The success of this product encouraged several other manufacturers to subsequently dip their toes in the water, too - most notably Behringer with their C5A and C50A. Spotting a gap in the market, Avant Electronics began manufacturing the Avantone MixCube, their own updated take on the Auratone concept, in the mid ‘00s. In With The OldĪuratone's founder, Jack Wilson, died in 2005. Enthusiasm for their former products continued unabated, however, and vintage units began fetching increasingly higher prices second-hand. Although all these versions inevitably share some audible characteristics by virtue of broadly similar size and design, there were nonetheless significant sonic differences between them, and engineers may favour one vintage over another, depending on which aspects of the Auratone’s multi-faceted skill set they prize most highly. A key factor here was the speaker’s ability to reveal the intricacies of a mix’s balance, unhampered by the low-frequency cabinet/room resonances and inter-driver crossover distortions that frequently beleaguer larger loudspeaker systems.Īdding to the potential for confusion is the fact that the Sound Cube actually went through a number of different revisions over the years. You see, it’s the mid frequencies of your mix that’ll typically reach the largest number of listeners - low frequencies tend to be expensive and bulky to generate, so lots of cheap devices end up being quite tinny, while high frequencies are easily absorbed via obstacles in the listening environment, or else obscured by background noise. More important than the speaker’s supposedly ‘lo-fi’ quality, in my view, was its strong mid-range emphasis, which helps create mixes that translate better across a full range of different listening systems. However, while the speaker’s rather brash, middly timbre did earn it nicknames such as ‘horrortone’ and ‘awfultone’, this reasoning has always felt a bit questionable to me, because the speaker’s doped-paper-cone driver and closed-box cabinet actually deliver much lower distortion and better transient response than most mass-market playback hardware, even nowadays. One line of argument is simply that the thing sounded so horrid that any mix managing to come through it reasonably intact ought similarly to survive playback through even the cheapest and nastiest end-user systems - an important commercial consideration for mass-market releases. There remains, however, a good deal of conflicting opinion about why exactly this little speaker was so popular. Indeed, some engineers used Auratones as their primary monitors during mixdown. Its little six-inch wide cabinet and single small driver cone can often be seen perched atop the console meterbridge in pictures of classic studio sessions from the ‘70s and ‘80s, and its important mixdown role for some the biggest records of the era (the Bee Gees’ Saturday Night Fever soundtrack and Michael Jackson’s Thriller, to name but two) has been well documented. The Auratone 5C Super Sound Cube loudspeaker has a long and noble history in music recording. How does it compare with its modern imitators? Balanced XLR and 1/4" TRS Inputs, as well as unbalanced RCA connections are provided for maximum versatility, and the enclosure is magnetically shielded so it won’t disrupt your computer video monitors.Auratone’s classic ‘grotbox’ is back. ![]() The 6.5" cube contains its own dedicated 30-Watt Class-D power amp and a specially designed 5-1/4" full-range speaker for crystal-clear audio reproduction. ![]() ![]() The Auratone C5A full-range reference studio monitor lets you hear what your mixes will sound like on real-world systems such as car stereos, computers, televisions, and other bass-challenged systems.
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