ATC SCM40 Floor standing speakers
There is something strange about the SCM40 of ATC - it does not look or feel like virtually any other loudspeaker in its price category. It is almost as if someone has forgotten it, like they have taken three motorists and place them in a carton then gone and designed to get the job done. That is in noticeable contrast to a lot of competitors, which have a variety of stylistic flourishes. Despite seeming instead 'old school' - albeit in a classic form of manner - the SCM40 is really a brand new version replacing a 2007 design of an identical name that appeared as if it was established in 1988! ATC, it appears, does not pay too much attention to issues of trend.
Building quality is just another issue. There's completely nothing relating to this loudspeaker to indicate it's made to its cost, when you attempt to transfer it and you are reminded of this. The drive units seem exceptionally anachronistic, and that is simply because they're - particularly the midband driver. Creator Billy Woodman appears when ATC was born as he was 40 years past, plus contains a dome mid unit distinctive to the marque.
Very midrange domes are made by few businesses today, because they are difficult to get. The power of a dome, along with outstanding dispersion, is the fact that it is phase-coherent using the dome tweeter - which would be to say it radiates sound waves likewise. This brings integration that is exceptional to that particular essential tweeter/midrange driver relationship, and also you could hear it in the classic Yamaha NS-1000M to the SCM40, in every loudspeaker designed. It matches to an ATC constructed and designed 25mm dome tweeter with alloy wave guide, using a doped polyester diaphragm and suspensor.
A three-part crossover is fitted, consisting of high pass filter, band pass filter and a low pass filter. The bass driver sets the efficacy of the machine with all the mid and HF padded down consequently, the organization says, so it is kept as straightforward as possible - since the drivers were created around this, it is achievable. ATC says therefore the amplifier should not require Herculean reservations of current, its impedance curve is level, but it certainly does want watts! Quoted sensitivity is not high to get a large carton - 85dB/1W/1m. Several solid state amplifiers attempt and somewhat irritated at high volumes and get hot.
Sound quality
There are a lot of loudspeakers describing the as 'studio monitors', but here we've something which is much closer than most to this. The ATC that is large is disclosing of that which you put in it, and definitely does not sugar the pill. But when you imagine it is analytic, cerebral and forensic then believe again. Feed it a high quality source by means of a smooth, solid state amplifier that is punchy and you also get back a great sound.
Basically, you get a big, wideband sound that is more open than anything I have heard only at that cost and cruder. This can be made more evident by its outstanding bass; ATC has got this one working, although arguments rage regarding the comparative values of endless baffle boxes. The single drawback is it makes amplifiers that are lesser feel as a jogger running in exercise devices that are solid!
Placed only 30cm from my back wall and toed-in slightly, hold, power and the speed is superlative - it readily outdoes more high-priced large cartons like Sonus faber's Olympica II or Spendor's D7. Fundamentally, it tells you what is going on if it's not then it does not, and if it's going on! That is a reminder that a lot of reflex ported layouts just are not doing bass, as well as the symbol of a serious wideband computer screen loudspeaker. Normal-holed cartons have ease and practicality -of-drive in their own favour, but might bring issues associated with phase integrity over the entire frequency. This frequently means the bass can sound like it is a fraction.
Not so the manner, as well as the SCM40 it incorporates the group and its exceptional low frequencies is a delight; in this area it is more hunting than many, but is never cruel unless the source or tune is also. How deep it digs into Thomas Dolby's Airwaves impress me; it throws out lots of information and ekes its way to the groove. It hangs pictures back and sets up an exact stereo soundstage when needed, but jobs well when called upon. It proves exceptionally coherent in its treatment of stage, everything arrives in the proper location and time and snaps into focus.
Despite that , prodigious bass that is huge, you wouldn't call the ATC warm. It's rather a showing equilibrium that is unafraid to 'do' glowing when the record and/or ancillaries dictate. Treble is open, airy and nicely etched. The looped hihats on Beatmasters who is In The House? Are scratchy and crispy, which is they need to be. There is no gilding of the lily using the SCM40, everything is given to you within an unalloyed and exact manner.
In practical terms, it is the greatest issue - they're overly revealing for most front ends and surely those in their price category. Something which tears into records in this type of manner will not be wanted by most buyers with this particular kind of cash. Play with some classic Blue Note jazz in the shape and it is insightful and wonderfully sonorous, like you wouldn't consider, swinging.
Decision
Given record and a significant source, the fresh ATC SCM40 is brilliant - I know of no cost competitions that give this degree of speed, precision and penetration. It is definitely an excellent speaker to give to and create a system about - but in the event you're trying to find something which is only going to make 'a pleasant sound' regardless of partnering gear and records, then others are definitely likely to be a more suitable match.
