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Adam Rocks Wagener’s WireWorld Studio

United States
Westlake Village, CA (December 21, 2006) — Having engineered and mixed for major label acts like Metallica, Dokken, SkidRow, Janet Jackson, Alice Cooper and Ozzy Osbourne, Michael Wagener has listened to his fair share of studio monitors. This experience played heavily into his choice to outfit his own facility, Nashville’s WireWorld Studio, with ADAM S3A Studio Monitors.

Wagener has spent a great deal of time experimenting with the monitors he uses for mixing at WireWorld. When he demoed a pair of ADAM SA3A’s he knew his search was over. “I’ve tried a bunch of different speaker brands in my studio and each one had their shortcomings. I have always spent a long time getting a mix together, and when I took it home, or listened in the car, it would sound much different than it had in the studio. I almost lost trust in my hearing ability!

”When I finally tried the ADAM S3A’s they changed my life — literally! Mixes come very easy now, and they translate extremely well to systems outside of the studio. There is no ear fatigue, even over long periods of listening. The sweet spot in front of the speakers is very wide and doesn’t nail you down to a few inches in the middle.“

Wagener’s experience with S3As are due in large part to ADAM’s unique folded ribbon tweeter design, dubbed A.R.T. for Accelerated Ribbon Technology. This design gives him all of the advantages of highly desired ribbon tweeters, such as smooth, natural high frequencies, without any of the drawbacks like a small sweet spot and brittleness. ADAM’s folded ribbon tweeter moves air in an ”accordian-like“ fashion at four times the ratio as a traditional tweeter, which simply pumps in and out. This design results in a wide, even image or ”sweet spot“ and increases mass and rigidity, making them more durable than traditional ribbon tweeters.

While it took only a short time for Wagener to get used to and trust his S3A’s, the ultimate goal isn’t always a flattering sound, but the ability to hear everything, including flaws in a mix. ”You hear problems in your mixes immediately and you might be surprised at how odd some commercially released CDs sound on these speakers. The trick to figuring out how the S3A’s work is to mix on them, trust them, and then take your mix outside the studio. I’m sure that, like me, you’ll will find that the S3A’s don’t lie to you. I would not record or mix without my S3A’s again. After all, if you don’t hear it, you can’t fix it!"

For more about Michael Wagener see www.michaelwagener.com
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