Following its industry debut at the 2023 NAMM Show in Anaheim, CA, the One25A is the first 3-way active studio monitor from Amphion. The One25A is a powerful full range monitor with a sealed design for the modern studio environment whether it be commercial, educational facilities, post-production, classical recording or film composing. Despite the active design the new monitor stays true to the 25-year commitment Amphion has for advanced acoustic design, a pure refined signal path and meticulous craftsmanship. The brand designed this new monitor with the same ethos as the previous passive speakers by focusing on results.

“The development process of the One25A started in 2019. During this path we left no stones unturned. This sort of crazy dedication, it makes no sense, but we feel that because it’s a statement product we needed to get it 100% right,” says Anssi Hyvönen, CEO of Amphion.

The 3-way active monitor features an innovative sealed dual cabinet, which is designed both as a stiffening support structure and as a physical-energy dispersion filter. It utilizes the mass of the sub-driver, and how it connects to the bracing structure to control the resonance of the whole enclosure to provide superior resolution and clarity. The new tweeter and midrange driver of the One25A are in an isolated sealed chamber to minimize the bass woofer’s negative effects like pressure changes, which leads to high midrange and treble resolution ensuring crystal clear transparency. Additionally, the baffle around the midrange chamber is acoustically symmetrical for a smooth frequency curve and precise imaging. The design also incorporates Amphion’s signature fifth-generation waveguide and U/D/D (Uniformly Directive Diffusion) into the One25A ensuring driver integration, eliminating cabinet diffractions and producing a uniform, even response through a broad frequency band.

Amphion believes that the beauty of passive speaker crossovers lies in their simplicity, which helps to maintain a high level of audio resolution. The One25A follows this design philosophy, but as an active speaker it is radically different. The design could be described as a line-level passive crossover, which is buffered with ultra-clean FET buffers. This gives the One25A the best of both worlds. The design also utilizes Amphion’s overload protection circuitry that’s kept separate from the audio signal path and it remains inactive until limiting is needed to ensure maximum resolution and safe user operation. Instead of placing the amplifiers and power supply inside the monitor, where they are negatively affected by physical vibration and magnetic forces of drivers, the electronic components are located on the exterior of the speaker and are well isolated from the enclosure to improve performance and allow for long life, easy serviceability and soffit mounting if desired. For room tuning and soffit mounting applications, Amphion has designed a proprietary 8-step low frequency adjustment boundary control (+/-7dB) allowing fine tuning the bass response when placing the One25A near boundaries. The adjustment is a smooth shelf-type curve mostly operating at frequencies below 150 Hz. The overall result offers an innovative, controlled monitor with speed, dynamics and emotional transfer users rely on from Amphion.

“Our job is to create a large clean window into sound that allows people to experience sound in a manner they have not been able to do before,” Hyvönen concludes. “All of this leads to a certain acoustic purity and immaterial feel that all Amphion products share.”

For more information about Amphion One25A, please visit: https://amphion.fi/products/one25a/.

PreSonus Audio Electronics, has announced the new and powerful line of Eris Studio Monitors that will be available in three distinct tiers—Essential, Studio and Pro. This tier system ensures that any creator, from casual bedroom songwriters to passionate audiophiles to professional audio engineers working in top of the line studios will be able to utilise this new product evolution to further their craft. Although not considered a tactile instrument, reference monitors are a crucial part of any studio set up and signal chain. With that being the case, the Eris Studio Monitors have been thoughtfully crafted with enough finesse and functionality to ensure that whether recording, producing, or mixing, they will provide a premium monitoring solution for creators at every level.

“We’re very lucky to have a diverse base of users who approach sound design from wildly different vantage points. It runs the gamut from beginners all the way to leaders in the engineering space, and while some might see this as a challenge, we see it as a distinct privilege,” said Adrian Haselhuber, VP of Product Management at PreSonus Hardware. “With this new line of Eris Studio Monitors, we are taking our deep expertise in speaker design to the next level.  We hope to show our dedication to providing creative tools that are equally as potent in the bedroom of a first year songwriter as they are in a state of the art recording studio.”

The Essential, or Eris Series

AU$229 – $449

These are entry level monitors that are ideal for casual creators. Thanks to their compact size and pared down functionality, the Eris series provides a path for casual listeners to level up their experience and for recording musicians to build a quality, project studio. While these are the entry level models in the Eris family, they do not skimp on performance. Most models available in this first tier deliver durable, versatile, Bluetooth functionality, on-board tuning, headphone outputs, and above all else, unbiased crystal-clear sound. Adding a subwoofer to full-range speakers enables users to hear the low-frequency foundation of  mixes more accurately, better-informed decisions and create more translatable mixes can be made. Specially designed to complement the voicing and frequency response of Eris and Eris Studio-series, the surprisingly loud Eris Sub 8BT drops down to 30 Hz, allowing those to hear the full sonic spectrum and produce better music.

PreSonus Eris models include: Eris 3.5, Eris 3.5 BT, Eris 4.5 BT, Eris 5 BT and Eris Sub 8 BT.

The Eris Studio Series

AU$249 – $449

This model is geared towards more dedicated DIY producers and musicians looking to advance their home-monitoring set up offering a range of models starting with the Studio 4 for more compact working spaces to the Studio 8 for users looking for more volume and power. The Studio series features a custom-tuned EBM waveguide, superior high-frequency reproduction, and robust low end to ensure every aspect of the mix can be monitored with precision.

PreSonus Eris Studio models include: Eris Studio 4, Eris Studio 5 and Eris Studio 8.

The Eris Pro Series

AU$699.50 – $849

This model will be available end of September 2023, are premium monitors designed to stand firmly at the nexus of studio functionality. Ideal for those looking to explore their mixes with granular precision, these powerful, Atmos-ready monitors feature a coaxial design for clear and accurate sound reproduction from a single point source. Provisions for wall and ceiling mounts make stereo or surround system integration a breeze. This tier also includes a premium Eris Pro subwoofer tuned to complement any of the Eris Pro or Studio speakers.

PreSonus Eris Pro models include: Eris Pro 6, Eris Pro 8 and Eris Pro Sub 10.

To further showcase the versatility and power of the upgraded Eris Studio Monitors, PreSonus will release a new social content series later this month. ‘The Sweet Spot’ will follow producers as they provide a sneak peek into their creative process via in-depth interviews, past projects, mixing strategy, and more. Featured talent include 6ix, a platinum and Grammy-nominated producer and Warren Huart, a rock producer who has collaborated with The Fray, Korn, and Aerosmith.

The IN-UNF is an ultra-nearfield desktop studio monitor system designed to be used in small spaces where the ability to get loud is limited — either by room acoustics or the tolerance of neighbours. The IN-UNF presents full-range audio at reference levels with plenty of headroom at 0.8 meters, or about arm’s length.

The entire system sits on your desk and provides the same full-range, low distortion listening experience as a pair of IN-8s at standard listening distance. Flexible setup options allow users to easily integrate the IN-UNF in their existing desk-scape; the bass unit can be placed vertically to sit behind a laptop or display, or horizontally to be used as a monitor riser for a display.

The IN-UNF consists of three main pieces: a bass unit and two satellites. The bass unit houses two high-excursion 4.5-inch woofers as well as the amplifier and other electronics for the system. The two woofers are horizontally opposed, so no net vibration is transferred to the desk or to anything sitting on the bass unit. The two satellites use the same coaxial midrange and tweeter as Kali’s acclaimed IN-5 and IN-8 studio monitors.

The bass unit also features a variety of inputs to meet all your audio needs. Via the USB-C connector, which supports 24-bit resolution and 48k sample rate, you can connect computers, phones, and tablets. Optical and 3.5mm inputs provide support for both digital and analog connection to consumer devices like game consoles and receivers. For connection to standard pro audio devices, stereo TRS inputs are provided.

The IN-UNF is uniquely tuned for its role as a desktop speaker. The desk is accounted for as an acoustic element of the system, solving some of the problems that are typically presented with putting speakers on a desk. DIP switches are provided to account for the position of the system in a room, and for you to dial in bass, mids, and treble to your preferences.

Starting at US$599, the IN-UNF will be shipping by December in the US, with global availability soon to follow. 

Trackdown is a renowned recording and post-production studio specialising in musical scores for film and television, as well as a diverse roster of music genres. Entrusted with some of pop culture’s most celebrated film franchises, revered orchestras, and even operas, Trackdown Lead Score Engineer and Sound Supervisor Craig Beckett uses a Neumann studio monitor array and an extensive collection of modern and vintage Sennheiser and Neumann mics. The 7.1 monitor system setup includes, but is not limited to, three KH 420 and four KH 120 monitors, as well as two KH 805 subwoofers, while some of the preferred control room microphones in Trackdown’s arsenal include the Neumann U 87 AI, U 89, a first-generation TLM 170, and Sennheiser MKH 50 and MKH 8020.

Trackdown has been a key figure in the Australian music world for over 30 years. Since its humble roots as a rehearsal studio, the space has been graced by acts such as INXS and Divinyls. In recent years, the studio has expanded to include Australia’s only purpose-built scoring stage, named the Simon Leadley Scoring Stage, after the Trackdown co-founder. With this, the building houses an automated dialogue replacement (ADR) and foley recording studio, the Theatre One screening room for mixing, as well as 18 fully furnished production suites. The studio has earned a strong reputation for providing a suite of services in audio and music post production for film and television, most recently servicing such projects as The Crown, The Mitchells Vs The Machines, and Mortal Kombat.

Craig Beckett has been working at Trackdown for more than 15 years, having started his career as an assistant, working his way to lead engineer. “I started off playing in heavy metal bands and recording them as a hobby. When it came time to get a ‘real job’, as my parents put it, I got the opportunity to come into Trackdown thanks to a band I knew that was recording there.” In Beckett’s time at Trackdown, the studio has continued to build on its standing and expand its offerings. A few years ago, the studio underwent a redesign and with it, an upgraded monitor array. “We restructured the scoring stage about five years ago, which was when we had the chance to upgrade the monitors in the room. We tried out a few monitor brands and ended up going with the KH 420 as our primary speakers. After listening to a lot of different recordings in the room, I found that I was able to hear many more frequencies with the Neumann monitors versus other speakers,” says Beckett. “I not only could hear more while tracking, but I was able to get a better signal-to-noise ratio, and great high and low-end response.”

The Neumann monitor array in the Simon Leadley Scoring Stage is coordinated via a Euphonix System 5 console with 340 channels. The digital-hybrid console enables easy calibration and the monitors are effortless once they are set up. According to Beckett, “I never have to touch the monitors. I double check them once every six months, but we have had no issues even as they have aged over the last five years.” The 7.1 monitor array includes three KH 420s, four KH 120s and two KH 805 subwoofers. 

The control room also houses a covetable microphone locker with several models from several manufacturers. The collection includes two Sennheiser MD 421-II cardioid microphones, two MKH 8020 omni-directional RF condenser mics, an MKH 50-P48 super-cardioid RF condenser mic, and three MD 441-U dynamic studio mic. Beckett’s go-to mic has become the MKH 8020 for a variety of recording use cases, “the MKH 8020 microphones are on my list every time. They are great room microphones for piano, as an ambient microphone extension to blend with other mics, and I even used them to record a didgeridoo this morning.”

With this, the control room also features several Neumann microphones. This includes a set of KM 85 cardioid microphones, a pair of M147 tube microphone, a matched pair of KM 184 small diaphragm condenser mics, six KMR 81-i short shotgun mics and a few vintage studio mics like the U87 and a first-generation TLM 170. The microphone and monitor arrays converge to enable Beckett to do his job to the fullest extent, “the best part about our Neumann monitors is that there is no difference between what I hear in the control room or booth. The microphones and monitors pick up everything so accurately.”

The monitors have served Trackdown well during the last few years. As more and more film and television productions have moved to Australia, the studio has received an influx of scoring work. Beckett shares that this was especially amplified during the pandemic, “we have been fortunate in Australia as we did not have the same [COVID-19] caseloads as other countries. Because of this, we have been able to stay open and support a lot of projects that were on hold while the United States and Europe were in lockdown.”

In recent months, Beckett and the team at Trackdown have shown no signs of slowing down. You can hear Trackdown’s recent scoring work in recently released films and television series, including Hotel Transylvania: Transformania (Sony Animation), Maya and The Three (Netflix) and La Brea (NBC).