Latest News
New Album Gemma Sherry, Gazing at Stars – Sponsored by ATC
ATC is excited to announce a new album by vocalist, Gemma Sherry, ‘Gazing at Stars’.
The album is sponsored by ATC and you can listen and buy the album via Gemma’s Bandcamp page.
“Words can’t express how much joy is brings me to put music out into the world. It was an absolute honour to play with two absolute legends, Kenny Baron and Ron Carter.”
The album was recorded at Sear Sound, New York by, Chris Allen.
Mixed by, Clint Murphy.
Mastered by, Ryan Smith at Sterling Sound Nashville.
ATC LAUNCHES C4 SUB MK 2 ACTIVE SUBWOOFER SYSTEM
New proprietary 12-inch driver, optimised motor mechanics and a 300W Class AB amplifier combine to deliver exceptional levels of performance for audiophile music and film devotees.
World renowned for its signature high output, low-distortion audio engineering and trusted by musicians, studios, live sound engineers and audiophiles over five decades, The Acoustic Transducer Company (ATC) is proud to announce the production of the C4 Sub Mk 2 active subwoofer system. Designed to unite the highest standards of driver and electronics engineering in a single system, the C4 Sub Mk 2 deploys the all-new proprietary 12-inch SS75-314SC sub-bass driver, powered by a newly developed 300W class AB amplifier design, both elements hand-built and installed within a substantial cabinet at the company’s Stroud-based production HQ.
New ATC Sub-Bass Driver
The C4 Sub Mk 2 features the new SS75-314SC sub-bass driver, the first to be purpose-built for an ATC sub-bass system and developed by the R&D team to reproduce the lowest four octaves of the audio band. In order to achieve this the design exploits ATC’s signature long-gap/short-coil configuration to its natural limits with an exceptionally long 30mm magnetic gap, surrounded by a 6-inch/150mm N48M Neodymium magnet – the most powerful ever assembled by ATC and a first for the company. In support, the wholly redesigned motor system features a new rubber roll-surround for high excursion capability, a new spider for optimised compliance geometry, and high flow motor venting for low noise and compression.
As well as minimising distortion, this unprecedented short-coil long-gap configuration ensures the voice coil remains within the motor structure – even at high drive levels – maximising cooling, reducing power compression, and improving reliability. Turbulent air noise within the driver is minimised by a large, flared vent running through the centre of the motor structure, which has the added benefit of increasing voice coil and motor cooling.
Consequently, the C4 Sub Mk2 delivers an extended low-frequency response while avoiding electronic equalisation, unlike many subwoofers available today. Instead, the more elegant combination of exceptional transducer engineering and a marginally larger cabinet volume is used. The simplicity of this approach reduces phase shift and group delay, aiding the integration of the sub with the partnering loudspeakers.
New 300W ATC Amplifier
The all-new 300W class AB design is precisely optimised to the requirements of the new driver, resulting in fast, dynamic bass with minimal colouration. Two balanced line inputs provide connectivity for stereo or AV/home cinema systems while two balanced outputs are available to feed partnering ‘main’ stereo loudspeakers or to ‘daisy-chain’ multiple subs. Low-pass filters are analogue, 4th order Linkwitz-Riley, with filter frequency options ensuring optimal integration with partnering speakers. In addition, an industry-standard 80Hz low-pass filter and an ‘off’ option (for use with external processing) are joined by a polarity switch, variable 180° phase adjustment and a stepped attenuator over a 21 dB range for precise level matching.
The C4 Sub Mk 2 Cabinet
Hand-built and finished at ATC’s cabinet factory and sharing styling with the brand’s ‘Classic’ and ‘Tower’ series loudspeakers, the C4 Sub Mk 2’s 70 litre cabinet employs 25mm/1-inch thick panels and heavy bracing. It’s available in standard Cherry, Black Ash, Walnut and Oak real-wood veneers, as well as Satin Black and Satin White finishes, or in premium Rosewood, European Crown Cut Walnut, Burr Magnolia and Pippy Oak real-wood veneers, with the option of high gloss over veneers and black/white piano lacquers also available.
In-Use
The size and performance of the C4 Sub Mk 2 make it a natural complement for ATC SCM19, SCM20, SCM40, SCM50 and SCM100 active/passive systems and high performance loudspeakers of a similar size. Multiple subs can be employed to further elevate performance in larger rooms or when partnering larger loudspeakers. Buffered linkable inputs and outputs make connection of multiple subs easy.
Designed and engineered with a focus on resolution and integration, the C4 Sub Mk2 delivers a more balanced and coherent experience for the listener, extending the low-frequency response without masking details or changing the tonal character in the upper bass/lower mid-range. It provides an upgrade path to customers owning smaller loudspeakers and lacking space for larger stereo loudspeakers whilst also strengthening ATC’s options in AV applications.
For further information and photographs, please see the C4 Sub Mk2 product web page.
Pricing and Availability
ATC C4 Sub Mk 2 typical UK retail prices (each, inc. 20% VAT):
Standard finishes: £3990
Premium finishes: £4750
Add high gloss lacquer over veneers: +£1979
Piano black/white: £6140
The subwoofer is available to order immediately.
For pricing and availability outside the UK, please contact you local ATC dealer or distributor – ATC – Where to Buy
VANCE POWELL INSTALLS ATC MONITORS FOR SPUTNIK SOUNDS DOLBY ATMOS IMMERSIVE STUDIO
Nashville, Tennessee – October 2023: Vance Powell recently completed a studio makeover at Sputnik Sound, installing the popular ATC 7.1.4 Dolby Atmos monitor system to add the future of immersive surround sound to his arsenal. In 2014, Powell, an innovator in studio design, teamed up with producer Mitch Dane in a rambling house in the famed Berry Hill section of Nashville, naming it Sputnik Sound and filling it with virtually every audio tool past and present. A producer, engineer, mixer, and winner of seven Grammy awards, his credits read like a Billboard list of chart-topping artists: Phish, Chris Stapleton, Jack White, The White Stripes, The Raconteurs, and Buddy Guy for starters. His career has spanned from working with Jars of Clay, to a chief-engineer role at Blackbird Studios, to outside work with many of Jack White’s groups. With his new Dolby Atmos room, Powell has complete control to mix immersive audio in his singular style.
As soon as Dolby Atmos Immersive Sound Systems hit the marketplace, Powell was on it. Consulting with the Dolby engineers and famed studio designer Michael Cronin, Powell tore apart his existing control room, totally rebuilt the front wall, re-installed his existing SSL 6000 console and selected ATC monitors for his 7.1.4 system. For left and right configuration, Powell chose the ATC SCM110ASL, an active three-way reference monitor with high-resolution, featuring twin nine-inch ATC “SL” bass drivers, an ATC three-inch soft dome midrange, and an ATC one-inch “S-Spec” soft dome tweeter. The center channel is handled by an ATC SCM50ASL, the company’s benchmark design for a world-class loudspeaker with a sweet-sounding, refined ATC tweeter, ATC soft dome midrange and massively engineered ATC bass driver. Four ATC SCM25A three-way active studio monitors deliver for the surrounds and four ATC SCM12i two-ways for the overhead channels, again all featuring ATC drivers. Dolby engineers worked with Powell for exact speaker placement. The LFE emanates from an ATC SCM0.1/15 Pro Sub capturing the low end with clarity and efficiency.
Dolby Atmos Immersive Sound promises to give the listener the feeling of being in the room with the musicians, noted Powell. “ATC monitors have always impressed me for their clarity and tonal balance. Same goes for the ATC Atmos system performance in immersive audio. It’s perfectly nuanced listening and meets all Dolby standards. All this technology helps me fully realize great music. I’m really happy in this room.” Powell recently completed the Atmos mix of The War and the Treaty’s Lover’s Game album and the 49 Winchester’s Fortune Favors the Bold. “The new Atmos system allowed me to give these already beautiful, organic records an added layer of depth,” said Powell.
“If you’re ready to bring your studio into Dolby Atmos, listen to an ATC system. Their sound is so musical and accurate, somewhat hard to describe,” added Brad Lunde, president and founder of TransAudio Group, ATC’s U.S. distributor. “But when you hear them, you’ll know exactly what I’m talking about.”
ATC products are distributed in the U.S.A. by Transaudio Group.
ATC 7.1.4 IMMERSIVE STUDIO MONITORS CO-STAR IN STARSTRUCK STUDIOS’ DOLBY ATMOS ROOM
NASHVILLE, TENNESSEE – SEPTEMBER 2023: ATC Loudspeakers legendary reputation just got better. And why not? Top studios worldwide are accustomed to their pristine sound. Today, the ATC 7.1.4 Dolby Atmos system is cited as the speaker system of choice for the growing number of multichannel immersive sound studios. Manufactured and designed in the UK to the highest engineering standards, it was only natural ATC could develop this solid niche. One of the top iconic Nashville recording facilities, Starstruck Studios, chose an ATC 7.1.4 Dolby Atmos configuration and paired it with their SSL System TS-500 console for their Dolby Atmos room.
Starstruck Entertainment, the parent company of Starstruck Studios was founded in 1988 by Narvel Blackstock, who remains in control. Over the last 25 years, Starstruck has developed and managed top selling acts, including Blake Shelton, Carly Pearce, Maggie Rose, Emily Ann Roberts and have recorded artists such as Carrie Underwood, Luke Bryan, and Taylor Swift in their studios. Famed for its’ unique studios – The Gallery and The Pond – Starstruck opened their Dolby Atmos room in the spring of 2021. Starstruck ranks as one of the most chosen recording, production, and mix venues on Music Row. Top recording engineers, such as multiple Grammy-award winner Chuck Ainlay, frequent the facility.
Noted Nashville-based acoustician, Michael Cronin, Michael Cronin Acoustic Construction, designed and built the mix room at Starstruck. Cronin, an expert at meeting Dolby’s strict guidelines, re-worked Starstruck’s existing lounge and listening room into a Dolby immersive sound studio. Cronin had years of exposure and experience with ATC speakers and suggested the ATC Dolby Atmos system would work perfectly in the new studio. Narvel Blackstock and the Starstruck staff engineers concurred as most were familiar with ATC monitor performance and value. The ATC system purchase was made through Westlake Pro Audio in Nashville.
Shawn Daugherty, Starstruck’s chief technical engineer, installed, calibrated, and integrated the immersive system room. The ATC 7.1.4 system is composed of three ATC SCM110A Pro handling left-center-right, four ATC SCM45A Pro for surrounds, four ATC SCM25Ai Pro for height, and two ATC SCM0.1/15 subwoofers. Noted Daugherty, “Accuracy, placement and performance are strategic in meeting the specifications of a Dolby Atmos system. The ATC system was strikingly easy to calibrate. In fact, when the Dolby engineers came out for the final tuning, they literally could copy and paste settings from one speaker to another – somewhat of an audio rarity. The ATC’s detailed tonal balance and exact reproduction makes it hard to imagine working in a studio that doesn’t have them.” One of the first recording engineers to use the Dolby Atmos room was Derek Bason, who was mixing tracks from Carrie Underwood’s catalog into Dolby Atmos.
Todd Tidwell, Starstruck’s chief engineer, concluded, “The ATCs live up to the hype and are worth every penny you pay for them.” He used the system for various projects for Carly Pearce in the July 11 CMA Fest in Nashville. “The ATCs are a joy to work on. I’m super confident I’m hearing every detail from every angle. Basically, you just have to hear it for yourself.”
ATC products are distributed in the U.S.A. by Transaudio Group.
ATC announces SCM25A Pro Mk2 – compact, three-way active studio monitor as evolution of popular predecessor…
ASTON DOWN, GLOUCESTERSHIRE, UK: ATC is proud to announce upcoming availability of the SCM25A Pro Mk2, a compact, three-way, high-performance active monitor — maintaining the core of its popular predecessor from which it evolved while refining key areas of design and performance, including replacing the original SCM25A Pro’s OEM (Original Equipment Manufacturer) high-frequency driver with the specialist British manufacturer’s own ‘S-SPEC’ SH25-76S soft-dome, dual-suspension tweeter, as fitted to the two-way SCM20A Pro and larger, three-way SCM45A Pro, SCM50A Pro, SCM100A Pro, SCM110A Pro, and SCM150A Pro models since 2015.
As a compact, three-way, high-performance active studio monitor, the SCM25A Pro Mk2 is based around a 6.5”/164mm bass driver loaded in a vented enclosure, tuned to 32Hz and featuring a 3”/75mm diameter port with flared entry and exit to minimise port air noise. It’s exceptional combination of exceptional mid-range clarity; high-output, extended bass response; and modest 25-litre/0.9 cubic foot size make it ideal for nearfield monitoring across a wide range of critical applications.
All new to the SCM25A Pro Mk2 is its high-frequency driver, replacing its popular predecessor’s OEM part with its own ‘S-SPEC’ SH25-76S, which is manufactured in-house with a no-compromise engineering approach (as fitted to the two-way SCM20A Pro and larger, three-way SCM45A Pro, SCM50APro, SCM100A Pro, SCM110A Pro, and SCM150A Pro models since 2015). This driver is a 1”/25mm soft-dome design, handling high frequencies above 3.5kHz, but, unlike almost any other 1”/25mm tweeter on the market, it employs both an upper and lower suspension to better support and control the coil and dome motion. This, therefore, makes for a narrower magnetic gap, resulting in higher magnetic flux, which, in turn, extends the high-frequency response and reduces 3rd harmonic distortion. As ATC R&D Manager Richard Newman notes, “We feel the new tweeter lifts the capability of the SCM25A Pro Mk2 to a higher level, retaining the outstanding balance of the monitor, but extending the high-frequency response and reducing distortion to really help lower-level detail in the high-frequency band cut through. This will greatly aid faster decision-making and outstanding translation outside of the studio.”
Meanwhile, mid-band frequencies between 380Hz and 3.5kHz are handled by ATC’s acclaimed 3”/75mm soft-dome mid-range driver, duly combining high-efficiency, high-power handling, low distortion, and wide dispersion characteristics to ensure class-leading performance for the SCM25A Pro Mk2 in this critical frequency range. As a mainstay of ATC’s Pro product range, this component features in eight models, making certain consistency spans from nearfield through to main monitors.
Mid- and high-frequency elements are supported by a 6.5”/164mm proprietary bass driver that takes care of the SCM25A Pro Mk2’s low frequencies below 380Hz. This features a carbon-loaded paper cone while the driver motor employs a short-coil operating in a long magnetic gap, helping to minimise distortion generated by drive force modulation. Additionally, a large 2”/50mm voice coil and generous excursion capability ensure outstanding dynamic range.
Rear-mounted, a three-way class A/B amp actively drives the SCM25A Pro Mk2 with each drive unit having its own dedicated power amplifier. Audio balanced input is via a rear panel-mounted three-pin XLR and power is via an IEC mains power inlet. Input sensitivity and Bass boost controls are also accessible to the user. Ultimately, crossovers are 4th order Linkwitz-Riley and all-pass filters are included to optimise the phase response through the crossover regions, improving the tonal quality and imaging, as well as on- and off-axis frequency response. Furthermore, FET (Field-Effect Transistor) peak limiters are included to reduce amplifier ‘hard-clipping’, while Power/Limit is indicated — ‘on’ and ‘active’ — by a front panel-mounted bi-colour LED. Just like the cabinets and loudspeaker drive units, the amplifier is designed and manufactured in-house.
The SCM25A Pro Mk2 carries a UK retail price of £7075 per pair + VAT and will be available from 1st March (country/region dependent).
For more in-depth information, please visit the dedicated product web page here.
For availability and pricing internationally, please visit the ATC website to find a distributor here.
ATC SCM40A awarded by Audiograde & Stereonet as ‘Best of 2022’ and ‘Product of the Year ’22’
Our SCM40A active 3-way loudspeaker has proved very popular in 2022 and the press agree with Audiograde featuring it in their ‘Best of 2022’ and Stereonet UK also featuring it as one of their ‘Products of the Year ’22’.
“This brand knows a thing or two about studio grade audio, so when it decided to fit three Class AB amps into its already acclaimed SCM40 speakers we knew they were going to be something special. Put simply these speakers make the case like few others for the active path, they’re exceptional.” Audiograde, December 2022.
To read Audiograde’s SCM40A review in full, click here to visit their website.
“The delights of active operation for hi-fi loudspeakers have long been known, but few manufacturers venture from passives. All the more surprising, when you consider the sonic fireworks that have resulted from ATC turning its already excellent SCM40 floorstander, and adding internal Class AB power amplification and active crossovers. Put simply, the SCM40A punches way above its weight – turning it into a giant killer at a still reasonable and accessible price. Great clarity, power, dynamics and punch make for a highly expressive listen – one that makes music move you.” Stereonet UK, December 2022
To read Stereonet’s SCM40A review in full, click here to visit their website.
