We chose to use thicker,
denser MDF board because of its high rigidity and inherent low-resonance
characteristics.
We started with a 165mm
(6 1/2") sealed cube design with radiused edges.
We 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.
We 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 we 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, we recessed an industry standard 5/8”-27
mic
stand mount into the base.
Driver
Design
The
originals were a basic 5” stamped frame design.
We
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 designed & crafted
using the finest New Zealand pulp with mica fibers added for lighter weight
& rigidity.
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.
Amplifier Design
We designed 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.
REAR PANEL CONTROLS/CONNECTIONS
· BALANCED INPUT:
This “combo XLR” input
accepts a BALANCED male XLR plug as well as
a 3-conductor BALANCED TRS ¼” or a 2
conductor UNBALANCED TS ¼” male plug. For
unbalanced operation with a TS connector the
minus
signal is automatically grounded.
·
SYSTEM
GAIN:
This variable control
adjusts the sensitivity of the signal that
appears at the input. Rotating the control
clockwise increases the sensitivity while a
counter-clockwise rotation decreases
sensitivity. The adjustable gain range is
from -30 to +6 dB. A setting of +6 allows a
full, unimpeded signal to be sent to the
amplifier. The detented gain positions allow
for repeatable settings between speakers for
proper matching.
Please Note… when the signal
appearing at the input is too hot, the
amplifier can overload causing distortion
and possible damage to the speaker. If
overload occurs, attenuate (decrease) the
input level by turning the knob
counter-clockwise a few clicks.
·
ON/OFF Switch:
This
illuminated switch turns the amplifier
section on and off. The unit is still
receiving power from the transformer
however.
·
AC INPUT:
This input is
only
to be use with the proprietary
AVANTONE
Power Supply. Tighten the cable/connector
securely for reliable operation.
Note: There is a switch on the power
supply for selecting the proper AC/MAINS
operating voltage for your location.
·
GROUND LIFT Switch:
By engaging this switch the pin 1
shield is lifted at the input jack. This can
be used to aid in ground loop control of the
incoming analog line signal.
PLACEMENT
When positioning the
AVANTONE
MixCubes
on stands or console
bridges it is best to keep them at ear level
and slightly angled in towards the engineer.
Since
they are shielded it is ok to place them
near a CRT video monitor or TV without
causing any problems. The bottom mic stand
mounts will also allow you creative
positioning options in unusual studio
playback situations.
|
“…consistently flat in the midrange —
the same characteristics that made the
Auratone a valued listening reference.
They got plenty loud without distortion
and showed off the vocal, snare, toms,
upper range of the kick and solo
instruments in a number of mixes, just
as I expected. I'm a big believer in
listening to tracks across a wide range
of speakers. The Avantone Active
MixCubes offer another chance to
evaluate creative studio output and make
judgements regarding how my work would
translate across a wide range of
systems… these are a no-brainer for
those wanting another quick-and-dirty
reference to help in the quest for
tracks that translate.”
Kevin Becka
 Technical
Editor / MIX MAGAZINE
|
"...
the MixCubes yield a
microscopic-style view of critical
midrange
tracks-such as guitar, keys or
vocals-which would fall somewhere along
a crossover point on most other
monitors.
The Avant MixCubes are serious
audio tools that fulfill a necessary
role in any pro studio setup and at a
most reasonable street pricing of
$235/pair, there should be some square,
butter-cream speakers gracing your
meter bridge in the future."
George Petersen
Mix Magazine
“… as a proxy for bass-challenged
consumer playback systems, used
alternately with full-bandwidth
monitors, the MixCubes provide unique
and invaluable insight.… despite their
Lilliputian size and band-limited
response, these are not toys or
entry-level monitors. The MixCubes are
professional tools that provide a highly
useful alternate reference when in
pursuit of the perfect mix that will
translate well to consumer playback
systems. Simply put, these are
outstanding monitors. What's more, the
price is ridiculously affordable. The
Avantone MixCubes get my highest
recommendation.”
Michael Cooper
Electronic
Musician Magazine
“Back in the 70's we referenced every mix on the Auratone Cubes especially as a
final check on bass guitar and kick drum. 30 years later I finally gave them to
the kids because I got a pair of Avantone Mixcubes . We A/B 'd them and the Avantones are much better sounding than the Auratones, less midrange bump and
more accurate. We have already improved our bass sound. We love them!“
The Guess Who, Bachman-Turner Overdrive, Ringo Starr All Starr Band,Bachman-Cummings
"I've used them in mastering to check vocal,
low end and overall consistency from track
to track for 3 years or so. I've suggested
them to dozens of clients who have all had
great results using them in conjunction with
a full range speaker. How far out front is
the vocal? How is the kick compared to the
bass? How's the image? Hit that Speaker B
button, maybe also the Mono button, and off
you go..."
Bryan
Lucey
Magic Garden Mastering
"We are the first Italian
mastering studio to adopt your speakers as
second reference monitors. They are
incredible to check the midrange, especially
the right balance of the voice or the kick
and bass"
Alessandro
Giordani
Synchronia Studio-Rome
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------
SPECIFICATIONS:
|
SYSTEM TYPE: |
Active (Self-powered)
shielded full-range stereo pair
|
|
FREQUENCY
RESPONSE: |
90hz-17,000hz (Accessible Musical Range) |
|
DRIVER IMPEDANCE: |
Nominal 8 ohms
|
|
MAX SPL: |
104db 1 meter @ 1%THD
(PINK NOISE) |
|
AMPLIFIER: |
Class A/B |
|
AMP POWER: |
60 watts RMS@
.005% THD (1KHz)
|
|
AMP FREQ. RESPONSE: |
22Hz-50KHz +0dB/- 3dB (90Hz-50KHz
+/-0dB) |
|
NOISE: |
S/N -113 dB |
|
SENSITIVITY: |
0dBu (.775VRMS)
input at maximum volume (+6dB) =
104dB SPL |
|
COOLING: |
Convection / Heat Sink-Aluminum
Fins |
|
DRIVER: |
Proprietary
Design 5.25” Cast
Aluminum Frame / Paper Cone/Shielded |
|
CABINET: |
Sealed
design / 18mm MDF
/ Dacron acoustical
stuffing |
|
INPUTS: |
XLR & TRS (COMBO JACK) +4/Balanced and
-10 unbalanced
|
|
CABINET DIMENSIONS:
|
165mm X
165mm X 165mm (
6 1/2" x 6 1/2" x 6 1/2" ) |
|
CABINET WEIGHT: |
7Lbs 2 oz
/ 3.55 kgs
(per speaker) |
|
WARRANTY: |
5
Year Limited Warranty to original
purchaser |
Magazine by: Rob Tavaglione
