Recording - May 2013 - 23

artist substituted a sample for the real thing, you could often tell. Similarly,
the edgy artifacting that comes from heavily compressed MP3 encoding
was clearly audible... and annoying, when it was supposed to be.
I found I enjoyed the E5s most when working with predominantly
acoustic music at lower listening levels; they do well with rock and
dance music when cranked up loud (if not too loud, as discussed
above), but the forward midrange did lead to some very complex rock
mixes sounding cluttered—especially stuff that relied a lot on layered
loops for its structure. Acoustic jazz and country were a delight, with
fingerstyle guitar, hand percussion, mandolin, violin, and brush-style
drumming standing out sweet and clear.
Could I mix on these speakers? Absolutely. And if I was primarily an
acoustic recording engineer who worked with small groups, I would
appreciate the privilege. It’s true that for larger rooms, and/or for
heavy rock or electronic music with more bass, there might be better
choices out there—which leads me to...
Listening to the E8
Our listening setup for the E8 was on speaker stands well away from
walls and corners in a well-treated room; we weren’t expecting to need
any of the rear-panel acoustic tweaks, and quick tests confirmed that
fact. As with the E5, we ended up doing all of our listening with all
rear-panel controls set flat.
The highs and mids on the E8 were very similar to the E5; vocals
and midrange instruments tended to be very far forward, and there
was that tendency for really dense mixes to sound congested, but not
to the extent we heard in the E5. What truly distinguished the E8 was
its power handling—it could get very loud without any of the brittleness
of the E5—and its bass, which was solid, learnable, and most important, nicely extended down to where you’re not missing a whole lot for
practical purposes.

My sentiments about the E8 are similar to those for the
E5 but a bit more so, if that makes sense; I could learn
these speakers and mix happily on them in most genres
of music, with no more than the usual recourse to checkmixes. Perhaps their greatest value is in letting a starter
studio hear real bass without a subwoofer; a cheap sub
is way worse than no sub, and for a less-than-optimal
room and/or an engineer who’s inexperienced at dialing in a sub properly, a pair of speakers that can deliver
the lows on their own will win every time.
Hail Eris!
Let’s talk price. The E5 costs a bit more per pair than a
set of cheap-ass desktop computer speakers and a
thumpy little one-note sub, but for your money you get
monitors you can actually use for real engineering. The
E8 is even more of a no-brainer: it basically allows recording musicians who want proper full-range studio monitors,
but don’t yet have the budget for high-end products, to get
into the game without hurting themselves.
Later this year, PreSonus will ship the Sceptre monitors, DSPassisted coaxial designs priced to take on the competition in
the “over $1000 per pair” price range. We’ll be very curious
to give them a try when they’re ready, but in the meantime, the
Eris speakers make for a very auspicious debut. They bring
honest-to-gosh studio monitoring into the price range of just
about any studio, and they do it with class.
Prices: Eris E5, $149.95 each; Eris E8, $249.95 each
More from: PreSonus, www.presonus.com


http://www.presonus.com http://www.fullcompass.com http://www.fullcompass.com

Recording - May 2013

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

Recording - May 2013
Fade In
Contents
Talkback
Fast Forward
Jim Anderson Records Patricia Barber
Lewitt Authentica LCT 940
PreSonus Eris Series High-Definition Studio Monitors
How To Record Great Vocals At Home
Audio-Technica AT5040 Studio Vocal Microphone
Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Moon Professional 3500MP 2-Channel Microphone Preamp
DPA Microphones d:fine Series Headset Microphones
Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Plug-in Outlet: iZotope Nectar Elements
Blue Spark Digital USB Microphone
Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Readers' Tapes
Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
CAD Audio Acousti-shield 32
Advertiser Index
Fade Out
Recording - May 2013 - Intro
Recording - May 2013 - Recording - May 2013
Recording - May 2013 - Cover2
Recording - May 2013 - 1
Recording - May 2013 - 2
Recording - May 2013 - 3
Recording - May 2013 - Fade In
Recording - May 2013 - 5
Recording - May 2013 - Contents
Recording - May 2013 - 7
Recording - May 2013 - Talkback
Recording - May 2013 - 9
Recording - May 2013 - Fast Forward
Recording - May 2013 - 11
Recording - May 2013 - 12
Recording - May 2013 - 13
Recording - May 2013 - Jim Anderson Records Patricia Barber
Recording - May 2013 - 15
Recording - May 2013 - 16
Recording - May 2013 - 17
Recording - May 2013 - Lewitt Authentica LCT 940
Recording - May 2013 - 19
Recording - May 2013 - PreSonus Eris Series High-Definition Studio Monitors
Recording - May 2013 - 21
Recording - May 2013 - 22
Recording - May 2013 - 23
Recording - May 2013 - How To Record Great Vocals At Home
Recording - May 2013 - 25
Recording - May 2013 - 26
Recording - May 2013 - 27
Recording - May 2013 - 28
Recording - May 2013 - 29
Recording - May 2013 - 30
Recording - May 2013 - 31
Recording - May 2013 - 32
Recording - May 2013 - 33
Recording - May 2013 - Audio-Technica AT5040 Studio Vocal Microphone
Recording - May 2013 - 35
Recording - May 2013 - 36
Recording - May 2013 - 37
Recording - May 2013 - Plug-ins To The Rescue—Real-Life Remedies For Vocal Tracks
Recording - May 2013 - 39
Recording - May 2013 - Moon Professional 3500MP 2-Channel Microphone Preamp
Recording - May 2013 - 41
Recording - May 2013 - DPA Microphones d:fine Series Headset Microphones
Recording - May 2013 - 43
Recording - May 2013 - Plug-in Outlet: Toontrack EZmix Pack: Vocal Toolbox
Recording - May 2013 - 45
Recording - May 2013 - Plug-in Outlet: iZotope Nectar Elements
Recording - May 2013 - 47
Recording - May 2013 - 48
Recording - May 2013 - 49
Recording - May 2013 - Blue Spark Digital USB Microphone
Recording - May 2013 - 51
Recording - May 2013 - Plug-in Outlet: Noveltech Vocal Enhancer (and Character)
Recording - May 2013 - 53
Recording - May 2013 - Readers' Tapes
Recording - May 2013 - 55
Recording - May 2013 - 56
Recording - May 2013 - 57
Recording - May 2013 - 58
Recording - May 2013 - 59
Recording - May 2013 - Recording Fundamentals. Chapter 17: Sweet Spot Conundrums—Part 4
Recording - May 2013 - 61
Recording - May 2013 - 62
Recording - May 2013 - 63
Recording - May 2013 - CAD Audio Acousti-shield 32
Recording - May 2013 - Advertiser Index
Recording - May 2013 - 66
Recording - May 2013 - 67
Recording - May 2013 - 68
Recording - May 2013 - 69
Recording - May 2013 - 70
Recording - May 2013 - 71
Recording - May 2013 - Fade Out
Recording - May 2013 - Cover3
Recording - May 2013 - Cover4
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