Despite its large size, the overall sound is very "tight" and "focused," emphasizing the attack of the sound. The timbre coloration is far from neutral, but the sound is very "alive" providing a natural delivery of tones and musical instruments.

Near Field (Yamaha NS-10 with Bryston B3 amplifier)

The sound of these monitors in Music Studio I differs from their classic sound in other studios. There is a strong limitation in the range of reproduced low frequencies, and the mid frequencies are further focused with no excess of high frequencies.

Mid Field (Genelec 1031A)

Cymbals in the tracks sound bright due to the open-sounding high frequencies, while the reproduction of mid frequencies is smoothed. In conjunction with the boost in low and high frequencies, this creates a colorful sound, which contrasts well with the "bare" NS-10 of the first monitor line.

Far Field (ATC SCM 300ASL G Pro (5) + ATC Subwoofers (3))

The sound of this acoustic system is not affected by reflections from the console, as the speakers are much further away from it (unlike the first and second monitor lines). Another important feature is the very "tight" bass of the acoustic system. In this range, it sounds "faster" than the mid-field. There isn't as much bass, and it's not smeared in time. This provides a very good focus on the low-frequency foundation of the mix, allowing the low-frequency section and groove in the mix to be heard very well.

Unlike sound engineers working in Music Studio I, Realphones users can use an optimized version. It removes the above-described features from the sound and makes it more neutral. Some room coloring is retained, but only to the extent that it helps to work on the mix without being too distracting.

The dSONIQ team and the emulations they create are not affiliated, endorsed, or licensed by Yamaha, Genelec, Bryston and ATC.

Careful acoustic tuning has resulted in a neutral yet lively and airy sound. The main monitor line operates with a three-way DSP correction to enhance the integration of the acoustic system into the control room and monitoring accuracy. You'll have two listening options: with room DSP correction enabled or disabled.

Additionally, we have recorded near-field monitors for you - the well-known classic Yamaha NS10 monitors. In this studio, they produce a soft yet airy sound. You can also experience the emulation of the central mono monitor Yamaha MSP3, which is used in the studio for mix checking and emulates portable devices with special equalization.

The dSONIQ team expresses gratitude to colleagues from the DingDong Audio team. Thanks to the Realphones technology and the efforts of our partners, you can now find yourself in one of the largest Chinese world-class studios without leaving your home!

DingDong Audio is a high-tech international trade and service company. Over the past three years, the team have undertaken sound installation design and system integration projects in Beijing, Shanghai, Shenzhen, and other locations. After years of development, the company has become the most powerful recording studio system overall planning organization and the first-class system integrator in China.

Realphones Standard and Pro users have access to "cubes," ultra-detailed modern near-field monitors, and a very useful option to listen to far-field monitors from a client sofa, where the lowest frequencies are well heard.

For Realphones Ultimate users, a primary working setup is added. It's worth noting the carefully calibrated attenuation of mid and high frequencies of far-field monitors, allowing for extended work on material without auditory fatigue.

At the same time, Realphones users have the option to customize a more familiar frequency balance for a more open sound.

The studio features uniform reverb time across the entire frequency range and a well-defined sound. The near-field monitor line will delight you with its open and transparent sound, the mid-field with a rich and bold mid-frequency sound, and the far-field with powerful, saturated, and dynamic tones.