I have heard the ATCs and liked them, but not enough to buy yet. And I think you hit the nail on the head - those speakers do better with naturally played and recorded instruments (vocals, orchestra and jazz) but don’t have that excitement with say electric guitars - and then comes the other set with trade offs. Proac too, but a google search will give decent amount of positive hits for SCM 19.Īnd as some may know from my past posts, go Harbeth go Spendor. Vineetrad, one thing for sure is that I think ATC are speakers that can be sold second hand in decent quick time and generally good reviews except the aforementioned ASR. It’s become a habit - I listen to rooms a lot (including clicking fingers in strangers houses - eeks.) Good time pass! Did you notice that this guy’s room was very reverberant? See the lingering sound after he finishes a sentence. One question I have, is there a marked difference between the V1 and V2 SCM19? From what I understand the V2 has the newer ATC inhouse tweeter.Ĭlick to expand.Arj always love new audio sites. As one among multiple speakers I'd definitely say it is a strong contender. Again, another reason I wouldn't get it if this was my one and only speaker. Lastly as other have pointed out, on badly recorded music (many times unfortunately great compositions and singers) it sounded absolutely terrible. Put differently, if I could have only one speaker I will not pick an ATC. If I sell them as my only speaker it will be limiting IMO. This is fine as long as I also have the Harbeth/Spendor. Lastly the ATC is something that requires active listening and to be in a mood to dissect the music and peer into the separate elements. Also, if I get the passive ATCs I do not know how many of these pros will go away (I will be pairing with a Luxman 509 integrated amp). Not suited for low level and night listening. It does not come alive till you crank up the sound. Besides inherent sound signature of the ATC, I suspect strongly this is the active vs passive speakers element also at play since most of the pros I listed for the also apply to the 8xxx and 8xx1 Genelec active monitors. Imaging and soundstage, separation also was much better. Electric guitar sounded amazing on the ATC. Details especially in the highs were more and forward. Bass though limited was much faster and tighter. ATC midrange was surprisingly good but inferior in tone, timbre, thickness of the vocal to what I have heard with the other two brands. Harbeths and Spendors with good electronics are more emotionally involving especially on certain genres where you can lose yourself in the vocals. I heard SCM19 Actives with some help from a friend. The final product also depends upon the "intent" of the designer as well. That is where the art, competency and creativity of the loudspeaker comes in. The really competent designers use measurement as a bedrock upon which they build a loudspeaker that evokes the same feelings that is evoked when one listens to live music. Especially with all the technology, industrial design talent and high quality drivers available these days. They use custom made speakers made to the specifications ( subjective and objective ) that the studio provides.įor loudspeaker designers, making a loudspeaker that measure very well and keep folks at ASR very happy is easy. However, if one wants a speaker that evokes the same feeling that comes while listening to live music ( especially for their choice of music ), speaker designs that incorporate some "art " and " creativity " in the design which takes the designs beyond measurements are needed.ītw, there are many high end studios that don't use the typical studio monitors from ATC, Genelecs, PMC etc. If one's reason to own a speaker is to listen exactly to what the producer of the music decided to put on the cd, then a studio speaker that measures exceptionally well will suffice. Many a times, what comes on the cd does not really resemble what was played in the studio. A big reason why there are so many design approaches out there is also because of so much variances with mastering and music production techniques. I know people who use the proac response 1sc speaker for many years and will never change although they have the money to buy alternative speakers. The final product also depends upon the "intent" of the designer as well.Ī different approach is to pick a loudspeaker that makes you happy with most of your music. Click to expand.For loudspeaker designers, making a loudspeaker that measure very well and keep folks at ASR very happy is easy.
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