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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.
Billy Woodman 1946 – 2022
I am extremely sad to announce the death of my Dad, ATC’s founder and owner, Billy Woodman.
Dad passed away peacefully surrounded by his family on 21 July 2022, aged 76 years old. Although Dad had suffered with a number of health issues over the years, he had always defied the odds and recovered, his death has been a shock to us all.
Dad founded ATC almost five decades ago. His principles, philosophies, and absolute commitment to achieving engineering excellence are the foundation on which ATC is built. At the heart of this was outstanding transducer design and engineering that focused on achieving the best sound reproduction possible.
Dad’s emphasis on running ATC as a family business has remained and under his leadership and guiding hand, we have ensured that ATC has continued to grow and succeed with the constant support of fellow Director and lifelong friend, Bob Polley.
Dad was an extraordinary man, not only gifted as an engineer but also as a jazz pianist and undertook exquisite restorations of vintage cars. He was truly an exceptional man in every aspect of his life. He was one of life’s true gentleman and leaves a remarkable legacy. He inspired many, not least me, in how he led his life, always with courage, kindness and generosity.
The loss of my Dad is profoundly felt by not just me, my darling mum, Mumble, his grandchildren, his family, and friends, but the entire ATC family that he created and very much loved.
My family would appreciate some privacy during this incredibly difficult time.
Yours Faithfully,
Will Woodman
Managing Director
Loudspeaker Technology Ltd
ATC Launch SCS70 Pro and SCS70iW Pro 12″ Active Subwoofers
ATC are very proud to announce the availability of two new high-performance 12″/300mm active subwoofers, the SCS70 Pro and SCS70iW Pro, designed to deliver the exceptional levels of performance demanded by audio and music professionals and integral to partnering with ATCs range of renowned active studio monitors. Their performance and features make them ideally suited to stereo, multi-channel surround, and immersive audio formats such as Dolby Atmos. The SCS70 Pro has been designed for use free standing and the SCS70iW Pro has been optimised and includes features ideal for flush/in-wall mounting.
ATC SCS70 Pro
Advancing ATC’s proven philosophy of developing loudspeaker systems from component level up the subwoofers feature a new sub-bass driver, developed by ATC’s R&D team, and optimised for reproduction of the lowest four octaves of the audio band. To best achieve this, it is designed with a 30mm magnetic gap, 50% longer than any other offered by ATC. The long-gap and short-coil configuration takes a long-standing ATC design feature to its limit, minimising distortion while simultaneously delivering the high linear excursion required to produce accurate and dynamic low frequency output. Generating a high level of magnetic flux over such a long gap required extensive FEA computer modelling and the resultant 6″/150mm N48M Neodymium magnet is the most powerful ever assembled by ATC and a first for the company. As well as minimising distortion, the short-coil long-gap configuration ensures the voice coil remains surrounded by the steel motor structure at all times, maximising cooling, reducing power compression, and improving reliability. Turbulent air noise within the driver is minimised via a large, flared vent running through the centre of the motor structure, which has the added benefit of increasing voice coil and motor cooling.
The SCS70 Pro subwoofers deliver an extended low-frequency response without employing electronic equalisation, quite 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 monitor loudspeakers. Ultimately, it 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.
Drawing on 34 years of experience in amplifier design and development, ATC’s electronic engineering team have delivered an all-new amplifier for these two new subwoofers. The 300W class AB design is hand-built by ATC at their UK facility and precisely optimised to the requirements of the drive unit, resulting in fast, dynamic bass with minimal colouration. Two balanced inputs provide connectivity suited to both stereo and multi-channel/immersive audio systems plus two balanced outputs provide connections to monitor loudspeakers or to ‘daisy-chain’ multiple subs. Low-pass filters are analogue, 4th order Linkwitz-Riley and filter frequency options ensure optimal integration with a wide range of studio monitors. An industry-standard 80Hz low-pass and an ‘off’ option (for use with external processing) are also provided. A polarity switch plus a continuously variable 180° phase adjustment allows further optimisation of the subwoofer crossover and a stepped attenuator with a 21 dB range provides precise level matching.
ATC SCS70iW Pro
SCS70iW Pro
Integrating active subwoofers designed to operate ‘free-standing’ into control rooms designed for flush/ in-wall monitoring can be a challenge, but the SCS70iW Pro (In-Wall) is dedicated to this application, simplifying installation, and ensuring optimal performance. Featuring a shallower cabinet and recessed input connector panel it maximises floor space while the accompanying R1-300 Pro remote mounted 7U/19” amplifier offers the user the flexibility to install the amplifier in-wall close to the subwoofer, in a control room rack or in a machine room. Connection between the in-wall sub and remote amp is via NL4 speaker cable and 5-pin XLR cable (sold separately & available in multiple lengths).
Output of the SCS70 Pro can be muted via a single latching footswitch connected via the mute Input ¼” / 6.35mm jack). Additional subwoofers can be muted using the same footswitch, connected via the mute ‘Thru’ jack.
The size and performance of the SCS70 Pro make it the ideal partner for a wide range of ATC studio monitoring loudspeakers, including the SCM12 Pro, SCM20A Pro, SCM25A Pro, SCM45A Pro and up to and including the SCM50A Pro. Multiple subs can be employed to elevate performance, to fill larger rooms and also when partnering with larger models of loudspeakers. Buffered linkable inputs and outputs makes connection of multiple subs simple as does the linkable ‘mute’ circuit. Surround and Immersive Audio formats can be particularly demanding of subwoofers and these two new designs both offer exceptional clarity at higher SPLs. It is recommended that the Dolby Audio Room Design Tool (DARDT) should be used to aid the design of ATC monitoring systems for Dolby Atmos, ensuring the format guidelines are met and best possible performance is achieved.
Designed and engineered with a focus on resolution and integration, the SCS70 and SCS70iW Pro offer users additional low frequency extension and dynamic range but without compromising balance in the upper bass and lower mid-range. They provide an upgrade path to customers owning smaller monitors and lacking space for larger mid-field or main monitors whilst also offering a greater choice for surround and immersive audio applications. Whichever way anyone chooses to use them, the new SCS70 Pro and SCS70iW Pro are two strong additions to the Professional Series product line-up.
The SCS70 Pro and SCS70iW Pro are available now. For a list of authorised ATC distributors and dealers, please see here.
The SCS70 Pro UK recommended retail price is £3125 + VAT.
The SCS70iW Pro UK recommended retail price is £3750 + VAT (inc. R1-300 Pro remote amp).
For pricing in your country/region, please contact your local ATC representative.
SCS70 Pro & SCS70iW Pro Product Webpage
SCM7 Reviewed by Hi-Fi Critic
Our most compact and affordable loudspeaker, the SCM7 has been reviewed by Martin Colloms, writing for Hi-Fi Critic magazine.
“This is a remarkable loudspeaker on several grounds. Firstly build quality and finish are excellent. Then comes the monitor grade accuracy, excellent pair matching and the remarkable bass for the size, and then the low distortion. It sounds musical and entertaining and was a delight to review. Within the natural limitation of size it really is of musically revealing monitor quality.”
Martin Colloms, Hi-Fi Critic, June 2020
To read the review in full, download the PDF HERE.
MUSCLE SHOALS LEGENDARY FAME STUDIOS REVITALIZES STUDIO B STARTING WITH ATC MONITORS
MUSCLE SHOALS, ALABAMA – OCTOBER 2019: Built in the 1960s by Rick Hall, FAME Studios in Muscle Shoals, Alabama was the first and most prominent studio to curate the Muscle Shoals Sound, a unique and ultimately ineffable combination of country, gospel, rock, and soul. Listed in the U.S. National Register of Historic Places. FAME Studios recorded hits by Aretha Franklin, Clarence Carter, Otis Redding, Wilson Pickett, Gregg Allman, and countless others who shaped the face of modern music. It has been in continuous service since it opened, with modern recordings by Jason Isbell, Blind Boys of Alabama, Alison Krauss, The Revialists, Keb Mo’, Demi Lovato, Steven Tyler, the Raconteurs, and Alicia Keys. FAME operations are handled by Rodney Hall, who recently teamed up with Grammy Award-winning producer and engineer Glenn Rosenstein to revitalize the control room of FAME Studio B (paired with a live room that Rosenstein considers one the best in the world) with structural changes, new equipment, and a pair of ATC SCM45A monitors.
“I was deeply influenced by the music that came out of Muscle Shoals,” recalled Rosenstein, who has worked with U2, George Clinton, The Ramones, Madonna, James Brown, Talking Heads, and others. “So, I was thrilled in the mid-1980s to get a call from the late Muscle Shoals Rhythm Section member Jimmy Johnson. He was producing an album for Lynyrd Skynyrd and asked if I would mix. We finished that project and shortly thereafter teamed up on Gary Rossington’s solo album, which cemented our friendship. We worked together over the past thirty-plus years, and recently I started spending more time in the Shoals area. When I needed to track drums or do other ‘big studio’ tasks, I went to FAME Studios and fell in love with the live room in Studio B.”
Rick Hall built Studio B in 1967 due to the overwhelming demand for Studio A. Early incarnations of what would become The Allman Brothers Band put Studio B through its paces immediately after its completion. During large Studio A sessions, Rick would record the horn arrangements in Studio B while other elements were recorded in Studio A. Hits recorded in Studio B include “Hey Joe” by Wilson Pickett, “Greenwood Mississippi” by Little Richard, “I Loved Her First” by Heartland, Sirens Of The Ditch album by Jason Isbell and Dirty South album by the Drive By Truckers. Studio B also hosted Jimi Hendrix, who recorded the song “Mojo Man” there. The song was released a year ago as part of the Jimi Hendrix People, Angels & Hell retrospective project.
In an illustrious career spanning nearly four decades, Rosenstein has worked in almost every major recording studio in the country. “FAME’s Studio B is one of the finest live rooms anywhere,” he said. “I discovered this about a year-and-a-half ago, when I was cutting vocals in B with Whitney Woerz for my record label, 600 Volt/Sony. Rodney [Hall] dropped in, I told him I was getting some of the best vocal sounds I had ever heard, despite the fact that the control room equipment was average. How was this gem of a studio not being used more frequently?”
Despite the fact that Rosenstein has a studio in Nashville and two home studios near Muscle Shoals, he felt compelled to partner with Rodney Hall & FAME to help bring Studio B to the glory it deserved. “The control room was small and needed to be refreshed,” he said. “Its original UA console had been loaned to the Alabama Music Hall of Fame, and there was a control surface in its place. The next thing I knew, Rodney and I were pulling down walls to expand the size of the control room. We contacted Paul Savasta at Odyssey Pro Sound to broker our console purchase – he found us Stevie Ray Vaughan’s SSL 6000 E Series. We are in the process of restoring the original UA console to serve as a side car. Most importantly, we didn’t touch the live room”
He continued, “It was like archeology, pulling off walls that had been built on top of walls. Many of the surfaces hadn’t been exposed in over fifty years. There were a lot of smart design elements that we used to our advantage, and the room now competes with the best of modern acoustic design.” Rodney Hall added, “I’ve had people ask, ‘what would your dad think of this renovation?’ I’m sure he’d love it! He was always changing things, always updating equipment and aesthetics. We even outfitted a private lounge attached to the control room that had previously been a tape vault. So, it’s got a really cool vibe. You can hang out in there with the Otis Redding masters.”
The choice of ATC SCM45A monitors was not a difficult one for the team. “I’ve used virtually every high-end monitor available, and ATCs always speak to me,” Rosenstein said. “In this room, we’re treading lightly on the shoulders of greatness – if we’re going to equip the studio with the kind of gear that represents that kind of legacy, then ATC was a natural choice. I know that ATCs are an amazing draw that make a clear statement about the caliber of this room. Moreover, we were careful not to pigeonhole Studio B in any particular genre. We wanted a fully-modern room capable of delivering on the Muscle Shoals sound, sure, but also on anything else – EDM, pop, country, you name it. ATCs cut across genres because they reveal a true picture of the work.”
He concluded, “To go from a young fan of the Muscle Shoals sound… to now having some partnership in its most iconic studio… I never would have guessed that would be possible. But here we are, and here we go!”
ATC products are distributed in the U.S.A. by Transaudio Group.
