JOY! ADAM Audio release new line of monitors

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Peake
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JOY! ADAM Audio release new line of monitors

Post by Peake » Mon Aug 31, 2009 4:55 pm

with upgraded transducer technology!

:hyper: :hyper: :hyper:

Click your language, monitors, then the tweeter on the upper right:

http://www.adam-audio.com/

Mind you, the smallest are over $2600.00 a pair, but if you haven't yet heard this technology, you owe it to yourself to do so.
This is not the place I'd imagined it to be.

xart

Post by xart » Mon Aug 31, 2009 5:10 pm

"feature the new X-ART (eXtended frequency response) tweeter"

:fu:

We only rokc the Behringer! :tu:

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Peake
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Post by Peake » Tue Sep 01, 2009 2:57 pm

xart wrote:"feature the new X-ART (eXtended frequency response) tweeter"

:fu:

We only rokc the Behringer! :tu:
:lol:
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richard
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Post by richard » Tue Sep 01, 2009 3:50 pm

PMC all the way

Richard

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Post by Peake » Tue Sep 01, 2009 4:23 pm

http://www.soundonsound.com/news?NewsID=11434

Might I mention that I am the third ADAM owner in the USA? And that the second became the US distributor...and that the first is Sir Rupert Neve?

Nah... :doh:
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Post by digitalganesha » Tue Sep 01, 2009 11:01 pm

Man, they are nice, but for that money..... what's the point?

No one else listening to our music is listening on ADAM's. And if they are... fuck them. :hihi:

I will stick to normal monitors that cost under $1200.

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Post by Lyonel » Wed Sep 02, 2009 1:27 am

digitalganesha wrote:No one else listening to our music is listening on ADAM's. And if they are... fuck them. :hihi:
Really ?

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Post by science » Wed Sep 02, 2009 10:46 am

High end studio monitors have always occupied that price range. They're not exactly targeting hobbyists.

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Post by Peake » Wed Sep 02, 2009 3:23 pm

Just to know, it's worth searching them out (or any high-end monitors, just for the experience). We are all worth it, music is worth it, and relationships and furniture are highly over-rated. You don't miss them at all once you have the high-end monitors :mrgreen:
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JohnLRice

Post by JohnLRice » Wed Sep 02, 2009 3:27 pm

richard wrote:PMC all the way

Richard
+1 :party:

I just have the little DB1+ monitors and a XB1a sub driven with Adcom amps and crossed over with a Bryston. :tu:

JohnLRice

Post by JohnLRice » Wed Sep 02, 2009 3:32 pm

digitalganesha wrote:Man, they are nice, but for that money..... what's the point?

No one else listening to our music is listening on ADAM's. And if they are... fuck them. :hihi:

I will stick to normal monitors that cost under $1200.
:hihi:

But, high end studio monitors can help you identify stuff that is going to sound fine on some low end speakers and terrible on others etc.

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Post by Kent » Wed Sep 02, 2009 4:09 pm

JohnLRice wrote:
digitalganesha wrote:Man, they are nice, but for that money..... what's the point?

No one else listening to our music is listening on ADAM's. And if they are... fuck them. :hihi:

I will stick to normal monitors that cost under $1200.
:hihi:

But, high end studio monitors can help you identify stuff that is going to sound fine on some low end speakers and terrible on others etc.
If your room is tuned. (He says flatly in order to make a point.)

For the most part, there is no practical reason to purchase monitors that are more than say; $1500 each when they are to be used in a non-treated room and, personally, I think that the $1500 figure should be lower; but why not 1.5k? Sure, there is the pleasure of using high-end or 'only the very best' gear and that is 100% legitimate in my book. If it brings you joy and it is your money then go for it.

It is far more important to get a decently accurate pair of speakers and then a more 'real world' pair of speakers and then LEARN THOSE SPEAKERS. Use them both as reality checks. Here is what is important: how it all translates onto other systems.
Unless it is all about personal amusement and in that case just do what you wish with your own bad self. If it isn't a career and you aren't mixing/recording for other people's money; just go apeshit and buy whatever. No need to qualify the decision.

So, call me a Judas... However, in support of my current belief, I'll offer that I've worked with many of the top name mix engineers and recordists in the world. Yup, Le Monde. The Planet Earth. Third Stone From The Sun. All of that has been over with for some time now, but you'd be semi-surprised at what gets the most use. It's fairly standard stuff:

KRK V8 or E8. And those passive grey 6000 series by one guy in particular.
Meyer HD-1
Pro•Ac speakers with Brystons
NS-10Ms with Brystons (fuckin' ubiquitous)
Fairly run of the mill Genelecs
The odd Mackie HR•824
Auratones
The odd Tannoy for stereo-imaging freaks. (Not so hot at medium to high volumes)

Keep in mind that this is several years ago in my past. Nobody was using anything esoteric except for one gent and these were his Mid-Field monitors. The rest was all Auratones for this particular client. I never once saw ADAMs in a studio environment for what it's worth... and that's not a whole lot.
Last edited by Kent on Wed Sep 02, 2009 9:10 pm, edited 1 time in total.

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Post by Peake » Wed Sep 02, 2009 7:52 pm

At risk of sounding like a shill...

ADAMs are extremely forgiving of room acoustics, if that is technically possible. It's certainly my experience. There are a number of reasons I shout about them. They have models such as the A7 in the "just above $1K" for a pair.
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Post by Luka » Wed Sep 02, 2009 8:32 pm

forgiving of room accoustics?

is this documented or just heresay?

phase cancellations are phase cancellations

im with kent on this one

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Post by Kent » Wed Sep 02, 2009 9:15 pm

It's actually the other way around. A room has to be forgiving and designed with intent to do so. A standing wave at n-Hz is always going to be there. Same goes for screwy reflections which will shift with monitoring positioning. However, once that wave is sent from the speaker, the speaker no longer has control or influence upon that wave of energy.
1.32 kHz at x-distance and y-height @ 95dB is going to be the same regardless of the speaker.

I'm 100% in agreement with Luka on this one... as far as him agreeing with me because I too agree with myself.

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Post by bf » Wed Sep 02, 2009 10:12 pm

Kent wrote:For the most part, there is no practical reason to purchase monitors that are more than say; $1500 each when they are to be used in a non-treated room and, personally, I think that the $1500 figure should be lower
I'd say way lower. Poor placement, environment and lack of treatment is simply a waste of any additional clarity high end monitoring is going to offer. If it were all about the speakers there would be a pair of cans perfect for mixing. That being said I'm sure there are plenty of unpractical reasons, and unpractical reasons are often gratifying in their own way.
Kent wrote:It is far more important to get a decently accurate pair of speakers and then a more 'real world' pair of speakers and then LEARN THOSE SPEAKERS. Use them both as reality checks. Here is what is important: how it all translates onto other systems.
That may be debatable. While it's a given that how it translates is what's important, using multiple sets of monitors to achieve that is compensating for not having a proper listening environment and really knowing your monitoring set up. I'm not saying that one is more valid than the other, as it is the result that count, but ideally one shouldn't need to second guess their listening environment.
Peake wrote:At risk of sounding like a shill...

ADAMs are extremely forgiving of room acoustics, if that is technically possible. It's certainly my experience.
I may be a rube, but that doesn't make any sense to me. They may be telling you more even in a poor environment than lesser monitors, but math is definite not forgiving.

JohnLRice

Post by JohnLRice » Wed Sep 02, 2009 10:55 pm

While I agree with those agreeable guys :hihi: , the closer your ears are to the speakers the less the room acoustics come into play, right?. I believe thats one of the main reasons to monitor "nearfield".

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Post by bf » Wed Sep 02, 2009 11:16 pm

That is the theory but there are trade offs and it is not full proof. I often see near fields placed on top of the console or work surface seemingly without regard of these first reflection points. The closer the monitors the more focused the sweet spot making the listening position more critical, and then there are more wavelengths beyond the listening position the closer it is to the monitors.

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Post by digitalganesha » Thu Sep 03, 2009 2:02 am

Kent your post is spot on.

Learning your speakers (AND YOUR ROOM!!! #1) in addition to real world speakers is essential to a good mix.

I have been involved in a few major label records and I have seen a ton of KRK's and NS-10's. I only met ONE person in my time who was using ADAMs and he.... um.... ended up selling them. :hihi:

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Post by Lyonel » Thu Sep 03, 2009 3:32 am

digitalganesha wrote:I will stick to normal monitors that cost under $1200.
Hopefully, it doesn't exist ! (normal monitors) :)
So like Kent says : you must learn.

I am lucky to have a well treated room, symmetry (and the opposite), real bass traps,
box in the box with external decoupled ventilation and air-conditioning ;
I have worked a long time with HR824 (always coupled with NS10) ;
But when the S3A arrived, i thought there was a problem, you know... in the stereo field... it was almost too much ;
Stereo placement is incredibly precise, and depth scrutiny... woou !
Suffering tinnitus from time to time, i can tell you that with the S3A, i can work a long time without any ear fatigue.
(this sentence sounds like a bad commercial, don't you think ?) :doh:

About price, take a look at ATC or Barefoot.
digitalganesha wrote:I only met ONE person in my time who was using ADAMs and he.... um.... ended up selling them. :hihi:
Second time ... really ?

S3A at Abbey Road : Image

Michael Wagener : http://mixonline.com/news/headline/adam ... er-122106/

and so great others !

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Post by Peake » Thu Sep 03, 2009 3:53 pm

I'm aware of room acoustics (I still have that AES subwoofer paper around somewhere regarding the surprising number of modes at very low frequencies...and love the Hafler Trio's music, some of which is specifically designed to use modes so that if you move around the room, you'll actually hear a different performance as things cancel and reinforce...)

The ADAMs have several benefits, among them extreme horizontal disperson (good at some 120 degrees and about 30 degrees vertical, IIRC) on the Heil drivers, which make for easier room placement, especially above or just behind the meter bridge of a console, to avoid board reflections. It -does- help one with placement, but I of course agree that you have to know your room. You have to be ear-level with the tweeter, but it's easy to get past because even really good dome tweeters have a smaller sweet spot.

Also, the ADAMs translate extremely well, better than any monitor that I've run across. What you hear on the ADAMs, you will most likely hear on every other set of speakers. Or, you'll best know how things will sound on other speakers, if they sound good on the ADAMs. Many online have agreed with this.

I note that the new line recommend a listening distance of some 1.8 to 2 meters, even for the smallest, I'll presume, and that may change things a bit, especially my statement about ease of placement.

I haven't heard the PMC models but would if I ran across them. For reference, I have been swapping speakers since the late 70s, including rare Spendor BC-2s, Spica SC-50s, TOA monitors, ESS AMT 1Bs, worked with the later Alesis monitors (the last sets of computer-controlled, what, the 820s? are actually pretty good), really like the Earthworks monitors, the Dynaudio dynamics (extremely good dynamic speakers!) Time Window 1as, and the B&W 801 model with the mid and tweet on tiny, shaped casing atop the woofer- These, the B&Ws, had the best imaging that I've ever heard. I wish that I could figure out which model it was; they were some $4,000.00 new at the time, several years ago.

Suffice to say, I'm semi-pro and have been looking and listening for years...the small genelecs and the Mackie 824 didn't sweep very well (BIG bump at 24KHz on the Mackies, some 10dB up, and the Gennies dipped at 5K? don't remember, not flat...the Mackies were otherwise very, very flat, but limted by the passive radiator- I had passives on the ESSs, and they add volume, but at the expense of pitch. Passive radiators don't add a true sense of the pitch involved, and the Eton hexacone woofers used on the ADAMs are really good at pitch articulation. They evenly respond..)

I have never had a moment of fatigue from the ADAMs, never, on any type of music, using many different amplifiers (I had passive versions, which weren't as snappy as the self-powereds). I just have to recommend that you check out monitors you might not have heard before, if you can.

You know as modular synth users, that your budget never reflects reality :nana:
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Post by Luka » Thu Sep 03, 2009 4:21 pm

i have heard good things about the ADAMs

im currently reading the book mixing with your mind which goes pretty deep into speaker placement techniques. Well worth a read.

Im currently rocking some Samson Rubicon R8s. I like the high end definition of the ribbon drivers. They dont translate amazingly but were a early purchase in my studio so i dont really think they are all that bad for what they cost me.

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Post by science » Thu Sep 03, 2009 4:30 pm

The ADAM A7s are great monitors, even ignoring the incredibly affordable price tag.

xart

Post by xart » Thu Sep 03, 2009 4:31 pm

Peake wrote:...and love the Hafler Trio's music
Image


Simply Superior! :tu:

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