Recording - December 2016 - 35

SPL @ 1 mW, frequency response 20 Hz-18 kHz, impedance 56 ohms @ 1 kHz,
passive noise attenuation 12 dB.
Although the AM Pro 30 has similar specs to the AM Pro 20, its bass is not as pronounced. Having said that, I don't think its any more bass-light than the AM Pro 20, it
simply offers a much more pronounced high end and balanced mids. The AM Pro 30
is the most natural, clearest, best defined, and overall the most 3-dimensional of the
lot. Vocals pop beautifully, and I was very impressed with how good heavy guitardriven music sounds with the AM Pro 30.
In use
Over a two-month period, I had as many of our singers and musicians as I could
try out each model. Overall the general consensus, regardless of model, was how
much more detail everyone heard compared to their usual earbuds and in-ears.
I did have one vocalist who liked the AM Pro's clarity, but who could not get used to
the SLED Technology, especially when she stood close to the drums. Most of us, however, were impressed by the SLED Technology-in my opinion it does work as advertised!
Note that this is not the same as having a dedicated feed of the house mix in your ears. It
is more gentle and subtle than that. At a fully acoustic performance where I played Cajon
and sang along with two acoustic guitar players and two other vocalists, it was quite easy to
hear the audience interaction when they sang with us or clapped along. However, in a full
electric rock-band setup, the crowd was less pronounced and noticeable except in the inbetween moments. I would attribute this to the level of the PA and its onstage bleed.
I am a drummer and I did try using all three models while playing the drums. This
was the only area where I would call the SLED system a no-go; the drum kit bleed
was too great for the monitors to be effective.
In one humorous incident, I was using them while tracking electric guitars in a
venue with a large metal roof. During tracking, it started to rain intensely... slowly
the sound of the rain over took my tracking and monitoring levels, and at first I had
no idea where the "white noise" was coming from!
The best thing about the AM Pro Series is not so much how they blend in an audience or
other musicians acoustically, it is how they succeed in lessening the closed-in feeling that people do not like about in-ears. These are the closest thing to open-back headphones I have
experienced in an in-ear monitor; it's a very gentle, natural sound, and not forced in any way.

Final considerations
The final piece of advice I can give
about the AM Pro series is-as with all
Westone in-ear monitors-do not think of
them in terms of "good/better/best"
based on price point or model number. It
is better to choose them based on your
personal tastes and the job you need
them to do.
I know many singers who do not like
tons of bass or overpowering kick drum in
their mixes; for them, I would suggest the
mid-forward, bass-neutral sound of the
MA Pro 10. On the other side, if bass is
your thing, then I would go for the AM
Pro 20 in a heartbeat, even over the AM
Pro 30. However, I would be lying if I
said the AM Pro 30 was not my favorite!
It offers a 3D fullness and fidelity nicely
suited to vocalists, guitar players, front of
house engineers, and even general casual
listening. It even helps control outside
noise when flying, while letting you hear
announcements on the intercom!
SLED has a lot of promise for stage
performers and for engineers who need
to hear what's going on both inside and
outside the mix. Check it out!
Prices: AM Pro 10 $189.99, AM Pro 20
$339.99, AM Pro 30 $439.99
More from: Westone, www.westone.com

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