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Showtek chooses ATC SCM50ASL Pro

showtek_ATCm4

After an intensive listening test, Showtek brothers Wouter and Sjoerd Janssen decided to choose ATC for their main monitor system. It was love at first sight. Not only did the SCM50ASL Pro offer far higher sound quality than what they were used to listen to, the monitor also gave them much more useful information to base their decisions on. The active powered SCM50A SL’s are fed from a Grace Design m905 monitor controller.

Sjoerd: Our new ATC’s really sound super. No matter whether you play them on high or low volume, the energy of the high, mids and lows is so much more balanced now. Over here we produce club- as well as pop mixes and for both music styles the ATC work wonders. With our previous monitors it was quite hard to get the vocals placed well into the mix. That is so much easier now.

Wouter: “If your mix sounds good on the ATC’s, that track sounds good on any system”.

Sjoerd: There’s no need to play loud if you want to mix right. Which is a blessing for your ears. Especially when you’re making long studio hours like we do. And they look extremely cool, of course.  The SCM50A SL is like an Audi RS6. A “muscle car” that doesn’t attract much attention at first. But once you step on the gas, it takes of like a rocket.

Showtek

Helios Pro Audio Solutions


SCM40 Active to launch in January 2015

January 2015 will see the introduction of our new SCM40A floor standing loudspeaker. As the name suggests, the SCM40A is an active version of our highly successful SCM40. The 3-way design, employing all hand built ATC drive units is complimented with a built-in 235Watt class AB tri-amplifier. The MOSFET based amplifier is a modified version of that found in our larger active loudspeakers, the SCM50ASL , SCM100ASL and SCM150ASL.

More details to follow soon.

UK RRP is set at £6280.

 

SCM40A 3-4 grill on low res transparent background

SCM40A Rear low res transparent background

 


Conservatory of Recording Arts and Sciences Outfits Control Rooms with ATC

GILBERT, ARIZONA – NOVEMBER 2014: The Conservatory of Recording Arts and Sciences – or “CRAS” as it is more affectionately known – is a top-tier technical school dedicated to placing its well-trained students in entry-level positions in the music, game audio, live sound, broadcast, and post-production industries. Unlike most similar programs, CRAS obligates its students to obtain internships in order to graduate, and it has a excellent record of helping students obtain their first paying gig. Part of its success, which has resulted in literally hundreds of CRAS grads working on literally hundreds of Grammy Award-winning projects, is exposing students to high-end professional tools. Thus, when CRAS recently expanded its facilities with the addition of control rooms F and G, it put ATC SCM25A Pro reference monitors – among the industry’s most-trusted tools – in both.
CRAS Control Room
“Our rooms reflect reality in the industry,” said Tony Nunes, music production instructor and manufacture liaison at CRAS. Nunes, together with Mike Jones, director of education, travels to trade shows, recording studios, and post-production facilities around the country to keep CRAS’s facilities and instruction in perfect synchrony with the latest (and enduring) industry standards. “We sculpt our technology and instruction to remain always at the current standards in the industry,” he continued. “Two years ago at AES in New York City, we visited a lot of the big studios in town, like Stadium Red and Electric Ladyland, and talked with our grads who worked there. A consistent theme that studio managers/staff stressed was the persistent requests they received for ATC monitors; so persistent, in fact, that most studios invested in their own ATCs.” CRAS’s ATC SCM25A Pros join Pro Tools HDX rigs with Apogee converters, [soundBlade HD] rigs with Mytek converters, and SSL AWS 948 combined console and control surfaces.

“The ATCs are certainly the most transparent monitors we have at CRAS,” said Nunes. “Students don’t get to studios F and G until they are a little ways into the program. By that time, they can really appreciate the details that the ATCs reveal. For example, when we’re tracking in those control rooms, students will notice the smallest details, like fret buzz on the bass. One time we had a vocalist who was struggling with an allergy and sinus problem. After he rested and had some tea, he came back and all the students could really hear the physicality of the difference. One student said it was like he could see the vocal cords in the ATCs. They’re a really great tool.”

Because students use the ATC SCM25A Pros later in the program, they get an opportunity to scrutinize their earlier projects. “They know so much more six months later, and now they’ve got these great monitors that reveal so much; it can often be a painful experience,” said Nunes. “But we bravely turn it into a learning experience. We find and analyze the mistakes, and then students may remix their projects. Every time, they come back happy with the results. Because the new mixes pass the test on the ATCs, they translate everywhere else, like students’ cars, apartments and computers.”

Although CRAS is explicit in stating that it does not teach students to be mastering engineers per se – which necessarily requires skills that can only be acquired through years of experience – it most definitely teaches its students about the mastering process and about the technical details that mastering engineers will expect of their work. There again, the ATC SCM25A Pros, which are mastering-grade reference monitors, benefit CRAS students.

Conservatory of Recording Arts and Sciences
Transaudio Group
SCM25A Pro


ATC SCM20PSL Pro Monitoring Makes Val Garay’s Musical Day

“The main reason that led me to getting ATCs was the need for a relatable second pair of monitors. I was working in a studio in Northern California where the mains were ATC SCM300ASL Pros. I got accustomed to them and then I got back to my studio and found them to be really true. So when I was told that ATC was starting to make passive two- way monitors I had to try them and now I have a pair of SCM20PSL Pros. They are great!”
– Val Garay, 2014 (Grammy® award-winning producer/engineer)
Val Garay & ATC SCM20PSL
TOPANGA CANYON, CALIFORNIA, USA: specialist British loudspeaker drive unit and complete sound reproduction system manufacturer ATC is proud to announce that Grammy® award-winning producer/ engineer extraordinaire Val Garay has installed a pair of SCM20PSL Pro compact, high-performance passive two-way studio monitors in The Barn Studio, his current state-of-the-art recording facility nestled in the heart of Topanga Canyon, California…

With an accomplished career spanning four decades, during which he has garnered over 100 Gold and Platinum status records for a lengthy list of renowned recording artists with combined sales totalling over 125-million units worldwide, multiple Grammy® award-winning producer/engineer Val Garay is truly a music industry legend in his own right — one who surely needs little in the way of introduction to any audio aficionado who has laid ears on those truly ear-expanding productions, yet is worthy, without doubt, of one all the same. This talented and iconic individual can claim to have worked with anyone who’s anyone with a recording roster spanning Kim Carnes, Mr Big, Bonnie Raitt, Eric Burdon, Dolly Parton, Queensrÿche, Neil Diamond, Ringo Starr, Linda Rondstadt, Sarah Brightman, Kenny Rogers, Santana, and Joan Armatrading, to list but a few notable names from rock ’n’ roll’s historic hall of fame. For Garay helped to create and define the legendary ‘LA Sound’ that’s still reverberating around the world today, thanks in no small part to his proven production prowess — think memorable hits like the ‘We Are The World’ charity single from star-studded supergroup USA For Africa, Toto’s ‘Rosanna’, Don Henley’s ‘The Boys Of Summer’, and you’ll soon be on a roll.

Starting out as a performer and songwriter, Garay soon stepped offstage and set the console controls for the heart of the charts when Dave Hassinger, owner/operator of the illustrious Sound Factory Studio in Hollywood, took him under his wing to teach the finer points of crafting carefully engineered productions. Within a year Garay had refined his own technique, perfecting a punchy bottom-end and guitar blend with a mixing approach that has distinguished his work ever since. Indeed, it was the 1981 release of Kim Carnes’ Mistaken Identity album that truly cemented Garay’s well-earned reputation as a well-oiled one-man hit-making machine. Its attendant stratospheric-selling single ‘Betty Davis Eyes’ went on to top the charts in no fewer than 31 countries earning Garay a Record Of The Year Grammy® in the process and coinciding with a move into his own state-of-the-art recording studio.

“I owned Record One, a huge state-of-the-art studio built to my own exacting standards back in 1980,” notes its former owner. “It’s still in operation today, but the original cost to build it back then was 3.5-million dollars. Today you can put together a state-of-the-art studio for a tenth of that cost because of the technology that’s now available. When I sold that studio I bounced around for seven or eight years until I got tired of fighting for time in the studios I liked and decided to put together my own facility here in Topanga where I live — hence The Barn Studio.”

Comfortably ensconced in the more cost-effective though no less state-of the-art environs of The Barn Studio, Garay’s achievements as a super-successful and still-sought-after producer/engineer speak volumes — clearly he has no need to prove anything to anyone. Arguably this makes it all the more amazing that he has opted to post some exceedingly enlightening and eminently enjoyable engineering and production tips and tricks on the blog page of his website (www.valgaray.com). “Sharing my techniques is something I’ve always done over the years,” he says. “Some engineers are very secretive about ‘their process’, but my thoughts are: if I teach you exactly what I do and how I do it — which I’ve done with all the engineers I’ve taught in the past that have all gone on to become notable engineers — then I find they will never sound the same as myself. And even if they did then it wouldn’t matter as I’m always on to something new anyway.”

Like new monitors, for example, augmenting his tried-and-tested working relationship with a beloved pair of Bryston 4BST-powered vintage Tannoy SGN10Bs acting as mains alongside a pair of heavily-customised Yamaha NS-10 nearfields with a pair of ATC’s relatively recently-released SCM20PSL Pro compact, high-performance passive two-way studio monitors while ‘retiring’ a Genelec 1030A and 1092A active combo in the process: “The Genelecs were powered and I’ve never really loved powered speakers, but the main reason that led me to getting ATCs was the need for a relatable second pair of monitors. I was working a lot in a studio in Northern California where the mains were ATC SCM300ASL Pros. I got accustomed to them and then I got back to my studio and found them to be really true. So when I was told that ATC was starting to make passive two-way monitors I had to try them and now I have a pair of SCM20PSL Pros. I guess, in the final analysis, I like UK monitors!”

Asked how his new SCM20PSL Pros paired up with a favoured old faithful Phase Linear 700B amp are shaping up in terms of contributing to his present-day production workflow, Garay’s generous and no-nonsense response sums it up perfectly (and is perfectly in keeping with his blogged “Trust your ears and believe in yourself…” working mantra): “They are great!”

Val Garay www.valgaray.com
Transaudio Group (ATC US Distribution) www.transaudiogroup.com


Legendary Guitarist Eric Johnson Reilies On Legendary ATC Reference Monitors

 

AUSTIN, TEXAS – NOVEMBER 2014: “Legendary guitarist” is justifiably the most common two-word description given of Eric Johnson, whose six-string prowess has earned him a Grammy win, several Grammy nominations, a Platinum album, and residency on practically every “Top X Guitarists of All Time” list ever made. He’s regularly played and recorded with fellow guitar greats Chet Atkins, Steve Vai, and Joe S…atriani, and Eric Clapton selected Johnson for his 2004 Crossroads Guitar Festival. Most recently, Johnson collaborated with jazz guitar great Mike Stern on the album Eclectic, which the two recorded and mixed at Johnson’s Austin-based studio with the help of Johnson’s accomplished recording and mix engineer Kelly Donnelly. Although Johnson is known mainly for his prodigious talent as a guitarist, he is also comfortable playing numerous other instruments, including piano, lap steel, bass, and voice. He is an accomplished songwriter and, in more recent years, has plied his skills over the years as a producer and assisting his recording engineers. The common frustration of mixing a song to seeming perfection, only to find obvious mistakes when he played it on other systems, drove Johnson to find the perfect near-field monitors. He found them in a pair of ATC SCM25As, which deliver the undecorated truth so that Johnson’s mixes sound beautiful and balanced on any system, from wee computer speakers to the biggest home theaters.

eric johnson 2eric johnson 1

 

 

Years in the making, Johnson slowly constructed the ideal project studio in his Austin, Texas home, and he only declared it finished six years ago. “I always wanted a great rehearsal space, and it seemed natural to make it a recording studio as well,” he said. “I took my time because I wanted to do it right. I like to think about the tools I use the same way I think about guitars. When I find the right guitar, it facilitates my playing. It’s like I can feel the push of the polarity, the wind’s at my back, and soon I’m not paying any attention to the guitar itself… I’m just making music. It’s the same with the studio and all the equipment and processes in the studio. At their best, they fall away and I’m just making music.”

Most of the engineering duties at Johnson’s project studio fall to Donnelly. “Kelly and I often found ourselves second-guessing our mixes,” said Johnson. “We’d take a mix that sounded perfect in the studio and notice huge bumps or holes when we played it other places. It’d be like, ‘we must have overlooked that in the studio!’ But then we’d go back to the studio and those bumps or holes wouldn’t be there. So there was a lot of back and forth, which wasted time, energy, and inspiration. I became very interested in finding a near field system that would ensure our mixes translated outside of the studio, especially as we drew close to working on Eclectic. People with ears I trust told me that ATC is the way to go.”

After performing due diligence with trials of numerous top-end reference monitor manufacturers, Johnson arrived at the same conclusion. He purchased a pair of ATC SCM25As, which feature a three-way active design starting with a seven-inch low-frequency driver. “The ATCs have a great vibe and they’re fun to mix on,” said Johnson. “The imaging is solid and in-phase, and the top end is natural – not glitchy or peaky or spikey. They’re pleasant at whisper volume or blaring, and the response seems pretty linear across that range. I’ve also noticed that we can monitor at high volumes on the ATCs as long as we like and they never become fatiguing. So the in-studio experience on the ATCs is great. Beyond that however, the mixes we’ve done on the ATCs translate beautifully, and we don’t have to second-guess ourselves anymore.”

Part of the Concord Music Group, instrumental music label Heads Up International released Eclectic, and thus sent it to Concord’s multiple Grammy Award-winning mastering engineer Paul Blakemore. For years now, Blakemore has been mastering on ATC SCM150ASL monitors. “The ATC monitors are the most accurate loudspeakers I have ever heard, and I can’t imagine using anything else,” he said. “They work equally well on any genre of music, which is very unusual and particularly important for Eclectic. As the name promises, Eclectic is eclectic! It runs from rock, to jazz, to blues, to R&B, and to everything in between. The ATCs were critical for getting the high end correct and consistent across all those styles. Similarly, the ATCs were critical for making sure the low end was true and in the pocket from song to song. Once I get things right on the ATCs, I’m confident that the final product will translate to any other system in the world.”

In November 2014 and January and February 2015, Johnson and Stern are taking their otherworldly chops on the road for an extended U.S. engagement.

(PHOTO CREDIT: © 2014 Max Crace)


New Dealer Appointment for Central London – Audio Lounge

Audio Lounge Logo

ATC are very pleased to announce that Audio Lounge have been appointed as a new Hi-Fi dealer for Central London. Audio Lounge’s luxurious store is located in Mayfair, just a few minutes’ walk from Selfridges and Bond St. tube station.

The store, featuring a showroom at street level and a basement demonstration room has been carefully designed to provide one of the finest listening experiences in the UK, whilst the shop itself is luxuriously equipped to create a space offering superb acoustics and a relaxing atmosphere in which to browse. Since opening its doors in 2013, the store has hosted many live music events for various recording artists to perform to small public groups, and also regularly holds vinyl listening sessions on Thursday evenings (with the odd celebrity dropping by to enjoy the music with us or to give talks about their career!)

Audio Lounge have a very wide range of ATC products on active demonstration. They are also the only company in the South East with ATC’s On-Wall loudspeakers on demonstration. Where space may be at a premium or a discrete solution is preferred, these newly designed slim-line speakers have been introduced to maximise sound quality both for music and home cinema.

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Staff at Audio Lounge include Mark Withers, who has 10 years’ experience in Hi-Fi retail, as well as being a CEDIA Accredited Designer within the Custom Installation sector. Mark is extremely experienced with ATC products, including both loudspeakers and electronics and will be on-hand to help specify a system best suited to any customers requirements.

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Running alongside Audio Lounge is Nebula Nine, Mark Withers and business partner, Chris Varnham’s Cinema and Smart Home Design Company. Mark’s lifelong passion for music and understanding of the high end audiophile world as well as his exceptional eye for detail has enabled them to create many of Britain’s finest music rooms, cinemas, multiroom audio systems and fully integrated future ready homes.

Together they have vast industry experience and an extensive knowledge in resolving the complexities of residential AV integration. Their team of specialists provide everything from the initial design and CAD work, with project management through to installation and programming. Their services, available through Audio Lounge include:

  • Bespoke home cinema room design and calibration
  • Supply and setup of world class HiFi and multi-room audio systems
  • Room correction and acoustic treatment
  • Tailor made Crestron control system design & programming
  • IT, networking and WiFi management
  • Specification of future ready wiring infrastructures
  • Door entry, CCTV, telephony installation
  • Lutron lighting and blind control as well as many other forms of automation

Audio Lounge, 138 Wigmore Street, London, W1U 3SG

T: +44 (0)20 7487 4080     E: mark@audiolounge.co.uk

Nebula Nine Ltd, Studio 8, 231 Stoke Newington Church Street, London, N16 9HP

T: +44 (0) 207 607 3587     E: mark@nebulanine.co.uk


ATC SCM11 – Award Winners!

WHF 2014 Award ATC SCM11 - Web Small

“We’re delighted to announce that the ATC SCM11 has won the award for, ‘Best Standmounter £800 – £1200,  in the 2014 What Hi-Fi? Awards.

You can read exactly what the What Hi-Fi staff had to say on their website but for starters, we think their summary says it all:

“The new SCM11s are a drastic improvement over an already talented performance,  and they have the good looks to match. ATC has raised the bar it set itself.  This isn’t just a step up – it’s a running leap.” 


Joel Hamilton Records Puss n Boots with ATC

Joel_Hamiltonweb
BROOKLYN, NEW YORK – AUGUST 2014: Puss n Boots is a three-piece, all-female, alt-country band led by singer-songwriter Norah Jones and backed by accomplished vocalists Sasha Dobson and Catherine Popper. All three women learned new instruments for five years before recording their debut album with engineer/musician/producer Joel Hamilton (Tom Waits, Black Keys, Sparklehorse, Elvis Costello) at Studio G Brooklyn. Titled No Fools, No Fun, the album was recently released on Blue Note Records. As co-owner of Studio G Brooklyn with Tony Maimone, Hamilton installed ATC SCM25A three-way reference monitors and ATC SCM0.1-15 subwoofers in Studio A, a change that happily coincided with his first Grammy nomination (Pretty Lights, A Color Map of the Sun), a Latin Grammy nomination (Bomba Estereo, Elegancia Tropical), and a Latin Grammy win (Gaby Moreno, Postales). The ATCs were purchased from Audio Power Tools in New York.

“The ATCs have changed the way I work and improved the quality of my work,” said Hamilton. “I’m lucky to have a nicely tuned control room with an SSL and plenty of vintage outboard gear, and with the ATCs, I’m suddenly able to make decisions that are smaller – and yet more critical – than I have ever been able to make before. I have the ability to resolve a finer shade of the colors I’m hurling at the end-listener, and it’s been a revelation. It’s not a small thing, and that’s why I’m reaching for dramatic words like that. It’s tectonic. The entire continent has shifted.”

The glorious harmonies delivered by Jones, Dobson and Popper are a huge part of Puss n Boots’ magic. They form the emotional foreground. “The balance of those harmonies is crucial,” said Hamilton. “You’ve got these three gorgeous women with gorgeous voices, and they’re all coming at you like gangbusters because they can all project. We recorded everything live to analog tape, including the vocals. That gives a particular nuance to how the instruments sit against the vocals. You can feel the beat push and pull so beautifully. I needed to make sure that all of that nuance would come shining through for the listener. Striking the right midrange balance of those harmonies is critical, and I had to make sure all of that beauty would be immediately apparent to, say, my mom!”

While Norah Jones’ existing albums might safely be described as “polished” and most classic country albums might safely be described as “rough,” Hamilton had to walk the line between those extremes. “The balance is deliberately raw, which is perhaps unexpected by traditional Norah Jones standards, but it also has to be informed,” he said. “We were shooting for a tiny bulls eye, but we also had to make sure that everything felt unfettered and natural; just on the edge of scratchy so that it felt rough but didn’t actually hurt people. With the ATCs, I could find that line and make adjustments with confidence. I could tell where I was overcooking it on purpose. I could dial in just the right amount of ‘road house.’”

With the introduction of the ATCs, gone too is the need to translate for the client how a mix will sound outside of the studio. “After spending a lot of time in front of other monitors, I could tell when certain things would sound bad in the studio but fine outside of the studio,” Hamilton said. “The challenge beyond that, however, was convincing the client that those bad things would be fine later on, which is just one more thing to heap onto the already-skittish nature of an attended mix session. And so clients would ask, ‘why don’t you just get monitors that sound like it will sound like?’ It seems so simple, but of course it’s not.”

Hamilton used to switch between a number of monitors and loudspeakers all day long, but now he just hangs out on the ATCs. Depending on the task at hand, he can turn the ATC subwoofer on or not. “With the sub on and the volume cracked, the ATCs rock and serve as ‘mains,’” he said. “When I’m listening closely and resolving small moves, the ATCs are my nearfields. Either way, I now have complete confidence in what I’m hearing and doing. When a mix sounds good on the ATCs, I know it will sound good everywhere else. With Puss n Boots, we were able to make solid decisions that stuck. We totally avoided the hell of endless revisions!”


Hi-Fi Wigwam stunned by ATC SCM40

Hi-Fi Wigwam’s James Palmer absolutely loved our SCM40 floorstanders and reviews them in full for the Hi-Fi Wigwam website.

ATC SCM40 speaker_no grill-edit

Here are couple highlights from the review:

It’s what I want from HiFi. I want an insight, I want to feel like the Guitar amp is in front of me, the kick drums are not far behind and to feel involved in the music at a very live and connected level. Nothing else I have heard in a small living room has managed this feat. These do it with ease, they don’t shout at you, and don’t need to be played loud to sound their best,  they deliver whether you are listening to Steely Dan, or Metallica, JS Bach or Phillip Glass.

The bass is so taught, yet thunderously deep. My room is shockingly difficult for bass bloom, yet the ATC’s have everything under control. Deep and tuneful, in a way that is entirely new at WigWam towers. I know I’ve said similar before, about other speakers, mia culpa, these are better. Trust me, these are better.

The bottom line.. I’m sold. I can’t live without them. I need them in my life and will have to make the change. Putting my Living Voice OBX R2′s back in was pleasing and frustrating in equal measure. Yes, they are a lovely listen, but the lack of comparative  clarity and speed is something that I can’t live with. Many will disagree, in some systems the SCM40′s will sound too revealing. If the electronics are forward, they will sound forward and with this much detail that will be too much. Audition carefully, but please, do audition. In the right system, you would have to spend £10k to get anywhere close to this sound quality. Genuinely, you could piano gloss them and change the labels, hawk them round the European shows and sell plenty at £10k a pair…. erm… anyone know a French Polisher? I’m off.

James Palmer, Hi-Fi Wigwam, September 2014.


New ATC Dealer – Criterion Audio, Cambridgeshire

CA LogoATC have appointed a new dealer for Cambridgeshire.

Criterion Audio is opening soon, bringing the ultimate audio retail experience to the Cambridge area.  With its state of the art showroom and three purpose-built demonstration rooms, Criterion Audio marks the beginning of a new era for audiophiles.

On Saturday, 4 October Criterion will be having a Grand Opening event with live music, food and drinks.  Criterion staff and manufacturer representatives will be in attendance, including ATC’s Managing Director, Billy Woodman, to provide advice and answer any questions you may have.  VIP places include complimentary attendance and a guided tour of the showroom.  Spaces are strictly limited, so please confirm attendance before Wednesday, 1 October by emailing events@criterionaudio.com and mentioning the VIP code <ATC>

Criterion hope you can join them for an amazing sound and music experience!

 

 

4th October 12pm – 6pm

Criterion House

Camboro Business Park,

Oakington Road,

Girton, Cambridge

CB3 0QH.

01223 233730

events@criterionaudio.com

www.criterionaudio.com


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