Musictech Magazine – The Monitor IssueKEITH MALIN
MusicTech chooses the “6 of the best” studio monitors in five different categories.
The UK based MusicTech magazinefollows the question what are the best studio monitors in the world today? Recording expert Huw Price gives the answers in the categories “BUDGET CHOICES”, “MIDRANGE”, “MID TO HIGH”, “HIGH END” and “LUXURY”. We are thrilled that an EVE monitor is one of the “6 of the best” in the categories “MIDRANGE”, “MID TO HIGH” and “HIGH END”.
“MIDRANGE”, In the category “6 of the best midrange” monitors that should offer professional sound quality and work superbly in smaller rooms you find our SC205. MusicTech states: “The SC205 have nicely controlled and clear bass and a remarkably open and deep soundstage. With natural acoustic recordings you get a real sense of the recording space. There’s no hype in the low mids/upper bass and its very even down to 50Hz. Low-end performance is impressive, while left/right imaging is crisp and fine details are conveyed with ease.”
“MID TO HIGH” In the category “6 of the best mid to high end” monitors with the claim that engineers need to be able to hear everything clearly to work efficiently you find our SC207! MusicTech states as follows: “The SC207 handles bass frequencies superbly, providing rhythmic drive without boominess. Upper frequencies are airy yet not excessively bright. Imaging is crisp with deep and natural room ambience. The ‘desktop’ midrange cut is superb and the SC207s integrated into our monitoring system seamlessly.”
“HIGH END”! Monitors for the category “6 of the best high end” were judged based on demand for neutral sound, superb image and easy to listen to. Our SC305 made it into this category and MusicTech comments as follows: “We were struck by the even depth and solidity of the bass. Left/right stereo imaging is very crisp and there’s plenty of air in the front/back image. With an ear-friendly, effortless quality that opens up your mix, the size of their sound belies the size of the cabinet.”
You find the entire article in the MusicTech issue 122 May 2013.