The Story of the AVANTONE MixCubes
From Ken Avant...
I first became aware of the value of using an alternate mini reference monitor
when I was introduced to the Auratone speakers in my early studio engineering
days around 1979. During the last 25+ years the Auratone 5c SoundCubes
found widespread usage among numerous studios the world over. They were
nicknamed ”Horrortones” for their purposeful limited sound capabilities. Savvy
engineers however, were quick to understand their usefulness in the studio.
They have not been commercially available for a long time. With the ever-
increasing demands of today’s playback mediums, it was time to take a serious
look at redesigning a “mini reference monitor for the new millennium” .
-Ken Avant-
At AVANTONE, we saw not only the importance of replacing those older, fatiguing units … We saw an opportunity to greatly improve on their original performance, construction and quality. irst it is important to understand what this type of speaker can do and what it cannot… It is not at all intended to be an engineers’ only mix monitor. It is not an entry-level monitor. It is an important and unique professional tool… an alternate small monitor system.
There are 3 PRIMARY uses for these monitors….
MixCubes are designed as a “reference standard” example of a worst-case scenario / bass- challenged playback system.
Lets face it… music is not only heard on nice, full range
systems, but also on small systems like clock radios, iPod docking stations,
inexpensive car systems as well as small televisions. There is very little bass
present on those systems…hence the phrase “bass challenged”. The mix engineer
must make sure that his mix will also sound good when listened to over such a
system.
As an example…
When working on a kick drum sound on a larger full-range 2-way or 3-way system
it is fairly easy to come up with the sound that satisfies the engineer.
The next step in evaluating the mix potential is to audition the sound on the
MixCubes. The sound will be certainly less exciting… forget about “chest
pressure” etc. The challenge is now to locate a secondary EQ frequency point
which augments what the engineer dialed in while referencing on the larger
monitors. What he then looks for is a way to bring out the awareness of
the kick in the mix on the small speakers while preserving the integrity on the
larger system. Indeed, a very revealing and significant process.
MixCubes serve as a “reference standard” to judge the critical midrange area of
a mix without clouding the acoustical linearity with a crossover.
There is simply no perfect crossover… they all affect the sound by causing phase
problems and non-linear performance at and near the crossover frequency.
MixCubes are very useful in judging where the vocals, guitars, keyboards and
snare drum sit in relation to each other thus helping to establish a clean “mix
field”.
The MixCubes serve as an excellent reference example of a Mono TV mix.
This allows an engineer to really put himself in the listeners seat to check out
phase cancellation issues as well as balance.
ARE YOU A MIXCUBE USER ?
There is a simple test that you can give yourself to determine if you are a
Mixcube user, now that you understand their purpose.
Are you planning to use MixCubes as your SOLE source of mixing and monitoring,
with no other reference monitors in your environment? The correct answer here
is (NO), they are used as an alternate reference perspective.
Does your work end up being played on any of the following type
systems? Inexpensive boom boxes, iPod docking stations, Computer speakers
systems, small television sets, car radios, or any other small speaker format?
(YES)
Would you like an accurate, affordable way to reference your material in your
mixing scenario that can give you the confidence that your material is going to
sound balanced and true in any of the above environments? (YES)
If your answers to the questions above match (ours), then the AVANTONE MixCubes
are the exact product you need, and we are certain you will be pleased with
their performance.
Experienced engineers have developed their own personal methods for integrating
these speakers into their mix down sessions.
A very revealing perspective can be achieved in the overall mix balance when
turned down to be barely audible… is the lead vocal there? Are the snare,
hi-hat and guitars each present or is one of them masking the others… or jumping
to the forefront in the mix?
You can best answer these mix questions by checking your mix with low level
listening through a full range, single driver system.
MixCubes address all of the issues mentioned above. They provide a
powerful secondary reference monitor that can allow the engineer/producer to
confidently recognize how their mixes or audio productions will translate across
a wide variety of different types of playback systems!
When employed for their designed purpose, you will not find a better product for the price or intended application. Avantone has taken a piece of studio history and improved upon it, reintroducing it to the audio world in the AVANTONE MixCubes
Products
|
 |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
AVANTONE MixCubes
 |
|
The AVANTONE MixCubes are shielded, full-range mini reference monitors. Their design is inspired by the legacy of the 5C Sound Cubes used in virtually all-major studios for the last 25 years. ENGINEERING OBJECTIVE To build a full range, rugged, mini-reference monitor to replace the older, aging, 5C Sound Cubes that are still in use worldwide, while offering an improved, more linear frequency response. A full year was spent studying all versions & revisions of the famous little 5C Sound Cubes. Research revealed that there were several driver versions released over the years with widely varying frequency response characteristics. We chose the smoothest, most linear, full-range version of those 5C models to use as our testing benchmark. Next we analyzed their response characteristics in an anechoic chamber and proceeded to implement design upgrades. Realizing the importance of replacing a respected "industry-standard reference monitor" we began by replicating its basic size, function, and sonic character.We wanted to take it up a notch though... First, we addressed the Cabinet Design... The original 5C Sound Cubes were made of ½” particleboard covered with a glue-on wood grain contact paper. We chose to use thicker, denser MDF board because of its high rigidity and inherent low-resonance characteristics. We started with a 165mm (6 1/2") sealed cube design with radiused edges. We then chose an elegant Polyurethane high gloss“RETRO-CREAM” finish. The originals had either screws or on later models plastic binding posts mounted on a recessed plastic cup. We upgraded to high-end nickel plated, machined solid metal binding posts (Dual banana spacing) mounted on a black anodized ,milled and silk-screened aluminum terminal plate. Next we added a 7mm thick neoprene pad embedded into the base of the cabinet to serve as a skid-resistant acoustic isolator. Additionally, for creative mounting situations, we recessed an industry standard 5/8”-27 mic stand mount into the base. Second, We addressed the driver design... The originals were a basic 5” stamped frame design. We designed a proprietary 5.25” die cast aluminum frame driver/cone assembly to exceed the performance of the originals. The mounting bezel is then polished for an elegant appearance. The paper cone, chosen for its musical character, is custom designed & crafted using the finest New Zealand pulp with mica fibers added for lighter weight & rigidity. The cloth surround is made in Japan to exacting uniform thickness tolerances. The Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel enabling the highest modeled flux density in the gap. The magnets are Y- 40 GRADE (MIL-SPEC) yielding a 43oz. High Power-low distortion motor structure.PERFORMANCE OBJECTIVE Studios primarily use 2-way & 3-way larger monitors designed to represent a wide range reference viewpoint at higher listening levels. However, in this newly developing age of High Definition Audio, there is still a need to also hear what your mix will sound like when played back over small “bass-challenged” systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers. Particular attention is always paid to the critical mid-range vocal/guitar/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. Ten months of R&D comparative listening & tweaking went into the voicing of the AVANTONE MixCubes. The result is a very smooth sounding, full range upgrade from the original 5C Sound Cubes. Listening tests reveal that the MixCubes have a smooth, more open, transparent top end response with extended bass while maintaining their basic original character.AMPLIFICATION and WIRING Recommended power rating is 50-200 watts of solid state power or 10-100 watts of tube power. It is advisable to use a high quality studio-grade power amplifier. The metal binding posts on the rear of the speaker can accept bare wire, spade lugs, or single or dual banana plugs. It is best to use 12 -16 AWG wire for runs longer than 6 feet. PLACEMENT When positioning the AVANTONE MixCubes on stands or console bridges it is best to keep them at ear level and slightly angled in towards the engineer. Since they are shielded it is ok to place them near a CRT video monitor or TV without causing any problems. The bottom mic stand mounts will also allow you creative positioning options in unusual studio playback situations.
DESCRIPTION
5.25" Shielded Passive Full range 8 ohm drivers
|
|
The AVANTONE MixCubes are shielded, full-range mini reference monitors. Their design is inspired by the legacy of the 5C Sound Cubes used in virtually all-major studios for the last 25 years. APPLICATION Active Recording / Mixdown Monitors ENGINEERING OBJECTIVE
The Avantone Active Mixcubes are
designed to be high-resolution, full-range powered mini-reference monitors
for fixed or remote locations. PERFORMANCE OBJECTIVE Studios primarily use 2-way & 3-way larger monitors designed to represent a wide range reference viewpoint at higher listening levels. However, in this newly developing age of High Definition Audio, there is still a need to also hear what your mix will sound like when played back over small “bass-challenged” systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers. Particular attention is always paid to the critical mid-range vocal/guitar/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. Ten months of R&D comparative listening & tweaking went into the voicing of the AVANTONE MixCubes. The result is a very smooth sounding, full range upgrade from the original 5C Sound Cubes. Listening tests reveal that the MixCubes have a smooth, more open, transparent top end response with extended bass while maintaining their basic original character.Cabinet Design The original 5C Sound Cubes™ were made of ½” particleboard covered with a glue-on wood grain contact paper. We chose to use thicker, denser MDF board because of its high rigidity and inherent low-resonance characteristics. We started with a 165mm (6 1/2") sealed cube design with radiused edges. We then chose an elegant Polyurethane high gloss “RETRO-CREAM” finish.The originals had either screws or on later models plastic binding posts mounted on a recessed plastic cup. We upgraded to high-end nickel plated, machined solid metal binding posts (Dual banana spacing) mounted on a black anodized ,milled and silk-screened aluminum terminal plate. Next we added a 7mm thick neoprene pad embedded into the base of the cabinet to serve as a skid-resistant acoustic isolator. Additionally, for creative mounting situations, we recessed an industry standard 5/8”-27 mic stand mount into the base. Driver Design The originals were a basic 5” stamped frame design. We designed a proprietary 5.25” die cast aluminum frame driver/cone assembly to exceed the performance of the originals. The mounting bezel is then polished for an elegant appearance. The paper cone, chosen for its musical character, is custom designed & crafted using the finest New Zealand pulp with mica fibers added for lighter weight & rigidity. The cloth surround is made in Japan to exacting uniform thickness tolerances. The Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel enabling the highest modeled flux density in the gap. The magnets are Y- 40 GRADE (MIL-SPEC) yielding a 43oz. High Power-low distortion motor structure. Amplifier Design We designed the amp module from the ground up to be a true professional-grade amplifier. It incorporates “overkill” concepts in component selection as well as safety. The result is a “no-compromise” amp with robust headroom characteristics that will rival the performance of much higher priced studio rack mount amps. REAR PANEL CONTROLS/CONNECTIONSBalanced Input - This “combo XLR” input accepts a BALANCED male XLR plug as well as a 3-conductor BALANCED TRS ¼” or a 2 conductor UNBALANCED TS ¼” male plug. For unbalanced operation with a TS connector the minus signal is automatically grounded. System Gain - This variable control adjusts the sensitivity of the signal that appears at the input. Rotating the control clockwise increases the sensitivity while a counter-clockwise rotation decreases sensitivity. The adjustable gain range is from -30 to +6 dB. A setting of +6 allows a full, unimpeded signal to be sent to the amplifier. The detented gain positions allow for repeatable settings between speakers for proper matching. Please Note… when the signal appearing at the input is too hot, the amplifier can overload causing distortion and possible damage to the speaker. If overload occurs, attenuate (decrease) the input level by turning the knob counter-clockwise a few clicks. On/Off Switch - This illuminated switch turns the amplifier section on and off. The unit is still receiving power from the transformer however. AC Input - This input is only to be use with the proprietary AVANTONE Power Supply. Tighten the cable/connector securely for reliable operation. Note: There is a switch on the power supply for selecting the proper AC/MAINS operating voltage for your location. Ground Lift Switch - By engaging this switch the pin 1 shield is lifted at the input jack. This can be used to aid in ground loop control of the incoming analog line signal. PLACEMENT When positioning the AVANTONE Active MixCubes on stands or console bridges it is best to keep them at ear level and slightly angled in towards the engineer. Since they are shielded it is ok to place them near a CRT video monitor or TV without causing any problems. The bottom mic stand mounts will also allow you creative positioning options in unusual studio playback situations. ----------------------------------------------------------------------------------------------------------------------------
|
