TEST: Avantone Gauss 7

 Of course, there are some well-known names among nearfield monitors that have found their way around the globe, but there aren't really many real icons, whether in a positive or negative sense. Let's do a quick test by throwing out the term "white woofer" and I'm sure every experienced user will throw out the answer "Yamaha NS-10" in the latency range of 500 ms. The company Avantone Pro, which has already attracted attention several times with its copies in the audio sector, is not only pursuing the reanimation of the legendary NS-10 with the Avantone Pro Gauss 7, no, it is also reminiscent of the Gauss speakers at the same time Company, which passed away some time ago. Let's hear what the copy has to offer with the help of some modern features.

The structure of the Avantone Pro Gauss 7

First of all, a little clarification for anyone who hasn't been lucky enough to hear a Yamaha NS-10 in a studio. “Since the speakers are so well known, they must have sounded incredibly good,” or something like that will rightly be the prevailing opinion regarding the NS-10. And, is that so? With nieces! The NS-10 sounded “crazy…” to say the least and that’s exactly why it caught on. The bone-dry, extremely direct and high-mid-heavy basic sound had neither powerful bass nor flattering highs, only the mid-range reproduction was comparatively decent. The lack of a bass reflex opening nipped the deep bass reproduction in the bud, but the basic sound was always very good for guitarists, as the compressed woofer was not too far removed from the resonance behavior of a closed 412 speaker.

The challenge now was to get a mix to sound on this monitor, because in the eighties, the heyday of this monitor, there was a rule set in stone that “if a mix sounds good on these speakers, it will sound good everywhere!” . A rather archaic approach, but the success served them right. Not a serious place, even up to the world's leading recording studios, which wouldn't have had an NS-10 as a reference. There is even a legend that Engineering Pabst Bob Clearmountain chose the NS-10 for precisely this reason in his search for the “worst sounding speakers” and replaced the tweeter with tissue paper because of its sawing sound. However, with the emerging mastering craze, the speakers became less efficient and gradually disappeared from the studios to make room for more powerful deep bass designs.

However, if you look at the Avantone Pro Gauss 7, upon closer analysis you immediately notice that you can't find any major parallels between the basic concept and the visually striking animal speaker. Starting with the use of a 2.5 inch air motion tweeter, to the bass opening on the back, to the fact that the Avantone Pro Gauss 7 is an active near-field monitor, which has a 120 watt power amplifier for the 7 inch woofer and a 60 watt power amplifier for the tweeter. The frequency response is reported to be 30 Hz - 22 kHz, although due to the design you have to make corresponding compromises in the deep bass range.

The shape of the case, which has several slanted levels on the front for phase continuity and probably also for optical reasons, also has its own signature. The housing made of MDF, which weighs just under 8.2 kg including its contents, was also provided with a black colored real wood veneer for visual reasons. The Avantone Pro Gauss 7 is intended for vertical operation due to its high-tona beam behavior and has 4 high-quality rubber feet, which enable a firm fit even on smooth surfaces and also contribute to vibration absorption due to the relatively soft design.

The backside

The back of the Avantone Pro Gauss 7 is very tidy and only allows a few adjustments in the sound. A high pass reduces the bass range using a slide switch in two steps of -2dB each from 30 Hz - approx. 800 Hz using an even reduction. It is recommended to leave the bass range unedited when placing the monitor in the middle of the room, lowering it by -2dB when placing it near a wall and -4dB when placing it in the corner. To the right of it, a treble boost/treble cutter was installed, with which the treble range can be raised or lowered by +/- 2dB if necessary. Unfortunately, the frequency range from which the correction takes effect cannot be found in the attached two-page manual or in the print on the back of the box. When it comes to connections, the manufacturer consistently focuses on the Pro area with TRS and XLR and does not dedicate any connection options to the RCA area. A simple volume control is used to adjust the monitor level, with the neutral position at 12 o'clock. Overall, the input level can be raised or lowered by +/- 6dB. Unfortunately, the control is not gridded, so the volume balance within a pair of monitors has to be adjusted by ear. A power switch, an IEC socket and the main fuse access complete the back of the Avantone Pro Gauss 7.

The Avantone Pro Gauss 7 in practice

If you activate the Avantone Pro Gauss 7, a blue LED in the lower left corner of the housing informs you about the status of the system. If the system does not receive any signal input for approximately 10 minutes, it switches to standby mode, causing the LED to change to red. Unfortunately, Avantone Pro is quite spartan when it comes to additional information about the product, which means there is no frequency sheet included with the product, so you have to concentrate exclusively on your hearing.

The first listening impressions convey some similarities as well as clear differences to the NS-10 already mentioned. What the two products have in common is the very analytical sound, which does not allow you to “lean back and relax” at any time. As with the NS-10, the sound has to be “fought for”, but that can certainly benefit the end result. However, many sound engineers who work with the Avantone Pro Gauss 7 for the first time will cringe during the first use. The system actually has no deep bass whatsoever, which quickly leads to hectic movements in the EQ area, especially in the kick segment. It is important to ignore these and first import your personal reference mixes to get a feel for the system.

The low-mid range is also comparatively reserved, which is particularly important to take into account in a classic rock mix. In general, it is recommended that you use an external EQ to subtly add the frequencies that you are used to listening to to the system so that the discrepancy does not become too great. The Avantone Pro Gauss 7, on the other hand, scores points in the midrange, with a decent phantom midrange and good depth gradation. The treble range was captured well and does not have the notorious bite of the NS-10, which was very special and made life difficult for many sound engineers. In general, the manufacturer's latent effort to compare the NS-10 seems more like a well-staged promotional campaign than a real continuation of the still strong trademark.

Once you get used to the basic sound of the system, you can actually achieve very good results with the system. The sound is sometimes very “refreshing” and puts into perspective some signals that would lose their presence in a “better” sounding system. What really bothered me, however, was a kind of noise gate, which, when there was complete silence, sent out a quiet cracking sound through the speakers shortly before and immediately after an incoming signal. A mistake that creates a nerve factor that should not be underestimated and that the manufacturer should fix in the MKII version.

Conclusion

With the Avantone Pro Gauss 7, the American manufacturer flirts with two big names in the audio sector both visually and in terms of its name. In terms of sound, the comparison doesn't really work, although some attributes, such as the lack of deep bass range, do give rise to sonic parallels.

In general, the non-linear sound of the system will polarize its users, although certain preferences can be addressed with an external EQ. However, the system is undoubtedly recommended as a second listening device to “blow through” your hearing during a corresponding session.

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Additional Informations:

Avantone Audio is a company that specializes in affordable audio gear for professionals and enthusiasts. Founded in 2003 by Sue and Ken Avant, the company is based in Upland, California.

**History**

Sue and Ken Avant founded Avantone Audio in 2003 with the goal of creating high-quality audio gear that was affordable for everyone. The company's first product was the MixCube, a small, affordable studio monitor that quickly became a popular choice for home studios.

Avantone Audio has continued to grow and expand its product lineup over the years. The company now offers a wide range of microphones, studio monitors, and other audio equipment.

**Products**

Avantone Audio's products are designed to offer high quality sound at a reasonable price. The company's focus on affordability is evident in its product lineup, which includes microphones, studio monitors, and other audio equipment.

**Microphones**

Avantone Audio's microphones are some of the most popular products in the company's lineup. The company offers a wide range of microphones, including condenser microphones, dynamic microphones, and ribbon microphones.

Avantone Audio's microphones are known for their high quality sound and affordable price. The company's CV-12 tube condenser microphone is a popular choice for vocals and instruments, while the CK-12 dynamic microphone is a great option for live performances.

**Studio Monitors**

Avantone Audio's studio monitors are also well-regarded by professionals and enthusiasts. The company offers a variety of studio monitors, including active monitors and passive monitors.

Avantone Audio's studio monitors are known for their accurate sound and affordable price. The company's MixCubes are a great option for home studios, while the Eris E4.5 and S30 are professional-grade monitors that offer excellent sound quality.

**Other Audio Equipment**

In addition to microphones and studio monitors, Avantone Audio also offers a variety of other audio equipment, including:

* Headphones
* Audio interfaces
* Mixers
* Effects pedals

Avantone Audio's other audio equipment is also known for its high quality sound and affordable price. The company's HP-50 headphones are a great option for studio monitoring, while the MIX-102 audio interface is a versatile option for home studios.

**Affordability**

Affordability is one of the key features of Avantone Audio products. The company's products are designed to offer high quality sound at a reasonable price.

Avantone Audio's microphones, studio monitors, and other audio equipment are all priced competitively. The company offers a variety of financing options to make it easier for customers to afford its products.

**Quality**

Avantone Audio products are built with high-quality materials and components. The company uses only the best materials and components to ensure that its products deliver the best possible sound quality.

Avantone Audio products are also backed by a one-year warranty. The company is committed to providing its customers with high-quality products that will last.

**Versatile**

Avantone Audio products offer a wide range of features and applications. The company's products are designed to meet the needs of a variety of users, from professional audio engineers to home studio enthusiasts.

Avantone Audio's microphones are versatile enough to be used for a variety of applications, from vocals and instruments to recording and mixing. The company's studio monitors are also versatile, offering a variety of features and options to meet the needs of different users.

**Conclusion**

Avantone Audio is a company that offers affordable, high-quality audio gear for professionals and enthusiasts. The company's products are known for their accurate sound, affordable price, and versatile features.

* The company's products are designed in the United States and manufactured in China.
* Avantone Audio has a network of authorized dealers and distributors worldwide.
* The company offers a variety of educational resources to help customers learn more about its products.