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Monitors with internal
amplifiers offer the luxury of bringing a fairly compact and familiar
playback system to every studio in your engineering travels. The surge
of 5.1 surround mixes has also created a higher demand for self-powered
speakers. To fill this need, Fostex has manufactured an amplified version
of the NF-1: the NF-1A. The design is as different as it is efficient.
A NEW LOOK
When I lifted one of the 25-pound monitors out of its box, I was surprised—not
by the weight but by the woofer’s truly unique appearance. I’ve
never seen a speaker look anything like this: The cone does not have the
usual uniform crater appearance, but is mountainous, with symmetry in
the form of a five-pointed star. In addition, the edge of the woofer diaphragm
has a novel design that is intended to eliminate unwanted anti-resonance
through UDR (Up-Down Roll) construction. Upon looking at the woofer edge,
I realize that “UDR” means that the woofer won’t just move
in and out, but that it may actually twist a bit as it moves with the
sound. The elastic UDR edge may also extend the life of the cone, while
minimizing resonances returning to the cone from the entire enclosure.
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The
NF-1As are two-way, active monitors, with a unique 5-point woofer
cone design
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There are two diffractive
reflectors inside each cabinet to minimize internal standing waves. These
reflectors are about 6 inches in diameter, and they, too, are pentagonal.
Another unique detail is the fact that banana fibers are used in the combination
of materials for the woofer, thus the off-yellow color. Fostex chose banana
fibers because they are longer than other potentially usable fibers and
have a higher level of bonding strength when combined with the base pulp
(wood) used to make the diaphragm. The tweeter diaphragm is urethane film
laminated over cloth, touting a frequency range of as much as 40 kHz.
The tweeter and woofer each receive 60W through bi-amplification.
CONNECTIONS AND CONTROLS
The back panel allows for connection via 1¼4-inch phone jack
(-10dBV unbalanced input) or 3-pin XLR (+4dBu balanced input, with pin
2 hot). Two level control pots and three switches are recessed for adjustment
with a small screwdriver. The recessed design prevents inadvertent changes,
although at times I felt these controls were too inaccessible. One level
control is for tweeter SPL and is continuously adjustable from -3 to +3
dB, with a detent at zero. The other potentiometer is for overall power
output and is also continuous in its travel (not stepped). This presented
the only major drawback for me: Without a stepped level control, it is
extremely difficult to exactly match left vs. right speaker volumes, especially
with the pots as small as they are. Yes, I could set this output at maximum
on both the left and the right speakers (more watts equal cleaner sound),
but then I end up keeping my mixer output well below unity gain to avoid
getting blasted.
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Diffractive
reflectors inside the cabinet minimize standing waves
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The switches for varying
the speakers’ EQ give us fewer choices than the potentiometers, but
make left-to-right matching more uniform. An on/off Hi-Mid Attenuator
drops the 1-to-5kHz range down by 3 dB, centered at 3 kHz. The Low-Frequency
Filter Selector, with positions at -3 dB, 0 and +3 dB, affects the frequencies
“around 60 Hz.” The High-Frequency Filter Switch adjusts the
frequencies “around 10 kHz” up or down by 3 dB. The legends
on the back panel are complete in the details of the functions of the
controls and jacks, including three frequency response charts pertaining
to the EQ switches. Half of the back is covered with the heat sink, which
did not get overly hot after leaving the speakers powered up for a week
of initial listening.
THE SOUND
I set up the speakers about five feet apart, with the tweeters at
ear level. After sending a balanced pair of cables to the XLR inputs,
I listened to a variety of music, checking for differences in DAT mixes
that I’ve worked on. The EQ controls on the NF-1As were left flat
for these early impressions.
The sound of these monitors is pleasing—and natural in the upper
frequencies. The NF-1As don’t make the listener jump up shouting
“everything sounds so much better through these!” This is as
it should be; one does not want to mix with a speaker that is overly bright
or makes the mix sound better than it might on a majority of systems.
One needs to be able to hear details in the sound, and the versatility
of the EQ controls allow one to tailor these monitors to suit their needs.
The bass is quite impressive for this size enclosure. Small speakers often
overcompensate for their lack of bass with a design that allows the cabinet
to resonate at about 50 Hz, pumping the resonating frequency out in an
ugly way. The NF-1As steer clear of that common flaw. The bass sound is
wonderful, and it’s amazing how well they play back 808s and other
low-frequency elements from hip hop recordings. The kick didn’t pummel
me over, and I enjoy the full roundness and uncolored strength of the
five-string bass and 808—clear and deep. I never needed to use the
+3 setting on the Low Frequency EQ (although it could come in handy to
check for the effect of a potentially speaker-damaging mix, as most listeners
tend to turn up the bass on their car systems).
While familiar mixes translated quite well through the NF-1As, there is
still a hint of difference in the realm of the upper-mids. I heard sidesticks
and clave clicks at slightly higher than the level I gave them during
the mix, although this was a subtle difference. A tiny bit of hiss also
emanates from the speakers when no music plays. However, the NF-1As provide
enough clarity and depth to reveal the true textures of various reverbs
and effects. The imaging was excellent, especially while listening to
an analog recording of a New Hampshire thunderstorm, in which I could
hear each raindrop fall in specific locations.
After using these monitors with all the EQ settings flat for a couple
long days of overdubbing, I didn’t experience an unusual amount of
ear fatigue. Listeners at the session remarked that the NF-1As didn’t
sound “near-field,” which meant that they enjoyed the detail
and frequency response, even when standing back a bit. My most common
complaint about near-field speakers is that the band, while standing at
various distances around the control room, does not hear the details that
the engineer in the sweet spot hears. The frequency dispersion of this
monitor is respectable and maintains an even tone throughout the room.
To recapitulate, I definitely enjoyed the sound of these speakers. (Yes,
I wanted to keep them.) Flat response, clear bass and great imaging translate
well to other speaker systems, and the extensive high frequency response
can be adjusted to your taste. I only wish that the level controls were
stepped, instead of continuously variable. In the past, Fostex has provided
products that are both affordable and reliable—a difficult combination.
That tradition continues with the NF-1A, which at $899 each, offers an
excellent alternative to other powered monitors.
Fostex, 15431 Blackburn Ave., Norwalk, CA 90650; 562/921-1112; fax 562/802-1964;
www.fostex.com. n
David Ogilvy is a producer/engineer and enthusiastically makes field
recordings of sound effects and ambiences. P.S. The Fostex woofers did
not smell like bananas.
Go
to Page 2, "Lab Analysis"
Reprinted with permission from Mix Magazine, August, 2000
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved
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