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The reference solution among all professional 3-way monitors ensuring highly accurate sound reproduction and true dynamic response over an extended frequency range

The SC307 is a powerful monitor perfectly suited for near- and midfield monitoring. And, in surround set ups, the SC307 will work excellently as a center channel too.

The SC307 combines the power from three different amplifiers to deliver a very efficient, dynamic and low noise sound reproduction.

Our three-way systems are developed for critical and detailed listening. Although they will be able to provide lots of power and thunderous bass frequencies, they will also excel if you're looking for a precise and very detailed pair of speakers.

SC307 – Alexey Mazur's studio

Our three-way systems are designed around the concept to distribute the frequencies properly between all individual components and raise the efficiency of your speakers effectively.

In our three-way systems, each driver (woofers or tweeter) gets its own amplifier. One of the woofers serves frequencies up to 300 Hz as a kind of "bass" whilst the other woofer gives you a fuller range as a bass-midrange driver, up to the 3000 Hz crossover frequency. From that frequency on, our AMT tweeter takes over. This minimizes interference between the drivers and also allows the SC307 to deliver a very efficient and dynamic sound reproduction.

What this design philosophy means is that less effective physical work is being made by each individual woofer, as the band of frequencies to be reproduced are divided between both woofers. This in turn will result in less mechanical inertia and a more efficient sound transmission.

Both woofers consist of our proprietary 6.5" SilverCone, the same that is used in our two-way system, the SC207, and features our sophisticated low distortion copper cap magnet system. However, due to the fact that two of these woofers are being used simultaneously, you get a bigger frequency response down to 40 Hz.

The SC307 also makes use of the proprietary AMT RS2 tweeter, which uses a bigger front plate, and a bigger internal magnet to drive the AMT tweeter with greater efficiency.

The three 100 W PWM power amplifiers won't leave you lacking any power either, as the maximum sound pressure level of 114 dB (SPL @ 1m) will attest.

And no worries determining how to place the SC307 in your room or studio properly. Our DSP section will assist you in choosing the speaker for left and right hand side. So you will always get proper symmetry between your speakers, instead of having to move them around as usually. With a DIP switch located, on the rear of speakers these settings for room adaption can be temporarly locked.

As with every other EVE Audio speaker, you get both balanced XLR inputs and unbalanced RCA inputs for greater convenience.

With every EVE Audio speaker, you also get high resolution DSP electronics. One push knob operation and you will have access to accurate volume control and several different filter settings that will help you tailor your monitors to the way you work. And if you always avoid digital processing, we've got you covered. The DSP engine is supported with a high quality A/D converter (24bit/192kHz) from Burr-Brown, which delivers a pristine signal to the DSP section. And since the PWM amplifiers are directly connected to the DSP, no additional conversion is necessary. Please visit our Technology page to learn more about our DSP philosophy.

It's all in the geometry. One of the downside effects of port compression is bass distortion. As you turn up the volume, the efficiency of the port reduces and distortion will increase.

We opted for a large rear rectangular port with no hard edges for our bass port designs. That's one of the reasons EVE monitors have a high efficiency on the lower frequencies.

The results? High sound pressures with tight and punchy bass frequencies that don't cause port distortion. Crank up the volume, and EVE will deliver a round bass. And with no holes to look at every time you glance at your speakers.

Free-field frequency response (1/6 oct.) Top = Horizontal configuration / Bottom = Vertical configuration
Red = 0° / Green = 30° horizontal off-axis

Distortion Orange = 2nd / Green = 3rd vs frequency response (red)

Polar pattern (1m) Top = Horizontal configuration / Bottom = Vertical configuration
Red = 200Hz / Green = 1kHz / Blue = 5kHz

Product SC307
Description Midfield Monitor
Dimensions (WxHxD) [mm] 500 x 215 x 310
Dimensions (WxHxD) ["] 19.69 x 8.46 x 12.2
Free-field frequency range (-3dB) 40Hz - 21kHz
Tweeter AMT RS2
Midrange
Mid-Woofer 165mm/6.5"
Woofer 165mm/6.5"
Cross-over frequency 300Hz/2800Hz
Maximum SPL @ 1m 114dB
Number of amplifiers 3
Output power (woofers) 2 x 100W
Output power (mid-driver)
Output power (tweeter) 50W
Protection limiter
Settings
Volume -inf. - +6dB
System volume (Satellite & Sub)
Subwoofer volume
High-shelf filter (-5dB - +3dB) > 3kHz
Mid EQ (-3dB - +3dB)
Desk filter boost (0dB - +3dB) 80Hz
Desk filter cut (-5dB - 0dB) 160Hz
Position filter
Low-shelf filter (-5dB - +3dB) < 300Hz
LED brightness setting
Input select
Level-lock dip switch
Filter-lock dip switch
Woofer-change dip switch (L/R)
Input level dip switch
Standby dip switch
Satellite filter dip switch
Phase inversion
Switchable Satellite filter
Variable Subwoofer filter
Remote control
Connectors
XLR in (impedance) (10k)
RCA in (impedance) (10k)
Digital optical in
USB in
RCA subwoofer out
XLR in left (impedance)
XLR in right (impedance)
XLR in LFE (impedance)
XLR out satellite left (impedance)
XLR out satellite right (impedance)
XLR out LFE (impedance)
Power consumption
Standby < 1W
Full output 350VA
Misc.
Backmounting thread inserts
Mic stand thread inserts
Weight [kg/lb.] 12.4 / 27.3
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A-Town Recordings (Germany) Akademia Dziennikarstwa i Realizacji Dzwieku (Poland) Callum MacColl (UK) Crada (Germany) Dirtcaps (Netherlands) DJ eM (Australia) Gordon Williams (USA) JLMx Studio (Taiwan) Knack Studios (India) La Baia dei Porci (Italy) Les Liens du Son (France) Łukasz & Adam Sztaba (Poland) Mr.Black (Israel) Pughouse Studios (Australia) Record Factory (Korea) Robby De Sa (Australia) Sabat Theater (Poland) Sear Sound Studio (USA) Studio Rekord (Poland) Tom Olbrich (Germany) WSL Studio (France)

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