on the new MM45′s emulation settings.

† NS10M is a trademark of Yamaha Corp. and has no affiliation with Barefoot Sound.

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Focal Trio11 Be – The Loudspeaker Dedicated to Nearfield and Midfield

Focal Trio11 Be – The Loudspeaker Dedicated to Nearfield and Midfield

As well as new speaker drivers (a 5” midrange and a 10” subwoofer) with high efficiency and power handling, the Trio11 Be monitor enjoys all of Focal’s very latest technologies when it comes to acoustics and electronics: TMD and NIC technologies; optimised vents that promote dynamic control and perfect bass definition; high excursion, enabling even more linearity of the subwoofer…

Thanks to its class G amplification, Trio11 Be delivers a high SPL (118dB at 1m) and offers a great versatility of use and installation configurations in nearfield AND midfield applications. A key asset, always coming along with an extremely precise sound reproduction and stereo image.

With an extended bandwidth (30 Hz-40 kHz), this loudspeaker is also composed of a 3-way monitor and a 2-way monitor, just like Trio6 Be, which lets you check the mix transfer sound quality thanks to FOCUS mode.

With Trio11 Be, power and versatility are waiting for you!

Feel the difference!

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Barefoot Sound – Masters of the Craft with Randy Jackson

Barefoot Sound – Masters of the Craft with Randy Jackson

Randy Jackson is an American bassist, singer, record producer, entrepreneur, and media personality. Jackson began his career in the 1980s as a session musician playing bass guitar for an array of jazz, pop, rock, and R&B performers. He moved onto work in music production and as A&R at Columbia Records and MCA Records. Jackson is best known from his appearances as a judge on American Idol and playing bass for the iconic rock band, Journey.  Always moving with the times and creating new opportunities for himself and people around him makes Randy Jackson a master of his craft.

In Randy Jackson’s Own Words

To me, to be a master of your craft means that you’ve studied, you’ve done all the homework, you understand explicitly what you’re trying to do.

Luckily that I grew up in the south, in Louisiana, where music is so ethically rich and there’s some of everything. It has its own styles of Zydeco and Dixieland and all sorts of Creole music. I soaked it all up and I never knew how far it would take me, but I was just this sponge, I wanted to become the best.

The Barefoots did it from me, they blew me away.

My process was, let me become the best musician I can. Let me learn everything that I can. Let that process guide me so that I understand what production is. I understand what songwriting is. Because, before you can just call you self it, a lot of people use that in perception only. I’m a producer. I’m a writer. I needed to really be authentically that, so I needed to learn everything I could about music so that I could really offer some expert advice to people trying to move forward.

One of my more prouder moments in the industry was sitting in a studio and us working with a new artist by the name of Whitney Houston. And no one really knew who she was, and we were recording this song, and it became her first big hit. How will I know?

For me, in a studio monitor, over my lifetime I must have tried everything ever made. I remember, I was at Hinton, where I had a room for a long time, another great studio here in LA. Don Was was in the recording with a guy that I sort of grew up with in Italy, Zucchero, this Italian Pop Star and I remember hearing these speakers, and I go, “Don, what are those?” “Aw, those are the Barefoots man. They’re amazing.” I kept listening to them, exactly what I wanted and what I look for in the speaker.

I need clarity, pure sound, that’s real, not too hyped on the top end or the bottom end. Not a weird shape EQ, like a lot of these speakers have a bone shape EQ. I needed something, the response was true, clear, but still sounded good. Because sometimes you’ll get true and clear and it still sounds like crap because you don’t hear anything below a hundred cycles. I needed some bottom end. I needed everything. And I needed clear bottom end without a sub. I knew with the sub I could cheat and find it and get it and feel it. The Barefoots did it from me, they blew me away.  – Randy Jackson, Bassist, Producer & Media Personality

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CENTER POINT STEREO: Spacestation XL

CENTER POINT STEREO: Spacestation XL

‘Stereo Everywhere’ from a single cabinet…but louder!

From the first listen, musicians and audiences alike knew that the patented technology behind the CPS Spacestation v.3 amp was the future for live performance.

Thousands of 5-star reviews and millions of Internet views later confirmed it: CPS is the audio equivalent of the introduction of a color TV to an audio world still stuck in ‘mono-tone’ black and white! Our new CPS Spacestation XL delivers what our CPS family had been asking for since the release of the SS3: More!


The SXL is twice the size, power and channels, taking the CPS 3D stereo magic to the next SPLevel; the big stage! Over 700 watts of Class D watts in a Bi-Amped Front Speaker System comprised of a custom USA made Eminence 12″ coax woofer, paired with a Titanium 1″ mid driver, balanced with a Side Speaker System of two Eminence 6.5” side speakers in a new patented technology we call ‘DTA’: “Digital Transducer Alignment,” that further expands the CPS 3D stereo effect.

The SXL offers two independent stereo TRS balanced channels with dual sensitivity for -10dB instruments or +4dB line level signals. Even the architecture of the SXL’s front panel inputs is revolutionary with our patented ‘offset inputs’ that both protect and redirect the cables to the side and away from the speaker.

Rear panel stereo outputs allow for (mixed) pass-thru signals @ +4dB via 1/4″ TRS or XLR outputs for Left, Right and L+R that can be used for FOH send, an additional amp or a powered Sub. The SXL produces 116+dB SPL of crystal clear and dynamically rich CPS 3D ‘beyond stereo’ sound, which must be heard to be believed!

Aspen Pittman’s designs have been coveted by legendary musicians and record producers for over 40 years. Aspen’s best selling Tube Amp Book has sold over 140,000 copies. He has designed dozens of award-winning tube guitar amps, stage, and studio microphones, and built over a dozen unique electron vacuum tube designs from scratch.

Aspen’s patented inventions, such as the Speaker Emulator, changed the way we record guitar, and his Center Point Stereo technology will forever change the way we produce live music. Aspen’s audio designs have earned multiple utility patents both in the USA and around the world, and have garnered top awards in multiple fields including the prestigious TEC award for best microphone design. So it seemed fitting to brand his new company simply, AspenPittmann Designs.

Center Point Stereo – Stereo Everywhere!

The Spacestation v.3 and new Spacestation XL

Aspen’s CPS stereo powered monitors are the only effective stereo speaker technology capable of creating a 3D ‘beyond stereo’ image throughout the venue (300° dispersion!) and all from a single speaker. CPS must be heard to be believed! The perfect partner for all stereo keyboards, stereo guitar processors, and for stereo-based vocals. Add a mixer, and CPS monitors can support the whole band, serving as both mains and monitor system. The band and audience hear exactly the same mix in big 3D stereo… no matter where they are!

Choose the groundbreaking SS3 compact 32lb marvel that delivers 106+dB SPL for small to medium venues, and has set the audio world on its ear since it’s introduction. Or if you need ‘more’, the new SXL at twice the size and power with a frequency response from 50Hz to 20KHz (no Sub required) for those larger and louder venues. The SXL also has two independent channels so players using two keyboards won’t need a mixer.

Specifications:

  • STEREO SOUNDFIELD: 300 DEGREES
  • LOUDNESS: +116DB SPL @.01% THD
  • STEREO INPUTS (X2): BALANCED 1/4” TRS
  • BALANCED OUTS: 1/4” TRS OR XLR
  • LEFT, RIGHT AND L+R @ +4DB
  • DIMENSIONS: 29″X17″X16″ @ 65 LBS. (29 KGS)

Features:

  • PATENTED CENTER POINT STEREO – 3D STEREO EVERYWHERE!
  • PATENTED “DTA” DIGITAL TRANSDUCER ALIGNMENT
  • 50HZ TO 20KHZ RESPONSE, NO SUB REQUIRED!
  • TWO BALANCED STEREO CHANNELS WITH SEPARATE CONTROLS
  • DUAL INPUT SENSITIVITY; HI (-10DB) OR LO (+4DB)
  • +4DB STEREO BALANCED OUTS; LEFT, RIGHT AND L + R
  • PATENTED “OFFSET INPUTS” PROTECT AND REDIRECT CABLES
  • EMINENCE USA CUSTOM 12″ COAX W/ TITANIUM TWEETER
  • STRONG AND LIGHT ALL PLYWOOD CONSTRUCTION
  • DUAL FORMAT DESIGN; CARRY OR USE VERTICALLY OR HORIZONTALLY

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MANLEY ABSOLUTE HEADPHONE AMPLIFIER – THE MAKINGS OF A LEGEND

MANLEY ABSOLUTE HEADPHONE AMPLIFIER – THE MAKINGS OF A LEGEND

Back in the late nineteen eighties I ran a small boutique by appointment only high end HiFi shop, and at that time our preamplifier of choice was the MANLEY (their first and only product at the time if my memory serves correctly), which we considered to be the finest audio product in the world. Not long after that, MANLEY moved into pro audio which they quickly took by storm and has remained their primary focus ever since. When I met Zia Faruqi at T.H.E. Show Newport 2016 demonstrating the original samples of the MANLEY Absolute Headphone Amplifier I knew this was a product I had to review. Not only was it aesthetically distinctive and beautiful, it offered unique features not seen before in Personal Audio, and exceptional performance that was apparent even at a crowded HiFi show.

If I have this correctly, Zia Faruqi was David Manley’s first employee at the first Vacuum Tube Logic company in England in the 1980’s. The Absolute Headphone Amplifier was Zia’s brain child and he is responsible for the Design Concept, Industrial Design and acted as Project Manager throughout the entire development process going so far as to personally accompany the product to a plethora of Personal Audio Expos.

MANLEY Absolute Headphone Amplifier

The MANLEY Absolute Headphone Amplifier:

The MANLEY Absolute Headphone Amplifier boasts of fifteen independent operational controls “each of which was exhaustively developed for convenient adjustability and aural variety.” Two selectable stereo RCA jack pairs of their own design, Teflon® insulated and gold plated, receive the input signals. The volume is controlled on the facia by a front thumb wheel or by the included RF remote control employing a precision stepped relay ladder matrix attenuator in half dB steps, with the Mute switch situated next to the volume control wheel. Vertically mounted just in front of the tubes you will find Baxandall Bass and Treble equalizers that can be completely bypassed via a separate button, and a Balance Control which has a signal swing of up to 144 dB (In the center detent position the balance control is completely removed from the circuit).

In addition to the EQ bypass switch there is a button for mono, source, output (¼” TRS Headphone Jack, a 4-pin XLR Balanced Stereo Output for your high-end balanced headphones, and a set of stereo RCA outputs to use the Absolute Headphone Amplifier as a line-level preamplifier in an existing hifi system) and a button that cycles the transformers through three ranges of output loads (Low 12-50 Ohm, Mid 50-200 Ohm, High 200-600 Ohms).

There is also a selectable Bypass Thru Mode that sends RCA Input 1 directly to the RCA Outputs, when in STANDBY mode, as well as a user adjustable Headphone Overload Protection System which allows you to preset a maximum output level.

Which brings me to the two most interesting and unique features; the first being the ability to switch on-the-fly between all-triode Push-Pull to Single-Ended topology. Essentially, in Push-Pull mode the Harmonic Distortion is significantly lower, power output is greater and noise floor should be lower, whereas Single-Ended completely alters the harmonic structure from odd-order to even-order which is more musical.

The other is my favorite feature the Variable Feedback control which allows you to control the amount of overall negative feedback applied to the amplifier from 0dB, or no Global Negative Feedback, to 10dB of Negative Feedback.

“Negative Feedback in electronics is when a small portion of the output signal is re-introduced back to the input signal to provide a more stable and beneficial corrective result. This control is very useful when determining how “tight” you want your amplifier to sound. For example, a simple female vocal with minimal percussion can sound more intimate with very little feedback, but a complicated symphony orchestra passage may sound better positioned with more feedback. Applying different amounts of negative feedback can also affect the slew rate and apparent “speed” of the sonic character. Other aspects for which to listen include placement, forward or relaxed, darker vs shimmering, or punchy vs mellow.”

On to technical features; the Absolute Headphone Amplifier features custom hand-wound air-gapped dual-mode MANLEY IRON® output transformers, designed and manufactured at the Manley Labs factory in California. It also incorporates their own innovative purpose-designed-for-audio High Voltage switched-mode power supply. “All super-low impedance DC rails are fully regulated and worlds quieter than any linear supply we have ever encountered.”

The review sample I received was fitted with Ruby 12AX7WBC input tubes and RCA 6AQ5A vacuum tubes in the output

The solid billet chassis for the Manley Absolute Headphone Amplifier is available in three color options: Black, Copper, and Silver, and feature hand-rubbed walnut-burl veneer accents for the headphone head-band and ear pad rest areas.

MANLEY Absolute Headphone Amplifier

The Listening:

For sources I began with the Schiit Modi 3 (review upcoming), later switching in the Questyle Audio CMA400i, the Questyle Audio CAS192D eventually settling into the Questyle Audio SHB2 Super Sourceand finished off with my Audible Illusions phono stage and a turntable. As to headphones I used the MrSpeakers ETHER2, the MrSpeakers ETHER C Flows and the Audeze LCD3 headphones.

I will start with, you get out of the Manley Absolute Headphone Amplifier exactly what you put into it, which is high praise for an amplifier, and unusual for headphone amplifiers, especially tube headphone amplifiers because many Personal Audio designers seem to be under the delusion that the amplifier should somehow “improve” the sound of the signal fed into it, this usually means rolling off the highs or adding bass or midrange, or adding delay to create more “air”, or messing with the phase to create a more three dimensional image and soundstage, or dynamic range expansion, or a myriad of other tricks to fool people into believing an amplifier sounds better, not to mention basics like TIMD which makes the amplifier sound crisper, and gives the impression of added detail (well there is added detail, the Transient InterModulation Distortion itself, but that’s not music), when in fact any change in the signal is simply degradation and distortion.

After a bit of experimentation, I found that running single ended with the Negative Feedback set to its fully on position (the default position) most fit my tastes and produced the greatest musicality. Listening to Artur Pizarro & Vita Panomariovaite piano duo performance of Rimsky-Korsakov’s “Scheherazade Op 35Andantino quasi allegretto” (Nikolay Rimsky-Korsakov Piano Duos – 24/48 kHz) through the ETHER C Flows was a magical experience with the piano reproduced full and natural in a large recital hall with excellent dynamics, timbre, speed and soundstage.

Dusty Springfield’s voice was palpable and intimate through the ETHER2s for “The Look of Love” (Casino Royale – 24/192 kHz) bracketed on a Jazz Club stage by the upright bass, drums, piano and guitar. The saxophone, brass and strings were warm and inviting without any of the usual harshness associated with those instruments.

The LCD3s let me explore the Absolute Headphone Amplifier’s ability to handle higher impedance loads, and the on the fly impedance switch made it quick and easy work to change headphones. “Sister Seagull” from BeBop Deluxe’s Live in the Air Age (16/44.1) was reproduced lifelike and lively with a 10th row at the Forum soundstage.

Anytime I have a Class A Triode amplifier to audition, I am almost compelled to run vinyl, and the MANLEY did not disappoint. Nicky Hopkins’ No More Changes was a true pleasure to play though the Absolute Headphone Amplifier regardless which headphones I used. The higher resolution of the ETHER2was put on display for “The Lady Sleeps” bringing out the multiple piano tracks and the sweetness of the guitar leads.

MANLEY Absolute Headphone Amplifier

The Come Away:

The MANLEY Absolute Headphone Amplifier is everything I expected when I first saw it and when I asked for a review sample, it is everything you would expect from a world class rare air well respected audiophile tube amp manufacturer. It does what an audiophile amplifier is supposed to do, which is amplify the sound and nothing else, while introducing as little noise and distortion as possible. To say it is musical is to barely scratch the surface, and possibly beside the point, the dynamics, sound stage, timbre and phase coherency are all top notch.

As expected from a true audiophile piece, it demands a top end source and is able to reproduce every nuance fed into it, and likewise it will pull out the pinnacle of what your headphone can achieve, but it will not change the basic character of those headphones.

The switchable single-ended or push-pull topology and the variable negative feedback control give real insight into those technologies and why they exist (it should be pointed out that negative feedback in a tube amp, and negative feedback in a solid state amp are completely different animals, negative feedback in a solid state amp can produce high levels of TIMD which is not a factor in tube amps).

I found the MANLEY Absolute Headphone Amplifier to be beautiful, versatile (you would be hard pressed to find a headphone that it does not work well with) and fantastic sounding. To put it simply, the MANLEY Absolute Headphone Amplifier is evidence of why those who dabble in the extreme high end of the audiophile world lean towards tube amps.

https://www.manley.com/hifi/mabhpa/

Price: $4,500 USD

SPECIFICATIONS:

Amplifier Topology:
Triode Vacuum Tube Output Stage, Switchable Topology Single-Ended or Push-Pull

Vacuum Tubes:
2 x 12AX7 (ECC83), 4 x 6AQ5A (EL90)

Inputs:
2 x RCA (Input 1 & Preamp Output = Pass-Thru when amplifier is in Standby or Off)

Input Impedance:
50 kOhms (Pass-Thru= 300 kOhms)

Maximum Input Level:
7.7 VAC RMS (+20 dBu)
(Conditions: XLR output, PP mode, 16 ohm load, VOLUME max, EQ out, 1kHz sine wave)

Gain:
Load 16 ohm: 12 dB (Min FB), 3 dB (Max FB)
Load 62 ohm: 17 dB (Min FB), 8 dB (Max FB)
Load 200 ohm: 22 dB (Min FB), 13 dB (Max FB)
(Conditions: XLR output, PP mode, VOLUME Max, EQ out, 1kHz sine wave)

Input Sensitivity:
600 mV AC RMS for an output of 100 mW
1.9 VAC RMS for an output of 1W
(Conditions: XLR output, PP mode, FB 12:00 o’clock, 16 ohm load, 1kHz sine wave, VOLUME max, EQ out)

Volume Control:
– Precision Stepped Relay Attenuator 0.5dB per step
– 63dB total attenuation – Volume setting to minimum = MUTE

Outputs (transformer coupled):
1 pair RCA- Unbalanced (Preamp Output)
1 x TRS ¼” JACK – Unbalanced
1 x 4 PIN XLR- Balanced

XLR-pin outs – (Left Channel Pin 1= Signal (+), Pin 2= Signal (-), Right Channel Pin 3= Signal (+), Pin 4= Signal (-))

Output Impedance:
Switchable: Low 12-50 Ohm, Mid 50-200 Ohm, High 200-600 Ohms

Maximum Output Power = 1W into 12 Ohms BW 22Hz-22kHz

Variable Feedback Control (FB):
MIN 0dB
MAX 10dB
(Conditions: BAL output, PP mode, 16 ohm load, VOLUME max, EQ out)

Signal to Noise Ratio:
83 dB (1kHz sine wave, 100mW output, BW 22Hz-22kHz)
(Conditions: BAL output, PP mode, FB 12:00 o’clock, 16 ohm load, VOLUME max, EQ out)

Noise Floor:
-80 dBu BW 22Hz-22kHz
-85 dBu  A-Weighted
(Conditions: BAL output, PP mode, FB 12:00 o’clock, 16 ohm load, VOLUME MAX, EQ out)

Channel Crosstalk:
-71 dB (1kHz sine wave, 100mW output, BW 22Hz-22kHz) Left Channel
-72 dB (1kHz sine wave, 100mW output, BW 22Hz-22kHz) Right Channel
(Conditions: BAL output, PP mode, FB 12:00 o’clock, 16 ohm load, EQ out)

Balance Control Channel attenuation:
Left Channel= 72dB (1kHz sine wave, 100mW output, BW 22Hz-22kHz)
Right Channel= 72dB (1kHz tone, 100mW output, BW 22Hz-22kHz)
(Conditions: BAL output, PP mode, FB Min, 16 ohm load, EQ out)

Frequency Response:
Push-Pull= Flat 10Hz – 20 kHz (-1dB @ 40 kHz)
Single-Ended= 20Hz – 20 kHz (-0.5dB @ 10Hz, -1dB @ 50 kHz)
(Conditions: BAL output, 100mW output, FB @ 12:00 o’clock, 16 ohm load, EQ out)

Distortion:
Push-Pull= 0.16% THD+N (BW 20Hz-22kHz)
Single-Ended= 1.0% THD+N (BW 20Hz-22kHz)
(Conditions: BAL output, PP mode, 1 kHz sine, 100mW output, FB @ 12:00 o’clock, 16 ohm load, EQ out)

Supplied with Remora RF remote control

Soft Start, 30 second mute-controlled power-up sequence

Operating Mains Voltage: 90-250 VAC, 50-60Hz, universal works worldwide

Unit Dimensions: 11.5 x 5.5 x 8.2” (LxWxH)

Unit Weight: 12 lbs

Shipping Weight = 13.5 lbs

Packing Carton Dimensions: 17 x 11 x 15”

Power consumption STANDBY mode = 0.5W, Max Power = 80W

Heat Rise above ambient temperature at rear panel: 25ºC or 44ºF

Heat Rise above ambient temperature at side panels: 15ºC or 26ºF

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Focal Trio11 Be, the loudspeaker dedicated to creating music

Focal Trio11 Be, the loudspeaker dedicated to creating music

THE LOUDSPEAKER DEDICATED TO NEARFIELD AND MIDFIELD

As well as new speaker drivers (a 5” midrange and a 10” subwoofer) with high efficiency and power handling, the Trio11 Be monitor enjoys all of Focal’s very latest technologies when it comes to acoustics and electronics: TMD and NIC technologies; optimised vents that promote dynamic control and perfect bass definition; high excursion, enabling even more linearity of the subwoofer…

Thanks to its class G amplification, Trio11 Be delivers a high SPL (118dB at 1m) and offers a great versatibility of use and installation configurations in nearfield AND midfield applications. A key asset, always coming along with an extremely precise sound reproduction and stereo image.

With an extended bandwidth (30 Hz-40 kHz), this loudspeaker is also composed of a 3-way monitor and a 2-way monitor, just like Trio6 Be, which lets you check the mix transfer sound quality thanks to FOCUS mode.

With Trio11 Be, power and versatility are waiting for you!
Feel the difference!

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Avantone Pro Announces the New CLA-200 Studio Power Amp

Avantone Pro Announces the New CLA-200 Studio Power Amp

The Avantone Pro CLA-200 Studio Reference Amplifier is a classically designed Class A/B amplifier. We took particular care to create an amplifier in the traditional studio style, with generous VU meters, high quality Japanese components and a serious toroidal transformer linear power supply. In a standard 2U rack mount chassis, this amplifier can generate over 200 watts per channel into an 8 ohm load, making it perfect for medium to large speakers in a studio environment. The CLA200 is convection cooled – no fan noise, so it can be used in the same room as the monitors.

The CLA-200 Studio Reference Amplifier is designed to be used in a studio environment requiring high power output with no fan noise. Under testing, it delivers a powerful 208 watts into 8 ohms and can run at one third power without thermal fault.

The CLA-200 was designed to be paired with the CLA-10 studio monitors, but it can be used with just about any demanding speaker load. Very low distortion, steady performance under harsh conditions, and an open and transparent sound make this an obvious choice for discerning studios.

Engineering Objectives

The Avantone Pro CLA-200 Studio Reference Amplifier is a dynamic, high output, high resolution, full-range system built the old school way. We included no-compromise components in a 2U convection cooled chassis to complement our CLA-10 Studio Reference Monitors. Of course, it can be used with any passive studio monitor requiring serious dynamic range.

Check it out at AES in booth #340 

Specifications
Frequency Response: 20Hz-20kHz +/- 0.5dB
Output power:
200W at 8 ohms
300W at 4 ohms
500W bridged into 8 ohms
Distortion: <0.05%
Signal to Noise: >94dB
Input Impedance: (Balanced) 20KΩ (Unbalanced) 10kΩ
Damping Factor (100Hz, 8Ω): 250Signal to Noise Ratio (A Weighted): >103dB
Amplifier: Class AB
Slew rate (at 1KHz): 28V/us
Input Sensitivity (1KHz): 0.775V (0dBU)
Total Harmonic Distortion (1KHz): <0.1%
Intermodulation distortion (at 10% rated power 1KHz): <0.1%
Crosstalk: -70dB
8Ω Stereo Power (1KHz): 200W
4Ω Stereo Power (1KHz): 300W
8Ω Bridge Power (1KHz): 500W
Cabinet Dimensions: 19”w x 18”d x 3.5”h 30.4 lbs
Weight: 20kg (44lb)