Recording - April 2012 - 59
You can use one or both sets of inserts, or none at all, for four different angles. In one of my tests, I used both inserts and achieved a scary amount of forward tilt to compensate for a situation where my speakers were way too high for optimum listening. The stands held my monitors firmly without sliding or tipping over, but if you have very topheavy speakers, the manual suggests that you test your setup for stability beforehand.
In use
The difference a good speaker stand makes can be dramatic, whether you’re talking about a multi-thousand-dollar reference monitor or a set of affordable desktop speakers. I had several sets of speakers suitably sized for these stands, including the ADAM Audio A5 and the Cerwin-Vega! XD3 (reviewed elsewhere in this issue), and found the difference in audio with vs. without the ISO•L8R stands to be considerable. The place where improper stand mounting can really mess with a speaker’s sound is in the bass; low frequency energy can be leached away by the contact between the speaker and what it’s resting on, and small desktop speakers with their 5" or smaller woofers have precious little bass to waste. With the IsoAcoustics stands in place, I heard more and better bass: improved extension, a tighter and more focused sound—in effect, a very inexpensive and effective upgrade! The only time I ever needed tools when reconfiguring the stands to different heights and angles was when I took them apart and an endplug insert was left inside the stand; a pair of pliers let me gently grab and pull out the insert easily. It was trivially simple to reconfigure them to different heights and angles; after the first time figuring out what all the parts were and how they fit together, adjusting size could be done in a minute or two.
So
There are several ways to isolate speakers, each with its proponents. Some systems use acoustic foam to damp and decouple speaker from surface, with or without added mass in the form of metal plates; others minimize points of contact between the two objects, and it is into the latter camp that the ISO•L8R stands fall. The added convenience of built-in stable angle adjustment gives these stands an advantage over simpler “pointed speaker feet” while still providing clearly audible sonic improvements. If you’re working with small speakers in a less-than-ideal monitoring arrangement, check out what IsoAcoustics has to offer; the ISO•L8R stands can’t turn horrible speakers good, but they can give any speaker a fighting chance to deliver the audio it was designed to deliver. Price: $119.95 More from: IsoAcoustics, www.isoacoustics.com
RECORDING APRIL 2012
59
http://www.clearsonic.com
http://www.clearsonic.com
http://www.fretlight.com
http://www.fretlight.com
http://www.isoacoustics.com
Recording - April 2012
Table of Contents for the Digital Edition of Recording - April 2012
Recording - April 2012
Fade In
Table of Contents
Talkback
2012 Winter NAMM Show Report
Sonodyne SM100Ak and SM50Ak Active Monitors
Shure SRH1440 Headphones
Noises In—Noises Out
Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Reviewed and Revisited: iZotope Ozone 5 Advanced
Pelonis Model 42 Stereo Monitors
The Science And Art Of Ambisonics
Little Labs i-VOG Analog Bass Resonance Tool
Readers’ Tapes
Plug-In Outlet
Cerwin-Vega! XD3 Powered Desktop Speakers
Once Over—Reviews In Brief
Do It Yourself: Make Your Own Check Mix Monitor
Rob Papen eXplorer
Advertiser Index
Fade Out
Recording - April 2012 - Recording - April 2012
Recording - April 2012 - Cover2
Recording - April 2012 - 1
Recording - April 2012 - 2
Recording - April 2012 - 3
Recording - April 2012 - Fade In
Recording - April 2012 - 5
Recording - April 2012 - Table of Contents
Recording - April 2012 - 7
Recording - April 2012 - Talkback
Recording - April 2012 - 9
Recording - April 2012 - 2012 Winter NAMM Show Report
Recording - April 2012 - 11
Recording - April 2012 - 12
Recording - April 2012 - 13
Recording - April 2012 - 14
Recording - April 2012 - 15
Recording - April 2012 - 16
Recording - April 2012 - 17
Recording - April 2012 - 18
Recording - April 2012 - 19
Recording - April 2012 - 20
Recording - April 2012 - 21
Recording - April 2012 - Sonodyne SM100Ak and SM50Ak Active Monitors
Recording - April 2012 - 23
Recording - April 2012 - Shure SRH1440 Headphones
Recording - April 2012 - 25
Recording - April 2012 - Noises In—Noises Out
Recording - April 2012 - 27
Recording - April 2012 - Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Recording - April 2012 - 29
Recording - April 2012 - 30
Recording - April 2012 - 31
Recording - April 2012 - 32
Recording - April 2012 - 33
Recording - April 2012 - Reviewed and Revisited: iZotope Ozone 5 Advanced
Recording - April 2012 - 35
Recording - April 2012 - 36
Recording - April 2012 - 37
Recording - April 2012 - Pelonis Model 42 Stereo Monitors
Recording - April 2012 - 39
Recording - April 2012 - The Science And Art Of Ambisonics
Recording - April 2012 - 41
Recording - April 2012 - Little Labs i-VOG Analog Bass Resonance Tool
Recording - April 2012 - 43
Recording - April 2012 - Readers’ Tapes
Recording - April 2012 - 45
Recording - April 2012 - Plug-In Outlet
Recording - April 2012 - 47
Recording - April 2012 - 48
Recording - April 2012 - 49
Recording - April 2012 - 50
Recording - April 2012 - 51
Recording - April 2012 - 52
Recording - April 2012 - 53
Recording - April 2012 - Cerwin-Vega! XD3 Powered Desktop Speakers
Recording - April 2012 - 55
Recording - April 2012 - Once Over—Reviews In Brief
Recording - April 2012 - 57
Recording - April 2012 - 58
Recording - April 2012 - 59
Recording - April 2012 - Do It Yourself: Make Your Own Check Mix Monitor
Recording - April 2012 - 61
Recording - April 2012 - Rob Papen eXplorer
Recording - April 2012 - 63
Recording - April 2012 - 64
Recording - April 2012 - Advertiser Index
Recording - April 2012 - 66
Recording - April 2012 - 67
Recording - April 2012 - 68
Recording - April 2012 - 69
Recording - April 2012 - 70
Recording - April 2012 - 71
Recording - April 2012 - Fade Out
Recording - April 2012 - Cover3
Recording - April 2012 - Cover4
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