More than 30 glowing reviews, numerous awards, and countless dedicated fans made the A7, the predecessor of this new model, a true legend in nearfield monitoring. Now, the legend continues with the A7... Read More
More than 30 glowing reviews, numerous awards, and countless dedicated fans made the A7, the predecessor of this new model, a true legend in nearfield monitoring. Now, the legend continues with the A7X: All drivers, all amplifiers, as well as the cabinet have been revised, resulting in a speaker that claims nothing less but to be a new benchmark in nearfield monitoring.
The first aspect that distiguishes the old from the new model is the X-ART tweeter. The ‘X’ stands for ‘eXtended frequency response’ and thus for one of the features of the Accelerating Ribbon Technology that has been drastically improved: the frequency response. It now extends all the way up to 50kHz. In addition, the X-ART tweeter has a higher efficiency and higher maximum sound pressure levels.
The perfect integration with the lower frequencies has been achieved with a newly designed 7” midwoofer. It has been redesigned with a much bigger voice coil (1.5”) and is driven by an amplifier with twice the power compared to its predecessor. This combination produces an amazing sound and pressure levels with an almost distortion-free musical reproduction.
Amplifiers / controls
Each driver has its own dedicated amplifier. A 50W A/B amp is responsible for the X-ART tweeter, while the midwoofer is being driven by a 100W PWM (Pulse Width Modulation) amp. The front panel includes a power switch and a control for the volume that retains the volume setting independently from the on/off switch.
On the rear panel of the A7X are several additional controls: a gain for the high frequencies (± 4dB) and two shelf filters for high and low frequencies. To ensure greater compatibility, there are both XLR (balanced) and RCA (unbalanced) connectors.
The X-ART (eXtended Accelerating Ribbon Technology) tweeters and midranges incorporate a new approach to the Air Motion Transformer concept originally developed by Dr. Oskar Heil. ADAM Audio has improved upon this splendid idea utilizing superior geometries and materials to achieve unprecedented audio fidelity. X-ART strikes a new path concerning the kinematics of moving air, resulting in a dramatic improvement in the quality of audio reproduction.
The X-ART membrane consists of a pleated diaphragm in which the folds compress or expand according to the audio signal applied to them. The result is that air is drawn in and squeezed out, like the bellows of an accordion.
The ADAM X-ART design overcomes the piston-like motion of all conventional drivers and their inevitable problems by achieving an improvement in air loading by a factor of 4 over conventional transducers. To illustrate the basic principle by a comparison: When you breathe, your thorax is moving slowly whereas the air is moving comparably fast. Similarly, the X-ART diaphragm presses the air faster in or out of its folds than they themselves are moving. This markedly superior ”motor” is responsible for the unprecedented clarity and pristine transient reproduction that can be heard with the ADAM X-ART drive units.
In addition, the X-ART tweeter’s pleated membrane avoids the typical breakup/distortion and subsequent dynamic limiting at higher frequencies of stiffer voice coil designs, such as those found in dome and cone tweeters. Another positive result of the X-ART design is that the driving ”stripes” are in direct contact with the outer air and are cooled immediately.
Pulse Width Modulation
PWM (Pulse Width Modulation) – sometimes referred to as Class D amplification, sometimes called Switching Amp Technology – converts the incoming signal to a series of rectangular waveforms of equal height. The width of the rectangles varies in time and the relation of the width of the rectangles represents the musical signal. This waveform can be amplified much more simply, as the transistors are not modulated anymore; instead they are used as switches that only turn the power supply voltage on and off.
It is possible that a very fast mechanical switch could do the job, but power transistors are a better choice for the task, so PWM amplifiers still work pretty much like conventional Class AB designs. It is important to note there are no bits and bytes involved, so “Digital Amplifier” is a misleading and inaccurate term.
The main advantage of PWM amplifiers is their extremely high efficiency (>90%). As a consequence the heat to be dissipated is only one fifth of earlier designs, leading to much lower temperatures within the amps and making the use of heat sinks obsolete.
This principle has been known for decades, but time was needed to develop units that perform at the leading edge in sonic reproduction quality and yet still maintain the high efficiency mentioned previously. The ADAM units use the new technology for both the amp and the power supply section (i.e. no more transformers) combined with state of the art input and filter sections to achieve the best in multi-channel active studio monitoring.
Reviewed by 6 customers
Displaying reviews 1-6
I just got these and have been mixing on them for about 3 weeks and was previously using KRK RP6's. Upon loading and listening to my latest mix I could immidiately notice the stereo image is much wider, the bass is much more defined, the mid range is detailed, the highs are accurate. It was as much of a sonic difference as they are different in price when comparing them to the KRK's. I no longer need a subwoofer to mix as the frequency response is very even and accurate. It immidiately highlighted problems with my mix. The frequency adjustment knobs at the back of the panel are a great tool if you need adjustments made due to issues with your listening room. It's also nice having a power button at the front rather than reaching around the rear of the panel. I can't recommend these speakers enough.
I've used these monitors extensively now, as of 1/21/12, and I can say that they are amazing. The highs are adjustable, and, full on, won't be for some people. I did adjust them with the controls in the back of the unit. I added the Adam Audio Sub8, which is also flexible and highly adjustable. With this setup, the sound is incredible and it translates very well to other systems such as car stereo (as much as is reasonable, anyway) and home stereo. I rely on them for my mixing and mastering and am not disappointed in the least in any way. Highly recommended gear.
Before I bought the Adam A7X, I had been using a pair of JBL 6208 for over 13 years. After I checked out the A7X at Guitar Center, I was impressed with the clarity and honesty that Adam has to offer as compared to my JBL rig. I've always found the JBL to sound flattering in the mid-low bass range, which made vocals and piano sound boomy. The Adam A7X has done everything right: responsive and transparent HF with the ribbon driver, low harmonic distortion using the CF woofer cone, dual port sized for low end extension down to useful range, something I do not expect out of 6.5" driver setup. Ever since I got the A7X, I've been playing my keyboard a lot more: everything just sounds more pleasant and open. The sound level output is just right for my small home studio. I really have not found anything to complain about the A7X. If you can afford it, the A7X is really the best thing out there for the money, in my opinion.
Just getting into music production and remixing I was skeptical of any technology so I researched them all. Many trips to Guitar Center, different Guitar Centers, asking other producers and listening to their systems I figured I had a well-rounded view of what kind of speaker I needed for my setup. The Adam A7X was highly reviewed but at the time they were not available to sample in-store ANYWHERE so I had to reference the Adam A7 series. I was pleased with their sound but not satisfied. I needed much more low end reference than what these were offering but not as much as the A8X's claimed to produce, my room just couldnt handle that much sound. I purchased the A7X's about a month ago and I have been BLOWN AWAY with their performance! They have everything you need to produce and compose music ranging from heavy dub step to classical Beethoven. They dont lack anything. At first I had the A7X's on my console but they produced too much vibration and I didnt get the full low end bass. So I bought a pair of Ultimate MS-100 monitor support stands and they have opened up the Adam's range beyond belief. They sound astounding now whether they are on the stands or just sitting the monitor pads directly on my console. Your monitors are most definately where you should invest your money wisely, they will make the largest difference in music reproduction and performance. If you can, splurge for monitor stands from Ultimate...THEY WORK! Overall, the A7X's have an unbelievable high, mid and low sound quality. And the price....the price is unbeatable.
Over a broad range of material, the bass is a little light (read on), IMHO, but not disappointing - it is only a 7 inch speaker, after all. What I mean by this is that I think the bass is light compared to the mids and highs. Hit ""Hear Now!" by Gerald Veasely for a great demonstration of these speakers. Bass is tight and definite on this track - and all that you'd ever want, I think. But other tracks by other bands, recorded in varying levels of quality and EQ, have bass that is a bit light compared to the rest of the freqs. For example, the track "Heavy Love" by Buddy Guy has a bass line that goes WAY down in the beginning of the song. On these speakers, you can barely hear it - but you can hear it. Oh, you hear the bass just fine, but I know from experience on high end systems that there's more there. The track "Cream" by Prince is another excellent demo of these speakers and things are more balanced on that track. The highs are almost icy they're so crystal clear - they sound amazing. There seems to be a flat response, based on a variety of material, that translates well. I find these speakers to be well-balanced in terms of mid-range. So: they sound GREAT on GREAT material that's recorded with high production values and quality. And they really show poor production values, or old recordings like James Brown. Stereo image is astounding and, to be frank, a little uncanny because it's so defined. When listening to a mono track, like "Make It Funky" by James Brown, it's like the speakers aren't even in the room. Instead there's some magic invisible system floating in the air right in front of you (with proper alignments and distances, of course) and you CANNOT hear the individual speakers. I am impressed, but I'm also going to get the ADAM Audio Sub7 7inch Subwoofer to go along with these. . .and see what happens. My studio area, by the way, is a very stylish and high-tech basement that is nowhere near audio heaven yet. It's about 14 x 22 feet as far as my "active" area goes. I've been listening to these for about an hour now and I know for sure that my ears are now ruined for any other system. Highs: stunning. Mids: good/great. Lows: good. Sub-bass: good. Stereo image: almost scary good. Definitely worth the money. And they look great too.
These speakers sound amazing! the clarity of vocals and instruments on these monitors smoke most in the same price range, even some above. My only observation is that the bass is a bit lacking, however this is expected from smaller speakers. I would recommend these to anyone, especially those with critical listening for vocals and instruments.
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