Avantone Pro MixCube Monitor Review

[Huang Jerry]

after you get the midrange right, bass and treble is almost just a case of adjusting levels

...as if one can accurately interpret the levels through these

 

[dasdoing]

Time is money: just flick the switch and audition. No need to flip around with EQ. We’re talking about the 1960s right? Hardly anyone had any measurement equipment. And you think parametric EQs were around? Remember the No-no with EQ? It caused dreadful phase shifts.

I am asking this in terms of modern usage. they just don't make any sense anymore

 

[dasdoing]

...as if one can accurately interpret the levels through these

they would have huge main monitors in the studios. that's where they would adjust the bass. noone obvioulsy concluded a whole mix on these cubes or NS-10s

 

[DavidMcRoy]

Yeah, I have heard this quantifier before, but I just could not see the benefit. Maybe 20 years ago, but today, I don't see the benefit. You can simulate this with DP and still have a reference Speaker capable of the real reference. I know for TV post production, they are not used, at least with my limited exposure and experience in the past 20 years.

I worked in live and pre-proed TV broadcast production for 35 years and I never used one. I think the old Auratones we're mostly in music production mixing and mastering, and again, only as confidence speakers.

 

[Koeitje]

Because
a) they can
b) the idea is nice
c) it's pretty well made if compared to something like JBL 3 series, PreSonus etc
I'd call these a "niche premium" concept. Flawed but unique

So they are made to look at but not to be used?

 

[DavidMcRoy]

Ok, but why do they ask so much money for that?

We have an old saying in TV: "If it doesn't cost at least four figures, it can't be professional broadcast equipment." You could probably add a digit these days.

 

[RF Air]

I worked in live and pre-proed TV broadcast production for 35 years and I never used one. I think the old Auratones we're mostly in music production mixing and mastering, and again, only as confidence speakers.

I agree, it was a music mythical tool from my encounters with the Chris Lord-Alge school of mixology denizens.

 

[tktran303]

What did you use in live and pre-pro TV production?

Billie Eilish’s brother produced her whole debut (and breakthrough) hit album in the box on a pair of yam hs5 and the sub.

Did you use a sub?

Hehe

 

[andymcbain]

Hi everyone. This was my speaker. The reason I bought it was because of online reviews and the legendary status of the original Auratone, but primarily as a tool for improving my mixes.

Thanks for sending it in for testing, Michael! I've owned one of these since I read Mike Senior's book "mixing secrets for the small studio" years back - https://www.amazon.co.uk/Mixing-Secrets-Small-Studio-Presents/dp/0240815807 where he theorized why the use of a mono, single driver speaker might be useful for those mixing at home in less than ideal spaces.

I don't use the Avantone as much these days, but I've always kept it around for the occasional check. The measurements don't surprise me one bit to be honest, but neither will I be losing much sleep over them

Best wishes with your mixing!

 

[Huang Jerry]

they would have huge main monitors in the studios. that's where they would adjust the bass.

I guess I'm the type of person who will not have a purpose for the avantone then

 

[Hexspa]

I thought if they were present in studios, they should be at least notched at breakup.
Beaming, no bass, fast impulse is ok, but such distortion in peak of human hearing is ... strange.

I didn’t mention this but, subjectively, the transient response is much better than my Yamaha HS50 - certainly when the latter is in stereo; not sure if I compared single loudspeakers and definitely couldn’t compare at Harman pneumatic level. Is transient response what the step response measurement is about? If so, I say that my experience matches the graph precisely. Accurate transient presentation is an important element in modern music production.

 

[Hexspa]

Thanks for sending it in for testing, Michael! I've owned one of these since I read Mike Senior's book "mixing secrets for the small studio" years back - https://www.amazon.co.uk/Mixing-Secrets-Small-Studio-Presents/dp/0240815807 where he theorized why the use of a mono, single driver speaker might be useful for those mixing at home in less than ideal spaces.

I don't use the Avantone as much these days, but I've always kept it around for the occasional check. The measurements don't surprise me one bit to be honest, but neither will I be losing much sleep over them

Best wishes with your mixing!

Thank you very much. Yes, due to its high pass filtering, room resonances will mask the lower midrange less.

Speaking of resonances, can someone help clarify the limitations of EQ when it comes to correcting loudspeaker response? I am unclear as to whether or not the sound power and early reflections mirroring the axial response is more or less helpful regarding EQing.

In other words, in a spinorama, is it better or worse for EQing that the top several lines are basically identical (with progressive fall-off)?

 

[dasdoing]

I guess I'm the type of person who will not have a purpose for the avantone then

I think it was all just coincidence. first they had no near-field speakers and only used the mains. that would then cause translation problems because of the room distorsion. someone put a NS-10 on the console and could mix better cause he heard more direct sound. I don't think speakers of the size to be able to put on the console existed that had bass. so they got used to mix the midrange on the nearfield. Auratones were probably made to take this concept to the next level (exclusion of crossover distorsion/phase errors)

 

[Hexspa]

I think it's great you have this skill and passion for what you produce and for the product. The menagerie of products for production are a great option for discovery and development. I don't doubt your skill or choices, it's great to explore. These speakers will give you something unique and perhaps inspiring.

My opinion is rooted in a different corner where fidelity is key to the nuance of creating something comfortable. Your goal is quite fascinating because you are more open minded to explore and develop around different set-ups. I have nothing but respect for your creativity and outside the box thinking. Thanks for sharing your Speakers and perspectives with the Forum!

Thank you. After the kinds of comments I’ve been reading recently, this is like an ice-cold lemonade with a pink mini umbrella to be enjoyed on an outdoor lounge by the beach.

 

[RobL]

I didn’t mention this but, subjectively, the transient response is much better than my Yamaha HS50 - certainly when the latter is in stereo; not sure if I compared single loudspeakers and definitely couldn’t compare at Harman pneumatic level. Is transient response what the step response measurement is about? If so, I say that my experience matches the graph precisely. Accurate transient presentation is an important element in modern music production.

Reading through Newwell and Holland’s book “Loudspeakers for Music Recording and Reproduction” they demonstrate a similar reason for the existence and usage of speakers like the 5C and NS10…namely time-responce. The excellent decay behavior of these speakers allowed for much better ability to balance the levels of lower frequency instruments like the bass guitar and bass drum. Errors here were not able to be corrected in mastering.

 

[Hexspa]

Audiophoolery works by fooling your senses. There is no objectively better in something subjective.

Making recordings which are better received by your audience isn’t necessarily subjective. It can be quantified in positive responses. People saying things like, “I like how your track sounds,” or getting label submissions accepted at a greater rate, more streams, etc. These are measurable things. Sure, these objects are based on the subjects but in art the two are not always entirely separable; there exists a grey area, subjective and objective are two opposites of a continuum.

 

[dfuller]

Auratones are called "Awfultones" and "Horrortones" for a reason. Don't mistake them as good, they're not.

No, the point of these (and NS10s, among others) is that they intentionally sound bad, as a reference point for something not dissimilar to what consumers listen on. Crappy TV speakers, phone speakers, crappy car speakers, you get the idea. Most people listen on speakers around this quality, very few have capable stereo systems.

And no, nobody mixes their entire record on these. The idea is to see if the mix "holds together" vs a more full-range system. It's not an unrealistic thing to have KH420s or 8351s or what have you and also a pair of these as a counterpoint.

 

[Hexspa]

As bad as any tv set.

That’s not true. I doubt any TV set has as good transient response and as low distortion. Not to mention a TV set is a greater acoustic obstacle without balanced connections. If in fact engineers travel with this (never heard of it), it has robust build quality with a ground lift. Just because this speaker has relatively poor performance overall doesn’t mean it’s without merit.

 

[sarumbear]

Making recordings which are better received by your audience isn’t necessarily subjective. It can be quantified in positive responses. People saying things like, “I like how your track sounds,” or getting label submissions accepted at a greater rate, more streams, etc. These are measurable things. Sure, these objects are based on the subjects but in art the two are not always entirely separable; there exists a grey area, subjective and objective are two opposites of a continuum.

The same can be said for the comments an audiophool receives about their music system. You expect them to socialise as well.

Until proper tests done you can never know if your mixes are positively effected by your objectively bad monitors.

PS. Have you considered why NS-10 is conspicuous by their absence in classical music recording & mixing? Or, why you don’t see them at mastering rooms?

 

[sarumbear]

That’s not true. I doubt any TV set has as good transient response and as low distortion. Not to mention a TV set is a greater acoustic obstacle without balanced connections. If in fact engineers travel with this (never heard of it), it has robust build quality with a ground lift. Just because this speaker has relatively poor performance overall doesn’t mean it’s without merit.

@amirm here is a challenging for you? I don’t think anyone measured a TV set, which is after all an active speaker.