Atc scm19 review

The SCM19 is neutral through the broader midband, presence range, and treble, with no energy drop-off as it approaches its 2. Neither is there evidence of suck-outs or flagging dynamics that tend to soften and lay back the mids for an unearned depth effect. The 19 is not dry or clinical sounding, either. It has a comforting warmth in the lower mids and upper bass that adds to the impression of musical scale and substance.

I never felt head-locked in a tiny sweet spot. Vocal reproduction—always a point of pride for this brand—has never before been as direct, live, and in-the-room as it is through the SCM As I cued up a cavalcade of singers—from the grit and gravel of Tom Waits to the cut-crystal clarity of soprano Anna Netrebko—my notepad silently fell to the floor, along with my jaw.

Where most compacts come up painfully short in attempting to reproduce the brooding weight and resonance of a cello, the SCM19 captures the most critical aspects of its timbre and dark harmonics. Very rarely have I heard a two-way compact of this size that has balanced these twin imperatives— tonality and dynamics—with the ease and precision of the Even as the frequencies dip into the lower mids and descend further into the upper bass—a region where smaller speakers lose their guts—the SCM19 remains undaunted.

Rather, in these respects it sounds more akin to a small three-way. The SCM19 benefits greatly from an uncolored enclosure that permits more of the potential of the transducers to be heard.

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This is a quieter, less-colored box that steps out of the way of the signal and effectively disappears. It results in a speaker that launches transients without hesitation and articulates lower frequencies with greater precision.

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ATC engineer Ben Lilly confirmed that mods to the 19 crossover have likely contributed to this improvement. If there was one area where I felt that my original SCM20s could have upped its game it was in the upper treble.

There was the slightest shroud over orchestral harmonics, an attenuation of air and brilliance that shaded a string section or chorus. However, as I listened to the vast chorale of singers during the Rutter Requiem [Reference Recordings], all exquisitely layered and brimming with height information, the new tweeter was a thing of beauty to experience.

Revealing and fast and aided by the new waveguide it just seemed to launch an expanse of air and tone color into the room that was not just laser-guided toward the sweetspot. Trumpet solos sounded a shade quicker and friskier off the mark, a bit more discrete yet fully connected with their ambient environs.

In low-level resolving power, the SCM19 conveys musical intimacy like few loudspeakers of this class.

atc scm19 review

When I listened to the direct-to-disc recording of classical guitarist Michael Newman [Sheffield Lab] there was a near holographic sense of the artist playing, breathing, inhabiting the listening room.

And even fewer at this attainable price point. Although this review should speak for itself, let me reiterate: The ATC SCM19 is, without reservation, a superb monitor that should excite and please the most discriminating of listeners.

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My highest recommendation. Type: Two-way acoustic-suspension monitor Drivers: 1" soft-dome tweeter, 6. Distribution lonemountainaudio.Does the name Billy Woodman ring a bell? All over the world, many of the finest musicians and audio engineers make their most crucial judgments of their work by listening to it through monitors made by ATC, the company Woodman founded in Back inBilly Woodman made a bold move into the professional sound industry by producing a loudspeaker that would play louder with much less distortion than was the norm, and with extreme reliability.

It kept its place at the top of the midrange-driver food chain for decades, with only minor upgrades. Soon Woodman added active amplification, and active crossovers with built-in phase correction, and the modern ATC monitor speaker was born. Through them I played everything from screaming, block-rocking beats to full-range film bombast to delicate jazz vocals.

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In terms of clean sound at high levels, my ears always gave out before the ATCs did, and no matter how hard I pushed them, nothing ever broke or had to be replaced. Perhaps even more miraculous, regardless of price or fame, I never heard any other speakers that could dislodge the SCM50ASLs from my system.

But I really miss those speakers. Which is why this review is partly about my hunt for speakers to replace them. Sadly, in my experience, that has always meant a three-way speaker from ATC -- something big, heavy, and expensive. I need something that costs less and takes up less space. On the other hand, my new listening room is a lot smaller than the old -- my ears will be much closer to the speakers. The midrange-bass driver alone weighs 20 pounds, the entire speaker The cabinet is sealed, so the bass rolloff is slow and well controlled.

Far more important, it did so with vanishing amounts of distortion. But the versions by the three singers described below were recorded with exceptional clarity and infinite headroom. If they did, I think it was a mistake. Sammy Davis Jr. All Davis did was: start a vaudeville career at three; become one of the top nightclub draws in the US; star on Broadway in a hit play that ran for more than performances; have his first album, Starring Sammy Davis Jr.

His career hit the skids because of two things: to the black community, he looked too much like an Uncle Tom for buddying-up to Dean Martin, Frank Sinatra, and the rest of the Rat Pack; and to bigots, in he committed the unpardonable sin of marrying May Britt, a white woman. Stuck in the middle, Davis kept doing what he did best: sing, dance, and entertain.

Listen to drummer Steve Williams as he lets the sound of his snare slowly decay. The ATCs did a better job of catching the naturally decaying sounds of instruments in a room than any other speakers I know of. As he did during most of his final decade, Murphy takes it easy, never pushing his voice, going for meaning over cutting-contest pyrotechnics. Still, listen for every creak, push, and turn. He was an amazing artist. Seeing him in concert was always a riveting experience -- he would stretch out in wild ways that, by the end of the song, would always make complete sense.

A long parade of goddesses Passed through my bedroom door I unhooked gowns and bodices Till it became a chore I dined with Julie London once Charmed her with my wit Joe, I could use another hit.

What I heard was so effortless that I never heard a trace of the existence of a crossover and separate drivers. It was as if the term headroom had never been coined.It weighs-in at a hefty 9kg, accounting for almost half the weight of the speaker. That honour belongs to the new tweeter shown above. This 25mm soft dome has been in development for years and is made in-house — quite an accomplishment for such a small company.

Most rivals buy off-the-shelf options from OEM drive unit suppliers. The two drivers cross over at an entirely conventional 2. Given a day to settle, these standmounters turn in a great performance. Piano notes are delivered with solidity and finesse. The leadings and trailing edges of notes are crisply defined without sounding artificially hyped. The bass kicks hard while the drum machines attack with determination. These ATCs are highly analytical yet never sound clinical or passionless, and are transparent to the original recording and system electronics.

Buy with confidence. What Hi-Fi? Please deactivate your ad blocker in order to see our subscription offer. Home Reviews. Our Verdict If you value insight and honesty above all else, these speakers are a terrific buy.

For Honest and insightful sound Impressive dynamics Composure at higher volume levels Crisp rhythmic drive Rock-solid build Impressive drive-unit engineering. Against Metal grilles look less than classy. Performance The gentle curve of the cabinet seen from above gives it a distinctive appearance Given a day to settle, these standmounters turn in a great performance.

Twin binding posts allow biamping or biwiring if required. Verdict These ATCs are highly analytical yet never sound clinical or passionless, and are transparent to the original recording and system electronics.Both Dominic and I fell in love with them for their sheer speed, enthusiasm and timing abilities. When listening to a speaker or a piece of equipment in fact for the first time, there is always a particular attribute that stands out over the initial interpretations of the sonic characteristics.

Frequent readers will know that I tend to mention one or two of these qualities before I delve deeper into the review.

In the case of the ATC SCM19 I found myself particularly impressed with the acoustic reverb and environmental interaction of the venue based within the recording. The 19s have an ability to transparently seek out deep shaded harmonics and micro details.

Rhythms were equally attractive with the 19s producing great detail in the lower registers and a well defined and airy top end. At the time I was cooking dinner and Spotifying. Usually I will do this on the Squeezebox Boom in the kitchen but as the system was on, so I just let the music play from there as the kitchen and living room are side by side. The twangy full bodied and bouncy nature of the bass guitar that is more singled out at the beginning of the track drew me back into the other room, I was impressed how it remained in an un- bloated position.

I like the confidence of the 19s, the way they image and their accuracy, which never becomes hard and remains fantastically controlled.

Speaker placement, side walls and other room interactions can really harm many of them with their reflex design which allows for deeper bass notes yet at the same time makes positioning slightly more awkward. With the SCM19s infinite baffle design, placement is far simpler and more forgiving. Situating them closely to a front wall is no problem and as long as you are able to keep them a little away from the side walls they remain as open and as engaging as the designer intended them to be, allowing for the image to reach outside of the speakers footprint and convey inside pin point accuracy equally as astute.

To move on now to explore some better recordings most would look towards some intensive classical music, big concertos and orchestras to appreciate the sound staging accuracy of the ATCs. The realism that the 19s convey starts at low volumes and keeps its grip all the way up to louder levels with the ability to convince the listener of realism with subtle and strong dynamics. Characteristically the ATC family sound progresses further with a fuller midrange and a deeper bass line that has a very appreciable slope allowing for rolling off of lower notes to be gradual and very natural.

What I like about the SCM19 over the SCM11 is the stronger underpinning of all other frequencies culminating in a step up in refinement. Midrange is more fleshed out, texturally and slightly warmer than the characteristic of the cleaner, punchier, less weighty SCM Being able to achieve this without deviating from the ATC house sound of vibrancy, accuracy, openness and timing is a real triumph.

The lower mids also come thicker, fleshing out vocals with a very natural appeal that holds great body and at the same time remains completely open and tactile. With the larger driver and cabinet treble artifacts have greater fluidity. Extension and decay is underpinned more maturely and the transient response is also embodied with greater drama and presence, denoting its area within the soundstage to lay out flow and rhythmic upper registers giving the listener enthusiastic and playful notes from eccentric guitarists, speed violinists, Funky Jazz musicians and Electronica alike.

Execution of the soundstage is one the ATCs most endearing attributes, rarely can a stand mount of this price hold such sophisticated focus, width dispersal and convey such a harmonic of upper frequencies whilst energising the room in such a natural manner without becoming leaky or hard, which as I stated in the 11 review is a testament to the wonderful new tweeter employed throughout the entire new SCM range.

Often my room will throw back in the face of a speaker which is too clean, upper bass heavy or forward in nature but the SCM19s have the airy clarity, full bodied mids and such a linear bass response which is controlled with a firm hand in their infinite baffle cabinets that it seems as if my room has been treated as they seem to suit the space just so well. I had also got in at the time of the review the ATC P1 power amplifier.

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I put on some UB40 and immediately leading edges became more taut and focused than the Rowland amp, reproducing the clash of a note the way a greyhound will to the gates of the stall being opened. I perceived a greater power and control at the highest and lowest audible frequencies, a crispness and a little bit more attitude to the sound.

The P1 will dish out the same power levels as the Rowland and now partnered with the JR preamp, the smooth nature of the JR amp had a better tonal balance I feel with the SCM19s, cleaning up the bass very well and giving more insight into upper bass detail.

Now this for me is down to the characterisation of the two amps in question the Rowland is thicker and fuller and the ATC cleaner sounding. Both variations were great and taste would be a deciding factor between the smoother and cleaner amplifiers but what the experiment showed to me to appreciate was how transparent the 19s are, they really reflected an honest portrayal of what was happening downstream.

Yes I know different amps are bound to have a marked impression on the sound but the ATCs reflect a real insight into the musical nature and characteristics incredibly well and better than most, much like my Ayons. Forming an initial opinion of something new is in every walk of life from meeting somebody, buying a new home or car or appreciating a piece of art or music.Its professional active monitors are akin to precision tools, as faithful to the source as they are indestructible.

The cabinets are conservatively tailored yet elegant—ATC has never been prone to flights of whimsy in its enclosures.

atc scm19 review

Viewed head-on there is no extraneous hardware; even the unique metal grilles attach via hidden magnets. Notable are the curvilinear side panels that arch toward the back panel, a design known to reduce internal standing waves. We try to produce the best loudspeakers in the world, not by breaking new ground, but by the application of better engineering to established principles.

Its transducers are still engineered, tested, and assembled as they have been for decades in the same, small facility in Stroud, England. And they remain exclusive to ATC. No longer. Per ATC tradition, it features a short coil in a long gap, a massive ceramic magnet, and long-throw suspension for linearity at extreme dynamic levels. The ultra-rigid basket construction is so sturdy it appears ready to launch into space.

Given the output levels that are expected of these pro transducers, space-launch is not far from the truth. At 85dB sensitivity, however, power is what the 19s require. The SCM20s invariably shared one thing with their pro-monitor progenitors: They never communicated in a passive voice.

The ATC sound is fully committed, never retiring. And so it goes with the new SCM Tonally faithful to the source, the 19 is brimming with midrange power and a single-driver like coherence, challenging if not surpassing its compact predecessors.We look forward to receiving your comments, suggestions, and feature requests via the Windows Feedback Hub, which you can access from within the app.

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ATC SCM19 review

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KEF LS50 VS ATC SCM11- Be the judge.

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atc scm19 review

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Get a clueand an electrician. By staying smart and doing these things all smart homeowners do once a year, you won't need to call me as often. We may be tiny buggers (about the shape and size of an apple seed), but our presence elicits a massive case of the heebie jeebies. Home fires can happen quickly, devastating lives and property, but unlike other disasters, most home fires can be prevented.

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So They Become Professional Honey Makers. So They Decided to Do This. A song I use as a reference track all the time is I Should Have Known by Amie Mann. It has so many of the sonic elements that I strive for. It's a wonderful track. On the opposite side of the reference spectrum, is Neil Youngs Tonights the Night.


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