S3x chat zone 18
Adam’s design for the S3X-H sees the addition of a dedicated 4.5-inch midrange driver.
This allows for a higher crossover frequency with the tweeter, and both the woofers are used to drive the same frequency band.
Central images are rock-solid, but panned instruments appear over a broader expanse, in order to create a sound that’s very much open and uncluttered.
We have noticed port chuffing with Adam monitors before – and the S3X-H does it, too.
Once we had ensured the tweeters were at ear level and we had constructed our stereo triangle, the key was toeing in the angle of the speakers to achieve rock-solid centre images without congestion or restricted soundstage.
Some of us will have gigged with less powerful PA systems.
The original driver complement comprised two 7.5-inch woofers and a tweeter.
One woofer handled bass frequencies below 150Hz, with the other filling the gap up to the 1.8k Hz crossover point with the tweeter.
Although the original Adam S3A was well received by recordists working with acoustic instruments, the dance guys weren’t convinced there was enough low-end power to cope with synths and sample-based drum and bass sounds.
So the design brief for the S3X-H was to provide the power without sacrificing the accuracy.
This apparently offers much greater efficiency over a standard piston driver, and a faster response time for improved transients. For the tweeter, Adam developed a low-noise 50-watt amplifier with a claimed flat frequency response reaching up to 300k Hz.