PMC twotwo.6 Active Monitors (Pair)
From PMC – the producer of true reference loudspeaker monitors – the all-new twotwo series combines PMC’s world-class design pedigree with sophisticated digital signal processing and active amplification to create a range of stunningly accurate, versatile, and compact two-way reference grade monitors.
The range currently comprises of two models – the twotwo.5 and twotwo.6 – all designed and built in Britain using state-of-the-art technologies and components. The result is unrivalled level of clarity, transparency and accuracy for professional compact monitors. twotwo series models all share the same core design and features – the model number refers only to the approximate size (in inches) of the bass driver, with larger numbers denoting increasing cabinet volume, greater bass extension and higher SPL capabilities.
PMC’s attention to detail is evident throughout the design of twotwo series, but a feature new to the compact range is their ability to operate in either the vertical or horizontal orientations without compromising stereo imaging or tonal accuracy. This makes them ideally suited for nearfield monitoring of music and speech in situations where space is at a premium, such as in outside broadcast vehicles, small radio on-air studios and television sound control galleries, project music studios, video editing and post-production suites and for A&R evaluations.
- True compact reference monitors with ATL™ bass loading technology
- Class leading connectivity – both analogue & digital up to 192kHz
- Cutting edge, audiophile, high efficiency dual Class-D amplification
- Powerful DSP engine controlling driver response, crossover & EQ
- Versatile positioning – perfect in both vertical & horizontal orientation
- Precision drivers designed and built by PMC for dynamics & neutrality
The intermediate model in the twotwo range employs the same amplifiers and DSP technology as its diminutive sibling, but its larger ATL™ cabinet and 170mm (6.5”) bass unit endows it with a more extended bass performance and a higher SPLs. However, the twotwo.6 shares the same family characteristics of superb transparency and a neutral balance, and is an ideal monitor for use in medium-sized rooms where more power and dynamics are required.
Mark Thompson writes... FEB 13
"I had an interesting hour this morning in the demo room.
Being the world's leading monitor cynic, I was expecting to have to be polite to you about the 226's, but in fact I've been extremely impressed.
I bought in a few CDs I know, all of which are beautifully recorded (all in the 1970s, strangely enough) - Richard and Linda Thompson 'Want To See The Bright Lights Tonight', Chick Corea 'Return To Forever' , John Williams 'Spanish Guitar Music' and Boz Scaggs, thereby giving me a spectrum of styles.
I hooked the PMCs (set up as they arrived) up to A/B easily with my benchmark favourites, the ATC SCM25Ss'. The results were surprising.
The PMC's are definitely 'grown up' monitors (an accolade I grant to very, very few near/midfields). Definition and imagery were superb - up there if not better at times than the ATC's - and they both handled all the signal material effortlessly at all the levels I tried (not flat out - my ears won't take that any more). The main difference on most material was that the ATC's extended maybe half an octave lower, the midrange was less pronounced and
they were 'mellower', giving them a marginal edge on rock and funk. The Chick Corea is a very middly production, featuring Fender Rhodes, flutes and female scat vocals, and sounded particularly harsh on the PMC's in relation to the ATCs. However, the John Williams solo guitar was extremely interesting. Yes, midrange was more pronounced on the PMC's,
but this was very much to the benefit of the recordings as the PMC's had more definition and clarity than the ATCs, which definitely improved my appreciation of the music and playing. At a couple of points I was surprised to actually hear a slight chair creak on the PMCs that I'd never noticed on this album before, and went back to the same passage on the ATC's to
check - yes, I could just about hear the creak, but only because I now knew it was there. It seems that the PMC's have a degree of definition in certain areas that is exceptional.
Overall? Well, I'd happily live (and work) with the PMCs, perhaps the only smaller PMC system I could say that of. For their size they are exceptional. Indeed, after the ATC comparison I went to similar sized monitors by Adam and Focal to do what would perhaps be a more straightforward comparison. That process really didn't take long - it was definitely men vs boys. The PMC's were in a totally different league, to an embarrassing extent.
Overall? I think these are exceptional monitors for both the size and the price. Sure, they appear expensive, but they pretty much matched the performance of the 3 way, larger ATCs which list at close to £6k. At a push, all things being equal, I'd plump for the ATCs, but all things (particularly the price) aren't equal and as such I think the PMCs are quite exceptional.
One thing I did wonder was whether PMC were considering making a matching bass unit - not a subbase, but an LF cabinet that could go below the 226 and effecitvely make it a 3 way, extending the low end by that missing half octave or perhaps more. That might make the 226 both a versatile and a spectacular montior for small or medium rooms and broadcast/post.
Well done. A definite success"