Recording - February 2013 - 31

organist), to acoustic players like Ray Brown and Christian McBride, to electric bassists Victor Wooten and Marcus Miller. They showed good definition right down to the lowest note a bass produces (without the C extension), which takes us down to around 40 Hz, the number given by Sonodyne as the low end of the SM200Ak’s frequency response (40 Hz—22 kHz, ±2 dB). Orchestral tracks confirmed the speaker’s capability of reproducing massive low end—Richard Wagner would have been pleased with the way the SM200Ak deals with the ultra-low brass, for example. Onwards and upwards The fullness of bass on the SM200Ak doesn’t come at the expense of another segment of the overall frequency spectrum. I heard fine detail in the critical upper bass/lower mids that can easily get muddy on lesser equipment. When you read up on what is being said about the SM50Ak and the SM100Ak, you find that the vocal range is often described as being very forward— just right for some folks’ tastes, too much so for others. I didn’t review those two models, but I definitely found no exaggerated “forwardness” on the SM200Ak; voices certainly stand out, with fine detail, but not in a way that I would call exaggerated. This may be a result of the bigger overall sound, especially the full and balanced low end that makes for such an even overall tonality from the SM200Ak. The high end is true, without hype, the crossover (at 1.7 kHz) was never in evidence, and my usual trial-by-fire sounds to which I like to subject tweeters under evaluation—mostly triangle and cymbals— showed up no flaws. Final thoughts The dispersion and sound field of the SM200Ak seems fairly generous; the waveguides are doing their job. Finding the sweet spot and staying within it is not difficult, as long as the heft of the boxes doesn’t make it difficult to achieve correct positioning in your room. The response of the SM200Ak to tiny adjustments in eq and volume is laudable, so once they have been properly placed, ideally away from side- and back walls and avoiding splashy surfaces between the listener’s ears and the tweeters, the SM200Ak should give exceptional service to the discerning recordist and mixer. They’re powerful, well-balanced, and honest to the ears; what more could a studio desire? Price: $895 each ($1790/pair) More from: Sonodyne, www.sonodyne .com; dist. in USA by TransAudio Group, www.transaudiogroup.com.
RECORDING February 2013

31


http://www.clearsonic.com http://www.clearsonic.com http://www.ftc.edu http://www.sonodyne.com http://www.ftc.edu http://www.sonodyne.com http://www.transaudiogroup.com

Table of Contents for the Digital Edition of Recording - February 2013

Recording - February 2013
Fade In.
Contents
Talkback.
Fast Forward.
The Production Of Clare Fischer’s CD ¡Ritmo!
Big Money Drums.
Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Sonodyne SM200Ak Studio Monitors.
AKG D12 VR Reference Kick Drum Microphone.
Shure KSM9HS.
Radial Engineering Firefly Tube DI.
Audio-Technica AT4047MP.
Zoom Q2HD Handy Video Recorder.
iOS Music Tools: Take Control!
Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
DPA Microphones Reference Standard Mics.
Sony Creative Software Sound Forge Pro Mac.
Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Readers’ Tapes.
Miking An Orchestra—Rock Band And Symphony.
Stereo From A Mono Mic.
Advertiser Index.
Fade Out.
Recording - February 2013 - Recording - February 2013
Recording - February 2013 - Cover2
Recording - February 2013 - 1
Recording - February 2013 - 2
Recording - February 2013 - 3
Recording - February 2013 - Fade In.
Recording - February 2013 - 5
Recording - February 2013 - Contents
Recording - February 2013 - 7
Recording - February 2013 - Talkback.
Recording - February 2013 - 9
Recording - February 2013 - Fast Forward.
Recording - February 2013 - 11
Recording - February 2013 - 12
Recording - February 2013 - 13
Recording - February 2013 - The Production Of Clare Fischer’s CD ¡Ritmo!
Recording - February 2013 - 15
Recording - February 2013 - 16
Recording - February 2013 - 17
Recording - February 2013 - 18
Recording - February 2013 - 19
Recording - February 2013 - Big Money Drums.
Recording - February 2013 - 21
Recording - February 2013 - 22
Recording - February 2013 - 23
Recording - February 2013 - 24
Recording - February 2013 - 25
Recording - February 2013 - Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Recording - February 2013 - 27
Recording - February 2013 - 28
Recording - February 2013 - 29
Recording - February 2013 - Sonodyne SM200Ak Studio Monitors.
Recording - February 2013 - 31
Recording - February 2013 - AKG D12 VR Reference Kick Drum Microphone.
Recording - February 2013 - 33
Recording - February 2013 - 34
Recording - February 2013 - 35
Recording - February 2013 - Shure KSM9HS.
Recording - February 2013 - 37
Recording - February 2013 - Radial Engineering Firefly Tube DI.
Recording - February 2013 - 39
Recording - February 2013 - Audio-Technica AT4047MP.
Recording - February 2013 - 41
Recording - February 2013 - Zoom Q2HD Handy Video Recorder.
Recording - February 2013 - 43
Recording - February 2013 - iOS Music Tools: Take Control!
Recording - February 2013 - 45
Recording - February 2013 - 46
Recording - February 2013 - 47
Recording - February 2013 - Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
Recording - February 2013 - 49
Recording - February 2013 - DPA Microphones Reference Standard Mics.
Recording - February 2013 - 51
Recording - February 2013 - Sony Creative Software Sound Forge Pro Mac.
Recording - February 2013 - 53
Recording - February 2013 - Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Recording - February 2013 - 55
Recording - February 2013 - Readers’ Tapes.
Recording - February 2013 - 57
Recording - February 2013 - 58
Recording - February 2013 - 59
Recording - February 2013 - 60
Recording - February 2013 - 61
Recording - February 2013 - Miking An Orchestra—Rock Band And Symphony.
Recording - February 2013 - 63
Recording - February 2013 - 64
Recording - February 2013 - 65
Recording - February 2013 - 66
Recording - February 2013 - 67
Recording - February 2013 - 68
Recording - February 2013 - 69
Recording - February 2013 - Stereo From A Mono Mic.
Recording - February 2013 - 71
Recording - February 2013 - 72
Recording - February 2013 - Advertiser Index.
Recording - February 2013 - 74
Recording - February 2013 - 75
Recording - February 2013 - 76
Recording - February 2013 - 77
Recording - February 2013 - 78
Recording - February 2013 - 79
Recording - February 2013 - Fade Out.
Recording - February 2013 - Cover3
Recording - February 2013 - Cover4
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