Somewhere to begin thinking about what they might need, and a few of the options that might work well for them.
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Designed from a clean slate and featuring no 'off the shelf' components as seen in the vast majority of other speakers, Event has defied conventional audio philosophy to create the Opal.
Some 'ultra accurate' speakers attract criticism for sounding a little uninteresting, but that's not the case with the Opals: they just act as a clean window into the mix, so if you have a lively‑sounding mix, it will still sound lively played over the Opals.
Event build on their tried and tested design principles to offer two new sets of affordable active speakers.
A fine‑mesh grille protects the front of the tweeter, and behind this is a phase plug.
It comes from a new design team, is manufactured in Australia rather than the Far East, and is aimed squarely at the audio professional and the top end of the project studio market. The Level control has a ‑6 to +6dB gain range in 3dB steps, and Space offers bass tailoring for full-, half- or quarter-space positioning. Reinventing the Event brand in this way is a brave move, as the accepted marketing wisdom is to come out with a high‑end product first and establish a reputation, before building more affordable spin‑offs to cash‑in on the accumulated kudos. These cookies do not store any personal information. Waveguides place additional air loading on the tweeter diaphragm, so a metal dome was chosen to provide correct pistonic action over its working frequency range; softer dome material can deform under load and introduce distortions. These cookies will be stored in your browser only with your consent. The Best... - Ten Of The Best MIDI Keyboards, The Best... - Ten Of The Best: Analogue-Style Synth Plugins. The rear of the Opal, dominated by the heat sink, includes sockets for wall‑mounting.
The EX8 is built with a cone‑travel capability of a huge 36mm within its linear range, and has an impressive power-handling capability of 240W pink noise and 720W peak.
Photo: Mike Cameron The Event two-way active TR8 monitor has evolved from the popular Event 20/20BAS model and utilises the same specification of cabinet, driver and fourth-order electronic crossover. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. Attack Magazine is funded by advertising revenue.
A soft‑clipping circuit is used to maintain a better wave shape, should the generously rated amplifiers ever be driven into clipping, and has the effect of reducing the perceived level of distortion when the monitors are used at very high levels — but with up to 1kW peak capability you'd have to be running pretty hot to induce clipping! Not only does this reduce noise, it also helps to further cut down distortion. Event's new owners make some extravagant claims for these new high‑end monitors, whose design is said to put quality first. Good options will take into account variables like the room’s dimensions and acoustics, as well as the frequencies of the music being pumped through them, so studio monitors that work best for one bedroom producer might not suffice for another. When no audio is being fed to the speakers, the resting power consumption is around 20W. By Paul White. There are models in this list for all interested parties, but remember that spending more money isn’t always a certainty that you’ll find a better pair of monitors for your own purposes. However, the build quality and 'designed for accuracy' performance of the Opal puts it up there with the PMCs and ATCs of this world, and the original metal-case ATC SCM20A probably comes closest in both concept and price.
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Add to this that few of us have the luxury of testing out every single studio monitor, let alone just a few, and the decision becomes very daunting indeed. A guide to ten of the best studio monitors 2019, from the best budget models to the wallet-busting best in the business models… One of the most important decisions you’ll ever make in your production journey is the choice of studio monitors. After many years of research and engineering, Event has defied conventional audio philosophy and created the Opal. It’s a range of monitors with different speaker sizes, priced from budget options to high-end speakers that might well be found in recording studios. What we’re doing here is giving the bedroom or home producer a place to start. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. 20/20: The Giant Killer Using manufacturing processes and materials unheard of at the time, the 20/20 combined a magnetically shielded 25mm natural silk dome with an 8" mineral-impregnated polypropylene cone. Instead, the mid‑range is laid out clearly, revealing things that other speakers might miss, so when you feed in a mix that has problems, they show up very obviously. Cranborne Audio Camden EC2 Preamp & CAST Expanders. The Opal's 28‑litre cabinet is pressure cast from aluminium, finished in a black powder coating, and the inherently rigid shape is curved in two dimensions to discourage resonances, as well as internal reflections that might cause standing waves.
The controls go a little further than those on the majority of active monitors, as there's a variable-Q filter, with a frequency range of 40‑280Hz, which can be set to cut by up to 6dB in 1dB steps. They’re certainly not the only options we’d consider in each of their respective price ranges, but these are the models we’d recommend as starting points. Mastering Essentials Part 3 - How loud should I master? Rubber base pads are included for use between the speaker base and the stand. The laws of physics impose certain boundaries, but this design pushes them back by using novel technology in both the driver design and the cast-metal enclosure.
Inevitably, a high‑end speaker costs high‑end money, but even so, the Opals cost less than the monitors with which they stand comparison, and they should appeal to the more serious private studio owner as well as to professional studios — and possibly even to mastering engineers. Whereas tapping a conventional speaker cabinet often produces a noticeable 'thunk', tapping these has about the same sonic result as tapping a car cylinder head! In short, what we have is a monitor that's capable of levels of up to 111dB at 1m (long term 80Hz‑20kHz) or 114dB peak, and a frequency response, between ‑3dB points, of 35Hz to 22kHz. A full list of beneficiaries can be found here. Like the best hi‑fi speakers, the Opals deliver their best when they've been allowed to warm up for half an hour or more, after which time the sound takes on a slightly smoother and better integrated character — although that's not to say that they sound in any way bad when first switched on. In fact, the very heavy cast casework is reminiscent of that used in the ATC SCM20A and some of the modern Genelec designs — although the details of the cabinet design obviously differ.
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