Gearslutz

Gearslutz (https://www.gearslutz.com/board/)
-   Best Studio Gear (https://www.gearslutz.com/board/best-studio-gear/)
-   -   Ten of the Best Studio Monitors ($1,000 to $2,000) (https://www.gearslutz.com/board/best-studio-gear/1104259-ten-best-studio-monitors-1-000-2-000-a.html)

The Press Desk 27th July 2016 01:00 AM

Ten of the Best Studio Monitors ($1,000 to $2,000)
 
1 Attachment(s)
Ten Studio Monitors from $1,000 to $2,000

Monitors are one of the most critical pieces of equipment on a studio, perhaps most importantly at the mixing stage. So here we are - ten pairs of studio monitors from $1,000 to $2,000 (USD) to take your listening environment to the next level.


 A7X

ADAM Audio A7X


Enjoying heaps of praise over the years and a wide acceptance from the Gearslutz community it’s safe to say that the A7X is a modern-day classic. This monitor comes with a 7” woofer and Adam’s famous X-ART tweeter to provide a super extended frequency response that goes from 42 Hz and reaches all the way up to the dog-whistle territory of 50 kHz. Powerful amps (100W for the woofer, 50W for the tweeter) provide plenty of volume for record monitoring and mixing. The A7X has two front ports and for the users convenience it brings the power switch and volume control between them so they’re easily accessible. On the back there are balanced XLR and unbalanced RCA connections, high and low shelf equalizers (-6 to +6db) and a tweeter gain setting from -4 to +4 db. A reliable and accurate monitor that is still a very good choice for any studio.



 Klasik

APS Audio Klasik


From Poland comes a newcomer manufacturer - APS - and their 'Klasik' two-way studio monitor, which is garnering very positive comments from the GS community since its release in 2015. The Klasik features a 7” woofer, 0.75” tweeters, 2x75W amps, an impressive frequency response from 35Hz up to 25kHz (-2db), balanced XLR and unbalanced RCA connectors, an eight position input switch (with 1.5db increments from -10 to 0db), and a small and centered rear port. It also offers the user the option to tweak the tweeter’s volume (-1.5/+1.5db) and a bass control with roll off, passive and extended options for the woofer - extended should be the standard mode of operation and passive/roll off should be used along with subwoofers or if you want to tame the low frequency response in a smaller room. It’s great to see new manufacturers thriving, APS is a very welcome addition to the monitor pool and the early word is that it seems like this speaker is a “Klasik” in the making!



 Abbey - Cream

Avantone Pro Abbey - Cream

Famous for their useful, if intentionally bandwidth-restricted/one-way 'Mixcube' speakers, Avantone’s new series of monitors are now set to cover the whole spectrum with a truly full-range system. The impressive 'Abbey' 3-Way features a 6.5” woofer mounted on the side that delivers a low end starting at 35Hz, a 5” midrange driver that stretches from 120Hz to 2.40 kHz and a 1” tweeter that picks up from there and takes it all the way up to 35 kHz. The Abbey features a front bass reflex port and amplification is provided by three amps - 2 x 100W for mid/highs and gut-whopping 200W for the lows. Connectivity comes through an XLR/TRS combi connector housed on the back, along with a volume control, ground lift and an optional high-frequency boost. Everything is neatly packaged in a distinctive looking cabinet with two colour options - black and cream (featured). If you’re looking for a system that will really cover everything from top to bottom then you should definitely give the Abbey 3-way a very serious look.



 BM6A

Dynaudio BM6A

Dynaudio’s acclaimed BM6A is another case of a 'present-day classic' studio monitor, with over ten years of great service and a solid reputation. They’re so well-regarded that it doesn’t seem like Dynaudio will ever discontinue them (knock on wood!) - they keep updating the BM line of monitors but somehow the original BM6A “MKI” is always in production. The BM6A comes with a 7” woofer, a 1.1” soft-dome tweeter, two mighty 100W MOSFET amps, a frequency response ranging from 41Hz to 21kHz on a rear-ported cabinet. The back part houses the power switch, a balanced XLR input, low and high frequency trim from -4 to 0db, a +4/-10 switch to set bal/unbal operating levels and under the hood there are thermal and electrical protection systems and a limiter keeps the tweeter safe from overloads. The front LEDs will indicate signal clipping or if the protection system is engaged. Despite being the oldest variant of the BM lineup the 6A is still the most expensive when compared to newer models. In that regard, the BM5A/6A MKIII can be a viable option if you want to keep the Dynaudio signature sound but have to work within a smaller budget.



 CMS 65 V2

Focal CMS 65 V2

The recently updated 'CMS' line of speakers brings all the quality from this revered French speaker manufacturer to a more friendly price point. The CMS 65 has a 6.5" woofer, a 1” tweeter with Focal’s trademark “inverted-dome” design, 100W (LF) and 60W (HF) amps and a frequency response from 45Hz to 28kHz (+/-3db). The CMS line has a conveniently placed front power switch and volume control. On the back there are balanced XLR and unbalanced RCA inputs and four tone controls with a low cut filter (45, 60 and 90Hz -12 db/octave), bass/midrange (0-450Hz) and treble (4.5-20kHz) controls with -4, -2, 0 and +2 db options and a tight (Q=2) parametric filter up to -6db at 160 Hz. These speakers ship with a handful of useful accessories that includes a pair of decoupling table stands to minimize vibration, four rubber feet, two height-adjustable feet, a phase optimization plug for the tweeter and a set of grilles to protect both woofer and tweeter. It also has wall/stand mounting holes on the back. Focal offers the smaller CMS 40/50 models and also a subwoofer option (CMS10), making the CMS line very appealing to different needs, budgets and room sizes.



 M040

Genelec M040

A new series of speakers from the active monitor pioneers at Genelec, with the latest breakthroughs in speaker development and the best Finnish technology, with a 'green bonus' - the range is entirely made with ecologically sustainable and recyclable materials. The M040 brings a very innovative and super rigid cabinet with a vibration-damping enclosure and Genelec’s acclaimed 'waveguide' technology to secure the purest possible sound. This monitor features a 6.5” woofer, 1” tweeter, 80W (LF) +50W (HF) amps, 48Hz-20kHz (-3db) frequency response. The M040 has all its controls on the back which allows for tonal adjustments depending on the speaker placement, an EQ for tabletop use (0/-2 db at 210 Hz), bass EQ for using it near room corners (-2/0 db at 80Hz) and a bass level compensator for when they’re placed close to a wall (-4, -2 and 0 db at 100 Hz). Wrapping it up neatly, there are also input sensitivity controls (-20, -10 and 0db), combi XLR/TRS connector for balanced operation, an RCA input for unbalanced signals and the 'M' series also features an automatic standby mode, staying green-friendly when it comes to energy saving. If you’re looking for a monitor that is cutting edge in all areas and of course sounds great, powerful and accurate, then the M040 should definitely be on your watch list.



 Type 07

HEDD Type 07

Founded by former Adam Audio honcho and loudspeaker researcher Klaus Heinz, Hedd is a new contender in the studio monitor game and with such respected credentials it’s already a strong one! The Type 07 is the middle entry in their line of speakers and the biggest of their 2-way models, with a 7” woofer for low-mid frequencies, 2” proprietary “HEDD AMT” tweeter for the high frequencies, 2x100W amplifiers and two front bass-reflex ports. An interesting feature of HEDD’s monitors is the modular input system provided by the Hedd Bridge, an optional accessory for these monitors which gives them forward-thinking digital connectivity and compatibility with audio-over-IP protocols (such as Dante and Ravenna), with USB2 and wireless options coming later this year. HEDD also offers a smaller model, the Type 05, which might be a good (and cost-saving) option for smaller studios. Finally, they offer the four-way Type 30 with two 7” low-mid frequencies drivers, 5” midrange woofer and their signature tweeter, which should do fine on mid-field duties and in bigger rooms. This is definitely a company to watch!



 KH 120 A

Neumann KH 120 A

The KH120 A are one of the 'most commented on' studio monitors in recent years and an overwhelming majority have nothing but praise for the KH120 A. It’s important to note that the “KH” stands for Klein + Hummel, a German manufacturer known for its excellent speakers that was acquired by Neumann a few years ago. Combine both brands' expertise and you’re bound to find sonic greatness with the KH120, a monitor that features a 5.25” titanium fabric woofer, a 1” tweeter, two 50W class A-B amps, two frontal ports, four-position controls for the lows, low/mid and highs, balanced XLR connection, input sensitivity trim from -15 to 0 db and handy output level controls. They are also magnetically-shielded and features thermal overload protection systems, with peak limiters to protect woofer and tweeter and visually indicated by the logo light at the front. With numerous high-profile endorsements since release we can only recommend the KH120A as one of the very best studio monitors in its price range. Also available with digital input (KH210D).



 Model 42 MKII

Pelonis Sound and Acoustics Model 42 MKII

Perhaps the most distinct design on our list, the Pelonis Model 42 MKII is an update to the highly praised compact monitor that has quite a devoted following. The Model 42 features dual-concentric drivers with the high-frequency driver mounted in the center of the woofer, an external 19” rack-mountable amp with configurable DSP through USB and angled speaker cabinets to avoid reflections from a work desk or mixing console. Because of all this the whole concept drifts away considerably from the traditional active monitor design. It's a very interesting proposition that is very much unique in the world of studio speakers! Despite the small 4” woofer these speakers stretch up to 63Hz (-10dB) and most importantly, they deliver the information needed for mixing in a clear and precise way. The system can be expanded with a matching subwoofer (Model 42LF) in case you really need have all the bottom octaves covered. The DSP software allows the user to mute/solo left or right speaker, align each or both speakers (you can set an alignment delay up to 10ms) and most importantly, it offers a 5-band parametric EQ with two optional shelving bands and a wide range from -15 to +3db for fine-tuning the frequency response - all settings can be stored as presets and easily recalled from the software. Clever boxes indeed!



 Sceptre S6

PreSonus Sceptre S6

Presonus' entry in the mid-tier studio monitor market has also captured our community’s attention with their bold looks and proprietary “CoActual” drivers aimed to deliver a very symmetric response from woofer and tweeter. This results in a very coherent soundstage with superb definition. The Sceptre S6 ranges from 52 Hz to 20 kHz (-3db), with 6.25” and 1” low and high frequency drivers respectively, powered by two 90W amps to deliver plenty of volume. They feature cutting edge onboard DSP controls to deal with the upper frequencies above 2 kHz (flat, +1, -1.5, -4dB), a low cut switch ('Flat,' 60, 80, 100 Hz) and an “Acoustic Space” control that is a sort of low-shelf equalizer at 250 Hz with (-1.5, -3, -6dB levels) that help to deal with room problems. A master volume control and XLR and TRS inputs round out the package. All the controls are placed on the back of the monitor and on the front there’s a large oval-shaped horizontal bass-reflex port. In case you have a bigger room and/or a bigger budget, Presonus also offers the S8 with an 8” driver for the louder monitoring needs with some extra bass.


There are certainly other great sounding monitors out there, so what are you using in your studio? Planning an upgrade or have you already settled in with a nice pair of speakers? Tell us about your plans and experiences!

Jules 27th July 2016 02:38 AM

kfhkh

Boggo Myrtle 2nd January 2017 03:47 AM

Sonodyne SRP 800. They made my old Adam A7s sound like toys. Stunning monitors.

Diogo C 6th January 2017 08:46 PM

Quote:

Originally Posted by Boggo Myrtle (Post 12348065)
Sonodyne SRP 800. They made my old Adam A7s sound like toys. Stunning monitors.

They're getting hard to find, I wonder why.

Boggo Myrtle 6th January 2017 11:17 PM

Quote:

Originally Posted by diogo_c (Post 12358159)
They're getting hard to find, I wonder why.


That's a shame. peachh

Boggo Myrtle 7th January 2017 10:18 PM

Quote:

Originally Posted by diogo_c (Post 12358159)
They're getting hard to find, I wonder why.


Apparently poor sales in the USA is the reason. It's a shame because they're wonderful speakers. They are in a completely different league to Adam A7s in my opinion (having shot them out side by side).

robertgeorge 28th April 2017 06:09 PM

Just got a pair of APS Klasiks. They are really great. Customer service is also great.

babadunes 22nd June 2017 12:48 PM

NS10m 'studios' for 1,000 + amp? should I buy?
 
So I am a hiphop producer looking to buy his first pair of monitors. I have been mixing on computer speakers for about a year now. I am a fan of the ns10's and love the history behind them. I would like to mix and make my beats on vintage gear. My competitors are all using the same monitors (krk , hs8's) and there mixes literally all sound the same.

Would a pair of ns10m studios be a bad idea? would It even be possible to make beats on them?

Diogo C 22nd June 2017 01:44 PM

Quote:

Originally Posted by babadunes (Post 12693526)
So I am a hiphop producer looking to buy his first pair of monitors. I have been mixing on computer speakers for about a year now. I am a fan of the ns10's and love the history behind them. I would like to mix and make my beats on vintage gear. My competitors are all using the same monitors (krk , hs8's) and there mixes literally all sound the same.

Would a pair of ns10m studios be a bad idea? would It even be possible to make beats on them?

NS10s are never a bad idea IMO. ;)

On the other hand, you might struggle with the super low end on them so a second pair like the HS8 or headphones can address that.

Maybe a search or a new thread in the Rap & Hip-Hop production forum might help: https://www.gearslutz.com/board/rap-...ng-production/

phaceless 23rd June 2017 05:30 AM

Tag .

joecandy 29th June 2017 12:16 PM

the best speakers are the ones you know intimately.

veks 31st July 2017 04:06 PM

Quote:

Originally Posted by Boggo Myrtle (Post 12360357)
Apparently poor sales in the USA is the reason. It's a shame because they're wonderful speakers. They are in a completely different league to Adam A7s in my opinion (having shot them out side by side).

Mercedes CLA is most selling car among american youth (it is cluttered C class). Having money is not nessaceary having also a taste for environment and other living beings. :)

lacnadon 3rd August 2017 02:55 PM

Unity audio pebbles second handish sealed ..Hello Eve Audio anyone?I would say in this order Unity Auidio,Eve Audio sc,Aps Klasik,Hedd,Dynaudio Lyd7.Adam its trashed even from Samson rxa6 and Presonus r 65.In the coaxial realm Fpx 7,Presonus s6

ISedlacek 3rd October 2017 07:11 AM

Quote:

Originally Posted by diogo_c (Post 12358159)
They're getting hard to find, I wonder why.

Not really ... see VELVET SOUND

PereGrinoz 15th January 2018 04:30 PM

Man, sorry but this list are incomplete if there not JBL LSR308/LSR305 one of the best if not the best monitor under without exaggerating 1000shiee

stella645 15th January 2018 05:10 PM

Quote:

Originally Posted by PereGrinoz (Post 13072825)
Man, sorry but this list are incomplete if there not JBL LSR308/LSR305 one of the best if not the best monitor under without exaggerating 1000shiee

The clue is in the title:

Here is the correct list for the JBL.
Ten Active Studio Monitors (under $1,000)

PereGrinoz 15th January 2018 05:26 PM

Quote:

Originally Posted by stella645 (Post 13072919)
The clue is in the title:

Here is the correct list for the JBL.
Ten Active Studio Monitors (under $1,000)

My bad...haha
Thanks

TMOQuantity 29th January 2018 07:34 PM

I've been using a pair of APS Coax for about a year and they have been wonderful. I'm a big fan of sealed cabinet designs, especially when I'm working in a poorly treated room (which is more often than not) where ported speakers, in my experience, tend to be less trustworthy in the lows, and there aren't that many options compared to ported designs, so I'm really happy APS have one available. The bass doesn't go deep (although it's still possible to shake the floor a bit even at modest monitoring levels) but once you're used to that (or have added the matching subwoofer, if you have a higher budget than I do) they're fantastic to mix on, everything I do on them seems to translate really well, even when I first got them and hadn't learned them yet. Definitely worth considering if you need a set of nearfields with really good imaging and detail and don't mind (or prefer) a bit of low end rolloff.

moos_music 30th January 2018 11:29 AM

I love my Adam A7X's, they are GREAT for the price point!

donald trump 31st January 2018 07:49 AM

and the winner is........ focal alpha 80freshflowefreshflowefreshflowefreshflowe

not_so_new 14th February 2018 05:56 AM

So what about the PSI Audio A17-M's? I have a pair that I love, they are just a great all around speakers.

They need a pair of subs because they don't have a lot of punch but that's not a big deal. My only real problem with them is that they don't play all that loud but I don't mind because I don't crank them much.

I guess they don't get talked about much here at GS but they are really a great set of speakers.

stella645 14th February 2018 11:35 AM

Quote:

Originally Posted by not_so_new (Post 13139668)
So what about the PSI Audio A17-M's?

Don't fit the price range which is per pair.

not_so_new 14th February 2018 11:58 PM

Quote:

Originally Posted by stella645 (Post 13139993)
Don't fit the price range which is per pair.

How much did I pay for these things? I completely forget what I bought them for.... LOFL

rockout

They sure are great speakers.

AMIEL 15th February 2018 12:38 AM

Quote:

Originally Posted by diogo_c (Post 12358159)
They're getting hard to find, I wonder why.

That model is no longer in production

geeorge 15th February 2018 02:14 AM

Quote:

Originally Posted by TMOQuantity (Post 13107415)
I've been using a pair of APS Coax for about a year and they have been wonderful. I'm a big fan of sealed cabinet designs, especially when I'm working in a poorly treated room (which is more often than not) where ported speakers, in my experience, tend to be less trustworthy in the lows, and there aren't that many options compared to ported designs, so I'm really happy APS have one available. The bass doesn't go deep (although it's still possible to shake the floor a bit even at modest monitoring levels) but once you're used to that (or have added the matching subwoofer, if you have a higher budget than I do) they're fantastic to mix on, everything I do on them seems to translate really well, even when I first got them and hadn't learned them yet. Definitely worth considering if you need a set of nearfields with really good imaging and detail and don't mind (or prefer) a bit of low end rolloff.

What music do u mix on them i am about to get klasik but the rear ports are not good imo ports in speakers are not good in general.Do the apzs coax will be good for terribly loud genres as house tech house?

elegentdrum 15th February 2018 02:28 AM

Specs and price are one thing. Translation and no "holes" in the sound are another.

The reviews would be much more useful if things were rated in each quality.
Range: 20-20K or something else?
Transients: How fast does the speaker go from nothing to steady full volume. this can vary from frequency to frequency.
Holes: Typically there is a mixture of dips and bumps in the EQ response at the cross over point between 2 way and 3 way speakers. Some speakers you can't tell, others you here a huge hole where things get muddy at a specific EQ range.
Throw: Some speakers are better at 4' away, some are better at 6' away, what's the optimum speaker throw?
Translation: Some speakers make you work to get the mix right (Like NS-10's) because the speakers are not that good. Some speakers flatter the hell out of what you hear (B&W), details showing up you just dont hear on other speakers and headphones.

The mixture of all those design details is what makes some speakers cost tons of cash. As consumers, we should ask for a useful rating system about things like that. Then there will be something on paper to justify large speaker costs. Much of the problem is putting qualities we hear into words. How do we describe a sound? Now how do we describe the qualities of a system that delivers the sound? Not that easy. Perhaps some speaker designers or mastering engineers could take a shot at a great set of measurements that will allow all speaker designs to be on a level playing field for quality.

TMOQuantity 16th February 2018 05:01 PM

Quote:

Originally Posted by geeorge (Post 13141562)
What music do u mix on them i am about to get klasik but the rear ports are not good imo ports in speakers are not good in general.Do the apzs coax will be good for terribly loud genres as house tech house?

I've been doing a lot of sort of left-field electronic type stuff, but not generally that bass heavy. I think with something like tech house my one concern would be lack of bass but that's better than hyped/excessive bass. I've also done a few mixes of almost Tom Waits-y singer-songwriter rock stuff that someone else recorded, and mastered some crude live recordings of improvised acoustic music, and they've worked well on all of that.

Based on specs and my ears, the deal with the low end on these is that the rolloff starts higher than a lot of speakers of similar size but is actually less steep than usual, so the bass is both rolled of and deep at the same time. You'r enot going to feel the lowest stuff in your chest or anything, but you'll hear it. I've got no complaints, it took a couple weeks to adjust to the bass contour but even before I had I was getting good results, I just needed to check my mixes on familiar headphones regularly until I'd adjusted.

Another thing that makes them great for electronic production is that they're coaxial. I'd never actually used coaxial speakers before I got these and it seemed like it was maybe a bit of a gimmick but it really does make the listening sweet spot a lot bigger, and that's good f you're doing stuff where you might be mixing from one spot in the room but programming a synthesizer in a completely different spot - it's much easier to judge what you're doing when you're off axis on these things than any other speakers I've used, I guess because all of the sound from each speaker is coming from a single point, so as you move t only phase relationships that change signiicantly are between the left and right speakers, but you have pretty much the same phase correlation between the woofer and tweeter (and no bass port complicating things further) in any one speaker no matter where you are in relation to them. With other speakers I've used, as you move out of the sweet spot the tonal balance can change ot realyluickly, but with these they sound pretty much the same no matter where I'm sitting or standing - the stereo image gets disrupted and the highs drop a little as you get off axis, but it's not like typical two or three way ported speakers where everything changes if you roll your chair to the side a bit.

geeorge 17th February 2018 01:38 AM

Quote:

Originally Posted by TMOQuantity (Post 13145069)
I've been doing a lot of sort of left-field electronic type stuff, but not generally that bass heavy. I think with something like tech house my one concern would be lack of bass but that's better than hyped/excessive bass. I've also done a few mixes of almost Tom Waits-y singer-songwriter rock stuff that someone else recorded, and mastered some crude live recordings of improvised acoustic music, and they've worked well on all of that.

Based on specs and my ears, the deal with the low end on these is that the rolloff starts higher than a lot of speakers of similar size but is actually less steep than usual, so the bass is both rolled of and deep at the same time. You'r enot going to feel the lowest stuff in your chest or anything, but you'll hear it. I've got no complaints, it took a couple weeks to adjust to the bass contour but even before I had I was getting good results, I just needed to check my mixes on familiar headphones regularly until I'd adjusted.

Another thing that makes them great for electronic production is that they're coaxial. I'd never actually used coaxial speakers before I got these and it seemed like it was maybe a bit of a gimmick but it really does make the listening sweet spot a lot bigger, and that's good f you're doing stuff where you might be mixing from one spot in the room but programming a synthesizer in a completely different spot - it's much easier to judge what you're doing when you're off axis on these things than any other speakers I've used, I guess because all of the sound from each speaker is coming from a single point, so as you move t only phase relationships that change signiicantly are between the left and right speakers, but you have pretty much the same phase correlation between the woofer and tweeter (and no bass port complicating things further) in any one speaker no matter where you are in relation to them. With other speakers I've used, as you move out of the sweet spot the tonal balance can change ot realyluickly, but with these they sound pretty much the same no matter where I'm sitting or standing - the stereo image gets disrupted and the highs drop a little as you get off axis, but it's not like typical two or three way ported speakers where everything changes if you roll your chair to the side a bit.

I had Genelec and Adam before at the moment the Samson ribbons I really like them but would like something more.high end as well to have different perspective.I was hesitate betweeb klasik hedd eve and unity audio rocks I.love the rocks but coaxial sealed would be better.The rocks sweet spot.its.narrow.one of.the reasons I didn't.like adam ax.I realise.that every speaker is good.for something bad for other things.Aps tough its.different.league tough their.spwakers are.not.mass prodocued.and.they have high end.background.

TMOQuantity 17th February 2018 02:27 AM

Just to be totally transparent here, when you read my opinions about this stuff it's important to keep in mind that I rarely get to mix in properly treated rooms and I have far more experience with 60s-80s mid to high end hi-fi speakers (I heard a TON of them at the job I had for most of the 2000s) than with monitors, so while I trust my ears and instincts I'm far from an authority.

EDIT: another thing to be aware of that I didn't even consider until I got mine is that if you buy second hand try to get them from a country that has the same mains voltage as yours. I just assumed that there would be a switch or internal jumper to set the voltage but they actually use a different power supply for every voltage they offer so if you do what I did and have them shipped from a 240v region to a 120v region (or vice versa) you should budget about $80 for a suitable step-up or step-down transformer and some cables. I ended up running mine off of a decent quality, isolated 240v power strip, too, which was another $50 but is unnecessary according to their literature and tech support. Even with all of that plus exchange rate, customs fees and shipping it was a pretty good deal compared to buying them from a US importer and if you can get them used from a trustworthy seller I recommend it (I got mine from a regular here, although we did it on a different board).

JRT_in_WMass 4th March 2018 06:34 AM

In the US, for small passive monitors in this price range, I would suggest consideration of R. Dennis Murphy's Philharmonic Audio New Philharmonitor, which utilizes a RAAL 64-10 OEM ribbon tweeter and Scan-Speak 15W/8530K-01 Revelator midwoofer in choice of bass-reflex or sealed alignment, and option of bespoke cabinets sourced from (Jim) Salk Sound, etc. Be sure to discuss your application with Dennis before ordering.

The New Philharmonitor

For an amplifier, I would suggest Morris Kessler's ATI AT522NC stereo amplifier which utilizes a pair of Bruno Putzey's Hypex NC500 class D amplifier modules, Kessler's discrete input stage and linear power supply.

AT52XNC Amplifiers