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.
ATC Win at the 2016 What Hi-Fi Awards!
ATC have won awards in three categories at the annual 2016 WHat Hi-Fi Awards.
SCM11 Best standmount speaker £1200-£1500
Awarded 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016.
“It’s hard not to be totally enamoured by the ATC SCM11s. For the money, they seem to do everything right – and their solid curved cabinets look the part too. When it comes to speakers, or even hi-fi kit in general, there are few better ways to spend £1200.”
Learn more on the SCM11 webpage.
SCM19 Best standmount speaker £1500+
“These ATCs are analytical yet never sound clinical or passionless. They remain transparent to the original recording and system electronics. And when it comes to insight and honesty, we haven’t heard any better for the money.”
Learn more on the SCM19 webpage.
C1 system Best speaker package £2000+
“We suppose the highest praise we can offer ATC here is that it has provided a match for our considerably more expensive reference system. We can think of no better alternative for the money. A consummate triumph, to be sure.”
Learn more on the ATC multi-channel webpage.
To get the full details on these awards, please visit the What Hi-Fi Awards 2016 microsite. You can read about all the award winners in the offical awards issue of the magazine which, is available now.
New Product Launch – P2 Power Amplifier
Generating twice the power of its smaller P1 sibling, the P2 will drive the most challenging loudspeakers with ATC’s signature virtues of wide bandwidth and ultra-low distortion…
Hand-built by ATC in the UK, the P2 class A/B stereo power amplifier is designed to complement the brand’s range of hi-fi preamplifiers, both aesthetically and operationally. Rated at 300W continuous power per channel and developed in tandem with the P2 Pro studio amplifier, the ATC P2 is a Dual Mono design, keeping the power supplies, signal and return paths discreet. This approach ensures that the amplifier will achieve the 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 chassis design featuring a precision machined 12.7mm brushed aluminium front panel, the P2’s layout includes a massive, custom-made 400 VA low-noise transformer for each channel and an output stage involving 3 pairs of MOSFET devices per channel to achieve peak current output of over 15 amps. ATC’s unique “grounded source” output stage ensures smooth power delivery and extremely low harmonic distortion. The gain of the P2 matches that of the lower power P1 (150W/ch) so that they can be used together in bi-amp or tri-amp systems, connected via the amplifier ‘Link’ phono inputs/outputs.
The ATC P2 offers balanced XLR and unbalanced phono inputs, ‘link’ phono outputs, proprietary 4mm speaker terminals, and IR remote control.
• Latest ATC discrete MOSFET grounded source output stage.
• Class A/B topology.
• 300W into 8 ohm continuous power O/P capability
• Dual mono-design ensures minimal crosstalk and inter-channel modulation.
• Entirely separate power supplies for high voltage audio, low voltage audio and logic/control.
• 400kHz bandwidth to ensure best possible transient reproduction.
• Vanishingly low distortion.
• Custom low noise toroidal transformers.
• New chassis design for reduced vibration and a more striking visual appearance.
• 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
• Dimensions (HxWxD) : 141x448x337mm (5.6˝x17.6˝x13.3˝)
• Weight : 30kg / 66lbs
• 6 year warranty
The P2 will be available from Monday 7th November and carries a UK retail price of £3125 inc. VAT (20%).
Soundstage Experience Review the SCM19
North American audio ‘Supersite’ Soundstage! Network has given a glowing review to the SCM19 two-way standmount loudspeaker.
The SCM19 is ATC’s most compact and affordable loudspeaker feauring ‘Super Linear’ (‘SL’) motor technology. ‘Super Linear’ motors use a proprietary iron powder for the area of the motor system closest to the voice coil, reducing the effect of current modulated inductance and, greatly reducing third harmonic distortion. Wether you like to immerse yourself in the technology or prefer to simply focus on the music, reviewer Wes Marshall thoroughly enjoyed the loudspeakers and here is just a taster of what he thought:
“The ATCs did a better job of catching the naturally decaying sounds of instruments in a room than any other speakers I know of.”
“Ever since I bought my first pair of ATC speakers 20 years ago, it’s been my opinion that you can never go wrong with ATC. I nominate Billy Woodman for the Audio Hall of Fame.”
Wes Marshall, Soundstage! Experience, October 2016.
You can read the review in full here at the Soundstage! Experience website.
ATC C1 5.1 System Awarded 5 Star Review
The performance of ATC’s products has once again been recognised by the team at What Hi-Fi with a glowing 5 star review of the new C1 5.1 System.
An unprecedented run of form has been extended with another 5 star accolade in November’s issue which, is available now. In a two page examination, which awards a maximum five stars in every review category: sound, compatibility and build, the What Hi-Fi team cites spacious, detailed and expressive sound quality with great integration as the major performance attributes, reserving particular praise for the subwoofer and centre elements.
Conclusion: “A consummate triumph, to be sure.”
What Hi-Fi November 2016.
The November issue of What Hi-fi is available in the shops now. You can read the review in full at the What Hi-Fi Website.
Entry Series – Now available in Satin Black & Satin White
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).
SCM19A: Diverse Engineering Talent
SCM19A Review | Positive Feedback 09-06-2016 | By Michael Wechsberg | Issue 87.
“…also takes a company with diverse engineering expertise to cover electronics, mechanics, electro-mechanics, and other disciplines and this is rare. ATC clearly has the engineering talent required as they have been in business over 40 years and producing active speakers for many of them. The SCM19ATs are a wonderful advancement in the state of the art of active loudspeakers. You could easily spend three times as much on comparable separate components and not do as well. I strongly encourage you to seek out the ATCs and give them a listen.”
Read the review in full at Positive Feedback.
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.