Studio Monitors - Presonus R65 V2 vs Yamaha Hs7 Sound Test
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#yamahahs7 #presonusr65v2 #studiomonitors
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@CanerGenc
PRESONUS R65 V2
Air and Space
R65 V2: AMT design provides a wide soundstage and amazing transient response.
You won’t miss a thing.
Clarity is king-and with the R65 V2s, you’ll hear every single detail in your music: the gentle breath in every exhale, the subtle finger noise in a nylon-string classical guitar; the nuanced overtones of brass and woodwinds; and exquisite reverb tails that decay gracefully into the void. Not only will your mixes sound their absolute best on R65 V2, but you’ll also be able to hear trouble spots in your tracks with surgical clarity. If you’re mixing or mastering high-resolution audio, the R65 V2 will ensure that you’ll hear every detail captured in your recordings.
Air and transient response.
Driven by a dedicated 65 watt Class A/B amp, the R65 V2’s custom-designed 6.8-square-inch Air Motion Transformer (AMT) excels at accurate reproduction of the highest of high frequencies-those responsible for a sense of air, space, and dimensionality. And the AMT’s astonishingly thin ( 0.01 mm) folded Kapton® membrane allows the tweeter to move in the same instant as the voltage cycles that power it, providing nothing less than wave cycle-accurate transient reproduction.
Wide with pride.
The unique AMT design also allows the R65 V2 to handle 8 to 13 times the projection area of more traditional tweeter designs, while the R65 V2’s unique housing constrains this projection area to the horizontal axis. The result is a very wide sweet spot with focused vertical dispersion, -minimizing reflections off of your desk, ceiling, and floor that could otherwise introduce problematic phase and coherence issues. And because it’s less subject to room-anomaly interference, the R65 V2 studio monitor reacts predictably and sounds consistent, even if moved to different listening environments.
The lowdown on the down-low.
R65 V2’s woofer is six and a half inches of rigid, custom-woven composite that offers consistent dispersion across its frequency range for the flattest response we could design. A dedicated 75 watt Class A/B amplifier provides ample headroom and impressive distortion-free, non-fatiguing performance-even at higher volumes.
YAMAHA HS7
Clear, true sound, deep enough bass to mean no subwoofer required in most circumstances, and realistically priced for any ambitious DJ / producer, we can find nothing to fault on the Yamaha HS7s. Highly recommended.
FIRST IMPRESSIONS / SETTING UP
They’re a mid-sized black speaker made in MDF, with the now-iconic Yamaha white woofer cone and grilled tweeter (think NS10, the near-legendary small studio monitors). With a 6.5″ cone, they’re appreciably smaller than the HS8s, and this might actually be the perfect size for DJ/producers, as we’ll get on to. They are rear-ported (hole in the back to improve the bass), and are pretty standard as far as controls go: 1/4″ and XLR inputs, volume, on/off, and three-way attenuator switches for fine-tuning bass and treble (simply to suit where you’ve placed them in your room). There are large cooling fins on the back. They have 95W of output per speaker. Overall, they feel good quality, reassuringly heavy (over 8kg each), and look smart and workmanlike.
They’re “proper”, sold separately, individual monitors, and don’t function as a pair in any way, like some speakers aimed at the home studio. So no linking them together or wired remote controls here: you have a mono input per speaker (left output from DJ controller or mixer to left-hand speaker, right output to right-hand speaker) and turn them off/on and adjust their volumes totally separately. If you’re new to all of this, this is how “real” studio monitors traditionally have worked, and how most still do, especially as you move up the price range where performance matters more than consumer-friendly features.
IN USE
I was lucky enough to use these over an extended period of time, as my speakers of choice when producing a Traktor Kontrol S8 tutorial series. It was quite a good test for them, because while the Traktor Kontrol S8 is a DJ software controller first and foremost (and I played MP3s, WAVs and AACs through the Yamahas via that route, mainly EDM), it is also a standalone mixer, and I used it to play music from vinyl and CD, and non-EDM too. Therefore I’ve tested the speakers from a DJ’s point of view, but also auditioned how full vocals and acoustic instruments sound through them, too.
15 фев 2023
