Magnetic honeycomb grilles keep the soft dome tweeters safeĬan be absolutely sure of is that these speakers will achieve their posted numbers and generally a little more too. SCM is ATC’s entry-level, and the SMC 7s are the smallest models On that subject, it’s worth pointing out the stated frequency response of all five passive models might not look that impressive, but ATC is a master of understatement.
Atc subwoofer driver#
The half-a-metre-wide C3C centre speaker is the larger of two models in the range, and has the same driver complement as the SCM11, and a very similar frequency response (dropping to a claimed 54Hz versus the 56Hz figure of the standmount). You could, of course, go for SCM11s all round, but ATC itself feels the SCM7 is quite sufficient for back-of- the-room duties. For the surrounds, we’re using the SCM7 models, which carry the same tweeter but mount a smaller 5in midbass.
Atc subwoofer drivers#
Drivers are a 1in soft dome tweeter and a 6in doped paper midbass. As such, the SCM11 that’s used here for front left and right is an eleven-litre cabinet. The company is admirably route one in how it names things, so ‘SCM’ stands for Sealed Cabinet Monitor, and the number refers to the internal volume. Partnering the C1 Mk2 in this 5.1 array is a speaker selection culled from ATC’s entry SCM series. That’s not best-in-class, but with LFE it’s not how much you have, it’s what you do with it… In terms of specification claims, ATC suggests the C1 Mk2 can reach down to around 25Hz (-6dB). The back plate also feels a bit minimal, but there are frequency and level controls and the connections cater to daisy-chaining to another woofer rather than needing multiple outputs on your AVR. You can support the site directly via Paypal donations ☕. The only visible indicator that it’s fired up is the tiny power/overload light within the metal logo plate on the front panel.ħReview earns Amazon affiliate commissions from qualifying purchases. In a world where subwoofers have apps of their own and various EQ features, the C1 Mk2 comes across as a little old-school (particularly in our cherry wood finish) but it feels immensely solid.
Atc subwoofer full#
The power supply has also been upgraded, to ensure there is more current available for dynamic moments, and there are major changes in the preamp section low-pass filter circuits and phase control have been reworked ‘to facilitate the best possible integration with partnering speakers from ATC and other manufacturers,’ and overload protection has been improved to provide ‘greater control at full output.’ But this is an all-new amp design intended to take performance up a notch. ATC has little interest in the world of Class D, so the C1 Mk2 uses a 200W Class A/B amplifier, and has a prominent heat sink on the rear panel to prove it. The amp specification also appears the same as it was before. The cabinet and driver remain the same a sealed design housing a downward-firing 12in doped paper woofer that is hand-built in the same way as ATC’s smaller drive units. Indeed, at first glance, the differences between the two models seem fairly small. The redeployment of the original name is indicative that not everything has changed. The duty of providing affordable sub-bass for its SCM (conventional cabinet) and HTS (on-wall) speakers – the rest of the ATC stable is two-channel, with no centre channel option – has historically fallen to its C1 subwoofer, but the brand felt there was room for improvement so has replaced it with the C1 Mk2. This combination of skills means that ATC is one predominantly hi-fi-oriented brand that’s not afraid to get down and dirty and make a subwoofer. Buy with confidence.Its in-house engineering also extends to the construction of amplifiers, used both in standalone products (integrated and powers amplifiers) and an extensive range of active speakers. These ATCs are highly analytical yet never sound clinical or passionless, and are transparent to the original recording and system electronics. Prince’s vocals are handled in a crisp and articulate manner, but they also lack nothing in terms of body or natural warmth.
The bass kicks hard while the drum machines attack with determination. They deliver the song’s relentless rhythmic momentum with enthusiasm. Moving onto Prince’s Love shows that these boxes like to party too. Things stay stable even as the piece’s complexity increases. We also like the SCM19s’ ability to render a large-scale soundstage and populate it with well-focused instruments. There’s an impressive degree of composure here, the monitors refusing to compress or harden up even when pushed hard. These ATCs have no trouble delivering the piece’s crescendos with power, even at very high volume levels. Those dynamic skills come into even sharper focus when we play Tchaikovsky’s 1812 Overture. Twin binding posts allow biamping or biwiring if required.
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