Review: ADAM A77X
The first-class ribbon in ADAM’s conveniently disguised 3-way studio monitors extend all the way out to 50kHz.
By Guy Harrison
20 April 2012
For the A-X incarnation of the ADAM studio monitor range there has been considerable design refinements. To begin with, the ART tweeter now has an X-factor. This time, the usually hyperbolic postfix signifies an extended frequency response, right out to 50kHz (-3dB). While it may sound like a stat for your dog’s pleasure only, it’s a recognised fact that although inaudible, frequencies above 20kHz have a harmonic relationship with those within our hearing spectrum. Making it beneficial to reproduce them. There’s a reason Neve designs mic pres that will pass 150kHz. As well as an improvement in frequency response, the efficiency of the X-ART tweeter has improved in this re-design from 92 to 96dB/W/m.
An improvement in frequency response at the tweeter end is a mute point (pun intended) if the amp is not capable of delivering the necessary frequency bandwidth with low distortion. This conundrum has seen ADAM develop its own Class AB topology amplifier circuit capable of delivering an ultra wide 300kHz.
THERE IS A THIRD WAY
On first observation it would be fair to assume that the A77X is a two-way design but when you open the boxes you’ll find designations of Speaker A and Speaker B. The A77X is in fact a three-way design with one speaker covering the entire range up to the crossover point at 3kHz. The other speaker is being employed for low frequencies only, rolling off at 400Hz. The three-way design means dedicated left and right speaker positions are employed, with ADAM suggesting that the speaker dedicated to low frequency should be on the inside.
RIBBED IN
On firing up the A77Xs – after Cris at Federal graciously ran them in – I was initially taken aback by the abundance of bottom end. I was using the speakers near a rear wall so it came as no surprise that the bottom end would need taming to compensate. I reined it in with the onboard shelving EQ but somewhat worryingly it wasn’t until I had wound out to the –6dB point (the limit of the low shelving EQ) that the A77X’s seemed balanced. Not a concern per se, but be wary if you plan to place these speakers in a corner.
Once reined in, the A77Xs revealed their true character. I played my standard reference tracks, which varied from super smooth ’90s jazz/funk through to current pop and metal. The A77Xs conveyed all with alarming realism. Highs were open and very smooth. Female vocals sounded particularly natural. The mids were revealing without being overly forward. And the lows are particularly authoritative, as you would expect from a three-way design.
Of particular note was the outstanding stereo imaging and enormous sound stage the A77Xs present. The wide dispersion of the ribbon tweeter makes for a larger than usual sweet spot so that guy who insists on sitting in on the mix beside you will be as impressed as you are. It’s not only in the horizontal plane that the A77Xs excel; front to back depth is outstanding with reverberant spaces brilliantly defined and the transients of snares breathtaking.
NEED TO KNOW
The A77X’s conveyed all with alarming realism
SMOOTH TRANSITION
When mixing, the A77Xs took me a little time to come to terms with – mostly due to the smoothness of the mids and highs. Over time I came to really enjoy them and mixes translated well to other systems.
The A77Xs are a new addition to the ADAM range and with its side orientation will be welcomed by those with big mixing consoles with high meterbridges. I personally would have liked to see a little more control in the EQ department to deal with the inevitable room resonances of project studios. That said, if your finances have stretched to a large console with a high meterbridge then you are probably in a well thought out acoustic space. And it’s in this market these speakers are well and truly aimed. To that end, the Adam A77Xs are an outstanding monitoring solution.
RESPONSES