Recording - April 2012 - 39
That split-second tell-tale sound of a fingertip rubbing the string before a viola produces a pizzicato note, for example. Or the many ways a cellist can move the bow across a string. Lip smacks and spittle noises on singers—‘nuff said... The M42 did just as well with more earthy fare—drums, sax-gone-wild tracks, blues guitars, they all came across with such fidelity that I can see many a mixing engineer smiling at the accuracy of it all. Frequency response The frequency response is so even and smooth that you’re never aware of the porthole, for example. I don’t know at what frequencies it’s doing its job, nor can I tell anything about the crossover from woofer to tweeter, try as I might with chromatic scales, portamento, and what have you. The response is listed as ±3 dB from 75 Hz to 35 kHz. I’ll defer to my cat about that extra octave at the high end, but let’s talk about the lows, shall we? With a dip of 10 dB the M42 is stated as going down to 63 Hz. Can you hear adequate bass from a box like that? My answer: Yes...but... Today I sat barely ten feet from the six double-bass players at the symphony, and César Franck’s symphony is in D minor. They all had the low extension on their instruments, and I heard plenty of low D—roughly 36 Hertz. I put the record on at home and verified that you won’t get that from the M42. How could you, from a 4-inch woofer? But next thing I put on a CD of Luther Hughes and his Cannonball-Coltrane Project. Luther is a bass player, and rest assured, on his own band’s CD there is plenty of bass, and he takes his share of solos. I didn’t miss anything. It sounded balanced. Not bass-heavy, but not lacking bass, I could have transcribed every note. To me, that’s the key—balance, so nothing is missing and nothing sticks out. The M42 has that balance. Besides, if you need more bass while still wanting to rely on Chris Pelonis’ skills at making it all work as a finely tuned system, he’ll sell you a sub and a controller. We hope to get to hear that sub soon, and we’ll update you on what we’ll be hearing. Summing up This combination of custom-designed amps and small-but-mighty speakers is a winner. While they may look like Auratone stand-ins in size, the sound they produce is in an entirely different league. Refined sound reproduction, wide imaging, clarity, smooth frequency response—these are the characteristics of the M42 system that add up to a serious listening tool. Price: $999 MAP More from: Pelonis Sound and Acoustics, www.pelonissound.com, www.chrispelonisspeakers.com
RECORDING APRIL 2012
39
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http://www.pelonissound.com
http://www.radialeng.com
http://www.chrispelonisspeakers.com
Recording - April 2012
Table of Contents for the Digital Edition of Recording - April 2012
Recording - April 2012
Fade In
Table of Contents
Talkback
2012 Winter NAMM Show Report
Sonodyne SM100Ak and SM50Ak Active Monitors
Shure SRH1440 Headphones
Noises In—Noises Out
Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Reviewed and Revisited: iZotope Ozone 5 Advanced
Pelonis Model 42 Stereo Monitors
The Science And Art Of Ambisonics
Little Labs i-VOG Analog Bass Resonance Tool
Readers’ Tapes
Plug-In Outlet
Cerwin-Vega! XD3 Powered Desktop Speakers
Once Over—Reviews In Brief
Do It Yourself: Make Your Own Check Mix Monitor
Rob Papen eXplorer
Advertiser Index
Fade Out
Recording - April 2012 - Recording - April 2012
Recording - April 2012 - Cover2
Recording - April 2012 - 1
Recording - April 2012 - 2
Recording - April 2012 - 3
Recording - April 2012 - Fade In
Recording - April 2012 - 5
Recording - April 2012 - Table of Contents
Recording - April 2012 - 7
Recording - April 2012 - Talkback
Recording - April 2012 - 9
Recording - April 2012 - 2012 Winter NAMM Show Report
Recording - April 2012 - 11
Recording - April 2012 - 12
Recording - April 2012 - 13
Recording - April 2012 - 14
Recording - April 2012 - 15
Recording - April 2012 - 16
Recording - April 2012 - 17
Recording - April 2012 - 18
Recording - April 2012 - 19
Recording - April 2012 - 20
Recording - April 2012 - 21
Recording - April 2012 - Sonodyne SM100Ak and SM50Ak Active Monitors
Recording - April 2012 - 23
Recording - April 2012 - Shure SRH1440 Headphones
Recording - April 2012 - 25
Recording - April 2012 - Noises In—Noises Out
Recording - April 2012 - 27
Recording - April 2012 - Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Recording - April 2012 - 29
Recording - April 2012 - 30
Recording - April 2012 - 31
Recording - April 2012 - 32
Recording - April 2012 - 33
Recording - April 2012 - Reviewed and Revisited: iZotope Ozone 5 Advanced
Recording - April 2012 - 35
Recording - April 2012 - 36
Recording - April 2012 - 37
Recording - April 2012 - Pelonis Model 42 Stereo Monitors
Recording - April 2012 - 39
Recording - April 2012 - The Science And Art Of Ambisonics
Recording - April 2012 - 41
Recording - April 2012 - Little Labs i-VOG Analog Bass Resonance Tool
Recording - April 2012 - 43
Recording - April 2012 - Readers’ Tapes
Recording - April 2012 - 45
Recording - April 2012 - Plug-In Outlet
Recording - April 2012 - 47
Recording - April 2012 - 48
Recording - April 2012 - 49
Recording - April 2012 - 50
Recording - April 2012 - 51
Recording - April 2012 - 52
Recording - April 2012 - 53
Recording - April 2012 - Cerwin-Vega! XD3 Powered Desktop Speakers
Recording - April 2012 - 55
Recording - April 2012 - Once Over—Reviews In Brief
Recording - April 2012 - 57
Recording - April 2012 - 58
Recording - April 2012 - 59
Recording - April 2012 - Do It Yourself: Make Your Own Check Mix Monitor
Recording - April 2012 - 61
Recording - April 2012 - Rob Papen eXplorer
Recording - April 2012 - 63
Recording - April 2012 - 64
Recording - April 2012 - Advertiser Index
Recording - April 2012 - 66
Recording - April 2012 - 67
Recording - April 2012 - 68
Recording - April 2012 - 69
Recording - April 2012 - 70
Recording - April 2012 - 71
Recording - April 2012 - Fade Out
Recording - April 2012 - Cover3
Recording - April 2012 - Cover4
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