RECORDING November 2022 - 22
A Family of Amphion Monitors Compared
Amphion BaseTwo25 (continued)
In use, I found that while the BaseTwo25 " can kick with
mighty force " when set correctly, it turned my One18
monitors into a " full-throated, perfectly integrated threeway
system. " A crossover setting of 80 Hz kept the wellloved
midrange of the One18 intact. An output level of
5.5 worked well in my well-treated studio, but pushing it
to 7 was excellent for modern, bass-heavy music.
Amphion FlexBase25
The FlexBase25, unlike the dual BaseTwo25, is a single unit designed to
live between rather than under your monitors. This 110 lb. box measures 33 "
x 12.25 " x 13.5 " . It breaks from tradition in that it has a pair of opposing
10 " aluminum drivers at the top, but it does not use any radiators.
It features a single 4-pole speakON connector that attaches to the Amphion
FlexAmp1200 (700W x2). Like the BaseTwo25, the FlexBase25 system lives
in line between your interface and speakers. The FlexBase25 receives and
sends a stereo signal, and a unique aspect of the design is that the coincident
speakers in the cabinet are also stereo. You can choose if the low-frequency
signal is mono, stereo or pushed even wider, depending on your needs/tastes.
The FlexAmp has buttons for power and bypass, which take the FlexBase25
out of the system and returns your main monitors to full range. A
crossover knob lets you choose a crossover point from 35 Hz-260 Hz. A
second knob adjusts the unit's volume level, and you also get a 1
/4
" TS jack
for the connection of an external footswitch.
Like the BaseTwo25, think three-way, bass extension more than subwoofer.
Yes, it too will shake your room, but most of the time, when set moderately, I
forgot that the FlexBase25 was there.
It never felt like the bass was
overcooked; it added just the
low end I needed to nail my mixes
and makes any speaker setup
" even more flexible. "
Since most of the low-frequency
information is directed to the
Base units, you get improved
headroom and greater midrange
clarity as the woofers in the main
speakers are allowed to focus
primarily on the mid-range.
It's also worth noting that
systems
while
clearly
the
Base
Amphion-centric,
are
they
will work with any well-designed
monitors that can match the
speed and dynamics of the system.
Amphion's Julian Hyvönen
let me know that he even has users
integrating the FlexBase25
with Yamaha NS10 monitors.
An Amphion Family Reunion
While I have been mixing in my studio on a
set of One18 monitors for the past 7 years, I recently
had the opportunity to get reacquainted
with the entire series, including a chance, for the
first time, to compare each model side-by-side at
Plastic Dog Recording in Los Angeles, which is
owned and operated by producer Colin Liebich-
the US rep for Amphion.
By the Numbers
Starting with the Two models, the Two18 puts out a
large, full, wide sound. Moving to the Two15, the image
firms up and, as mentioned, is tighter and punchier
than its Two-sibling. The One18 is still my favorite
of the single bass driver models. They have a very
relaxed sound that, to my ears, just sounds 'right'. I
can say from experience that if you can nail a mix on
the One18, it should translate well to the real world.
Hearing the One15 again was a nice surprise.
Its top-end and mid-range imaging are very similar
to the One18, but there is just 'something'
about the 5.25 " drivers in the 15-models that
produces a firm, focused punch that is quite deceptive
considering their size. Plus, the overall
volume levels they can handle impressed me.
This is even more true with the One12. I had
never heard these before, and I agree with our
previous reviewer. They image great and put out a
very respectable low-end and level for their petite
footprint. I think these should pair great with the
multi-channel Amp400.8 in a spatial audio setup.
Moving to the Base system, simply put, they
change the game. The big thing to know is the low
end they add is clean and dynamic, compared
with many subwoofers, which are just muddy and
thuddy. The Base models add a sophisticated
fullness and depth that opens up the tone of the
two-way speakers and can form the basis of any
high-end mixing or mastering system.
Your choice of Base unit will most likely come
down to price, space, and personal taste--I do
remember I preferred the sound of the BaseTwo25
better in my studio.
Conclusion
Across the board, each model in the line retains
a great familial constancy in the mid and
upper frequencies. My favorite attribute of the
line is that with each model if you shut your eyes
while mixing and point to where you think that
the sound is coming from, you will most likely be
pointing wider than where the speaker is sitting.
It was great to experience the entire Amphion
lineup again and be reminded of these impressively
designed products.
22 RECORDING November 2022
More From: amphion.fi
http://amphion.fi
RECORDING November 2022
Table of Contents for the Digital Edition of RECORDING November 2022
Fade In
Fast Forward
Focal Sub6, Focal Sub One and Focal Sub12
Neumann NDH 30
A Family of Amphion Monitors Compared
Plugin Outlet: BABY Audio IHNY-2
KRK S10.4 Studio Subwoofer
A Space for Creative Inclinations: An Interview with David Crowder
Plugin Outlet: KIT Plugins Blackbird Mo-Q
Inside the Studio with Mark Hornsby: Paragon Studios 2.0
IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
Inside the Box with Joe Albano: Virtual Studio Modeling
ddrum NIO Percussion Pad
Yorkville Sound YSM5 Series II
Session Log with Marc Urselli: A Brief History of EastSide Sound
GIK Acoustics Sound Blocks
State of Acoustics 2022
Thermionic Culture The Fat Bustard II
Readers' Tracks
Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Intro
RECORDING November 2022 - Cover1
RECORDING November 2022 - Cover2
RECORDING November 2022 - 1
RECORDING November 2022 - 2
RECORDING November 2022 - 3
RECORDING November 2022 - Fade In
RECORDING November 2022 - 5
RECORDING November 2022 - 6
RECORDING November 2022 - 7
RECORDING November 2022 - Fast Forward
RECORDING November 2022 - 9
RECORDING November 2022 - Focal Sub6, Focal Sub One and Focal Sub12
RECORDING November 2022 - 11
RECORDING November 2022 - 12
RECORDING November 2022 - 13
RECORDING November 2022 - Neumann NDH 30
RECORDING November 2022 - 15
RECORDING November 2022 - A Family of Amphion Monitors Compared
RECORDING November 2022 - 17
RECORDING November 2022 - 18
RECORDING November 2022 - 19
RECORDING November 2022 - 20
RECORDING November 2022 - 21
RECORDING November 2022 - 22
RECORDING November 2022 - 23
RECORDING November 2022 - Plugin Outlet: BABY Audio IHNY-2
RECORDING November 2022 - 25
RECORDING November 2022 - KRK S10.4 Studio Subwoofer
RECORDING November 2022 - 27
RECORDING November 2022 - A Space for Creative Inclinations: An Interview with David Crowder
RECORDING November 2022 - 29
RECORDING November 2022 - 30
RECORDING November 2022 - 31
RECORDING November 2022 - 32
RECORDING November 2022 - 33
RECORDING November 2022 - 34
RECORDING November 2022 - 35
RECORDING November 2022 - Plugin Outlet: KIT Plugins Blackbird Mo-Q
RECORDING November 2022 - 37
RECORDING November 2022 - Inside the Studio with Mark Hornsby: Paragon Studios 2.0
RECORDING November 2022 - 39
RECORDING November 2022 - 40
RECORDING November 2022 - 41
RECORDING November 2022 - IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
RECORDING November 2022 - 43
RECORDING November 2022 - 44
RECORDING November 2022 - 45
RECORDING November 2022 - Inside the Box with Joe Albano: Virtual Studio Modeling
RECORDING November 2022 - 47
RECORDING November 2022 - 48
RECORDING November 2022 - 49
RECORDING November 2022 - ddrum NIO Percussion Pad
RECORDING November 2022 - 51
RECORDING November 2022 - Yorkville Sound YSM5 Series II
RECORDING November 2022 - 53
RECORDING November 2022 - Session Log with Marc Urselli: A Brief History of EastSide Sound
RECORDING November 2022 - 55
RECORDING November 2022 - 56
RECORDING November 2022 - 57
RECORDING November 2022 - GIK Acoustics Sound Blocks
RECORDING November 2022 - 59
RECORDING November 2022 - State of Acoustics 2022
RECORDING November 2022 - 61
RECORDING November 2022 - Thermionic Culture The Fat Bustard II
RECORDING November 2022 - 63
RECORDING November 2022 - Readers' Tracks
RECORDING November 2022 - 65
RECORDING November 2022 - 66
RECORDING November 2022 - 67
RECORDING November 2022 - 68
RECORDING November 2022 - 69
RECORDING November 2022 - 70
RECORDING November 2022 - 71
RECORDING November 2022 - Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Cover3
RECORDING November 2022 - Cover4
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