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ARC Sound Invests In Coda Audio Monitors
South London-based production and audio rental company ARC Sound has recently invested in a package of Coda Audio stage monitors, helping to ensure that artists performing at the wide variety of events the company services enjoy the very best sound.
Comprising 20 CUE TWO and CUE FOUR monitors, they are the first Coda products that ARC Sound has added to its inventory. Managing director James Dougill was introduced to Coda products by UK technical sales manager Gareth Jones, who says, “I have known James for many years and I know that he is a real stickler for quality and attention to detail. I was sure that he would appreciate both the features and performance of the CUE-Series monitors.”
Coda’s unique technology and precise directivity delivers a coherent wavefront without hotspots, ensuring exceptionally uniform coverage.
The CUE TWO is a three-way, high output, ultra low profile unit, which features a triaxial transducer incorporating a 15” woofer and 1.4” concentrically-mounted coaxial compression driver loaded by a 60º x 90º elliptical waveguide. The CUE FOUR is a three-way unit, employing two 8” high power neodymium woofers and 1.4” coaxial compression driver loaded by an asymmetrical 60º x 50º + 45º elliptical waveguide. Both units can be run in bi-amp or passive modes.
“Having demoed several products, we were convinced that the CUE-Series was the right choice for the work we undertake,” says James. “In our primary market, the aesthetics and appearance of a product are every bit as important to our customers as the sound quality is to us. They tick all the right boxes and have been exceptionally well received by guest engineers who have used them.”
One of the first events that ARC Sound used the CUE monitors on was orchestra pit monitoring for Andy Mitchell and the Big Funk Corporation, where 22 CUE monitors delivered 16 mixes.
James concludes, “The high stability and directivity of the monitors allowed us to create individually tailored mixes in a very condensed playing space, where we were using around fifty four open microphones.”