M-Audio ProFire 610 Firewire Audio Interface Review

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(More customer reviews)I'm a big fan of this audio interface, M-Audio just did everything right here. Very stable, works great on Windows 7 - 64 bit, works wonderful on Sonar 8 and now they finally released proper drivers to make it work on Pro Tools in Windows 64 bit. You have to make sure you download the beta drivers though.

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Designed by the company that revolutionized mobile music production, the ProFire 610 FireWire audio interface transform your Mac or PC into a powerful 6-in/10-out recording studio.Premium digital converters deliver high-definition, 24-bit/192kHz audio throughout the signal path.Two preamps with award-winning Octane technology offer clean, transparent sound with low noise and exceptional headroom.Onboard DSP mixing provides a totally flexible recording experience-perfect for creating multiple, independent monitor mixes.the user assignable master volume knobgives you flexible control over output levels.MIDI I/O allows you to connect keyboards and other outboard MIDI hardware.The half-rack space unit also doubles as a standalone two-channel microphone preamp and A/D-D/A converter.ProFire 610 is compatible with most major audio software, making it an unbeatable choice for personal, high-definition recording.

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PreSonus FireStudio Tube 16x8 FireWire Recording Interface Review

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(More customer reviews)In an attempt to streamline my home studio a bit and replace a fritzy Alesis IO-14 audio interface (don't buy! bad quality!) I bought the PreSonus FireStudio Tube (PFT) for the higher quality preamps on the two SuperChannels. Moving slowly from a more MIDI/hardware based synth studio, I've started using more softsynths and doing more miked recording (vocals, acoustic guitar, various percussion). BUT, I still have a few analog synths and modules that frequently get pulled into the mix (love that zero-latency!), and I envisioned keeping at least 3 pieces of hardware directly plugged into the 6 line-inputs on the back of the PFT to call up when needed.
In total the PFT has 2 "SuperChannel" inputs (good for mic or instrument level), 8 XLR mic inputs, and 6 quarter-inch/line-in inputs, supposedly good for plugging in line-level devices like synths, drums machines, mixer inputs, etc. To control all those inputs, PreSonus provides some mixing software that decently lets you monitor and adjust input levels where needed.
Soooo...I removed a big mixer that was taking up desk space, screwed the PFT into my rack, and moved the small, 12-unit rack to the desk space formerly occupied by the mixer. I then plugged 3 synths into the PFT and started recording in Sonar.
And THAT'S when I realized something was wrong. I have a Yamaha Motif Rack that I usually use to set-up some basic elements for song writing, and I tried recording the inputs from a keys/drum/bass mix, but the meters barely registered. I thought maybe I had something connected or adjusted incorrectly. I cranked input levels in the PreSonus mixing software, maxed the MIDI-volume to 127 for each of the parts, cranked the master volume on the Motif Rack, and STILL was just barely getting little bumps on the recorded clip graphics.
Frustrated, I decided to hit the PreSonus Forums on the internet and discovered this is a known problem. The line inputs for the PFT are just...incredibly...QUIET! Someone in the forum suggested you have to use pro-level gear that outputs a min of +4db. So I checked my Motif Rack and discovered it outputs at +6db...more than hot enough of a signal. More than a year ago, one of the PreSonus techs stated on the forum he would ask if the problem could be fixed in any of the upgrades, but so far, it hasn't. And the fact it has been a known problem for well over 2 years would indicate they either CAN'T fix it, or have no interest to. Other two suggested work-arounds (from PreSonus techs, no less) were to use the 2 "SuperChannels" on the front of the unit ("but be really careful with your input levels...you could damage the mic-pres" they said) or getting quarter-inch to XLR adapted cables and use the mic-pres on the back of the unit, again suggesting to be VERY careful because they weren't intended for line-input level devices but "should work if the levels were kept low". Lastly, several other users of the device stated if you use a preamp with your hardware (like my powered mixer I had put away), you can drive the levels loud enough to make the line-inputs usable and to more easily record with them. Yeah, getting back out my mixer really helps my whole studio-stream-lining effort, eh?
WTFO? PreSonus' OWN techs are giving scotch tape, work-around solutions to a real problem. Wow...thanks for the massive assist and attentive customer support.
BUT...all in all, the REST of this unit is pretty decent (hey, I'm a fair-minded person!). If you don't need the 6 line-level inputs or you DO have equipment that outputs REALLY hot (my unusually "loudest-of-the-bunch-of-synths" Alesis A6 is the only piece of hardware I've found that pumps enough power to be plugged, unassisted, into the line-ins), then this might work for you. The "SuperChannels" really are super, and best of all, the copy of PreSonus' "StudioOne Artist" DAW software that comes with the device might actually give Sonar a run for its money (for me anyway). But for the money, I've basically bought 2 really good "SuperChannels" and 8 other mic pres I could use should I decide to record an entire band or some drums. I'm not quite sure it was worth it.
Oh yeah...almost forgot to mention...this interface has a history of problems working with Sonar. My experience isn't horrible, but I do have a lot more drop-outs and interruptions than I ever had with the Alesis IO-14. PreSonus Forums suggest the problem lies in using ASIO drivers instead of WDM drivers, but I haven't tested that one.
Pros:
- The super "SuperChannels"...GREAT recording quality
- The "StudioOne Artist" DAW software that looks pretty super as well
Cons:
- The 6, almost-unusable line-level inputs
- No digital input/output
- Occasionally problematic with Sonar
- The price, given the almost unusable line-level inputs and no digital I/O
I have to say my experience with this is disappointing enough, I'm researching a replacement, and will likely sell it if I find something better.
Those are my thoughts...the rest is your call....cheers...
Added to the review on 9 Sept 2010: PreSonus has interestingly wiped all the old entries in their forum. I found none of the previous complaints I'd read about the PFT line-level problem, and even my own question was deleted from the forum. The forum has a new interface, so I'm sure they would probably claim that was the reason the old complaints were deleted.

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The FireStudio Tube is a world-class 24-bit/96k professional FireWire recording system loaded with the perfect combination of inputs and outputs for bands, producers, musicians and engineers to produce commercial-quality recordings.

Two SuperChannels - Tube Preamplifiers with LimiterThe front panel of the FireStudio Tube is loaded with two “SuperChannels” featuring class A vacuum tube microphone and instrument preamplifiers along with full-featured analog limiters.The tube preamplifiers use a high gain, military grade 12AX7 tube for maximum gain, low noise and high headroom. Neutrik combo connectors allow both XLR microphone input and hi-Z instrument input. Preamp controls include preamp gain and tube drive to achieve a wide range of sounds from smooth, clean and clear, to warm tube saturation. An 80Hz high pass filter is also located on the front panel to remove room rumble and unwanted lows.


Analog Dual Domain Limiters On BoardThe FireStudio Tube’s Limiter features a VCA-based ultra fast Dual Domain RMS and peak detection circuit used in the award-winning DigiMax 96K, delivering the most musical limiter available. The Analog Dual Domain Limiters in the SuperChannel are located after the preamplifier and BEFORE the analog to digital converter in the signal path. This allows you to maintain high resolution recording levels without clipping, allowing you to keep the vocals up front, the kick and snare consistent, and the bass solid and punchy. Controls for the limiter include Threshold and Gain make-up as well as a Limiter in/out button. Fast-acting LED metering on the front panel displays preamp input and limiter gain reduction for the two tube SuperChannels.

Perfect I/O for Music ProductionThe FireStudio Tube delivers all the analog I/O needed for professional recording sessions, featuring sixteen analog inputs including two tube SuperChannels on the front panel, eight class A award-winning XMAX microphone preamplifiers and six balanced TRS line inputs on the rear panel. Outputs include six balanced TRS outputs and PreSonus’ signature ultra loud and clear headphone output that “goes to 11”. MIDI I/O is also included on the rear panel for MIDI instruments, keyboards and controllers. The FireStudio Tube’s combination of microphone, instrument and line inputs is perfect for a band to simultaneously record drums, bass, guitar, vocals and keyboards without any additional preamplifiers.
DSP Mixer/RouterThe FireStudio Tube includes PreSonus’ 16x8 FireControl mixer/router delivering up to four zero-latency custom monitor mixes easily and quickly.
8 XMAX Class A PreamplifiersThe FireStudio Tube includes eight custom-designed high-voltage, discrete, XMAX Class A microphone preamplifiers for all types of microphones. Many other companies offering recording interfaces add the cheapest possible microphone preamplifier as an afterthought to the interface. PreSonus knows that the preamplifier is a key component in the sonic quality of a recording. The job of a microphone preamplifier is to boost microphone level signals to line level so that the signal can be converted from analog to digital. This mic to line boost is generally a preamplification of over 400 times the voltage of the original mic level signal. This preamplification stage is one of the most important stages that the signal will go through before converted to digital, and is why a high performance preamplifier is important to achieving great results. A cheap "off the shelf op-amp" type mic preamp that is found in most interfaces translates into thin, noisy and harsh results.
All XMAX preamplifiers are built with the same three elements:

High Voltage - The XMAX preamplifier runs on power rails of 30V. Most off the shelf op amp based designs run on power rails of 10V to 18V. Higher voltage power rails deliver more headroom, deeper lows, smoother highs and an overall fuller sound.

Discrete - No op amps. Only transistors, resistors and capacitors. Op amps add noise, coloration and harshness to a signal. Discrete designs deliver ultra low noise and transparency.

Class A - When a circuit is running in Class A mode the circuit is always in an "on" state operating at its optimal voltage requirements. Class A mode has zero crossover distortion and delivers purer, clearer and more musical sonics than class A/B designs which are found in most op-amp circuits.

The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range and wide frequency range, and most importantly, musicality and transparency - smooth highs, solid deep lows, and everything in between.

Digital Converters and JetPLL SyncThe FireStudio Tube touts A/D/A converters with a dynamic range of over 114dB for unbelievable clarity as well as synchronization using patented JetPLL™ jitter reduction technology. JetPLL™ incorporates noise shaping to virtually remove all audio band jitter. JetPLL™ ensures the highest converter performance possible, resulting in better stereo separation and clearer more transparent audio. JetPLL™ delivers ultra-fast locking to any digital format through a wide range of frequencies and is extremely robust and tolerant of wide variations in clock frequencies. JetPLL™ ensures near perfect clock performance when networking audio devices, thus creating the most stable and robust synchronization to the computer.
ProPak Software Suite (ver. 4) Included
Cubase LE 4 48-track music recording and production software
Cubase LE 4 Demystified by PreSonus - DVD tutorial video
Amplitube Duo - Virtal Guitar Amplifier
Ampeg SVX UNO LE - Virtal Bass Amplifier
EZ Drummer Lite - Virtual drummer plug-in
Track Plug LE - EQ and Compressor plug-in
MasterVerb LE - Reverb plug-in
PreSonus EyeQ - EQ and spectral analysis plug-in
Sony Acid Express - Loop creation software
Martin Atkins Beat Fetish - Loop library
Pluggo Jr. – Average Injector, Chamberverb, Feedback Network, Filter Taps, Generic Effect, HF Ring Mod, Jet, Limi, Nebula, Resonation, Resosweep, Spectral Filter.
Discrete Drums Sampler– over 1GB of drum loops and drum samples
Twiddly bits – 100 MIDI drum loops created by real drummers

Computer System RequirementsBelow are the minimum computer system requirements for your FireStudio Tube.
Windows
OS: Microsoft Windows XP and Windows Vista
CPU/Clock: or Athlon 900MHz (1.5 GHz or higher recommended)
Memory(RAM): 1 GB (more recommended)
Macintosh
OS: MacOS X 10.4.x or later (10.5 supported with driver update)
CPU/Clock: PowerPC G4/Dual 1 GHZ or faster, all Intel-based Mac models.
Memory(RAM): 1 GB (more recommended)
Windows and Macintosh Systems
IEEE 1394 FireWire 400 Port
Internet connection
DVD-ROM drive
Internal or external 7200RPM storage drive is highly recommended
Note that the speed of your processor, amount of RAM and size and speed of your hard drive will greatly affect the overall performance of your recording system. Also, a more powerful system (faster processor with more RAM) will allow for lower latency (signal delay) that you might experience while monitoring audio or MIDI signals.
Monitor resolution for both PC and Macintosh should be no lower than 1024x768 pixels.

Microphone Preamp 1-8 (XLR Balanced)TypeXLRFemale BalancedFrequency Response (±0.5 dB)20 Hz to 50 kHzFrequency Response (±3.0 dB)20 Hz to 150 kHzInput Impedance (Balanced)1600 OhmTHD+N(unwtd, 1kHz @ +4 dBu Output, Unity Gain< 0.0003%EIN(unwtd, 55dBGain, 150 Ω Input, 20Hz to 22kHz-126 dBuS/NRatio (Unity Gain, unwtd, Ref. = +4 dBu, 20Hz to 22 kHz> 101dBCommon Mode Rejection Ratio (1 kHz, 55 dB Gain)> 55dBGain Control Range (± 1dB)-4 dB to 50dBMaximum Input Level (Unity Gain, 1 kHz @0.5% THD+N)+14 dBuPhantom Power (±2 VDC)+48 VDC

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Infrasonic Quartet Pci Aud I/F Review

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(More customer reviews)I purchased this card so I could do 192000 sampling with my Windows 7 64bit Computer. It works perfect and was easy to setup.
The company I bought it from had a great price and shipped promptly.I am very pleased.

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Introducing the Infrasonic Quartet Advanced 4 x 4 I/O recording interface. Infrasonic is a world wide leader in high end recording interfaces for both Mac and PC based systems. The Quartet has the following key features' Total 4 x 4 channel 24-bit/192kHz Audio Interface' V-BalancedTM Driver Technology (IO Changes to 2x2,2x4,4x2 between unbalanced and balanced)' PCI Slot compatibility designed to suit +3.3V and/or +5V PCI slot' Precision low noise Microphone preamplifier with +48V phantom and Low cut' Built-in Selectable Direct Instrument Input' Built-in high quality Dual Headphone amplifier' High quality Audio-Converters and expert analog technology' ADC : 113dB dynamic range (up to 24-bit/192kHz)' DAC : 115dB dynamic range' Hardware mixer for direct monitoring.' Uses Cross-Latch type 1/4" TRS Stereo jack for reliable analog I/O' RCA connector for Coaxial I/O (Support up to 192kHz)' Shutter type optical output jack for S/PDIF output' Supports pass-through AC-3/DTS' Word Clock I/O : Fs / 256*Fs, BNC Connector' FREE Mixer' Virtual Channel Function' Support ASIO2, WDM, DirectSound

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PreSonus HP60 6-Channel Headphone Amplifier/Mixer Review

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(More customer reviews)If you play live and your band is constantly complaining that they can't hear themselves in the mix, this is the perfect product to solve that. Lets back up...if you are a vocalist trying to hear yourself or to do harmonies, it is almost impossible if all you have is the main mix in your phones. This device allows you to take, say, the direct feed from your vocal channel and plug it into a stereo input...for each channel. The three singers in my band each have an output that they are able to mix into the main mix. The result: "more me" since my vocals are boosted above the other vocals and instruments. And you can't believe how much better you can sing when you can actually hear yourself.
Of course, the other vocalists can hear you too, but they can mainly hear themselves, so everybody can sing their parts without getting disoriented by the other vocalists
You get two stereo inputs for all the channels, and you can mix them together, so you could theoretically have a backing track mix on A and a click track on B. If the drummer needs the click, mix heavy toward B. If you are a singer and dont need to hear the click, mix heavy toward A. Then, boost your own personal direct signal from the mix board so that your vocals stand head and shoulders above the other stuff. NOW you can hear!!!
This is one of those products I'm constantly inventing in my head that don't exist, except that this one does, and with more features and flexibility than I ever would have imagined. Plenty of volume in the headphones, nice clean sound, and you can hook up six headphones to this thing, each with individual A/B track mix and "more me" mix input. Pricey, but worth it. This thing is a game changer. As the guy who usually gets the middle David Crosby part in the harmony matrix, I no longer get confused, off pitch, or lost. Bring it on...I can sing ANYTHING now...

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"Turn my headphones up!" "More me, I can't hear myself!" "Turn down that click!" It gets old. Change that tune with the HP60 headphone distribution system. The HP60 is more than just a half-dozen headphone amps, it's a field-tested solution to a host of common headphone-monitoring problems. Let's start with "turn my headphones up." Each of the HP60's six headphone amps has its own level control and puts out 150 mW, which is loud enough to drive the alligators out of the Louisiana swamps. If they can't hear this headphone system, they're stone deaf. More likely they'll scream, "turn it down, you're killing me!" Problem solved. Now let's solve "turn down that click." The HP60 features two sets of line-level, stereo inputs that are routed to all six headphones, a Mix control that sets their relative levels for each headphone output, and a mute switch for each headphone. So you can feed the main control-room mix to channel A and the click to channel B and use the Mix controls to individually raise or lower the click relative to the main mix for each musician. Problem solved. As for "more me," in addition to the two pairs of main stereo inputs, you get an external stereo input pair with level control for each headphone channel. A Mono switch lets you sum the left and right inputs. So you can send each of the whiners a feed of just their instrument or voice and can control the level separately for each. Problem

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TC Electronic Desktop Konnekt 6 24Bit/192kHz Firewire Desktop Audio Interface Review

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(More customer reviews)I had to get rid an Alesis iO device after the upgrading to Windows 7 and downgraded to an older, but compatible, Tascam USB interface device in the meantime. The Konnekt6 is better than both of them. The device buttons and knobs all have a quality feeling to them - plus they're functionally elegant with indicator illumination. The monitor volume knob, for instance, glows brighter as it is turned. The balanced output works great - as do the inputs. The WDM drivers work great in Windows 7 32 bit, as does the control panel. When running it for the first time, it recognized that there was a new firmware on the disk and seamlessly installed it. The control panel's interface seems well designed - I was able to grasp all of the mixer and device setting configuration without resorting to documentation. I probably will never use the reverb but it was easy to completely disable. So far, I'm very pleased with this purchase.

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Anyone familiar with the T.C. Electronics' Konnekt line of interfaces knows they offer high-quality recording features. This addition to the family, the Desktop Konnect 6, continues that trend but is in a smaller footprint size FireWire audio interface allowing you to focus more on your performance than worrying about messing with complicated technology. It gives you all the features you'll need, like an advanced Monitor control, IMPACT mic pre with excellent I/O options, and the top-notch M40 Studio Reverb to instantly record instruments and vocals into your Mac or PC.Monitor ControlThe volume control on the Konnekt 6 Interface is the knob that you'll use all the time. Therefore, it is great that it sits right where you want it: always within reach. With a volume control independent from the computer - between the computer and the active speakers - you can always turn down the volume, no matter what your computer does.High resolution meterThe high resolution gives you precise information about levels. With clear level indication, you can always monitor the level of the input signal and know if you're near clipping. You can also choose to use the meter for mastering purposes.Reverb for trackingFor monitoring convenience, the reverb is available as part of your monitor mix. You can control the reverb level directly from the top panel of Desktop Konnekt 6,and you can set reverb parameters using the control panel on the computer.Direct monitor mixUse the direct monitor knob to control the direct monitor level directly from the top panel of Desktop Konnekt 6. Together with the DIM switch and the MONO switch you have all the monitor functions you need at hand.ScenesWith Scene select you can easily access three independent scenes or "setups". The three default presets are for Microphone and guitar, two guitars/basses, and stereo line signal.Control panelThe control panel gives you full control over your monitor mix, including the M40 Studio Reverb.IMPACT and I/OWhen it co

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AudioTrak MAYA44 USB Audio Interface Review

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(More customer reviews)Warning: If you purchase this pos through MusiciansFriend.Com, they will not accept returns!
The MAYA-44-USB has an extremely confusing, and dysfunctional driver installation procedure.
The manual appears to be written by someone with a rather limited grasp of the English language, and no concept of technical writing.
This product is *not* compatible with AtomixMP3 software.
Avoid this, as well as MusiciansFriend.com. They have just lost a formally loyal customer for not allowing me to return this.

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JBL LSR2325P Pair of Bi-amplified Studio Monitors Review

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(More customer reviews)Me:
Musician, been recording on 4 track, 8 track, 16 track & 24 track recorders since 1996, i have pro mics (M-Audio Sputnik, AKG D5 & C3000, Rode NT3) and have owned many others, i use a TC-Electronic G-Force and a TC Helicon Harmony G-XT.
How i chose these speakers:
- I took a trained sound engineer friend (who has been recording since 1996 too and who attended a Sound Engineer course at SAE) with me because he is the only person whose ears i trust and because i wanted to be sure i wasn't going to choose the wrong set of speakers.
- I went to all the major studio gear stores in Paris, France, in the Pigalle area where all the music stores are. We listened to many many different speakers, sometimes without prejudice and other times with great hopes because we've been reading about brands like Genelec & Dynaudio & all the newer brands out there just like anyone who trusts the specialized press.
- We checked speakers ranging from 200 to 2000 a pair, more or less: we just tested everything they had that looked interesting, including the latest M-Audio, Yamaha, Alesis, Genele, Dynaudio, Adam, etc., etc., etc., etc.
- We tested the speakers on tracks we both knew very well & some very clean recordings as well as some others.
- We selected tracks for reverb to see if the speakers could render the reverb properly, which is something many speakers simply fail to do.
Results of the search:
- Against all expectancies, all the major contenders turned out to be crap. And i mean absolute garbage. Given that we both had exactly the same criticism about each speakers we listened to, i'm pretty sure we weren't being delusional. Now it is possible that the set-up in the stores were not optimal, and maybe the passive speakers were linked up to a bad amp, but most speakers were active & linked to the source via a professional monitoring system with lots of switches designed specifically for this purpose.
- Genelec flaws: no mids AT ALL, same power as a bad car stereo, no bass.
- Dynaudio BM15 ACTIVE: absolute crap amplification, rubbish.
- ADAM A5: aggressive mids, crap treble, no bass. Absolute GARBAGE.
- Yamaha (new NS-10 style speakers) & M-Audio: average sound, not enjoyable at all.
- Most speakers had a very aggressive sound in the mids or treble, and lacked bass. Even in the very expensive range of speakers, none managed to impress us and virtually all were flawed in some aspect that alone would render them totally useless & unbearable.
- The last store we visited was definitely much more pro (Sound Factory) and had real speakers. They played us some PMC passive speakers linked to a 300 stereo amplifier. We were AMAZED. They were fantastic. Well, these were not the most expensive (around 1000 a pair i think), and by far the best. They aren't used at Abbey Road for nothing then...
We then told the salesman we had already heard his Dynaudio BM15's and said we hated them & didn't want to waste his time with those -- "skip em!", we said -- but he had the passive version. And they were very good. The difference was AMAZING. In other words, manufacturers of speakers know how to make speakers, not amplifiers. So get the passive version of whatever you want, and add your own amplifier, the result will be incredibly better, i assure you.
So far the PMC were the best and the Dynaudio were not bad but not cheap. Just out of curiosity i asked to check out the tiny JBL 2325P's that were a ridiculously cheap 400 and were active...i said to him "i guess the JBL are crap but let's give em a try anyway, just to see"...he replied "no, they're not bad actually".
With my friend we both looked at each other with big eyes, we were very pleasantly surprised...they weren't quite as good as the PMC but they easily beat all the others we'd listened to that day.
I ordered this in the US because i now live in Mexico. I got them here on Amazon for 400$ (470$ or so with shipping), with 2 Samson speaker stands and 2 Wirlwind XLR cables. I just set them up today, on their stands.
I don't have a proper good quality source at the moment, my SACD player is in France, so i tried first via the minijack output of my Toshiba P300 laptop and the sound was harsh & had some very apparent artefacts due to the extremely bad quality of this output (Toshiba should be ashamed, really). I then switched to my Archos 5 mp3/video player and the sound is incomparably better. Not perfect, of course, we're not talking about a proper HQ source here, and remember the connection is a cheap minijack=>RCA cable, nothing like XLR=>XLR.
On bad recordings, or old ones, the sound is not so good, and indeed that's exactly how it should be: these speakers tell you when the source is bad. But switch to Kate Bush's Aerial album (her latest, from 2005 i believe), encoded in high quality by myself, and the bass response is amazing, everything is perfect.
Summary:
- Incredible bass response for 5 inch woofer, simply amazing. And it doesn't sound artificially boosted as on some speakers that just try too hard.
- Very well balanced & detailed mids & treble. Although i do prefer the treble & mids on my previous speakers (B&W DM602 S2 -- Bower & Wilkins make excellent passive speakers, with kevlar woofers & perfect tweeters, but you need to be very careful positioning them to get good bass response). But these JBL 5" woofers provide more oompph in the bass than by much bigger B&W's used to. Quite amazing, really. And it's not muddy bass, it's clean, well controlled, has fast attack and nice round oompph. I can hardly imagine how good the 2328p's must be! They were much more expensive, though, & too big & heavy for my needs.
- Very small in width but deep & quite heavy (7.7kg).
Manufacturer's specs seem accurate upon listening (for once) and outperform by far much bigger & much more expensive speakers:
43Hz-20Khz
55 W LF - 35 W HF (don't let this fool you, these speakers are loud enough to make you deaf for indoor use).
You have a treble +/- switch on the back & the same for bass. These work rather well but don't feel too solid & i wouldn't play around with them too much.
The volume knobs are not smooth but have small 'steps' to them so you can set both speakers to exactly the same setting easily. They have a good feel to them.
You have line balanced ins on XLR & TRS jacks, plus unbalanced line in on RCA/cinch.
The on-off switch on the back is silent & a blue light on the front tells you when the speakers are on.
Overall opinion:
The best active monitors by far in 2009-2010 for this money or size? I'd bet they are, yes.

Click Here to see more reviews about: JBL LSR2325P Pair of Bi-amplified Studio Monitors

The JBL LSR2325P Powered Studio Monitor is a bi-amplified 2-way model with a detented level control that allows fine adjustment of individual speaker levels to balance the speaker in your system. Low Frequency and High Frequency Trim controls let you tailor the speaker's response to preference or room acoustics. A neoprene rubber pad on the bottom of the speaker provides acoustic isolation and increases stability when the speaker is placed on a speaker stand or a console top. Mounting points are included and the enclosure has been reinforced for safe mounting using industry-standard mounting hardware. Featured to integrate into professional systems, the LSR2325P includes balanced XLR, balanced 1/4 inch and unbalanced RCA inputs that allow connection to a wide range of playback sources including computer audio workstations, professional mixing consoles, as well as consumer playback systems.

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Marathon MA-TXP Flight Road Case Review

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(More customer reviews)Get this if you intend to travel with your Xponent. I had initially bought the official Xponent Gig Bag from M-Audio, but found it to be such a ripoff after one use - the material feels cheap and I was constantly worrying about the knobs and switches being knocked out of place. This Marathon case is solidly built, fits the Xponent perfectly, has a removable cover and has a removable front piece and a gap at the back for you to connect your cables and headphones. This way, you can use your Xponent WITHIN the case, keeping your Xponent off the table (in case of spillage). The case comes with two foam cushions, which I presume are meant to cushion the two jog wheels and to hold the Xponent in place when the case is closed. An added benefit is that the plasticky Xponent looks more "professional" when encased in this sturdy set-up - key when you're trying to appear as such in a club setting, in front of a crowd/owner that is used to seeing a DJ with turntables!

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Marathon MA-CKMIX Case to hold 1 x American Audio CK-800 or CK-1000 CD Mix Station. Specifications: Exterior Dimensions (closed lid): 21" W x 16" D x 7.5" H. Weight: 20 lbs. Equipment shown in case not included.

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PreSonus Eureka Pro Recording Channel Review

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(More customer reviews)The Eureka has gotten a lot of buzz. The box feels solid and substantial. It comes with gain, hard/soft compression, three band parametric eq, and master volume. The patch order of the eq and compresion can be switched, depending on your needs. Other useful features include phase inversion, variable impedence, and a saturation knob. A backlit analog meter can display incoming signal level or gain reduction. Inputs and outputs are both TRS and XLR. An effects insert point is included. An optional digital output card is available.
I bought the Eureka on the recommendation of a trusted music salesperson (yes, they exist) to power my Royer 121 ribbon mic. There were no preamps anywhere close to this price that he would consider recommending. As it turns out, he did me a great favor. The Eureka does a very solid job with the Royer mic (although I haven't heard the Royer on anything else, so I can only speak to the pairing of the two). Better yet, it gives me new options for almost every other piece of gear I own. I have an inexpensive Precision bass that really benefits from this box - the compression and preampe give it the fullness of a better instrument, while the eq helps to control the noisiness and unevenness between strings. The variable impedence allows users to try those DIY tricks on Shure SM57 mics without pulling out a soldering iron. Other budget-to-midrange mics also benefit. I run my Mojave tube mic through the Eureka to control peaks with good results. I haven't found anything that doesn't benefit at least a bit from the Eureka. I have even heard of mixes being run through the Eureka (one side at a time) to remove the dreaded "digital chill". Between the quiet operation and the versatility of the Eureka, it is no wonder that it is quickly becoming a "best kept secret" among many home recordists and even sine professionals.
Downsides: The knobs are close together and seem vulnerable to being bent. Three sweep eq's with no shelving eq are less than I'd prefer, but they do their job. The optional digital card can take signals from two Eurekas run in tandem, but the signal from the second Eureka must pass to the card in the "analog domain" before it is converted to a digital signal. As with any analog gear, favorite settings must be written down instead of being saved to memory for instant recall. None of these issues is a deal-killer - they just illustrate how hard I had to work to come up with any complaints at all.
If you're looking for a way to bring your home recording quality up a notch, or a way to give old gear a new lease on life, the Eureka may be just the ticket. Its quality sound, versatility and bang-for-the-buck put it in a niche that will make many bugdet-minded recordists very happy.

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The Eureka is a professional recording channel strip containing a discrete class A transformer-coupled microphone preamplifier, compressor, and three-band parametric equalizer. The microphone preamplifier features variable input impedance so that the Eureka can be matched and "tuned" for all types of microphones and recording applications. The Class A transformer-coupled microphone preamplifier also features a saturation control which adjusts the drain current on the input FET amplifier to simulate of the effects of tape saturation and tube "warmth".

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Tascam Track Pack T1 US122L Soundcard with Micrphone Pack Review

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(More customer reviews)I'm using this with a relatively new MacBook and GarageBand. And it sorta works. The updated driver still leaves the Mic VERY quiet and the guitar input not much better. The input dials need to be turned all the way up to get any input. Maybe a 64-bit drive would help, but now Tascam has discontinued this model, so I'm not holding my breath.

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Turn your Mac or PC into a complete recording system for music, podcasting or production with Tascam's Track Pack T1 package, which includes the US-122L sound card, MC-VT1 dynamic microphone, HP-VT1 headphones, and Cubase LE4 software--everything you need to produce hit music on your computer.
The US-122L is your computer's gateway into the audio world. More than just a soundcard, it has a pair of pro-quality microphone preamps for connecting any type of microphone. The phantom power switch supplies power for condenser microphones. The US-122L also has a line input for recording powered devices like keyboards, drum machines and guitar amp modelers. You can even plug your guitar or bass directly into the US-122L. With two inputs, you can record two microphones or sources at once, monitoring with the included HP-VT1 headphones. The included MC-VT1 dynamic microphone is ideal for recording instruments like electric guitar, drum kits and rock vocals.
The Track Pack T1 also comes with Cubase LE4 software, which provides 48 tracks of recording and playback with a Tascam interface and a Mac OS X or Windows XP computer. You can edit your tracks to fix timing and mistakes to put together a perfect take. Cubase LE4 has a professional-quality mixer built in with plug-in effects like reverbs, compressors, distortion, auto-pan and more. You can add more VST plug-ins later and there are more free and commercial VST plug-ins than any other format.
US-122L Features
High-quality stereo audio interface
TASCAM XLR mic pres with power for condenser mics
Works with audio application software for Mac OS X, Windows XP or Vista

MC-VT1 Features
Dynamic handheld vocal microphone
Professional XLR output for lower noise performance
Built-in pop filter reduces vocal plosives

HP-VT1 Features
Closed-ear headphones for isolation while recording
Includes 1/4-inch stereo headphone adapter plug
Padded headset with rich bass response

Steinberg Cubase LE Features These are just a few of the features of Steinberg Cubase LE:
48 audio tracks: More than many "pro" applications, enough for large arrangements and multiple takes
64 MIDI tracks: Record layers of MIDI synths, or incorporate ReWire samplers like GigaStudio 3 LE
96kHz/24-bit audio resolution: Audiophile recording quality captures every detail and nuance
VST plug-in effects: Thousands of effects to choose from, from free downloads to pro packages, with the most widely-supported plug-in format
VST instrument support: Incorporate VST soft synths into your Cubase arrangements
Notation editing and printing: MIDI tracks show up as completed notation for printing charts for musicians and editing tracks
Time Stretch: Change the tempo of a loop to match your song
ReWire 2 integration: Run ReWire-compatible applications like GigaStudio 3 on the same computer as Cubase LE
Upgrade path to Cubase SX: Upgrade to the full version of Cubase if you outgrow this version
Extensive support for mixing control surfaces: Use a US-224, US-428, FW-1884 or FW-1082 to control the program
To upgrade from Cubase LE to a more powerful version like Cubase SX3, visit steinbergupgrades.com.

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Mackie MR5 MR5 Reference Monitor (Single Speaker) Review

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(More customer reviews)FIRST THING FIRST...
Forget speaker set-ups and systems that unnecessarily add treble and bass to the music you're listening to including ones with active equalization that determine on your behalf what you're ears should be perceiving at the moment and eliminating other frequencies that it believes aren't as audible anyway.
How about jumping back into studio monitors that deliver music the way the recording engineers meant it to be heard. Too expensive? Hold on. Not with a Mackie MR5. The price you pay is per piece all right, but don't forget these are powered speakers. And at this price point you get a flat frequency response which means there is no colorization. What is recorded is what you get.
Studio monitors used to be so expensive and out of reach that consumers were bombarded with those other brands that promised to wow your ears with a "perception" of full spectrum audio rather than actually provide your ears with, umm, a full spectrum.
Finally Mackie decided to release lower end audio gear with high end results that appeals to everyone else outside of the audiophile world.APPLICATION...
These speakers are built with 3 types of audio connections.
1. Balanced XLR
2. Balanced TRS (which also can accept unbalanced TS)
3. Unbalanced RCA
Originally intended for near-field monitoring as well as accurate enough for home studio mixing. But knock yourselves out in using these anywhere you see fit. If it's good for mixing, it's great for whatever else.
I used it as my desktop computer speakers. If your computer has a 1/8 stereo output a.k.a. mini-stereo then just purchase a simple (but solidly constructed) 1/8" stereo to RCA cable.HOW DOES IT SOUND...
GREAT! However, you need to re-orient your ears if you've been used to unnecessary and heavy equalized equipment. Take a moment to listen to your favourite CD. One that you are very familiar with from beginning to end. Turn off or flatten the equalizer setting. Take one pass on it and determine if you really to highlight or defeat certain frequencies only because you either have wall to wall carpeting and draperies or bare walls.
You're goal is to listen to music the way it was recorded. If you have unbiased speakers in all frequency range then you will notice nuances in the recording that you never even thought was there. Seriously.WHAT ELSE DO I NEED TO KNOW...
Although this is the smallest of the Mackie studio monitoring speakers, it's still a force to be reckoned with in terms of performance, size and weight. And that's a good thing. It looks, feels and performs like any solid studio monitor. Nothing has been spared. Rather than spend money on marketing, they spend it on actual R&D and build quality.
Frequency response of 60HZ-20KHZ (+-3db) with internal bi-amplification of 55 watts (85 watts peak) for the low frequency and 30 watts (50 watts peak) for the high frequency. And don't be fooled by other speaker manufacture ratings stating 200 watts power which don't mean a thing unless they meant peak power before the internal fuse blows while already clipping at maximum distortion. Did you hear how loud your built-in television speakers can get. To think they are rated from 3 to 6 watts only. So with these truthful power rating, these Mackies are LOUD! Your ears neighbours will come knocking first before you can blow the fuse of these speakers.COMPARED WITH...
The truth is I was perfectly happy with my Blue Sky MediaDesk 2.1 speakers just because I couldn't afford a THX pm3-approved Mackie HR624 at that time. The frequency response was awesome at 35HZ-20KHz. The speakers were fully sealed which provided less distortion and true bass output. I tossed the boxes so I decided to sell them when I moved cross-country than risk damaging perfectly great speakers.
I now moved the Mackie MR5 pair to the living room and disabled the built-in speakers of the television and then obtained a pair of KRK Rokit Powered 6 Generation 2 studio monitors which is equally accurate as the Mackie, but has better frequency response at 48HZ-20KHz (+-1.5db) due to it's 6" low frequency driver.WHAT TO GET...
If you're budget allows for a Mackie, I would get an MR5. A cheaper alternative but still along it's price range is the KRK RP5G2 which also comes with a 5" low frequency driver. But for the same price as the Mackie MR5 is the KRK RP6G2 with better frequency response and a hefty weight and size to boot.
The difference is the porting on the cabinet. Mackie believes in using a rear port, while KRK argues a front port is better as it allows more flexible placement without fear from unnecessary bass response due from the rear ports when placed nearer against the wall.
My recommendation is to listen to both at your nearest studio monitor dealer that stocks both and decide. In the future you can expand to a 2.1 configuration to extend the bass response even lower by purchasing their own respective subwoofer counterparts. As usual, KRK products are better priced so this might affect your decision now the same way it did to me.
If you want a 2.1 configuration right now, then the Blue Sky MediaDesk 2.1 with it's sealed cabinet enclosure all throughout will make sure that the bass you hear is the bass coming from the subwoofer and not from any port which only exists to help extend bass response to a lower frequency.
Either of this you won't go wrong. But please do yourself a favor and get yourself a decent studio monitor than an exorbitantly priced speaker set from a manufacturer that (1) either advertises amplification and frequency response that can be achieved at full clipping power or (2) won't even advertise their specifications at all and then claim their "actual" performance doesn't do justice to the over-equalized supposed sound output.

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Thanks to its sophisticated design, our 5.25-inch MR5 Mackie Reference Monitor delivers superior sound with impeccable clarity?at an unbelievable price.

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TASCAM VLM3 Stereo Powered Reference Monitor Review

Average Reviews:

(More customer reviews)First of all, these are very small. They are basically high quality computer speakers. I read about them in TapeOp magazine (if you don't have the book, get it: Tape Op: The Book About Creative Music Recording ) where they recommended them as good monitors for mixing. I find they lack some low end but definitely found that the mix I did on these translated well to other speakers. Considering that many people are listening to music on computer speakers or so so earplug headphones, this is a good reference if you're mixing music. As for just listening to music on the computer, these are excellent and many times better than the standard plastic box speakers that come with your computer. Well worth the price. My only concern is that the left speaker (which contains the amp) can really heat up if you leave it on a long time. Other than that, these are great speakers at a great price.

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The TASCAM VL-M3s are affordable stereo monitors for home recording, computer use and mixing. The stereo pair feature 3" drivers with a front-mounted bass port and built-in 24W stereo power amplifier. In addition to being an affordable solution for beginners and musicians on a budget, the VL-M3 monitors provide a "real-world" reference for music and post playback.

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M-Audio Fast Track Pro 4x4 Mobile USB Audio/MIDI Interface with Preamps Review

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(More customer reviews)This thing CAN sound AMAZING-- but it probably won't, unless you are very careful. Make sure you have the latest drivers. Don't even BOTHER with the MME ("wave") or WDM drivers; it's ASIO or nothing, because M-Audio's MME/WDM drivers are so bad, I was completely convinced this thing had both a noise gate and a lousy ADC, when it turned out to be driver issues.
The pre-amp doesn't have as much gain as you might hope, but if you've got it cranked and you can barely get anything out of an SM-57, something is WRONG with your install. Try using ASIO. I had absolutely horrible results with Adobe Audition 1.0, but the 2.0 demo, using ASIO, a few reboots, and some tweaking, finally sounds perfect.
That said, the headphone output on this thing is awesome. Oh, rock on.
I hope I can get this thing working properly, because the only real competition is about three times the price.
NOTE: This device has PARTIAL support available for Linux/ALSA, with more on the way. That is independent support, mind you-- NOT M-Audio drivers.
I will revise/replace this review as I see better results; this is already better than my last one.

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The M Audio Fast Track Pro delivers all the mobile recording flexibility of the Fast Track USB, plus evenmore professional features.You get 2 front-panel mic/line inputs complete with phantom power for condenser microphones, inserts for outboard effects, balanced and unbalanced analog outputs, S/PDIF digital I/O, MIDI I/O, and more. Fast Track Pro also features near zero latency direct hardware monitoring and low-latency ASIO software monitoring, plus an A/B source switch and dual output pairs for DJ-style cueing. Fast Track Pro is compatible with most popular PC and Mac music software. USB connection and bus power along with class-compliancy for Mac OS X make it a breeze to set up.M Audio Fast Track Pro Features4 x 4 24-bit/44.1kHz audio interface2 front panel mic/instrument preamp inputs (Neutrik XLR/ 1/4-inch TRS) with:Gain controlsSignal/peak lightsPads for each inputInsert jack (1/4-inch TRS) for outboard processors2 balanced outputs (1/4-inch TRS)4 unbalanced outputs (RCA)SPDIF digital I/O with 2-channel PCMSPDIF out also supports pass-through of AC-3/DTS surround-encoded content1 x 1 MIDI I/O with activity LEDsHeadphone output (1/4-inch TRS) with level control> headphone A/B source switch for DJ-style cueingLI>Input/playback mix control for hardware direct monitoringLI>Mono switch for input/playback direct monitoringLI>Master output level controlLI>Near zero-latency hardware direct monitoringLow-latency ASIO software monitoringLI>USB connection to computerLI>Powered via USB or optional AC power adapterLI>Kensington lock portLI>Mac and PC compatible; class compliant with Mac OS X 10.3.9 and higher/UL>P>B

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M-Audio Studiophile AV 20 Portable Desktop Speaker System Review

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(More customer reviews)I purchased a pair of the AV-20s for my 12-year-old daughter's computer. I didn't listen to them very closely, but thought they sounded pretty good, so I bought a pair for myself to use at my office with my laptop. When listening to them a little more closely, I noticed that the right speaker sounded significantly louder than the left speaker. I thought this was strange so I played different types of music, hooked the speakers up to multiple sound sources, and placed the speakers in different locations. The right speaker was always louder than the left speaker. When I held a hand up to each speaker I could "feel" that the vibrations from the right speaker were stronger than the vibrations from the left. I then listened to the Av-20s hooked up to my daughter's computer and, sure enough, the same problem with the right speaker being louder than the left. I returned the pair meant for my office and got a replacement set and it, too, had the same problem of the right speaker being louder than the left. I have returned the replacement speakers as well, so I've now gone through 3 pairs of the AV-20s that all had the same problem. The returns were very easy with Amazon, but I'm disappointed in the speakers. I own a pair of the M-Audio Studiophile AV-40s and love them. They don't exhibit any of the problems I've had with the AV-20s. I'm going to roll the dice and try a pair of the AV-30s and see what kind of luck I have.

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Studiophile AV20 Porable Desktop Speaker System.Optimized for computer audio including music, DVDs and games.Acclaimed M-Audio technology used in pro recording studios.Separate high- and low-frequency drivers with crossover.High-fidelity 10-watt-per-channel internal amplification.Custom cabinet with dense wood construction for full, warm sound. Tight, accurate low-frequency response. Smooth, crisp highs.OptImage III wave guides for superior stereo imaging.Portable design.Magnetic shielding for desktop use.

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Pro Tools Recording Studio Make Music Now Studio Review

Average Reviews:

(More customer reviews)Ok guys, ill make this short and sweet.
Im a singer song writer, been using Magix Music studio 12, then decided to buy Pro Tools.
"PROS for the Fast Track USB interface"
Low latency - Clean clear voices
High build quality
Small/Compact
Portable
"CONS for the Fast Track USB interface"
Cant use condenser microphone. **I was able to set up a condenser mic to this USB fast track model. But i had to buy a phantom power supply that cost me an additional 30 BUCKS! but it works fine.**
Only records in MONO. not capable of recording in Stereo. Which is my biggest turn off. NO one uses Mono recording. Why would they even make it MONO? so dumb.
As for the actuall software Pro Tools M-Powered Essentials
Pros
Tons of loops and Samples
Vitrual instruments and
Awesome Recording Interface.
Cons
Takes alot of space on ur computer so have alot of memory.
Does NOT, I repeat DOES NOT give you access to all functions of the Pro Tools program. They kepp wanting you to upgrade to the full version.
OVERALL Tips
Good for intery level stuff.
I personally just sold this and bought the MBox 2 which is by far a way better investment but a little expensive.
Have acomputer with alot of RAM and Memory.
If you want to use a condenser mic, buy a phantom power supply for like 19 -30bucks then hook it up accordingly.
Hope this helps you guys out!
CB.

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Crank up the level of your musical creativity with the power of Pro Tools Recording Studio. Easily craft a hit by creating, mixing and recording your music on the same digital platform professionals use to produce much of the world's most popular music. Plug in your standard guitar, microphone and other instruments into our simple yet high-quality audio USB interface play and record directly to your Mac or PC. Even if you're a beginner, your songs will sound like they came from a top recording studio when you pair your inspiration with the ultimate audio production software.

M-Audio Fast Track USB Audio Interface
Record guitar, vocals and more Capture pristine digital sound for any recording project with Fast Track USB--whether your guitar is plugged right into the computer or you’re using a standard microphone.
Professional quality audio interface Create a hit song or soundtrack with M-Audio technology, previously only available to the pros. With far superior sound than standard-issue PC audio cards, Fast Track USB delivers a high quality, skin-tingling audio experience--even if you’re just listening.
Connect directly to your PC or Mac Make music now when you plug in your guitar, microphone or other instruments into our USB interface that connects to your Mac or PC. Fully experience high quality digital sound when you listen to playback on headphones plugged right into the interface.
Create the perfect sound Adjust your input levels with the included Pro Tools M-Powered Essential software to achieve the perfect sound for your track.
Pro Tools M-Powered Essential Software Pro Tools M-Powered Essential gives you easy access to many of the same Pro Tools software features that professionals use every day to create Grammy award-winning albums, Emmy award-winning television shows, and Academy Award-winning films. This easy-to-use software lets you create pro-sounding mixes with up to 16 mono or stereo audio tracks. You also get 60+ virtual instrument sounds to play and record, plus EQ and other effects to make your mixes sound professionally produced. It even comes with over 5.5 GB of music-making tools to help you get started instantly.
Play, mix and record with the creative power of Pro Tools Create incredible music right out of the box with the platform the professionals use to record, edit and produce much of the most popular music in the world.
Get inspired with a treasure trove of loops Go from casual playing or singing to full-blown music production in styles ranging from hip-hop and funk to pop, jazz, rock and blues. Or, use our vast library of drum and instrument loops as an ideal springboard for practicing, jamming or songwriting.
Plug it in Texture your sound with the rich coloring of the SansAmp tube amplifier simulator. Simply plug your guitar into the included Fast Track USB interface and you'll feel like you're playing on the real thing.

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M-Audio Studiophile AV30 Professional Reference Speakers Review

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(More customer reviews)I bought these speakers to listen to music and news at my desk in my apartment, and BOY do they fit the bill.
I've put them through the ringer--rock, folk, house, drum & bass, hip hop, samba, All Things Considered--and they sound remarkably good in all applications. Everything but D&B and hip hop sounds almost as good as on my other monitors (KRK 5's) that cost twice as much. The fidelity is impressive, and the response is remarkably flat. If you're used to or prefer the more U-shaped sound of non-monitors, be sure to turn on the appropriate EQ in iTunes; they'll sound tinny otherwise, but that's what a flat-response monitor will sound like compared to regular 2- or 3-way stereo speakers. It's all those mid-range sounds you're used to covering up.
They also handle a good deal of volume. With the volume knob at 50% and my MacBook volume at 75%, it's "Turn that noise down!" loud and still as clear as at lower volumes for most types of music.
The bass lines in the D&B have some drop-off on the bottom end, but that's a LOT to ask of a value-priced monitor with a 3" woofer. I listen to really nasty stuff with super-low bass--Technical Itch, Dieselboy, Bad Company, and the like--so I expected that this would be the one area with less than amazing reproduction. I was right. (Roni Size's "Brown Paper Bag" is much more within their range.) Hip hop beats can lose a some punch, too, and this is the one area where you'll notice a little distortion at higher volumes. (The kick drums in D&B are usually a little more like real kicks than in much hip hop, and these sound great even at higher volumes.)
Again, for the size (don't have a ruler--each speaker is maybe 5" wide and 6" deep) and price, they do surprisingly well. Other challenging types of music with lots of bass that just isn't as low, e.g. House, come through remarkably well.
The 4" version was very well reviewed, so I thought I'd give these a shot because they cost less and take up less room. Also, the primary difference would be in the bass response, and I live in an apartment building, so for me, having less bass was actually a good thing. They still get too loud for me to play them anything close to maxed out, and they sound great.
One more thing: I like the design. M-Audio knew this would be more for desktop listening than studio applications such as mixing (for which I got the KRK 5's). Thus, they put all the inputs and controls on one speaker, which is nice because it only requires one power cable and you don't have to split an RCA cable to run one line to each speaker. It comes with a 1/8" to RCA cable (connects your computer's audio out port to the RCA jacks in the back) AND a 1/8" to 1/8" cable (connects your iPod to the Aux In port on the front). The volume knob in front is also nice.
If you want reasonably high fidelity for a low price at your desk, and you don't need subwoofer-type bass response, I'd recommend these speakers. Highly.

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Studiophile AV30 Speakers. Professional Reference Speakers.

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Samson CH700 Closed-Back Studio Headphones Review

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(More customer reviews)Not only are these the most handsomely packaged headphones you're likely to find (gold lettering proclaiming: "Samson Stereo Reference Headphones Dynamic Output Design"; "for Studio Reference"; "Accurate Monitoring"; "Maximum Isolation and Extended Low Frequency Response with Close Ear Design"--all this on a transparent box displaying the phones as well as two gold-plated stereo plugs--full-sized and mini), but once you put them on, they pretty much live up to the production values and hype. One thing's certain: you'll never find anything better at this price. I considered this a "justified purchase," since I work in a studio, where I do public announcing and music broadcasting.
For the record, these compare favorably to the studio's Sony MDR-7506s, even though the latter are about six times the price. The bass is "extended," to be sure, but never heavy, boomy or muddy. With all controls on the amp or sound source set "flat," the treble is a bit soft for my tastes, but nothing that a minor EQ adjustment can't fix. The all-important middle-range is present, definitive, clear--for both vocals (spoken and sung) and instrumentals. Perhaps compared to the studio Sony phones, these are a trifle bigger, a little bit heavier and slightly more loose-fitting but, as advertised, they're constructed with a "closed-ear design providing maximum isolation." Away from the studio I prefer my Sennheiser PX-100s or Koss Portapros, but either of these is too open and lightweight for working close to a microphone. Feedback becomes a problem shortly into a broadcast. Although I'm a fan (apparently, one of the few) of the Koss UR-40s (about twice the cost of the Samsons), the Samson CH700s certainly appear to be better made--rugged, strong and, most likely, more durable than the UR-40s (the Koss webbing broke loose during the first several months of use). Moreover, the Samson CH700s have a generous and relatively thick cable (expecially compared to the thin, short wire of the Koss UR-40s) PLUS single-cord attachment (usually found only on costly phones yet practically mandatory for the sort of scrambling I do while broadcasting and operating as many as 4 decks at the same time).
One more A-B comparison: the Sennheiser Evolution EH-150 full-sized headphones vs. these Samson CH700s. Initially, the EH-150s seemed large to me (especially after the PX-100s), but alongside the Samson CH700s they appear relatively trim. In other words, some individuals may be turned off by the size of the Samson phones; others, most likely, will be drawn to them because of their solid, engulfing appearance. (My guess is that they would not be a big hit with many female listeners or, for that matter, individuals with heads any narrower than mine). As for the sound, the Sennheiser EH-150s are likely to impress many young listeners--instantly. The bass is not merely "extended": it's prominent, and it's punching. For that reason alone, some listeners may judge them worth the price (which is more than twice that of the Samson CH700s). Not this listener, however. The bass from the Samsons is far more "natural," clearly-defined, and pleasing over the long stretch (it doesn't take long for the bass from the Sennheiser EH-150s to wear out its welcome, becoming muddy and uninteresting--at least to some experienced ears).
In short, Samson is a good name and can only get better, thanks to the quality and value of products like the CH700s. The company has practically cornered the market with the world's most popular (not to mention effective and affordable) personal digital audio recorder (Zoom H2), and they've impressed the most fastidious critics with a slightly more sophisticated (and expensive) successor (Zoom H4n). They're currently taking a lot of flak for their latest product, the Zoom Q3 (basically a Flip videocam attached to an H2). They goofed big-time by completely (and inexplicably) ignoring the public's current obsession with "HD video," but look for that oversight to be corrected in short order.
Heck, if you decide not to purchase these phones, you could do far worse than invest the money in a share or two of the company's stock.

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CH700 headphones are ideal for any listening and monitoring application where critical sound reproduction is needed, with a closed-ear design, wide dynamic range, and a comfortable design for longer sessions.
Closed-Ear Design The closed-ear design of the CH700s provides maximum isolation, reducing unwanted bleed that can be picked up on live microphones.
Monitoring Performance The CH700 employs exceptional 40mm drivers with ultra thin Mylar diaphragms and high-output neodymium magnets. The result is a wide dynamic range and linear frequency response from 20Hz to 22kHz for exceptional reproduction and a balanced sound, making them a perfect choice for monitoring digital audio. The large earpieces further extends the low frequency response.
Monitoring Comfort The adjustable headband and lightweight design provide comfort and easy listening through the longest sessions.
CH700 Specs
Frequency response: 20Hz-20kHz
Drivers: 40mm Mylar
Impedance: 64 ohms
SPL: 108 dB at 1kHz +/- 3db

What's in the Box CH700 Headphones, 1/4-inch Adapter

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