SCM12 Pro Review by Audio Media International
BBC engineer, Alistair McGhee has reviewed the ATC SCM12 Pro for Audio Media International magazine.
Alistair concludes, “I have been massively impressed by the SCM 12 Pro – defying mere fashion it’s an evolutionary product from a firm that refuses to compromise engineering decisions for marketing acceptability. They are professional tools designed for a working studio environment. The finish is utilitarian but the sound extraordinary, and if you need compact monitors that tell the unvarnished truth about your audio, start here.”
To read the review in full please visit the Audio Media International website.
IT’S ATC MONITORING FOR ACCLAIMED PRODUCER AND MIX ENGINEER RICH COSTEY
Rich Costey is the Grammy Award-winning producer and mix engineer behind a massive discography of consequential indie/alternative albums spanning the last several decades. He is closely associated with Audioslave, Biffy Clyro, Bloc Party, Foo Fighters, Foster the People, Franz Ferdinand, Mastodon, Mew, Muse, My Chemical Romance, Rage Against the Machine, Santigold, and The Mars Volta, among many, many others. Costey’s career began with the legendary Phillip Glass at his Looking Glass Studios, but really took off when producer Rick Ruben recognized his talents. While striving to meet Ruben’s exacting expectations, Costey first recognized how well ATC monitors allowed him to build mixes that translated. He used ATCs for years before moving to New York City, where strange currents pulled him away from ATCs. After returning to Los Angeles two years ago Costey learned that ATC had recently added to its already impressive line with a model that would take care of his needs. Costey has been mixing on the ATC SCM45A Pro’s ever since. “It’s like returning home,” he said.
Costey’s sublime mixing on Fiona Apple’s platinum album When the Pawn… attracted the attention of Ruben in 1999, who then hired Costey to mix Audioslave’s self-titled debut in 2002. “Rick wasn’t coming into the studio,” Costey recalled. “Instead, I brought mixes to his home, and he listened back on his library’s hi-fi. He always listened at extreme volumes, and my mixes never sounded the same as they did in the studio. It was frustrating, so I hunted around for monitors that would allow me to predict the mixes on Rick’s system. Nothing worked until I tried the ATC SCM20PSL passive near-fields. I could listen to those at normal mixing volumes and still hear the details that Rick was going to hear on his system.” Costey later upgraded to the ATC SCM20ASL Pro active monitors and turned out a body of work that includes, Muse’s Absolution, Franz Ferdinand’s You Could Have It So Much Better, Weezer’s Make Believe, and Foo Fighters’ Pretender. (Again, among so, so many others.)
“I feel like everybody has different ears, and different monitors work for different people,” Costey said. “Monitor choice is deeply personal. As far as I’m concerned, I want something that is highly critical of the source material and something that translates reliably. The worst feeling is getting a good mix in the studio and hearing it fall apart in the car! Also, some monitors are more ‘fun’ than others, and I’ve never thought of ATC’s as particularly ‘fun.’ But that’s not why I use them. I use ATCs because they allow me to reliably work without having to second-guess my choices or go back to fix mistakes. ATCs make me more successful.”
That said, things got complicated for Costey when he relocated to New York City. “None of the studios I worked at had decent mains, and the 20s by themselves didn’t give me enough low end to work with,” he said. Through quirks of availability and friendships, Costey journeyed for many years from one monitor manufacturer to the next, never fully satisfied with what he was hearing. When he moved back to Los Angeles two years ago, Costey learned that the ATC line had grown to include mid-field loudspeakers that could give him the fidelity and bass response that he needed. “The ATC SCM45A Pros are really the perfect monitor,” he said. “The crossover is super smooth from top to bottom, and my mixes always translate perfectly.”
Costey recently completed the new Haim album using his ATC SCM45A Pros. “It was a really interesting process because the band and the producer really reflected on the songs as the mixes developed,” he said. “Then they’d record new ideas and bring them in for additional mixing. The content changed while I mixed it! It was challenging, but also a ton of fun.” Costey also appreciates that his ATCs can really “crank” when needed without really affecting the sound of the mix. “That’s useful when I’m wearing my producer hat and want to really inspire the band,” he said. “The ATCs really hang together and present an honest picture at any volume.”
ATC SCM45A Pro Product Page
Rich Costey’s Website
JOHN RODD SCORES BIG TIME WITH ATC SCM150s FOR HIT MOVIE GET OUT AND THE KENNEDY SPACE CENTER’S HEROES AND LEGENDS
Renowned music recording, mixing, and mastering engineer John Rodd works on a wide variety of projects from blockbuster movies to television (Breaking Bad) to video games (World of Warcraft, Overwatch, EA Star Wars: Battlefront, Call of Duty: Black Ops II). Rodd’s versatility as an engineer is showcased on a diverse range of projects, including huge orchestral scores, rock, electronica, jazz, and classical. His recent work includes the score albums for Better Call Saul and Marvel’s Jessica Jones, and the chart-topping #1 classical album Stars Are Rising for soprano Joanna Forest.
Rodd had to bring all of his skills to bear, along with the fatigue-free and translation-assured performance of his LCR set of ATC SCM150ASL three-way monitors, to mix composer Michael Abels’ eclectic film score for the hit social thriller Get Out and composer Penka Kouneva’s inspiring score for NASA’s unique Heroes and Legends 4-D experience at the Kennedy Space Center.
Working with Abels was a great experience for Rodd. He noted that “Michael’s score covered a ton of ground – live orchestra, Swahili group vocals, diverse percussion, solo cello, harp, and unique synth sounds. It’s really far from a traditional thriller score, and Michael deserves all the praise he’s received for writing something that works so well with the movie.” But working with a new film director meant working within budgetary constraints. This meant a very tight schedule to mix the movie’s 45 eclectic score cues. Rodd had to deliver ten separate 5.1 score stem mixes, the full 5.1 score mix, and a stereo fold-down for the soundtrack album, thus delivering a 68 audio track wide score mix for every piece of music!
“I’ve had the privilege of recording and mixing music all over the world at some of the greatest studios on their high-end monitoring systems,” Rodd said. “Given that perspective, I’m grateful to have the brutal honesty of the ATC monitors at my own studio, Clearstory Sound. They have tremendous definition and clarity across the entire range, and they really allow me to hear what’s going on so that I can make sure no elements are masking other important elements. My goal is to give each instrument its own sonic space in terms of frequency, panning, fader moves, and overall placement, while having them all work together at the same time. If something is harsh or woofy or boxy, I know it right away. I’m not second-guessing, ever. The ATCs allow me to work very quickly and confidently, which was a huge asset given the time constraints for Get Out.”
Those long days held the potential for ear fatigue, but Rodd claims the ATCs protect him from that pitfall as well: “It seems like a lot of other loudspeaker manufacturers turn up the brightness to give you detail, and I think that can get fatiguing. The ATCs, however, give me tons of detail without the top-end hype, which allows me to put in really long days of consistently solid work.” When mixing 5.1, Rodd uses his three ATC SCM150ASLs for a left-center-right system together with a revolving cast of surround speakers depending on the nature of the project.
Rodd’s other recent project, Penka Kouneva’s score for the Heroes and Legends 4-D experience at NASA’s Kennedy Space Center, offered up a different sort of challenge than the traditional film score. The experience takes visitors through the history of the space program in a way that captures and conveys the excitement and emotion of that history. In addition to the immersive visuals on giant, curved screens and audio that can literally shake visitors to their core, the experience includes holograms, wind effects, scent effects, and other surprising 4-D elements spread across numerous theaters.
For Rodd, “It was a very complex mix due to the elaborate nature of Penka’s awesome hybrid score. It used a massive live orchestra along with many live solos, tons of synths, guitars, percussion, pads, arpeggiators, drums, and sub-bass musical effects. She really captured the spirit of the experience and gave it a timeless yet modern theatrical feel. I leaned heavily on my ATCs to let me know when things were right. I knew that if my mix sounded fantastic on the ATCs, it would sound the same in NASA’s theaters.”
ATC Announce ProLyd AS official Norwegian Professional Distributor
2nd May 2017, Stroud, UK:
With immediate effect, ATC is very pleased to announce the appointment of ProLyd AS. as their official professional product distributor for Norway. ProLyd will handle ATC’s full professional product line from the smallest SCM12 Pro nearfield monitor through to the largest SCM300ASL Pro main monitor and including ATC’s range of professional electronics.
“It gives us great pleasure to appoint ProLyd as our new distributor for the Norwegian market,” states, Ben Lilly, ATC Sales Manager, “their experience, technical ability and customer base was an outstanding fit for ATC and we look forward to working with them.”
Established in 1996, ProLyd has grown to become one of the leading companies for the design, supply and installation of professional audio equipment in Norway. Operating from their base in Oslo, ProLyd supply clients in a wide range of categories including music recording & production, postproduction, broadcast, live sound and education.
ProLyd AS. Mølleparken 4, 0459 OSLO
T: +47 23 19 96 00
Synth whizz Will Gregory gears up to take new Goldfrapp album to the masses with ATC assistance
“What’s good about the SCM25A Pros is that they’re more muscular; they’ve got more bass end, and you can control that… they manage to throw the sweet spot quite a long way into the room, so everyone can share it… but they have all that accuracy, so when you do sit yourself down in the sweet spot they’re absolutely invaluable.” – Will Gregory (composer/keyboardist/producer), 2017.
BOX HILL, WILTS, UK: specialist British loudspeaker drive unit and complete sound reproduction system manufacturer ATC is proud to announce that Goldfrapp synth whizz Will Gregory turned to London based ATC dealer Funky Junk to supplement his trusty Nineties-vintage SCM20 passive monitors with an altogether more modern SCM25A Pro three-way active studio pairing, promptly put to good use when working on the multiple Grammy®-nominated British electronic duo’s recently released seventh studio album, Silver Eye…
But before finding critical acclaim and international chart success with vocalist Alison Goldfrapp — Supernature sold over one million copies as Goldfrapp’s third album (featuring striking smash hit ‘Ooh La La’), the Bristol-born multi-talented composer, keyboardist, and producer predominantly recorded and toured throughout the Eighties with Bath-based rock/pop phenomenon Tears For Fears and later performed with other big name ‘local’ acts, including singer-songwriter/humanitarian activist Peter Gabriel and trip-hop pioneers Portishead. It was around this time that Will Gregory began a lifelong love affair with those trusty two-way passives, playing their part in putting him on the road to Goldfrapp glory. “I managed to source a second-hand pair of SCM20s, because I didn’t have a lot of money at the time,” he begins. “But I’ve always used them as my main reference monitors, and I’ve taken them to all the mixing sessions we’ve done with Goldfrapp. I know where I am with them, so they’ve stood me in good stead, because they have this quality of not bringing anything to the party.”
Problems have, however, occurred — albeit as far as Will Gregory’s well-honed listening skills are concerned — when stepping outside his ATC comfort zone: “I’ve had to mix on other speakers when working elsewhere, but then when I play those mixes back on the SCM20s I end up making more changes — put it that way. Whatever else I play them on after I’ve made those changes, I don’t want to make any more changes, so — in that sense — you can trust them to be accurate.”
All of which rather begs the question: why the need to move on up to ATC’s acclaimed SCM25A Pro three-way actives? An answer lies somewhat closer to home. Home is where the heart is, after all, and home for Will Gregory is a spacious Sixties bungalow also housing his primary studio setup (as well as a synth-based room and another room dedicated to analogue drum sounds and tape manipulation). Here he hunkered down for the best part of two years to work on the new Goldfrapp album, announced on Twitter by Alison Goldfrapp herself back in July 2015. While Will Gregory has not entirely forsaken his passive pair of beloved SCM20s, the larger SCM25A Pro three-way active studio monitors met with his approval in more ways than one: “What’s good about the SCM25A Pros is that they’re more muscular; they’ve got more bass end, and you can control that because they’ve got ports on the side, so you can decide how much or little you want, which is great. I love the totally practical, physical way that you can just remove or insert the bungs to change the bass, but, either way, they fill the room much better than the SCM20s.”
Tricky as it may sound, residential room size played a part in influencing Will Gregory’s studious SCM25A Pro purchasing decision. “I’m in quite a big room now,” notes its owner, adding: “I’m here a lot of the time, so it functions like a home. I think they used to have more room in the Sixties, so it’s got this large sitting room with a lovely picture window, which means you can see some nature while working. So I love it from that point of view, having spent so many years underground, which is where musicians seem to put themselves a lot the time in studios for some strange reason. But because we’re detached here, we’re not going to disturb our neighbours unduly, so it’s ideal. But when I’m working with other people in there we clearly can’t all fit in the sweet spot between the speakers, yet they manage to throw the sweet spot quite a long way into the room, so everyone can share it. They’re also fantastic for just ramping up the vibe a little bit, but they have all that accuracy, so when you do sit yourself down in the sweet spot they’re absolutely invaluable.”
Invaluable for referencing that all-important bass end on Goldfrapp’s eagerly-awaited seventh studio album, about which the dynamic duo themselves collectively commented: “Silver Eye belongs more to the electronic world of Supernature and Black Cherry. We’ve worked with some fantastic people on this album and we’re really excited to share it with you.”
SCM25A Product Page
Will Gregory Moog Ensemble
GREEN DAY AND CHRIS DUGAN OUTFIT NEW STUDIO WITH ATC SCM45s AND SUBWOOFER PROS FOR REVOLUTION RADIO
As the legendary five-time Grammy-winning punk rock trio Green Day filled out a project studio in anticipation of recording its twelfth studio album, their longtime engineer, Chris Dugan (U2, Iggy Pop, Smash Mouth), collaborated on the equipment choices. They filled it with their favorites, including API, BAE, Manley, Vintech, Universal Audio, Chandler preamps and equalizers, and a Trident 80b console. When it came time to decide on monitors, Dugan recommended ATC SCM45A Pro nearfields paired with two Subwoofer Pros Studio 18’s, following his success with his own pair of ATC SCM25A Pro monitors. As a result, “Green Day’s recently released recording, Revolution Radio was recorded entirely on the ATC/Subwoofer Pros system. The system was sold to Dugan and Green Day by their long-term supplier, Cutting Edge Audio and Video, San Francisco.
“We had been demoing some songs the band had been working on, and as we made the transition to recording for the album, I suggested that we consider upping the monitoring in Green Day’s project studio,” Dugan said. “We agreed that it made sense to go to the top of the line so that we would know that we’re doing exactly what we hope we’re doing for this big recording project. I have a pair of ATC SCM25As, and I heard the SCM45As at AES last year. I knew they would give us the kind of precision monitoring that we needed, and Brad Lunde at TransAudio Group helped us complement the ATCs with two Subwoofer Pros subs.”
He continued, “They were exactly what we were hoping for; we were able to hear absolutely everything. When I’m talking to my non-audio friends, I tell them that monitors are like prescription glasses: you can’t really discern the details without a good pair. Bad monitors hide various aspects of the sound, and it’s those aspects that poke out in weird ways when you listen back on another system. In contrast, the ATCs reveal everything. The Subwoofer Pros subs fill in the bottom end nicely, which gave us a more inspiring playback – the full frequency impact was impressive!”
JOE CHICCARELLI SCORES WITH ATC SCM45A PRO MONITORS
LOS ANGELES, CALIFORNIA – SEPTEMBER 2016: With Ten Grammy wins, including Best Engineered Album for The Raconteurs Consolers of the Lonely and scores of platinum and gold albums, Joe Chiccarelli has made good on the famous opportunity Frank Zappa gave him during the recording of “Sheik Yerbouti” – among Zappa’s best-selling albums ever. When the head engineer couldn’t make the session, Zappa promoted then-assistant engineer Chiccarelli to take the lead.
Joe Chiccarelli at Sunset Sound with his ATC SCM45A Pro.
Since then, Chiccarelli has had the opportunity to work with the biggest and best artists in the music industry, including U2, Beck, Elton John, Rufus Wainwright, Tori Amos, The Strokes, Jason Mraz, The White Stripes, and on and on and on. Inspired by their transparent midrange, extended low- and high-end, and impressive SPLs, Chiccarelli recently switched from the monitors he had been using for two decades to ATC SCM45A Pro nearfields.
“I had stuck by the same monitors for twenty years because they offered the kind of phase coherence that allowed me to hear, for example, small differences in mic position,” explained Chiccarelli. “But in the last five years or so, I started looking around for something that would give me that same phase coherence, but greater low-end and high-end content to meet the current expectations in the recording industry. People are making bigger, punchier albums these days, with an extended frequency range and plenty of synthesized sounds with extreme frequency content. For a long time, it was an unsuccessful search, and I stayed with my old monitors.”
He continued, “But then I was working with The Killers at their studio in Las Vegas, and Brad (Lunde, president of ATC’s U.S. distributor, TransAudio Group) loaned me a pair of ATC SCM25A loudspeakers. We were doing guitar overdubs at the time, and the moment we put the SCM25As up, I heard details that went beyond the capabilities of my old monitors. It was immediately apparent that I had to go move the mic a quarter inch because it wasn’t quite right where it was. That’s the kind of fine detail that I depend on to make the right decisions.” Keen for more low end than the SCM25As could offer, Chiccarelli waited – on the advice of Lunde – for the introduction of the ATC SCM45As, which have two low-end drivers.
In the year-and-a-half that he’s had them, Chiccarelli has used them to record, mix, and/or produce Morrissey, Alanis Morissette, Arkells, Needtobreathe, Milow, Spoon… “pretty much everything I’ve done,” he said. “Recently I’ve been traveling to Montréal to work on a project with Broken Social Scene, and after I finished pretending that I could get by without my ATCs, Brad stepped in to help me find a local pair that I could use. It’s really the midrange for me – that’s the tell. Plenty of monitors can impress with their low end or high end, but the midrange is where most of the critical work happens. I think that’s why engineers used to rely so heavily on Auratones, Altecs, and JBLs – speakers that had that clarity in the midrange. New speakers, with the exception of ATCs, are missing that. And truth be told, ATCs take that midrange clarity to a whole new level – this is something new under the sun.”
Not only do the ATC SCM45As sound great and produce recordings that reliably translate, they also produce plenty of clean volume. “That’s important,” Chiccarelli states. “I do a lot of live tracking sessions with full bands – it’s not just about the vocal. I want the band to come back into the control room and get excited about the work they’re doing. I want it to be big and powerful and to reflect who they are as artists. It’s an impressive psychological advantage that feeds back to inspire better recordings. My SCM45As practically sound like soffit-mounted mains!”
Chiccarelli is so reliant on and impressed by the ATC SCM45A Pro that he recently purchased a second pair for a new overdub room that he opened up in his home-away-from-home, Sunset Sound.
SCM45A Pro Product Page.
Transaudio Group (ATC U.S. Distribution).
ATC announces availability of P2 Pro Dual Mono Power Amplifier
ATC is proud to announce upcoming availability of the P2 PRO Dual Mono Power Amplifier — a true dual mono design, delivering 300W of continuous power simultaneously from both channels to drive the most challenging loudspeaker loads with ATC’s signature virtues of wide bandwidth and ultra-low distortion — as of November 3rd…
Hand-built by ATC in the UK, as implied by name, the Class A/B P2 PRO Dual Mono Power Amplifier is a dual mono design, keeping the power supplies, signal, and return paths discrete. This approach ensures that the amplifier will achieve maximum signal separation with minimal crosstalk, and that intermodulation between channels via the power supplies is reduced to an absolute minimum across a frequency range of 400kHz. It also means that the power delivery from one channel cannot affect the specified power available from the other.
Within a new low-vibration 19-inch rack-mount chassis design featuring a precision machined 12.7mm brushed aluminium front panel, the P2 PRO Dual Mono Power Amplifier’s layout includes a massive, custom-made 400 VA low-noise transformer for each channel and an output stage involving three pairs of MOSFET devices per channel to achieve peak current output of over 15 amps. According to ATC Technical Sales Manager Ben Lilly, “The final design of these transformers is the result of seven design iterations with the goal of achieving best possible audio performance and lowest possible mechanical noise. This was achieved by using a very high-grade steel core which is then vacuum-impregnated with high-temperature resin, post-winding. The exceptionally low levels of mechanical hum/buzz, along with convention cooling, are vital features if the amplifiers are to be used in control rooms designed with lowest possible levels of background noise.”
Needless to say, with ATC’s unique ‘grounded source’ output stage, smooth power delivery and extremely low harmonic distortion is a given. Gain matches that of the P2 PRO Dual Mono Power Amplifier’s lower power P1 PRO Dual Mono Power Amplifier sibling so that they can be used together in passive bi-amp or tri-amp systems connected via ‘Link’ phono inputs/outputs.
The P2 PRO Dual Mono Power Amplifier offers both balanced XLR and unbalanced phono inputs, ‘Link’ phono outputs, proprietary speaker terminals, and a front panel-mounted power switch. Signing off, Ben Lilly lets it be known that this product has been a long time in the making due to two major factors — namely, new power supply design and a new top cover/lid design: “The mains power ‘soft start’ feature has been revised, slowing the rate at which the unit powers up. The design of the venting has also been revised with the steel mesh covering the heatsink vents being replaced by a beautiful acid-etched stainless steel insert. Not only does this component greatly enhance the amplifier visually, it also reduces lid/cover vibration.”
Weighing in at an impressive 21kg/46.2lbs, the P2 PRO Dual Mono Power Amplifier’s accomplished specifications similarly leave little to chance:
- Max Continuous Output Power : 300W (8Ω, 1% THD).
- Input Sensitivity: 2V rms (ref. 150W out).
- Input Impedance: 10kΩ/leg.
- Frequency Response: <2Hz – >400kHz (-3dB).
- Signal to Noise Ratio : >110dB (DIN).
- Crosstalk: >100dB.
- THD: >0.002%/-95dB.
The British-built P2 Pro Dual Mono Power Amplifier will be available as of November 3, 2016 at a UK RRP of £2,833.00 GBP (plus VAT). For more in-depth information, please visit the dedicated P2 Pro product webpage.
New Product Launch: ATC SCM12 Pro
ATC are very proud to announce upcoming availability of the SCM12 Pro — an all-new high-performance, two-way compact passive nearfield monitor – as of Monday 3rd October.
As an all-new design, the SCM12 Pro proffers ATC’s acclaimed performance at a lower price point without compromising component quality and achieves this in a more compact, installation-friendly footprint ideally suited to nearfield monitoring as well as multichannel music and post-production applications.
ATC SCM12 Pro
“Anyone who has been waiting for an ATC nearfield with a smaller footprint, that is more easily installed, or that is more affordable, yet still delivers undiminished ATC performance, then the SCM12 Pro could be for them.” So says ATC Technical Sales Manager Ben Lilly, before adding: “ATC R&D Manager Richard Newman has poured the same knowhow, time, and passion into this new model that has made the rest of the professional product line so successful. Users will find that productions completed using the SCM12 Pro will translate beautifully to other systems and that their incredibly low distortion makes listening to them a pleasure — even after long hours in the studio. At under £1,150.00 per pair, they may prove ideal for those seeking to upgrade ageing, hard-to-repair passive studio monitors.”
Though the SCM12 Pro is the most affordable model in the professional range of loudspeakers, the monitor makes use of the ATC’s celebrated drive units for both the mid/bass and tweeter, both being meticulously hand built at the UK facility.
The tweeter is a 25mm/one-inch soft-dome designed around ATC’s unique dual-suspension technology. Unlike conventional tweeters, this precision part employs two suspensions, offering far greater control of the voice coil and dome motion — especially at higher sound pressure levels. The result is an extended high-frequency response with much greater clarity and definition due to the reduction in disturbing an-harmonic distortion. Listener fatigue is also greatly reduced, resulting in users being able to work for longer periods with greater accuracy.
ATC SH26-76 HF Driver
At the lower end of the frequency spectrum, mid/bass reproduction is handled by ATC’s 150mm/six-inch proprietary CLD drive unit. Using a 45mm/1.75-inch diameter voice coil, and employing an FEA (Finite Element Analysis) optimised high-energy symmetric gap motor system, the driver is capable of tremendous dynamic range with minimal power compression. Cone construction is courtesy of another proprietary ATC technology that represents another advance in driver performance — namely, Constrained Layer Damping (CLD), a process that uses multiple laminated fabric cones to form a stiff, light, and tremendously well-damped structure. Speaking acoustically, this construction creates a smoother on- and off-axis frequency response and also a reduction in distortion leading to a more lifelike reproduction of source material. Meaningfully, judgements and decisions can be made more quickly, more accurately, and for longer periods of time by busy working audio professionals.
Put it another way: by employing exceptional drive units, the passive crossover can, by design, use the minimum number of components in a simple, second-order implementation. Indeed, the capacitors are all 250Vdc metalised polypropylene and all the inductors are air-cored types for minimal signal distortion. Additionally, all of the inductors are wound in house with very high-purity copper while large-gauge wire is used for the bass components to minimise signal losses.
ATC CLD Bass Driver
Looking beyond the release of the superb-sounding SCM12 Pro, an install-specific sibling, the SCM12i, will be available as of Q1 2017. This model will feature threaded mounting points to mate with widely-available wall and ceiling brackets from K&M and Adaptive Technologies to simplify installation — incredibly useful in complex multichannel systems, such as those required by Auro 3-D, Dolby ATMOS, or DTS:X.
Discerning audio professionals always appreciate that exceptional passive monitors require exceptional amplification; as far as the SCM12 Pro is concerned, the best possible results will be achieved when it is partnered with ATC’s own range of stereo power amplifiers. As such, the 150Wper- channel P1 Pro dual-mono power amplifier is the perfect partner — both in terms of power output and its outstanding resolution, resulting from technology originally developed for ATC’s high-end active monitoring systems. So customers can comfortably make the upgrade to an all-ATC monitoring and amplification system, an attractive package price will be offered for purchasing the two products simultaneously.
ATC SCM12 Pro & P1 Pro Power Amp
Simple, well-engineered products almost always trump feature-rich, cost-engineered alternatives, and ATC’s SCM12 Pro has been duly designed with that philosophy very much intact. Its neutral fidelity makes it a very versatile proposition, one which — when backed up with the company’s industry-leading six-year warranty — makes for a high-value, longterm investment for anyone looking to upgrade their monitoring system. So now is the time to consider EQ’ing, balancing, and editing faster, with more consistent results and reduced listening fatigue using the latest nearfield monitoring marvel from ATC.
Audio professional or otherwise, witness the performance of these two new products alongside the company’s full professional product range by visiting ATC at EastWest Studios (Studio Two), 6000 West Sunset Blvd, Hollywood, California, USA from Friday, September 30 to Saturday, October 1, 2016.
ATC and US distributor TransAudio Group will also be hosting a press-only event from 7.00-8.00 pm on Friday, September 30 (just prior to the AES Party in Studio One at EastWest Studios).
The SCM12 Pro will also be being showcased Stateside by Vintage King Audio throughout the 141st AES Convention, September 29-October 1, 2016 at the Los Angeles Convention Center, Los Angeles, California… come check it out!
The SCM12 Pro will be available from 3rd October 2016.
UK Retail Pricing
SCM12 Pro £1146.00 ex VAT.
P1 Pro Power Amp £2165.00 ex VAT.
SCM12 Pro/P1 Pro Package: £2980.00 ex VAT (saving 10% over items purchased seperately).
Tom Elmhirst augments ATC monitoring setup at ‘home’ in Electric Lady Studios
“The addition of SCM45A Pros perfectly supplement my second rig to bring it in line with my main control room monitoring setup. It’s important that both rigs can speak the same language so I can work and my assistants can work in both places comfortably and confidently.”
– Tom Elmhirst, 2016 (mix engineer).
NEW YORK, USA: specialist British loudspeaker drive unit and complete sound reproduction system manufacturer ATC is proud to announce that GRAMMY award-winning mix engineer extraordinaire Tom Elmhirst — already an advocate of ATC’s professional loudspeakers — has supplemented his second setup at Studio C within New York City’s legendary Electric Lady Studios with a pair of SCM45A Pro mid-size, high performance, active three-way studio monitors…
Tom Elmhirst at his Neve VR with ATC SCM50ASL Pro. Photo by Drew Wiedemann. www.drewwiedemann.com
“Tom Elmhirst is a mix engineer based at Electric Lady Studios in NYC.” So reads the somewhat humble homepage for the talented individual in question. Yet the British-born specialist music producer and mix engineer’s many achievements at the helm of large-scale console — currently a Neve VR-72, about which he is on record as stating, “It’s a luxury… I can do ten things at once, but with a mouse I can only do one…” — speak louder than words. While most of the many millions of listeners who have heard the results of his sterling work with several of the biggest-selling recording artists around today will not know a Neve from an SSL, the man with the Midas mixing touch clearly knows what he is doing and must be doing something right with that mission-critical mixing and ATC monitoring setup aiding his course of action time and again.
As of June 2016, British singer/songwriter Adele’s third studio album, 25 — mostly mixed by Tom Elmhirst, has sold some 20 million copies, having become the world’s best-selling album of 2015. He has also manned the faders for Adele’s critically-acclaimed and commerciallysuccessful debut long-player 19 in 2008 and its 2011-released multiple GRAMMY award-winning follow up, 21, the longest-running number one album by a female solo artist in the history of the UK and US album charts. Credits in-between and beyond include Irish rockers U2’s thirteenth studio album Songs Of Innocence (2014) — famed for being announced at an Apple launch event and released on that same day to all 500-million iTunes Store customers at no cost — and 2016’s Blackstar, the twenty-fifth and final studio album by British singer/songwriter David Bowie — the iconic artist’s first and only album to top the Billboard chart in the US in the wake of his death — to name but a notable few.
But between those noted successes, Tom Elmhirst successfully transplanted himself and his sought-after services to Electric Lady Studios, the oldest working and thriving recording studio in New York City, founded back in 1970 by American guitar hero Jimi Hendrix. “I moved here about four years ago for both life and work reasons,” he reasons. “I wanted a change, having mixed in the same room in London for nearly 10 years. You can’t beat being part of an iconic studio based in the heart of Greenwich Village, so when Lee Foster — manager at Electric Lady Studios — showed me the only vacant room I jumped at the chance to set up home there!”
Tom Elmhirst in his studio at Electic Lady. Photo by Drew Wiedemann. www.drewwiedemann.com
The tremendous workload of the time dictated that Tom Elmhirst had to hit the hallowed ground running, so speedily furnished his new ‘home’ with the aforesaid Neve VR-72 console while monitoring came courtesy of ATC, a new and enjoyable experience for the mix engineer extraordinaire: “I’d used monitors from another manufacturer for years, but they stopped making the drivers, so it became increasingly difficult to replace one if it blew. A friend of mine lent me a pair of SCM25A Pros for a few days when I first moved to New York and I enjoyed the experience so much I went ahead and got myself a pair of SCM50ASL Pros. The sub and the speakers are tuned to the room using an XTA DP44 DSP-based audio processor, so everything is balanced as a three-way system rather than just adding low end. Having the sub allows the woofers on the SCM50ASL Pros to work more efficiently as well. In the years that I’ve owned this system, I’ve found the ATCs to be invaluable and the majority of artists that I work for also enjoy the listening experience.”
‘A-list’ artists like Adele. “I was mixing ‘Skyfall’ right around the time that I got my ATCs,” adds Tom Elmhirst. “The accuracy of the SCM50ASL Pros proved invaluable for mixing such a complex song with so much orchestration.”
Obviously Tom Elmhirst knows what he likes and likes what he hears — so much so that he has augmented his ATC setup still further: “The addition of SCM45A Pros perfectly supplement my second rig to bring it in line with my main control room monitoring setup. It’s important that both rigs can speak the same language so I can work and my assistants can work in both places comfortably and confidently.”
Chances are we won’t have to wait long to hear another chart-topping mix making its musical way out of Electric Lady’s Studio C. But by then Tom Elmhirst and his assistants will likely be enjoying the experience of working with those ATC professional loudspeakers on another one!
Electric Lady Studios
Photos by Drew Wiedemann.