The Avantone Active Mixcubes are designed to be high-resolution, full-range powered mini-reference monitors for fixed or remote locations.
The secondary engineering facet was to create a timeless design that compliments a single full-range transducer.
Studios primarily use 2-way3-way larger monitors designed to represent a wide range reference viewpoint at higher listening levels. However, in this newly developing age of High Definition Audio, there is still a need to also hear what your mix will sound like when played back over smallBass-challenged systems such as televisions, clock radios, computers, car stereos, iPod docking stations, etc. It is important to make mixing judgments based partially on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full range drivers.
Particular attention is always paid to the critical mid-range vocal/guitar/keyboard areas. This is where having a full-range monitor without a crossover is truly revealing. Ten months of R&D comparative listeningtweaking went into the voicing of the AVANTONE MixCubes. The result is a very smooth sounding, full range upgrade from the original 5C Sound Cubes. Listening tests reveal that the MixCubes have a smooth, more open, transparent top end response with extended bass while maintaining their basic original character.
The original 5C Sound Cubes were made of particleboard covered with a glue-on wood grain contact paper. They chose to use thicker, denser MDF board because of its high rigidity and inherent low-resonance characteristics. They started with a 165mm (6 1/2") sealed cube design with radiused edges. They then chose an elegant Polyurethane high gloss "RETRO-CREAM'' finish. The originals had either screws or on later models plastic binding posts mounted on a recessed plastic cup. They upgraded to high-end nickel plated, machined solid metal binding posts (Dual banana spacing) mounted on a black anodized ,milled and silk-screened aluminum terminal plate. Next, they added a 7mm thick neoprene pad embedded into the base of the cabinet to serve as a skid-resistant acoustic isolator. Additionally, for creative mounting situations, they recessed an industry standard 5/8''-27 mic stand mount into the base.
The originals were a basic 5'' stamped frame design. They designed a proprietary 5.25'' die cast aluminum frame driver/cone assembly to exceed the performance of the originals. The mounting bezel is then polished for an elegant appearance. The paper cone, chosen for its musical character, is custom designedcrafted using the finest New Zealand pulp with mica fibers added for lighter weightrigidity. The cloth surround is made in Japan to exacting uniform thickness tolerances. The Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel enabling the highest modeled flux density in the gap. The magnets are Y- 40 GRADE (MIL-SPEC) yielding a 43oz. High Power-low distortion motor structure.
The amp module from the ground up to be a true professional-grade amplifier. It incorporates "overkill'' concepts in component selection as well as safety. The result is a "no-compromise'' amp with robust headroom characteristics that will rival the performance of much higher priced studio rack mount amps.
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