It probably doesn’t matter, but PreSonus’ abandonment of the R Series’ signature blue front panel makes the R80 V2’s screens look more professional. The distinctive 8-inch woven composite low-frequency AMT (Air Motion Transformer) drive stays in place, with 140W Class A/B amplification replacing the previous 150W Class D. Ten watts may be missing, but the R80 V2 promises more Levitation, which means less distortion and more clarity – in theory.
The R80 V2s made a positive first impression with plenty of low-end punch, mid-range clarity and high resolution. An impressively low bass response end stop of 40 Hz is sufficient for most production situations, but a sub unit can be added using the low cutoff switch (80 Hz or 100 Hz) for a more accurate reference.
Cranked up and fueled with some heavy bass, the R80 V2’s Low Frequency (LF) driver will rock most small to medium-sized rooms. Response is tight with no echo and no overt bass extension port enlargement. These screens will not obstruct the low end mixed well, and the mixed bad end will be revealed. Acoustic space control provides users with little trimming under 800Hz to compensate for close proximity to the wall and is effective when there is no choice but to trim the R80 V2s.
From low midpoints to crosshairs, the LF’s 8-inch driver emits highly evenly complex signals from low midpoint to crosshairs. Continuous and percussive nested elements are clearly expressed across their range.
In the end, transients are satisfyingly clear, emitting detail whether you like it or not. The AMT driver projects over a wide axial scale, benefiting stereo imaging for both “perfect place” listeners and those off-center. The 10 kHz rack EQ can compensate for highly absorbent rooms and attenuate the higher frequency range for subjective reasons.
Minimum speaker activity is where the R80 V2 is at its weakest. In the 3-4.5 kHz range, there is roughness at high levels. Short, bulky trips are essential for mixing and mastering, and when a sensitive frequency band explodes, it can undermine mixing. Unfortunately, the overall high quality of the frequency response reveals this slight wrinkle.
Besides performing the sound design and mixing work with the R80 V2s, we used the following tracks as references:
beck dark star It pairs funky sustained bass with semi-dry drums that grip the R80 V2’s sound stage, even when strings and sonic stacks take over the front. The transient response means the shimmers and bells ringing around the mix are never lost, while the string arcs are appropriately 3D.
hard times Blakroc features a mix of drum and bass that doesn’t lose any of its heft over the R80 V2s. Background elements, such as the organ, piano, and percussion, remain exactly where they are supposed to be, even when sounds dominate the center and hard guitars gobble up the sides.
pull the pin By Run The Jewels is a dense mix that retains its depth, weight and width when Killer Mike and El-P are on the mic. The highlight of the track, Mavis Staples’ agonizing bass sound, is easily carried away by the PreSonus monitors, bringing the tiniest vocal cord scratches to life.
PreSonus’ R80 V2 monitors are a good option for those transitioning from the entry-level market but can also be useful for writing rooms and production suites without breaking the bank.
- Analog inputs: XLR balanced, TRS balanced 1/4″, RCA unbalanced
- Equalizer: 10 kHz high rack and 1 kHz center bell swivel bezels, 3-position low cut-off switch (flat, 80 Hz, 100 Hz), 3-position audio space switch (flat, -2 dB, -4 dB)
- Frequency response (-3 dB): 40Hz to 22kHz
- Crossover frequency: 2.6KHz
- Loudspeakers (Class A/B): 75 Watt (LF) and 65 Watt (HF)
- Peak SPL @ 1m: 107 dB
- Drivers: 8″ Woven Composite (LF), 4400 mm² AMT (HF)
- Dimensions: 379 mm (H) x 241 mm (W) x 309 mm (D)
- Weight: 9 kg each
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