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high performance woofers and one 1” high definition, back-chamber loaded tweeter, which provides ultra precise, defined, point source sound that can’t be achieved by traditional 2-way systems at close distances. I don't know what exactly is going on with the DSP in these, but it's definitely more than just an eq curve. There’s also an 1/8″ ARC measurement microphone input for room calibration and a USB port for firmware updates. Their midi devices are nice for the money (keyboards particularly, and doubly so for iPhone and iPad Pro) and their iPad/Phone apps, SampleTank and Hammond Organ, have got to be the best for live shows in that platform And certainly competent for recording.
On top of that this innovative design keeps the monitor dimensions to a minimum, 30 to 50% smaller than comparable features monitors, letting you set them up even in the smallest spaces. Perhaps to aid its portability, all inward connections – power and audio – are sent to one speaker, which then daisy-chains sound and power to the other. it’s now on version 3), so that’s also weird if the purposefully meant it to be confused with Anthem. It’sall done via a series of audio chirps played through each speaker via a set process of placing the mic in four positions around where your head would be.Both speakers I received had a very audible coil whine coming from the power supply unit, at a rather fatiguing frequency that could even be heard over quiet tracks. But that’s in the realm of much bigger and more expensive monitors – does it really live up to its claims? We were impressed not only with the extras we were getting across the frequency range in our mixes but also the tightness – the fast response of the speakers to the transients in the music. The result is iLoud MTM, and it changes everything about the sound, accuracy and convenience of reference monitors in today’s modern studio.
They also do it in a small, bad room, which isn't going to happen with a pair of Focal twins or anything else that gives the same feels. They span a wide frequency range (37Hz – 30kHz) with very little variation in colour across it (a +/- 1 dB accuracy) which means that the response is flat. The desk EQ option is effectively an acoustic correction that, if the monitor is desk mounted, ARC should provide, while the LF and HF EQ options are more a matter of personal taste. It's EQ for sure, but there's also phase correction and it sounds to me like possibly some dynamic adjustments with volume level. The iLoud MTM monitors are perfect for anyone working in less than ideal conditions – a small untreated room, on the move, or in a tight space.The first thing to note about the IK Multimedia iLoud Micro Monitor set is that they are indeed small. So you can quickly, easily and precisely install a multi-monitor setup that adheres to Dolby’s standards, anywhere. That solidity in the bass allied to the level of control is just remarkable for a speaker of this size, too.
This is even more critical in modern studios where more and more musicians are using them at very close distances, like on a desktop beside their laptop or computer screen. The iLoud MTM monitor has a broad frequency response range, extending from 50 Hz (around G1 on a piano) to 24 kHz (±2. You can choose from a selection of preset frequency curves (see picture above) and the speakers will then raise or lowerparts of the frequency range accordingly. My favorite system I have ever owned was a set of Revel F52s driven by a beefy discrete class A amp and fully solid-state signal chain, or a set of Adam S3a MTM powered mid/nearfields in a well-designed and treated room.The iLoud MTM is the ideal choice for those looking for a compact studio speaker for professional mixing, or for those who have limited space to fit a speaker. Though compact and affordable, IK's newest monitors manage to cram in a remarkable amount of tech – and the results speak for themselves. It's a durable, 100% polyester case featuring a stitched-in iLoud MTM logo, adjustable straps and a zippered pouch for tiltable isolation bases, horizontal bases, cables and other small items. Any signal entering the iLoud MTM is converted into digital format (48kHz, 32 bit), so it can be processed with IK Multimedia’s Physical Response Linearization (PRL) system.
The Adams need to be turned up a bit to sound good, and the listening experience was always a dance between getting enough volume for them to open up, but not so much volume that the room turns everything to a resonant, muddy mess and my neighbors start banging on the wall.
Those speakers would fall apart on my desk, not to mention take up an inordinate amount of usable space. This can help to minimise diffraction – where a soundwave is distorted or modified when hitting an obstacle. The iLoud MTM is a remarkable feat of audio engineering in bringing such a surgical level of detail at in such a small format.
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