ProAudio Review - November 2008 - (Page 30)

studio review by Ty Ford Samson Resolv A6 Active Studio Reference Monitors This bargain-priced powered monitor will find its home in our industry’s “new mid-tier studios.” $400 a pair, they are biamped powered monitors with 6.5-inch, carbon-fiber, 75watt bottoms and 1-inch, 25-watt, silk dome tweeters. The Resolv A6 has both balanced and unbalanced inputs and a four-position high-frequency control. They are AV-shielded and made out of MDF, so you can run them next to video monitors. There are two thin skid plates on the bottom of each monitor that aid, to some degree, in isolating vibrations, but also so that they won’t slide around or scratch whatever they are sitting on. There’s a front port and an active crossover. They strike me as nicely made, solid, and well featured. In Use I often use selections from Steely Dan’s Aja when critically comparing components—that, and some CDs I’ve mixed and mastered myself. The sax break on “Deacon Blues” is right on the edge on my JBLs. It’s over the edge and a little fatigu- Nowhere in the continuity between the source and the ear are devices more variable, more subjective, and more argued over than microphones and monitors. Physically, with monitors, it’s about the various kinds of paper, silk, plastic, metal or ribbon, and occasionally, pro audio users see bamboo, hemp or banana “fab-ric.” (Great for secondary monitor conversation pieces: “Dude, we’re listening to your mix on hemp speakers.” “No way!” “Way!”) I record, mix and master music for CD projects and for video. And I’m old school; that means paper, not plastic. I mix and master on JBL Century L100 (grills off) pushed by a Hafler P4000 amp, and no subs. I also have Electro-Voice Sentry 100 speakers pushed by a Crown D60 at another monitoring station. For checking the small scene, I use Radio Shack Minimus Seven speakers at both stations. I also take CDs out for a ride in my gracefully aging Acura RSX to listen to how the road noise eats away at my mixes, and I have a friend with a wall-o-sound system and Polk speakers, each the size of an office water cooler. When he turns the power amp on, I swear I see the room lights blink very slightly. Features The Samson Resolv A6 is aimed at the “everyday pro audio use” market. At Resolv A6 Bench Test by Tom Nousaine FREQUENCY RESPONSE: • Monitor On-axis 87 Hz to 20 kHz +/- 4.7 dB BASS LIMIT: • Monitor: 80 dB SPL @ 50 Hz ( 8 kHz • Tweeter Plus 4 = +3.3 dB > 8 kHz • Tweeter Minus 2 = -1.9 dB > 8 kHz The A6 has smooth octave-to-octave balance with only moderate frequency-to-frequency variation and well-controlled directivity. However an up-tilt in frequency response beginning around 400 Hz gives the speaker an overall raised treble character. Ty Ford has been reviewing equipment for Pro Audio Review since the first issue. www.tyford.com 30 ProAudioReview | November 2008 www.proaudioreview.com http://www.tyford.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - November 2008

ProAudio Review - November 2008 Contents Technically Speaking First Look 2008 PAR Excellence Awards New Studio Products Studio Sense Review: Solid State Logic Matrix Review: Arsenal Audio by API R24, V14, and R20 Mini-Review Review, Second Opinion, and Benchtest Review: A-Designs HM2EQ HAMMER Review: Sontronics Sigma Phantom Powered Ribbon Microphone Analog In The Studio: Nostalgia Ain’t What It Used To Be New Live Products Worship Audio Review: Community VERIS Series Loudspeakers Installation Profile Single Slice

ProAudio Review - November 2008

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