Recording - March 2017 - 49

asserted that our guess about the waveguide was incorrect, and was sure that a
properly voiced set of FPX7 monitors would
not have the midrange and imaging issues
we heard. We agreed to hold off on the
review until a new pair of monitors were
sent out, and we did A/B testing with the
original pair. Fair's fair, right?

Second pass

Sure enough, there were significant differences between the old and new speakers, all
for the better. The midrange weirdness was
in fact brought under control, and the sweet
spot of the monitors was significantly-okay,
hugely-widened, making the FPX7 easy to
work with even when moving around in front
of the mix console. We still found the tweeters
very bright, but that's the nature of the AMT
beast; in our listening environment, setting the
HF Trim to -2 dB did the trick very nicely.
Once we were sure the issues had been
sorted out, we were able to get into the sound
of the FPX7 as it was meant to be heard, and
we found a lot to like. Vocals tend to lift out of
the soundstage in a very 3D way, making it
easy to work with them in tracking and mixing. There's not a huge amount of low end,
but what's there is solid and tight without any
flabbiness or annoying resonances. As you'd
expect from an AMT tweeter, the high end
is smooth, sweet, and clear. And it's easy to
make reliable decisions on stereo placement
and soundstaging, since the FPX7 offers a
deep and spacious stereo field. In a way, it
was almost as if we were getting the best benefits of monitor and headphones in a single
listening experience. Very interesting!

All's well that ends well

Rather than being a crazy-quilt of
mismatched technologies, the FPX7 is
actually a very intriguing first look at an
idea that may have some real mileage.
It's compact, powerful, offers vivid stereo
imaging with sweet mids and highs,
and comes in at a perfectly respectable
price for a professional monitor.
In the future, we'd be curious to hear a
speaker of this design with a 10" woofer,
for more bass extension and (since we're
reluctant to let go of our pet theories) a
lower crossover frequency for less potential
interference between the waveguide and
the woofer. But, wherever Fluid Audio
takes this design, the FPX7 is here now,
and well worth a hard listen.
RECORDING MARCH 2017

49


http://gikacoustics.com http://www.t-funk.com

Table of Contents for the Digital Edition of Recording - March 2017

Contents
Recording - March 2017 - Intro
Recording - March 2017 - Cover1
Recording - March 2017 - Cover2
Recording - March 2017 - 1
Recording - March 2017 - 2
Recording - March 2017 - 3
Recording - March 2017 - 4
Recording - March 2017 - 5
Recording - March 2017 - Contents
Recording - March 2017 - 7
Recording - March 2017 - 8
Recording - March 2017 - 9
Recording - March 2017 - 10
Recording - March 2017 - 11
Recording - March 2017 - 12
Recording - March 2017 - 13
Recording - March 2017 - 14
Recording - March 2017 - 15
Recording - March 2017 - 16
Recording - March 2017 - 17
Recording - March 2017 - 18
Recording - March 2017 - 19
Recording - March 2017 - 20
Recording - March 2017 - 21
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Recording - March 2017 - 25
Recording - March 2017 - 26
Recording - March 2017 - 27
Recording - March 2017 - 28
Recording - March 2017 - 29
Recording - March 2017 - 30
Recording - March 2017 - 31
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Recording - March 2017 - 33
Recording - March 2017 - 34
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Recording - March 2017 - Cover3
Recording - March 2017 - Cover4
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