The fluid adds mechanical damping, transferring heat to the metalwork and suppressing rocking modes. Nearly all 1″ (25mm) tweeters use a voice coil suspended in the magnetic gap of the motor immersed in ferro-fluid. Along with manufacturing their own bass, bass/mid, and midrange drivers, ATC couldn’t rely on OEM or stock designs, and spent considerable time creating a soft dome tweeter to meet their high standards. In order to maintain the highest levels of performance, ATC controls all aspects of the loudspeaker system to ensure the lowest levels of linear and non-linear distortion. The dome is designed to decouple from the cone at higher frequencies, where it performs the role of the primary acoustic radiator. Soft domes are fixed to the edge of the voice coil, which is 3″ (75mm) in diameter. Starting with the off-axis response of the loudspeaker, ATC engineers ensure that the phase relationship of the drivers maintain a linear response. To achieve superior loudspeaker performance, there must be a balance between all measured characteristics, including magnitude response, phase response, power response, time domain response, distortion characteristics, and power handling. Let’s take a closer look at ATC technology. Obviously, it takes an attention to fine detail and proprietary technology. ATC Technology:ĪTC makes what many consider to be the world’s finest studio monitors, as evidenced by a client list that reads a who’s who of artists, engineers, recording studios, film, post, and broadcast facilities, as well as pro audio manufacturers and educational institutions. Even pro audio equipment manufacturers who depend on critical listening for product design depend on ATC, including Shure Microphones and Dolby Laboratories. ATC monitors are also in use at recording studios, soundstages and broadcast facilities, such as East West Studios, Air London, Sony Music Studios, Paramount Studios, Warner Brothers, and BBC UK, to name a few. ATC users include producer-engineers known for their discriminating ears, such as Bruce Swedien, Hugh Padgham, Chuck Ainley, Ed Cherney, producer-engineer-equipment designer, George Massenburg, mastering engineer Bob Ludwig, and John McBride of Blackbird Studios.
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