DAW & Outboard

Working with this kind of great equipment feels like a big political/social step to me. While in recent times the highest quality was available only from institutions, studios or millionaires - with bell ringing, competition and some necessary or resulting deflection - it has become quite accessible today. Moreover, it is housed in a boxes, not on multiple floors.

img Outline of the requirements: the DAW is being used as an electronic instrument with single outputs and it can record everything simultaneously (also the participating acoustic instruments). It is also optimized for everyday life (still stereo) - as a production studio, with all the trimmings (lncluding Mastering) - the quality preferably audiophile and high resolution (up to 192kHz). The mobility has to be guaranteed - this includes small size, low weight and a possible simple assembly and disassembly.

With the below described, exclusive, but quite reduced hardware it's possible to work with up to 32 channels I/O, in a technical reference class.

My preferred Sampling Rate for performance, recording and editing is 96 kHz. In 192 kHz my Macbook Pro is too heavily burdened. The big change to 44,1 kHz happens at approximatey over 90 kHz - the difference from 96- to 192 kHz is not that obvious.


The Metric Halo ULN-8 and Metric Halo LIO-8 are a super-extra-class audio-interfaces and the heart and frontend of my DAW. Eight fantastic microphone preamplifiers, which can be colored through emulations (physical models) of famous preamps. img High end AD-DA conversion, internal 80-bit processing with it's own processors, hardware and software excellent designed and stable. Even hifi freaks rejoice about the headphone amplifier. The two built-in DI inputs are better than usual - these audio-interfaces may appear large and expensive at first glance, but on closer inspection they are small and extremely reasonable! ULN-8 replaces hardware which is 10 times more expensive and has to be transported in huge and heavy flight cases.

Unlike the fully equipped ULN-8, the LIO-8 comes without mic pre's and +DSP license, but can subsequently be fully upgraded and is then identical to the ULN-8. For cascaded interfaces it is sufficient if only 1 unit has the + DSP license. The main plugs, like Channel Strip and Reverb, work without the +DSP license.

The software Console V5, which comes with the ULN8, brings a wealth of fine PlugIns and allows free configuration of the audio interface as a mixing console. img It can be controlled with MIDI controllers or Euphonix/Avid controllers in real time. In addition, Console V5 is able to record more than 100 tracks at the same time without using DSP energy from the host-computer. A DAW host-software will be needed first when editing takes place.

Monitoring, mid-side band, analog summing and much more is also possible with Console V5.

An abundance of fine PlugIns (EQ, Compressor, Limiter, Gate, Delay, Reverb, Transient Designer, etc.) are included in the +DSP package. Live-, Editing- or Mastering-setups can be saved and recalled. img

Specific ideas can be realized and implemented on the graph-level - complete studio processors can be build with the building blocks. The smaller audio interfaces of Metric Halo can also be recommended without reservation. In 10 years of experience with this company and its products there really is no comparison! The ULN-8 is a stroke of genius!

There is also a Metric Halo Studio PlugIn-Bundle, which runs native (AAX, VST, AU, OsX or Windows)! img A special feature are some built-in functions of SpectraFoo which offer perfect (optical) monitoring. The operation is intuitively managable and the PlugIns are amazing! On the Character-Plugs the drive can be regulated.

With SpectraFoo Metric Halo also offers another fantastic analysis software that make these devices also a first choice for sound engineers. For the most of us the standard version of the software is great and makes really perfect metering available! There is a full version, you can even use to to measure halls.

I use a small Lenovo ThinkVision LT1421 USB monitor which is dedicated for SpectraFoo (in my setup). i'm very content with this solution.

Since the ULN-8 and LIO-8 are coming with a lot of connections, they have D-Sub25 connectors. It means, some multicores or stageboxes will be needed:

The Mamba XDB has been specially designed for the ULN-8. I have not opened it, but it looks extreme well built! It is the newest addition for making my life easier. It offers 16 analog inputs, 8 analog outputs and 8 digital AES IN/OUT in both, the Tascam and the Yamaha format. A nice side-effect is: due to the shallow depth, the Mamba creates some - in my case - needed space (for power supplies etc.). img Considered that there may be too many plugs (3 instead of 1) in the game for staying in audiophile purity, the Mamba in daily work, transportation etc. is fantastic. The D-Sub25 connectors don´t have to be deducted every time! They are even not designed for frequent changes (appr. 1000x). For special situations ("highest end of my recording posibilities"), I also use custom stage boxes, which are connected directly to the audio-interfaces. I will compare both solutions soon. I don´t believe that i will hear any differences.

Because the Mamba has been developed especially for the ULN-8, I find it "an unhappy solution" that the first 8 inputs are fitted with Combo-connectors - if the first 8 inputs are used as microphone inputs (as intended), it is a real source of danger. For me, phantom power and TRS plugs just do not belong together. In my oppinion XLR would have been the better choice. imgTo be safe I´ve plugged rubber pins into the TRS-slots of the first 8 Combo connectors.

Since my LIO-8 is equipped with four Mic Pre's, I use one stagebox (12 IN) for the microphone inputs of both audio-interfaces: 1-8 to ULN-8 and 9-12 to LIO-8 . The box has Neutrik sockets, a 12 channel Mogami multi-core and at other end a Y-piece with two D-Sub25 plugs.

It is worthwhile to make customized solutions with preferred cables. The used plugs, size, shape and material may thus promote the workflow better. In addition to some "exotic" (Vovox, Isoda a.o.) I have some 4-12-channel Mogami Snakes. My patch cords Mogami W2549. The XLR connectors are Neutrik (NC3FX / NC3MX).


I had worked in the virtual "MH Console 5" exclusively for many years. After my departure from Basel, where a large Studer console stands, "Console 5" in conjunction with ULN-8 was almost unrivaled. By good luck, a (historical) STUDER 961, the smallest variation of the 960s series, is part of my studio since 2016 to improve the possibilities and the sound.

img The 961 is mainly used (by me) as an analog summing mixer (with Inserts and Auxes). Due to the construction (transformers) analog "tracking" can be done to achieve a more analog shaping of the material. The "problem" of dual latency is fixed, which occures by the second ADDA conversion, if analog tracking is done with the audio interface solely.

Another welcome change, caused by the separate processing of individual tracks or stems, is the breaking of the pure (daisy-chained) sum processing in the analog path. I have longed for it and now all possibilities are open again.

Even though the 961 has it's own preamps and EQs - tracks or sub-groups may be dyed or processed even before summing through Inserts or the Auxes. The Mix-Buss drawer of the 961 contains a compressor/limiter which can also be routed to other channels.

For further processing of the sum, the Studer 961 leads into the Transfer-Console.


A transfer console is the “hub” for external processors, like EQ, Compressor and Limiter. The SPL Masterbay S is probably the most minimized transfer console on the market and offers exactly the functions, which I was looking for.

img All those helpful “little things”: Input- and Insert-trimmer, Swap function for Inserts 2 and 3, Masterfader, Volume Compensation, Daw Return and Bypass, which can work in an automated om/off switching. For Inserts 1-3 there is a Parallelmix-Blend, INSERT 4 is situated behind it (e.g. for Brickwall Limiting). All functions can be bypassed with relay circuits. Rec Out is doubled the Monitor Out and there is also an extra output for Metering. This device improves the “Workflow” considerably and helps me to solve 95% all typical hiccups.

img The specifics of the swap inserts and the Parallel-Mix on the MasterBay S are often communicated incorrectly and therfore discussed as a weakness. It concerns the fact that insertions 1-3 always run together in the same Parallel-Mix. True is, that in Swap Mode only Inserts 1 and 3 go into the Parallel-Mix, but not Insert 2.

This means that the name Swap is somewhat imprecise - you get more of a "diagonal" vice switched and hence "other" device! img For me it's perfect, because the MBP-Compressor (see below) is capable by its own parallel Buss ideal for Insert2 in the MasterBay. It generates a second parallel Buss for the parallel compression, as the parallel mix of the EQ's can be mixed with individual levels (a crucial point!).

In Insert1 I have the Pullet- (mid) EQ (see below), which can be strong and might possibly mixed parallel. I don't need it often. In Insert3 is the MAQ-2NV, a 4 Band EQ. It's behind the Compressor (Insert2) in Normal Mode and together with Insert1 in the MasterBay's Parallel mix in Swap Mode. Insert 4 is home to the Bax-EQ, the Sweetener, which is perfect for a finishing touch.

img As the SPL MasterBay offers its own meter outputs, I attached a historic, analog peak meter. It is a RTW1108 in a 1120ER enclosure and it causes a significant improvement in the setup, because I can now adjust the loudness Compensation accurate (and two inputs on the audio interface are free again). The calibration routines for trimmer settings (Service) I summarized the check in a Max patch.

Unfortunately there is little information on the net. The RTW-Archiv and a PDF of the successor model.

Monitoring/analog Summing

The Dangerous D-Box has proven itself as a very convenient and high-value backend. Besides "console-bus-sound" (which means "no sound") it offers the very things that make sense as extension of audio-interfaces - if you don´t want to use half of the interface-outputs for monitoring. Technically and sonicly the D-Box represents a difficult-to-surpass quality. img

Inventing the D-box was a really good idea!

img On the right you can see a picture of the passive Little Red Cue Box - a very usefull accessories to the D-box. It distributes one headphone output of the D-box to four headphone outputs with individual gain control. Very practically also that it can be screwed on a mic-stand.

Since the recovery of DAW software coherency problems, analog summing does not play the trump card any longer if one operates with top audio-interfaces. The ITB (in the box=digital) summing e.g. with the ULN-8 software-sonsole V5 sounds as good - maybe even a little clearer than the D-Box. Analog summing (OTB=Out The Box) is always a teamplay of the components, because the impedances are changed - that's why no absolute predicate about the quality of analog summing is to be met.

As a small-studio-central the D-Box is still a great benefit. Speaker A/B and Mono-switch i use the most, the D/A converter and the analog stereo-input allowing more listening-spots which complies with my needs. Even that i don't use the D-Box summing very often today - it would be hard for me not to use the D-Box. Perhaps I will remove it however from my travelling setup (heavily and large power pack) and use instead the following device.


The Weiss EQ1-DYN-LP is probably the one most commonly encountered equalizer in mastering studios worldwide. Many mastering engineers consider it as a "measure of all things" and swear downright on this precision tool.img It's reputation is legendary, as is the overall reputation of the Weiss company.

This digital Equalizer is designed with seven Bands and it has no Converter - therfore it also has a special place in the setup (in the virtual console). My version of this Equalizer is the rarer DYN-LP version - which is the maximum expansion stage and means that it can be started in different modes: as a Dynamic Equalizer (in behavior not dissimilar to a Compressor) or in Linear Phase mode - especially in surgeries unsurpassed in this discipline. In LP mode, the maximum slope of the Cut Filter is doubled to 24dB.

img Among the superlatives of this Processor also the good user interface is counted - thanks to its digital nature, it offers many advantages, which concern the efficiency. Nevertheless, I have programmed a small Editor to get to know the Weiss EQ1. Value changes can be entered more quickly with it (no "stepping" in the menue and less turning of the MIDI encoders on the device). Right you can see a screenshot of my iPad-editor.

It is difficult to communicate verbally, but unlike analog equalizers (IIR/Infinite Impulse Response) this EQ doesn't show any phase shifting. This and the extreme Q values make it possible to prepare the material accurate or repair it (e.g. with subtle notches). The Weiss EQ1 is just so calmly and sovereign - there is no "blow up" of the curves (in the cut).
With this equalizer it is as if you could clean up the universe and rearrange! Even in zero position, earnings could improve, since the white EQ1 operates internally with up- and downsampling. When dubbing old DAT tapes I noticed, in relation to the right above the ULN-8 played in recordings, the much better sound on. Everything is in Weiss order!

The MAQ-2NV from Great River Electronics is a modification of the popular EQ-2NV. It had been produced under the label of the "Mercenary Audio" in Boston. The changes based on the desires of many sound engineers to use the EQ 2NV also in mastering. img Therefore a few things had been modified: Input Gain with stepped Pots (= switches) and different transformers, a link function for a simplified stereo operation, extended cut-off frequencies, lower boost/cut levels. Due to the low boost and cut values, the equalizer is not designed for surgical interventions. A feature are its unbalanced sidechain I/O's.

The MAQ-2NV is an extremely versatile EQ, whose strengths lie in the mid and high range - it sounds great. A discreet giant that sounds different than it looks. The versatility shows up with how many musical genres can be thrown to this EQ with great results. Technically it's is a descendant of the legendary Neve 1081 EQ.

Although the MAQ-2NV 2U is twice as large as the EQ 2NV - the modest appearance seems to be the reason that there is so little hype about this EQ. In the "Mastering scene" 4 or 5U devices with extra large buttons are just more popular - as stupid as it might sound. There are hardly any discussions, tests or reports about the MAQ 2NV to find - but those, that say something, are speaking in glowing terms of this EQ. Understanding this situation gets even further complicated by the fact that the MAQ-2NV is at least 1/3 more favorable than it's (in my view) direct competitors.

Der Mini Massive EQ von Langevin/Manley (produziert 2006-2011) img ist der kleine Bruder des grossen Massive Passive und hat die gleichen Übertrager und Preamps, jedoch keine Röhren, nur 2 statt 4 Bänder und keine Filter. Klanglich ist er ganz anders, als der grosse Bruder.

Dieser EQ bringt einige Besonderheiten: zuerst einmal lassen sich die Ausgänge von +4dB/sym. auf +4dB/unsym. oder -10dB/unsym. umschalten. Zudem gibt es die Möglichkeit, die "Iron" Übertrager auf "Vintage" zu schalten, wobei eine andere Wicklung und andere Stromstärken ein rauheres Klangbild (z.B. gut für E-Gitarre) erzeugen. Zuletzt können die Übertrager auch durch "Bypass" umgangen werden. Dadurch werden die harmonischen Verzerrungen minimiert und der Frequenzbereich erweitert sich von 1Hz-100kHz. Dieser EQ ist VIEL grösser, als er scheint.

Wichtig ist bei diesem EQ, dass die Rückseite jederzeit erreichbar ist, denn die Schalter für dB und Übertrager machen das Gerät ja so vielseitig! Ob in Mono, durch Daisy-Chaining zum 4 Band EQ mutiert und mit extra Roll-Off (vintage), als Buss EQ, evtl. durch "The Pullet" um Mitten-Bänder erweitert oder als Übertragerloser Mastering-EQ - es ist ein enorm vielseitiger Prozessor.

Klanglich für's Mastering geeignet, ist er aber wegen der nicht gerasterten Bandwidth- und Level-Regler, die leider extrem leichtgängig sind, nicht jedermanns Sache. Wären diese Regler gerastert (also Switches), glaube ich, dass er heute noch gebaut würde.

img The Bax EQ is barely audible, but everything sounds better. The depths are powerful, clear, clean and without booming, the treble simply fantastic! It's tidying the bass and opening the heights, gives body, space and "expensive" transparency - even the stereo image sounds tidier. Especially one notices this EQ when "Bypass" is enabled. The Bax-EQ seems to be more a virtuoso HiFi Loudness button than an EQ. It is an EQ with two "Baxandall" shelving curves, as well as low- and high-cut filters.

About this EQ is as less to say, as it has parameters. But after listening there is nothing left to ask for! It quickly becomes clear why the Bax is found in so many mastering studios.

If you mainly work ITB and only need a "Sweetener" in the analog Master Buss, the Bax-EQ could be one of the best available (and affordable) choices. For me, it is usually the last device in the mastering chain.

A kind of counterpart to the Bax and an equally wonderful EQ is The Pullet from Thermionic Culture. Quite some ago time I had eyballed it because I was looking for a "classic Pultec Design". imgI was interessted in this EQ because of its passive construction (no power, no make up gain). The Pullet is a bargain - but a free stereo mic preamp is needed to amplify the output signal again by approximately 30dB.

This EQ is designed for mid-frequencies. It was exactly what I occasionally missed in my setup: when working with the Bax EQ I felt a desire to separately edit the mid freqs - what the Bax can't do. Welcome The Pullet.

While the sound of the Bax-EQ almost can't destroy the program material, The Pullet is clearly dangerous - but it makes it simple, but if you follow your ears. It's just wonderful, how with this EQ revitalizes. Since the Boost and Cut dB is set with normal pots, it is only suitable for mastering with the greatest care. A preamp with stepped input pots is highly recommended. A parallel Buss is also helpful with this EQ.


Meine beiden Compressoren für's Tracking sind beide von Stam Audio Engeneering aus Chile. Ich habe sie angeschafft, um beim Summieren analoge Prozessoren für die Inserts der Studer-Konsole zu haben.

img Der SA-2A zeigt offen die Referenz (Teletronix La-2A), es ist aber kein 1:1 Clone, sondern eine Replikation mit einigen modernen Bauteilen. Ein guter Opto-Compressor im Setup ist eine "Hausnummer" - er erzeugt auch bei extremer Level-Reduktion keine zusätzlichen harmonischen Obertöne - dem Klang wird nur Grösse und Wärme verliehen. Im SA-2A sind Röhren und eigens gefertigte Cinemag Übertrager verbaut.

Optische Kompressoren sind vor allem gut für Einzel- und weniger komplexe Signale.

img Der andere Compressor ist ein Remake des legendären SSL G Comp und trägt den Namen SA4000. Es ist ein Stereo VCA Compressor ohne Übertrager, ideal für den Drum-Buss. Das Original hat einen Platz in der Geschichte.

Beide Compressoren erweitern meine Möglichkeiten bei der Arbeit mit der Studer-Konsole ungemein. Der Preis für die Geräte von Stam Audio ist geradezu unglaublich günstig!

Mir gefällt die Idee, grossartige Geräte der Vergangenheit mit modernen Mitteln zu einem Bruchteil des Preises eines Originals zu bauen. Die Messtechnik ist heute sehr fortgeschritten und solche Unternehmungen sind keine "Blindflüge" mehr. Die Geräte können dann von vornherein für heute gebräuchliche, grössere Bandbreiten ausgerichtet werden. Auch "Seitenerscheinungen" aus der "Steinzeit der Elektronik" können heute besser gelöst oder beseitigt werden (Noise).


Finally my studio has got an analog mastering buss. After endless plans, drawn flow charts, think through and think again, insights and trends finally got clear. In my way of working the Neve Portico II Master Buss Processor is just perfect and offers all the desired functions without console: Compressor, Limiter, Stereo Width, -Depth including "EQ" (Filter), MS, Parallel-Processing and Saturation. Everything you need is there. With this unit, the setup is small, clear and already comprehensively.

img This Processor adds a solid and nice texture. It's somehow powerful (and has 72V rails). I'm using it with three alternative sums - from Studer 961, D-Box or ULN-8. It could be my most important processor for sound-reinforcement. I am very happy.
Big Sound. True Love!

Primary Source Enhancer

In a live sound environment, the Portico 5045 Primary Source Enhancer offers the possibility of raising two microphone signals before feedback by up to 20dB, imagwithout causing a negative impact on the sound of the source signal. The 5045 senses when someone is speaking or singing into the mic and allows the signal to pass through, and senses when the person has stopped talking or singing and reduces the gain appropriately. Most importantly, the 5045 does not require filtering and digital processing to achieve significant benefits.

Also included are Rupert Neve's excellent transformers that reflect the input signal complete and undamaged. In fact, the sound can even be enhanced by the transformer if they are hit with an adequate level. The bottom line is that feedback problems should now belong to the past.

I have purchased the 5045 mainly because of my small lavalier mics (omni) that are difficult to amplify in a live setup, since they record "too much". In the live electronics there are so many encounters with feedback that the 5045 feels like a trump card in the sleeve. Especially helpful and probably unrivaled this processor is at church acoustics and similarly difficult conditions - and of course also perfect when using headsets.

"Vintage" Microphone-Preamplifier

Two "racked" Telefunken V672 (year of manufacture 1970) form alternatively a Vintage Front- or Backend with up to 70dB Gain. img Despite high weight these old broadcast-studio amplifiers are still a "house-number" and for some applications/sounds a outstanding solution. Interesting also to hear this clean Preamp in combination with the Folcrom summing bus once as "Aufholverstärker".

The two rows with three switches (48v/Pad/Phase), the volume controls, DI-inputs and the power pack were kits of JLM-Audio. To the Go Between kit (48v, PAD, phase) I would like to mark however the fact that the PAD switch is located before the transducer. That is not recommended because it affects the noise behavior negatively. Therefore my 19' V672 has two extra switches (PAD, but behind the transducer).


The supreme quality of the Telefunken V672 was really surprising for me! Such a discretely built amplifier develops a completely different type “body”, than one with modern ICs or even digital amplifiers. There is no coloring of the Telefunken V672 - the amp is very clean and sounds plenteous. Finally the Telefunken V672 was developed in 1958 at the NWDR in Bremen for bradcasting studios.


What does the fun cost? I acquired the V672 cassettes for approx. 100 € the piece (favorable). The housing, the JLM components (plus postage and customs), the knobs and the Neutrik fittings cost together approx. 500 €. Still the work has to be added.


The Quantec Yardstick 2496 is not a reverb but a room simulator. The favorite of many reverb-haters. A unique device - just where it does not need reverb, or reverb does not do well, but the room is wrong. img Quantec goes a different way than "the others" and ploughs a lonely furrow due its concept. The Yardstick 2496 has 2 AES inputs and 6 AES outputs (surround) - it does not have a converter and offers only one algorithm. img Since the firmware 3.x it is possible to edit the Yardstick via webbrowser. imgThe decision for the Yardstick fell because Reverb consumes much computing power and because modulated early reflections (FX-reverb) can be great destroyers for transparency in the studio work. In particular, in productions with acoustic instruments without effects, Quantec makes the distinction and teaches us to distinguish between modulated reverbs and phase-neutral room simulation!

For FX-reverbs and other emulations of great studio processors i like to use the UAD-2. It has become a central item in the color center of my setup today! (see also PlugIns).

img Especially the newer PlugIn-developments like Manley Massive Passive, Studer A800, Empirical Labs Fatso and the SSL Buss Compressor are just beautiful!

Unfortunately the prices are higher than it might seem! Hardware-updates are not supported - customers have to buy the new hardware for the full price.


It is annoying that one cannot sell individual PlugIns again. Either all or none. A hard solution for customers.Therefore the updates from UAD1 to UAD2 and from Solo/Laptop to Satellite and the transfer of the cards (with or without licenses and demos) never was like i would have preferred it. Nevertheless: the UAD PlugIns are excellent - some of them are exceptional. The UAD Website.


Thus the functionality of this setup can be accomplished physically, the Euphonix MC Mix is an ideal controller. Used with various software simultaneously, the sliders are jumping to the position of the active software. img Currently, in any case the ultimate among smaller controllers. Anyone who has worked with high-quality machines will not be satisfied with MIDI control: the lack of speed and only 128 steps. Euphonix offers 1024 steps and the Ethernet connection is about 200 times faster than MIDI! The improvement in the transmission of slider movements is comparable to the sound-improvement in the the step from 44.1 to 96 kHz.

To control my Sythesizers I had already used it from the iPhone - now that I've been given an iPad2, there is a larger issue: TouchOsc, imag an app from hexler.net, can be used design the individual controller surface. I particularly like that values can be updated via computer and thus XY fields or Sliders, Pots or Buttons always show the correct positions. A setup in TouchOSC can have multiple surfaces that can be easily switched as Tabs - very handy! Also, Labels are possible and despite virtuality the iPad "feels" very well as a Controller. For people with MIDI Equipment and iPad, this software is absolutely mandatory.


Particularly noteworthy are certainly the DPA 4021 (3521) and the Brauner Phantheras, microphones of absolutely top class! My longest faithful companion however, are the AKG C414, which I love very much and whose skills I always could depend on. img To me it has become increasingly clear over the years that there is no "just as good as ..." microphone, but only good and bad microphones! Learn more about the individual microphones on the manufacturers links experienced in the Equipment-list.

PA /Stage-Amplification

img Nexo Nexo is the only manufacturer I know, who has (barely) affordable micro-PA's that truly reach a performance and sound which is similar to the big names in this industry - such as Meyer Sound, or D & B. The small Nexo PS 8 is a wonderful PA with a huge sound.

The PS 8 has a very clear treble and will produce a musical, balanced and stable sound image! The subwoofer is fast and therefor audible early enough. This PA is well suited for "instrumental" enhanced live-electronics in the orchestra or chamber ensemble. Despite the small size it is powered with incredible 1750 Watts. The best of it: for 4-channel or very wide 2-channel performances i've got two of those PA's!

imgThe combo-amp Traynor K4 - still a well kept secret - is my first choice in sound and assertiveness not just for Fender Rhodes. This amp is a small PA in a combo! 2 equalizers, 3 amps, 4 channels, 5 Speakers and very loud 300W (200W Low and High 2x 50W)! It´s "charisma" on stage is compact and strong.


img For some time i operate with Neumann KH310A and am quite enthusiastic! These monitors deserve the header “tool” as an ennobling. Amazing what is to be heard! They offer a fantastic image and allow listening without fatigue! For mixing they are extremely straightforward and because of the lower bound of 34Hz they are perfect even without use of a subwoofer. There might be only one constraint: i don't like it for more aggresive music - it stays too calm (standoffish).
The use of Subs makes Phase deviations very likely, therefore mixing is usually easier or more efficient without a subwoofer. In any case, if there is sufficient speaker.

img Zur vollen (oder "schönen") Abbildung ist der Subwoofer Neumann KH810 die ideale Ergänzung zu den KH310A. Beim Anklicken des Bildes wird die unglaublich umfangreich bestückte Rückseite dieses nicht so kleinen Monstrums offenbart. Der KH 810 bietet einen 7.1 High Definition Bass Manager™, welcher allen Studio-Anforderungen von Mono bis zu den neuesten 7.1-HD-Formaten gerecht wird. Die Form mit 65 cm Tiefe verlangt Platz!

img For having a pair of "real-world speakers" I have let myself in for an experiment: it's named Tannoy Reveal 402. A second pair nearfield-monitors in great quality was simply too expensive for me (and perhaps unnecessary), but a pair of Utility-Speakers for not even € 140.- ?!
I had to try it.

The Reveal 402 have been highly praised and exists somewhere between HiFi Speakers, Studio Monitors and Computer Monitors. My first experiences generated astonishment: these little Speakers are really able to map all the music!

Of course, due to the compact size, both signal depth and spatiality is imperfect against the larger and very heavy KH310A - if not, it would indeed be questionable - but actually it's possible to work with this speakers and (for me) they are even suitable as B-Speakers (for ear-reset).

The bass is a little over-emphasized (Real World), but, based on current listening habits, that's for sure realistic. The treble offers almost a kind of micro-view (without being painful). Of course, everything is a bit more direct, because more compact. Despite the existing gumming of the bottom I wouldn't place this speakers on a table, but on a (decoupled) monitor stand (on the floor), otherwise the good sound will be destroyed by the rumbling of the table.

For "resetting" of the auditory meatus and for a better idea, as it may sound from "normal" speakers, this solution appears to be very well suited.

As Utility speakers these speakers are great, because next to balanced and unbalanced Mono Inputs are also a Stereo Mini-Jack Input and a Monitor and Link output (Mini-Jack) on the rear. Cable is included. Only again to underline: the Reveal402 cost less than 5% of KH310A. Crazy world that is!

For large and loud A/B listening of course the NEXO PS-8 also makes very good services.