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Old 17th September 2020
  #8101
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bicarbone's Avatar
Quote:
Originally Posted by Shaggy2039 View Post
Pardon my naivety here, because I'm very interested in the Flexbase 25 for my Two 15's and the design is a little over my head...

I'm still trying to understand the idea that a single Flexbase 25 can do true stereo. I know it has two woofers, one on each side, but I just don't see how this could work. Does is sound natural in terms of the spacing with the One 18's or is there a "disconnected" sound? In other words, if you were to pan a 808 kick hard left or right does it sound like the entire signal is fully to the left or right or is it top end?
What Digitagrease says, basically. Bass content is pretty omnidirectional up to about 300 Hz. Above 300 Hz, the human ear starts to gradually locate where sounds are coming from. The higher, the more precisely. Highest crossover position on the flexbase is 260 Hz, not a random choice obviously.

If you pan hard your 808 kick you will hear the attack panned clearly. The lowest frequency information of that same kick sound will radiate from your woofer in a much more diffused way..

In my room the flex doesn't sound disconnected at all from the speakers, despite having them set fairly wide apart. On the contrary it is sitting right there holding tight with the phantom centre image, pretty much like a single sub would do, except with the benefit of enjoying bass in stereo for more critical mixing decisions.

I bet if you place your monitor REALLY far away from the flexbase you will feel it sounding disconnected, but I can bet it would sound disconnected as much from the second monitor as well.

And by stereo bass, one should really understand that rather than chasing LCR stuff down to 20 Hz in the sound image, it is more about avoiding the blurring effect of comb filtering, and its associated phase cancellation when two channels get summed to mono because of having only a single woofer to output hard panned low frequency content.

Hope this helps.

Last edited by bicarbone; 17th September 2020 at 10:25 PM.. Reason: trying to fix my terrible english
Old 17th September 2020
  #8102
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I just demo’d One15s with the new 700 amp. I normally use NS10m, and have been trying ATC SCM7s. My large speakers are ATC SCM50s. Embarrassingly (esp for the High End forum!) I use a Behringer A500 power amp for the nearfields.

Got to say I really liked the Amphion 700 amp (much cleaner sound when hooked up to my NS10s) but I didn’t much like the One15s - for me they sound quite soft in the mid range, a bit of a ‘smiley’ sound?

I sit very close (about 1m).

Do they take a while to adjust to? I found the switch from NS10s to ATC SCM7s to be much less drastic. I actually like my NS10s a lot, maybe I’m too used to them?

Edit - I love the look of the Amphions! It’s like a big owl overseeing the mix.
Old 17th September 2020
  #8103
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leckel1996's Avatar
Quote:
Originally Posted by tedmanzie View Post
I just demo’d One15s with the new 700 amp. I normally use NS10m, and have been trying ATC SCM7s. My large speakers are ATC SCM50s. Embarrassingly (esp for the High End forum!) I use a Behringer A500 power amp for the nearfields.

Got to say I really liked the Amphion 700 amp (much cleaner sound when hooked up to my NS10s) but I didn’t much like the One15s - for me they sound quite soft in the mid range, a bit of a ‘smiley’ sound?

I sit very close (about 1m).

Do they take a while to adjust to? I found the switch from NS10s to ATC SCM7s to be much less drastic. I actually like my NS10s a lot, maybe I’m too used to them?

Edit - I love the look of the Amphions! It’s like a big owl overseeing the mix.
I find you need a bit more than a meter of space between listening position and the speakers to let the midrange open up.


And yes, low mids are slightly forward on them. However, this is what I believe helps them translate so well. Really forces you to figure out which elements should be occupying that area of the mix.
Old 17th September 2020
  #8104
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James Lehmann's Avatar
 

Quote:
Originally Posted by tedmanzie View Post
I just demo’d One15s with the new 700 amp. I normally use NS10m, and have been trying ATC SCM7s. My large speakers are ATC SCM50s. Embarrassingly (esp for the High End forum!) I use a Behringer A500 power amp for the nearfields.

Got to say I really liked the Amphion 700 amp (much cleaner sound when hooked up to my NS10s) but I didn’t much like the One15s - for me they sound quite soft in the mid range, a bit of a ‘smiley’ sound?

I sit very close (about 1m).

Do they take a while to adjust to? I found the switch from NS10s to ATC SCM7s to be much less drastic. I actually like my NS10s a lot, maybe I’m too used to them?

Edit - I love the look of the Amphions! It’s like a big owl overseeing the mix.
I'm at around 1m too with my One15s.

I'm sure the Amp700 must be amazing, but it seems humungous overkill for a 1m triangle with One15s - you'd surely need some attenuation pads to get a useable gain range on your monitor controller?

Since you're in the UK and if you're looking to upgrade that B*hringer, I can report that by chance a friend recently gave me an unwanted and unworking old Quad 306. (Slightly later, smaller and less fashionable model than venerable Quad 405 MkII.) I just got it back from getting serviced and, wow - that is an almost perfect match for the One15s I would recommend to anyone (even if you have to scour eBay for a working one for +/-£250). A cracking little amp with more than enough juice for the One15s - tremendous clarity, presence and detail throughout the range, including and especially the mids. I'm in love all over again!

Last edited by James Lehmann; 17th September 2020 at 09:35 PM..
Old 18th September 2020
  #8105
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lowkey's Avatar
 

I hated the sound of my One15s for months
I found that having them further apart worked in my room. I sat about a metre in front of where the equilateral triangle point would be.

If you’re in the UK you could pick up a cheap second hand Cyrus power amp. I’ve got one with balanced inputs that is a few years old and sounds great.
Quote:
Originally Posted by tedmanzie View Post
...but I didn’t much like the One15s - for me they sound quite soft in the mid range, a bit of a ‘smiley’ sound?

I sit very close (about 1m).

Do they take a while to adjust to?
Old 19th September 2020
  #8106
Here for the gear
 

Well my curiosity re: the one15s isn't going anywhere. The monitors plus amp combo are outside of my budget but I do have a Rotel RB 980BX that's not getting any use. Any thoughts on whether this would be a decent enough amp to properly evaluate these speakers?
Old 19th September 2020
  #8107
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bicarbone's Avatar
Quote:
Originally Posted by zwolf View Post
Well my curiosity re: the one15s isn't going anywhere. The monitors plus amp combo are outside of my budget but I do have a Rotel RB 980BX that's not getting any use. Any thoughts on whether this would be a decent enough amp to properly evaluate these speakers?
If it's outputting 120W per channel at 8 ohms then it should be perfectly fine to evaluate the One15s, and might even be a good match.
Old 19th September 2020
  #8108
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Quote:
Originally Posted by bicarbone View Post
If it's outputting 120W per channel at 8 ohms then it should be perfectly fine to evaluate the One15s, and might even be a good match.
Good to hear, thanks for weighing in. I think it's inevitable that I end up trying these!
Old 19th September 2020
  #8109
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Picked up the used Amp 500 yesterday. After connecting the Grimm TPR to these amps I feel like the differences are more negligible, honestly. But the problem I had was always wanting that 500 sound in my studio again and if I didn’t get this, I’d always wonder about it. Same goes for Amp 700. If I had forced myself to go with this used 500 from the start I’m sure I’d always wonder what the 700 sounds like. Now I have both and I’ll see where this goes eventually.

Maybe I’ll sell one off or use it for One 15’s. No clue. But I’m happy to have em’ both and I got a good deal on the 500.
Old 20th September 2020
  #8110
Quote:
Originally Posted by Shaggy2039 View Post
Picked up the used Amp 500 yesterday. After connecting the Grimm TPR to these amps I feel like the differences are more negligible, honestly. But the problem I had was always wanting that 500 sound in my studio again and if I didn’t get this, I’d always wonder about it. Same goes for Amp 700. If I had forced myself to go with this used 500 from the start I’m sure I’d always wonder what the 700 sounds like. Now I have both and I’ll see where this goes eventually.

Maybe I’ll sell one off or use it for One 15’s. No clue. But I’m happy to have em’ both and I got a good deal on the 500.
I was going to move from the Amp 100 for my One18's to the 500 or 700, but then I thought I would experiment with a different Class D path. I picked up a pair of Purifi monoblocks from a small custom-builder and the step up from the Amp 100 is pretty astounding. The stereo separation and imaging with monoblocks is no-joke. The extra power doesn't hurt either. Worth exploring if you're looking for alternatives.
Old 20th September 2020
  #8111
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Quote:
Originally Posted by rollmottle View Post
I was going to move from the Amp 100 for my One18's to the 500 or 700, but then I thought I would experiment with a different Class D path. I picked up a pair of Purifi monoblocks from a small custom-builder and the step up from the Amp 100 is pretty astounding. The stereo separation and imaging with monoblocks is no-joke. The extra power doesn't hurt either. Worth exploring if you're looking for alternatives.
I have tried three different brands and architecture of stereo amplifier that I was then able to use in monoblock mode.

The first was a pair of class A/B solid state stereo amps that were not switchable to monoblock, so I just used one channel on each amp. The theory was that the power supply would have twice the available reserves and would not suffer any fluctuations induced by the (now un-used) second channel. The results exceeded my expectations.

The second were a pair of small stereo chip based class D amps that used a laptop style power supply. Again, not switchable to mono, so I just used one channel on each amp. Same magnitude of improvement.

The last were the Behringer A800 stereo amps that are switchable to mono. I tried it first as a single amp in stereo, then as two separate amps but using only one channel on each, then tried them switched into full monoblock mode. In this case, they sound best switched into full monoblock.

My first three experiments were unanimous. In all three cases, I prefer monoblock operation, even if it is only using one channel on a stereo amp. Three different brands, three different architectures.

If you have the opportunity to try it, I recommend the experiment.
Old 20th September 2020
  #8112
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James Lehmann's Avatar
 

Oddly enough I asked this exact question – "Two Bridged-mono amps vs one Stereo amp?" – a couple of years ago in the Things You Should Know By Now But Don't thread.

My question was prompted because – probably like many of you – I keep an identical spare power amp around as a back-up. But of course my inner Gearslutz kept wondering... what would be the pros & cons of deploying both these amps in my monitoring system?

Here's the question I asked in the other thread:

If you run a power amp in bridged mono, does it in any way compromise the fidelity of the signal? In other words - does an audio signal pass through more electronic components when the amp is bridged, or is one channel simply able to gobble up all of the available current instead of half? I'm asking because I'm deciding between potentially running my Amphion monitors using 2 x 2-channel identical power amps in bridged mode kind of as monoblocks, thus doubling my gain and increasing my headroom, or just leaving things as they are using one of the amps.

As it turned out, what I thought would be a fairly straightforward question with an obvious answer, was met with a variety of responses ranging from the moderately helpful to the dismissively arrogant - so no change from the usual Gearslutz fare there!

What was evident though was that not one single person attempting to answer my question in that thread had ever actually done any critical listening on the topic. Clearly there are folks in this thread who have, and are thus able to give a much more informed answer to the question than I got at the time, so thank you!

Here's the original sketch I made of my dilemma:
(The equipment in question is a pair of C-Audio RA-501 power amps and and a pair of Amphion One15s)
Attached Thumbnails
Amphion... Beautiful-ecd85596-bf39-4af9-955e-e7bfa9d3d2ba.jpeg  

Last edited by James Lehmann; 21st September 2020 at 08:32 AM..
Old 20th September 2020
  #8113
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sharkboy's Avatar
Quote:
Originally Posted by zwolf View Post
Well my curiosity re: the one15s isn't going anywhere. The monitors plus amp combo are outside of my budget but I do have a Rotel RB 980BX that's not getting any use. Any thoughts on whether this would be a decent enough amp to properly evaluate these speakers?
FYI: I’ve been using a Similar Rotel RB-1552 with my Two 18s for years and making the best mixes of my life (using moderate volume) for the past few years. I still want to upgrade to an Amphion, but the speakers kinda cleaned me out for amp upgrades for a bit- and the Rotel is good enough that I could put the Amphion amp off at least so far.

Last edited by sharkboy; 20th September 2020 at 06:05 PM.. Reason: Redundancy
Old 20th September 2020
  #8114
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Shaggy2039's Avatar
Here we go....I've got a new very simple update on the difference between the Amp 500 and 700 now that I'm back in my studio and listening again.

The Amp 700 is more hifi sounding. Period. It's definitely smoother up top which we all knew but overall, the entire presentation just sounds more smooth. That goes for dynamics too. The Amp 500, on the other hand, is more raw and aggressive especially in the high mid and way up past 10Khz.

Amp 500 - High frequencies that are overly fried, compressed or just too pushed will be immediately noticeable on them. The Amp 500 is like a blinking red STOP LIGHT saying "you've gone too far - the highs in this track are overkill". I personally love this about them.

Amp 700- Beautiful, fuller more extended lows and overall more pleasing but you very well could miss that stop light the 500's give you.
Old 21st September 2020
  #8115
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Lupez's Avatar
Quote:
Originally Posted by Shaggy2039 View Post
Here we go....I've got a new very simple update on the difference between the Amp 500 and 700 now that I'm back in my studio and listening again.

The Amp 700 is more hifi sounding. Period. It's definitely smoother up top which we all knew but overall, the entire presentation just sounds more smooth. That goes for dynamics too. The Amp 500, on the other hand, is more raw and aggressive especially in the high mid and way up past 10Khz.

Amp 500 - High frequencies that are overly fried, compressed or just too pushed will be immediately noticeable on them. The Amp 500 is like a blinking red STOP LIGHT saying "you've gone too far - the highs in this track are overkill". I personally love this about them.

Amp 700- Beautiful, fuller more extended lows and overall more pleasing but you very well could miss that stop light the 500's give you.
I remember the AMP500 being too raw for my ears, very fatiguing. So I switched to AMP100 and the fatigue was gone.
I wonder if the AMP700 would bring me any benefit besides the added power
Old 21st September 2020
  #8116
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Shaggy2039's Avatar
Quote:
Originally Posted by Lupez View Post
I remember the AMP500 being too raw for my ears, very fatiguing. So I switched to AMP100 and the fatigue was gone.
I wonder if the AMP700 would bring me any benefit besides the added power
ZERO fatigue on the 700. Like none whatsoever even though it has more power. Definitely has something to do with the Class A buffer which the 100 and 500 don't have.

Incidentally, I was perusing through some pop music yesterday on Tidal HIFI and I came across Marshmello / Halsey's "Be Kind". The vocal nearly ripped my head off on the 500. It sounded like they intentionally boosted a band in the high frequencies to simulate listening to the song on FM radio. Compressed as hell.

I don't think I'd notice that vocal EQ choice quite as much on the 700's.

Same thing goes with Selena Gomez "Look At Her Now". Almost sounds like the top is borderline bit crushed on the vocals.

For me personally, I'm always trying to stay away from that sound when I mix. I'd much prefer something warmer in the vocals....Anything Tchad Blake mixes sounds pretty much perfect on the Two 15's for me, even on the 500.
Old 22nd September 2020
  #8117
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JblKid95's Avatar
 

Quote:
Originally Posted by Shaggy2039 View Post
ZERO fatigue on the 700. Like none whatsoever even though it has more power. Definitely has something to do with the Class A buffer which the 100 and 500 don't have.

Incidentally, I was perusing through some pop music yesterday on Tidal HIFI and I came across Marshmello / Halsey's "Be Kind". The vocal nearly ripped my head off on the 500. It sounded like they intentionally boosted a band in the high frequencies to simulate listening to the song on FM radio. Compressed as hell.

I don't think I'd notice that vocal EQ choice quite as much on the 700's.

Same thing goes with Selena Gomez "Look At Her Now". Almost sounds like the top is borderline bit crushed on the vocals.

For me personally, I'm always trying to stay away from that sound when I mix. I'd much prefer something warmer in the vocals....Anything Tchad Blake mixes sounds pretty much perfect on the Two 15's for me, even on the 500.
I was at my bro’s house yesterday all day. He’s on two18s amp 700 in a non treated room but on amazing stands, decoupler and rug. All out of an m905. When I had the two 18s i was in a semi treated room with the 500s. From what I remember the 700s crush the 500. I still think for listening to music the amphions are a movie but those 700s hit different! So 3D. I liked what I was hearing. It minimized some of the things I didn’t like about the amphions for production. Still could never produce on them though. That front to back is just so exaggerated for me. I’d rather sit there and listen than work.

With the two18s though his mixes have tranformed for the better, and he was already dope. he thanks me every time I see him for recommending them
Old 22nd September 2020
  #8118
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Shaggy2039's Avatar
Quote:
Originally Posted by JblKid95 View Post
I was at my bro’s house yesterday all day. He’s on two18s amp 700 in a non treated room but on amazing stands, decoupler and rug. All out of an m905. When I had the two 18s i was in a semi treated room with the 500s. From what I remember the 700s crush the 500. I still think for listening to music the amphions are a movie but those 700s hit different! So 3D. I liked what I was hearing. It minimized some of the things I didn’t like about the amphions for production. Still could never produce on them though. That front to back is just so exaggerated for me. I’d rather sit there and listen than work.

With the two18s though his mixes have tranformed for the better, and he was already dope. he thanks me every time I see him for recommending them
I would love to hear Amphion release the Amp 700 without the class A buffer. Keep the auto impedance and everything else but remove the buffer that’s smoothing everything over. I do love the Amp 700 though...

I think the front to back you’re describing is due to the insanely fast transient response on them. It’s initially a shock to hear music presented this way but then as you get used to it, you’re doing more low pass filtering and getting getting rid of “noise” up top on a lot of sources to make room for the most important things to poke through up there.
Old 22nd September 2020
  #8119
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JblKid95's Avatar
 

Quote:
Originally Posted by Shaggy2039 View Post
I would love to hear Amphion release the Amp 700 without the class A buffer. Keep the auto impedance and everything else but remove the buffer that’s smoothing everything over. I do love the Amp 700 though...

I think the front to back you’re describing is due to the insanely fast transient response on them. It’s initially a shock to hear music presented this way but then as you get used to it, you’re doing more low pass filtering and getting getting rid of “noise” up top on a lot of sources to make room for the most important things to poke through up there.
As soon as I get the dough I’m gonna get one15s or maybe One18s. although the speakers I’m on do an excellent job, I wanna see my tracks in this light every now and then. I feel like I’d be covered. Also interested in the One12s but I wonder if they’re more related to the 18 or 15 family... be happy to hear opinions on this. Def going 700s no matter how small
Old 4 weeks ago
  #8120
Here for the gear
 

My one 15s arrived today and I've been listening to them for a few hours, rummaging around on Spotify and opening various sessions of my own. Right off the bat I'm impressed by the amount of detail present I'd been oblivious to. This was something I expected to happen as I'm coming from only having used HR824 mark1s for the past 2 decades. Also expected was a bit of shock in the reduced amount of bass going from one the other. At the moment I only have the Amphions set up, but they obviously have a lot less low end. The low end sure sounds nice though!

I'm waiting on a pair of monitor stands so I can experiment more with various positioning and placement. I'm also waiting shipment on a pair of KH120s that I plan to audition against the one15s with idea of choosing one or the other. I'm really going to relish this comparison.

Right now I'm using an old Rotel 980XB I had to power the Amphions. I'm thinking I may need to get my hands on an amp 700 to really make sure I'm giving them their fair shake.

How much time is recommended to burn these speakers in? Any particular type of material or spl better to achieve the result more quickly?
Old 4 weeks ago
  #8121
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lowkey's Avatar
 

The One15 vs KH120 comparison isn't even close. I own both. Used to use the KH120s for years, but got the One15s about 2 years ago. The 120s have a bit deeper sounding bass, but the One15s bass is much easier to make decisions on.

I have kept the KH120s as my desktop office speakers where they are really nice and the dip switch options beneficial over the One15s.

During CV-19 lockdown i didnt have my One 15s for a while and i was reminded how i couldnt trust any mixing decisions made with the KH120s.

Ive also got an old Rotel 820 BX2. Much lower power but same family as the 980 i think. Id say its too bright for the One15s. Im running a balanced 70 watt Cyrus Power Amp now and its nice and punchy.

Quote:
Originally Posted by zwolf View Post
I'm waiting on a pair of monitor stands so I can experiment more with various positioning and placement. I'm also waiting shipment on a pair of KH120s that I plan to audition against the one15s with idea of choosing one or the other. I'm really going to relish this comparison.

Right now I'm using an old Rotel 980XB I had to power the Amphions. I'm thinking I may need to get my hands on an amp 700 to really make sure I'm giving them their fair shake.
Old 4 weeks ago
  #8122
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James Lehmann's Avatar
 

Quote:
Originally Posted by zwolf View Post
My one 15s arrived today and I've been listening to them for a few hours...
Answers to most of your questions are almost certainly buried somewhere in this epic thread, but fair enough if you you don't have time to search through it all.

Some of my own summarised answers then:
  • Listening to finished, mastered and released tracks on Spotify won't tell you much about how useful the One15s are as a mixing tool - try to do a few mixes from scratch on them and check your translation before making a final decision
  • If you like tracking and mixing at nosebleed levels, the One15s probably aren't for you in terms of chest-thumping bass - again, what you will find is that in the context of a working up a mix the bass response is exceptionally well-balanced and there's very little you will miss - I'm constantly astounded by how usefully low they go and how little little needs tweaking in mastering
  • I've no experience with that model of Rotel hi-fi amp but it surely makes sense to try to audition the One15s as they're meant be heard with an Amphion power amp if you have the opportunity for reference, as you seem wise to do already; there is of course pages of great discussion about suitable amps for the Amphions in this thread. There are many great options and no one-size-fits-all with amps - quite often it comes down to personal taste and how peoples' systems interact with the particular space they are working in. As of last month, I'm also running a hi-fi power amp - an old Quad 306 I picked up cheaply which sounds absolutely superb with the One15s in my (small-ish) space.
  • I think the general idea is 40-100 hours of run in, I can't remember exactly; I just used mine for listening on the end of my stereo for a couple of weeks before I moved them into the studio and started working with them after the harshness had abated and the sound had 'filled-out'

Last edited by James Lehmann; 4 weeks ago at 02:03 PM..
Old 4 weeks ago
  #8123
Gear Nut
 

Quote:
Originally Posted by hornyhornyhorny View Post
I can tell you that Subpac + One15 is totally useless combo.
Can you speak more about your experience of why it is useless with a subpac?

Has anyone else tried?

I'm looking to buy some good small nearfield monitors to use in both a larger untreated room and a smaller treated room. Both likely to have bass issues. I've also got a subpac on order than I play to use with headphones and also with the speakers to reduce the room effect.

Is there a particular reason why Amphions would not work well with the subpac?

I am looking at the one12 due to pricing - would they be any better/worse in this regard?
Old 4 weeks ago
  #8124
Here for the gear
 

Quote:
Originally Posted by James Lehmann View Post
Answers to most of your questions are almost certainly buried somewhere in this epic thread, but fair enough if you you don't have time to search through it all.

Some of my own summarised answers then:
  • Listening to finished, mastered and released tracks on Spotify won't tell you much about how useful the One15s are as a mixing tool - try to do a few mixes from scratch on them and check your translation before making a final decision
  • If you like tracking and mixing at nosebleed levels, the One15s probably aren't for you in terms of chest-thumping bass - again, what you will find is that in the context of a working up a mix the bass response is exceptionally well-balanced and there's very little you will miss - I'm constantly astounded by how usefully low they go and how little little needs tweaking in mastering
  • I've no experience with that model of Rotel hi-fi amp but it surely makes sense to try to audition the One15s as they're meant be heard with an Amphion power amp if you have the opportunity for reference, as you seem wise to do already; there is of course pages of great discussion about suitable amps for the Amphions in this thread. There are many great options and no one-size-fits-all with amps - quite often it comes down to personal taste and how peoples' systems interact with the particular space they are working in. As of last month, I'm also running a hi-fi power amp - an old Quad 306 I picked up cheaply which sounds absolutely superb with the One15s in my (small-ish) space.
  • I think the general idea is 40-100 hours of run in, I can't remember exactly; I just used mine for listening on the end of my stereo for a couple of weeks before I moved them into the studio and started working with them after the harshness had abated and the sound had 'filled-out'
Thanks for your thoughts! Yeah, I've read much of the thread but not all. That's good advice about starting a mix from scratch and exactly what I plan to do today.

As far as my bass and spl needs, I'm ready for the switch. I'm going to hang on to the HR824s for tracking, but I'm not even going to have them in my mixing position - they'll be situated elsewhere in the room where I can crank them for tracking without having to put my earplugs in or move out of position. I'm experiencing ear fatigue and tinnitus so I want to mix a very low level going forward. And I'm so damn tired of the uncertainty of the low end with the mackies. They're so "forgiving" that I find I can have the bass guitar, for example, off by 3-4 dBs in either direction and it sounds viable, yet one quick listen in my car will reveal the mistake. So frankly, I'm ready for much less bass to be rumbling around the room. But it's definitely going to take some time to adjust to!

I brought up some recent mixes and was a bit horrified as I've seen echoed in other comments in this thread. But perhaps the one purported quality of these speakers that drew me towards them more than anything else was the suggestion that they'd reveal the flaws and lead you in the right direction for the answers/fixes.

It's not going to be a painless transition, but it's one I'm all in on!
Old 4 weeks ago
  #8125
Lives for gear
Looks like Amp100 is also discontinued. I thought it was just the Amp500. The Amp100 is already more than enough for the One15's. I do wonder how well the One15's match with Amp700 and how much volume play you can get without needing pads.

As far as burn in/warm up goes, leave both the Neumann and the Amphion gear on 24/7. I had full range music playing on them at moderate volume (occasionally loud) for like 16+ hours each day for the first 2 weeks, even when I was away. They eventually stabilized. Those first few days felt up and down.
Old 4 weeks ago
  #8126
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Oskari J.'s Avatar
 

Quote:
Originally Posted by zoom25 View Post
Looks like Amp100 is also discontinued. I thought it was just the Amp500. The Amp100 is already more than enough for the One15's. I do wonder how well the One15's match with Amp700 and how much volume play you can get without needing pads.

Some others have mentioned that the 700 amp senses what speaker is connected and adjusts sensitivity accordingly. Correct me if that's wrong, those of you who know.
Old 4 weeks ago
  #8127
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JblKid95's Avatar
 

Anyone thinking about selling their Monoblocks ?
Old 4 weeks ago
  #8128
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Quote:
Originally Posted by Oskari J. View Post
Some others have mentioned that the 700 amp senses what speaker is connected and adjusts sensitivity accordingly. Correct me if that's wrong, those of you who know.
Didn't know there was an Alexa inside along with that Class A circuitry. Good to know.
Old 4 weeks ago
  #8129
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James Lehmann's Avatar
 

Quote:
Originally Posted by Oskari J. View Post
Some others have mentioned that the 700 amp senses what speaker is connected and adjusts sensitivity accordingly. Correct me if that's wrong, those of you who know.
Yeah... someone must know a bit more about this??

If it's true it kind of explains why Amphion have reduced their amplifier range to one 'uber-amp' that is flexible yet powerful enough to work effectively with all their models and variations of monitoring systems.

Otherwise – as I alluded to earlier – I can't for the life of me see how the average One15 user would have a workable gain range on their monitor controller with an amp of 700W without needing to insert in-line attenuation pads.

(And for anyone curious about the 'realworld' power requirements of a pair of One15s in a treated 3m x 5.5m control room... I can report that my newly-installed 50W Quad 306 provides more than ample juice to go mighty loud enough indeed – at least for normal mixing levels – while my RA-Audio 501 could blow the doors off with 115W per side. 2 x 700W and I am definitely going to need a bigger boat! Or some new monitors!)

Last edited by James Lehmann; 4 weeks ago at 08:20 PM..
Old 4 weeks ago
  #8130
Gear Maniac
 
Oskari J.'s Avatar
 

Perhaps there's a switch somewhere on the top/bottom or inside?

"... allows you to..."
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