This latter control can trim the bass end to provide an impression of how the mix might sound on domestic speakers with less extended lows. Those aforementioned EQ settings comprise the HF driver level (0dB, +1dB, -1.5dB, -4dB), an acoustic space setting affecting only the LF driver (0dB, -1.5dB, -3dB, -6dB) and a 24dB/octave high-pass filter (off, 60Hz, 80Hz, or 100Hz). Mains comes in on the usual IEC connector, with an adjacent power switch and LED, and the voltage is factory set, either to a nominal 110V (USA) or 230V (Europe). The peak SPL is quoted as 109dB for the S6 and 116dB for the S8, both measured at one metre.Īll the connections and controls are on the rear panel, where the inputs (balanced XLR or TRS jack) can be found, along with a variable control to adjust the gain. The crossover frequency is slightly different for the two models, with the S6's set at 2.4kHz and the S8's at 2.2kHz. The S8 eight-inch model has a frequency response extending from 46Hz to 20kHz (-3dB), while the S6 delivers 52Hz to 20kHz (-3dB). The amplifiers also power up slowly to avoid pops and bangs. Safety features include RF shielding, current-output limiting, over-temperature protection and subsonic filtering. The S6 measures (Width/Height/Depth) 230 x 310 x 335 mm and weighs 8.53kg. These are actually quite large cabinets in comparison with many competing models of the same driver size, with the S8 measuring (Width/Height/Depth) 290 x 338 x 400 mm and weighing 11kg. The front-ported cabinets, which have a neat black-plastic foil finish, are built from MDF and have curved front baffles. This is integrated into the centre of the main driver, which sports a glass-reinforced paper cone. The one-inch compression tweeter section is loaded by a rectangular horn that controls the HF dispersion in the horizontal and vertical plains. The DSP also handles a user-adjustable EQ section, where 'step-through' EQ presets on the rear panel allow for room placement and personal voicing preference.Īvailable in both 6.5-inch and eight-inch versions, the Sceptre monitors have 90W of Class-D amplifier power per driver. TQ is short for Temporal Equalization, a proprietary Fulcrum Acoustic equaliser design based on multiple FIR (Finite Impulse Response) filters. In designing these speakers, PreSonus teamed up with speaker-design expert Dave Gunness, of Fulcrum Acoustic, whose 'TQ' algorithms have been integrated into the Sceptre's onboard DSP to coax the best result from the drivers and cabinet, including handling the necessary time alignment between the HF and LF sections of the driver. The down side is that it is more technically difficult to get right. The obvious advantage of the coaxial design is that the low and high frequencies originate from the same place, rather than from two different drivers spaced apart on a baffle - the practical benefit of which is a wider sweet spot and more precise stereo imaging. Unlike the Eris models, these speakers employ a coaxial topography a design approach made famous by Tannoy. However, the new Sceptre series aims to provide a step up in quality at a higher price, though they're still pitched to be affordable to the project studio operator. The first PreSonus monitors that I reviewed were the company's low-cost Eris series models, and I have to confess to being pretty impressed at what they achieved for the price. PreSonus' assault on the monitor market continues, with these impressive coaxial speakers.
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