Big.
Ass.
Sound.

20/20BAS

20/20BAS
The Return of the 20/20

First released in 1995, the original 20/20 nearfield studio monitor revolutionised the recording industry and secured itself a place in the hearts of audio engineers the world over for its truthful reproduction and outstanding sonic character.

Now Event is proud to announce a new generation of clarity, transparency and definition with the release of the 20/20BAS. This two-way front ported speaker incorporates a number of fundamental improvements over the original model while remaining true to its tonal character and performance strengths.

Event's engineering team used ideas and technologies from its flagship Opal speaker in order to achieve performance in keeping with the company design philosophy of high output, low distortion and excellent dynamics.


A modern classic

First released in 1995, the original 20/20 nearfield studio monitor was universally acclaimed and launched the Event brand worldwide. Using manufacturing processes and materials unheard of at the time, the 20/20 combined a magnetically shielded 25mm natural silk dome with an 8" mineral-impregnated polypropylene cone. A laminated and internally dampened MDF cabinet with a front-mounted large diameter bass port assisted in providing the 20/20's impressive low end response.

A year later Event released a powered version, the 20/20bas, to critical acclaim from engineers, musicians and the media alike. The very first pair of 20/20bas speakers were used by Francis Buckley to mix Quincy Jones' Q's Jook Joint album for which he won the 1996 Grammy Award for Best Engineered Album.

the original 20/20bas

The New 20/20BAS

Now fifteen years later Event is pioneering a new generation of clarity, transparency and definition with the release of the 20/20BAS. This speaker incorporates a number of fundamental improvements over the original model while remaining true to its character and performance strengths.

The original transducer design and cabinet volume have been maintained, however the high and low frequency amplifiers, cabinet bracing and overall construction have been revolutionised to improve audio characteristics, increase dynamics and extend reliability.

Opal Technology

Event's engineering team used ideas and technologies from its flagship Opal speaker in order to achieve performance in keeping with the company design philosophy of high output, low distortion and excellent dynamics.

Fully discrete Class AB amplifiers for the tweeter and woofer provide up to 250 watts of burst power with less than .01% Total Harmonic Distortion (THD). This more than doubles the power provided by the original 20/20bas amplifier design with less than half the distortion. Sustained high output performance is ensured through a new oversized toroidal power supply that can ensure sustained extreme low frequency reproduction.

"We were very respectful to the original 20/20 speaker" explains Event's Director of Engineering, Marcelo Vercelli. "Everyone in Event's design department has great respect for the speaker, but we saw a few areas where we could use techologies developed for Opal to get even better dynamics with lower distortion. The new low frequency amp can deliver up to 250w of peak power into the woofer. This gives you the BOOM... the definition in the bottom end that you're looking for."

The 20/20BAS

System

Frequency Response
35Hz - 20kHz ±2dB
Crossover Frequency
2300Hz
3rd Harmonic Distortion @ 90dB SPL, 1m,
500-7kHz
0.08%
3rd Harmonic Distortion @ 90dB SPL, 1m,
200 - 20kHz
0.2%
3rd Harmonic Distortion @ 90dB SPL, 1m,
<200Hz
1.5%
Acoustic Output - SPL @ 1m, Long term
(80Hz - 20kHz)
105dB
Acoustic Output - SPL @ 1m, Peak
(80Hz - 20kHz)
108dB
Signal Input
XLR (balanced)
20/20BAS

Low Frequency Transducer

Piston Diameter
180mm (7.1")
Voice Coil Configuration
High temperature single coil
Voice Coil Diameter
38mm (1.5")
Former Material
High-strength Polyamide - Glass Fiber
Magnet Type
Ferrite
Cone Type
Mineral Filled Polypropylene
Magnetic Shielding
Bucking magnet and steel cap

High Frequency Transducer

Dome Diameter
25.4mm (1")
Voice Coil Diameter
25mm (0.98")
Magnet Type
Ferrite
Dome Type
Silk
Gap Design
Ferrofluid Cooled
Magnetic Shielding
Bucking Magnet

Amplifier - Low/high frequency

Frequency Response
20Hz - 20kHz(±0.2dB)
Operating Band Pass
20Hz - 2400Hz (LF)/2400Hz - 20kHz (HF)
Total Harmoic Distortion
0.01% 120 Watts into 4 Ohm Load
Long Term Power @ 4 Ohms
80 Watts
Burst Power @ 4 Ohms
120 Watts
Output Topology
Class AB
LF Trim
Constantly variable ±3dB
HF Trim
Constantly variable ±3dB
Subsonic Filter
-3dB @ 30Hz
Driver Protection
Current Limiting
Temperature Protection
Thermal Cut-Off Switch
Indicators
Event badge 'On' mode
Cooling
Convection - Aluminium Heat Sink
Power Requirements
Voltage selector 110-120V or 220-240V, 50/60Hz, 180VA
Power via detachable 3 circuit IEC type linecord

Physical

Cabinet Construction
MDF
Low Frequency Vents
Front Port
Cabinet Dimensions
260mmW x 375mmH x 310mmD
(10.2"W x 14.8"H x 11.8"D)
Cabinet Weight
17kg (37.48lb)
Shipping Dimensions
375mmW x 495mmH x 415mmD
(14.8"W x 19.5"H x 16.3"D)
Shipping Weight
16.5kg (36lb)

The return of Big Ass Sound

When it was time to relaunch the Event 20/20BAS we spoke to some of the most influential Producers, Engineers and DJs working in hip hop today.

Hear their stories of working on the original Event 20/20bas and now their impression of the new 20/20BAS.

Sound on Sound

Paul White

Having set up the 20/20s alongside my own pair of Event Opal monitors (with all controls set flat), I set about listening to my selection of reference tracks and soon got a feel for what these speakers were all about. In the mid range and at the high end, they work extremely well, presenting a very detailed but non-abrasive sound with fabulous stereo imaging. The lows also hold their own against just about any comparably-priced speaker, with plenty of depth and not too much in the way of obvious time smearing - an issue with most ported speakers.

I found the 20/20 BAS very comfortable to work with. They managed to reveal MP3 artifacts in 240kbps music files that went unnoticed on other speakers, and I was particularly impressed by the very natural way they presented the human voice, both spoken and sung - always a sign of a good monitor.

Where mixes are rough and aggressive, this shows up quite clearly, while a smooth and classy mix sounds well-balanced and polished.

At the price, these monitors are going to be a tough act to beat, as they cover a wide frequency range, they are capable of playing very loudly, and they present a natural and detailed sound. Their low end has punch and depth, and while not as tightly controlled as a large sealed-box system they are very workable and better than you might expect from monitors of their size and price range.

So does this newest version meet the design aspiration of building on the strength of Event's original 20/20 BAS models? I'd say that it does, with better overall clarity and definition. These are definitely ones to audition if you're in the market for a sub £1000 pair of monitors for use in all but the smallest personal studios.

Read the full review on soundonsound.com

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“I was particularly impressed by the very natural way they presented the human voice, both spoken and sung - always a sign of a good monitor.”

Music Tech Magazine

Huw Price

Since the original drive units were highly regarded, they were retained in an effort to maintain the best 20/20 characteristics, albeit with a tad more air and clarity. [Event] wisely decided to incorporate Opal technology to concentrate on control electronics, low distortion, protection networks and low noise. The MDF cabinet has increased internal bracing for extra strength and reduced box resonance.

There are monitors that you feel every bit as much as you hear... Bass is deep without being boomy and the only narrow band hump occurs around 50Hz, but it's hardly noticeable. Left/right imaging is also very sharp and you certainly sense you're hearing plenty of detail.

...the [20/20s] genuinely excelled with electronica and rock. If you like to experience a chesty thump from a bass drum, the [20/20s] have enough power to oblige.

The [20/20s] have plenty of attributes that make them worthy of serious consideration. They do have character, but they also strike a good balance between vibe and information.

Read the full review on musictechmag.co.uk

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“A lot of speaker for the money, offering an effective and useful balance between vibe and serious studio monitoring.”

Audio Technology

Either I'm going soft in the head in my dotage or these new Event 20/20BAS V3 nearfield monitors have broken through a new price/performance barrier. If I'd been told in advance how much these speakers were I might have thought less of them - although I'd like to this I'm immune to pricing and the influence it has on the mind. As it is I've been playing with these black-on-black powered two-ways for several weeks now without knowing their price. Then today I found out how much they were... I've only just managed to pick myself up off the floor.

...In terms of the sound they emit, and given the speakers I've been comparing them to - Event Opals, Quested V2108s, PMC DB1s, Yamaha NS10s, Mackie MR8 MkIIs - the 'V3s' have held their own in every important respect. They are powerful, fast as lightning, balanced sounding and produce virtually no distortion, even at 90dB + SPLs.

...The new 20/20s are clearly launched off the back of [the original 20/20]'s reputation, but also owe a debt of gratitude to the development of Event's more recent flagship - the Opal - inheriting much of that speaker's Class-AB amplifier technology and design smarts. The result is a speaker that packs an impressive punch, reproducing audio signals in a fast and accurate manner, with low levels of distortion.

Overall, I am most impressed by the Event 20/20bas V3, particularly in terms of how they sound. Actually in that respect I am bowled over by them. I wasn't expecting to be. They go loud, they're dynamically liberated, they hold together at almost any volume, they're tonally balanced and represent excellent value for money.

At almost any price point these speakers are a viable nearfield option for home or commercial studio facilities.

Read the full review on audiotechnology.com.au

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“I am most impressed ... particularly in terms of how they sound. Actually in that respect I am bowled over by them.”

Future Music UK

Those expecting the 20/20BAS to deliver the 'Big Ass Sound' as advertised (I'm assuming BAS actually stands for Bi-Amplified Speaker) will not be disappointed. My first (and abiding) impression of these speakers is low-end focus, especially the low mids which are key to the impression of proximity in a mix - I instantly felt the sound stage I'm used to come forward.

There is plenty of power here and I didn't find any early onset of distortion or loss of clarity at the louder end of the dial.

When listening to and working on the 20/20BASs, I found many Hip Hop related genres to be well suited, allowing a clear picture of the relationship between kick, snare, bass and vocal to be perceived and thus manipulated.

Considering the price, the 20/20BAS V3s definitely prove value for money, particularly if the high build quality is taken into account. There is a lot of raw power to fill small studios and will match dB for dB many more expensive nearfields in larger production rooms. If you have enjoyed working with 20/20s in the past or work in Hip Hop, R&B or any genre where the low-end is boss then do give these powerful puppies a listen.

View the full review here [1.4MB PDF]

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“Serious low end with bags of low distortion power to boot - a pleasure to listen to and work with.”

AudioInfoSource.com

George Petersen

As a long-term 20/20 user-and fan-I approached these newcomers with more than a small degree of skepticism and was anxious to check these out.

Many of the appreciated touches in the 20/20 BAS v3s are adapted from Event's high-end flagship Opal monitors, such as the cabinets' shaped, radiused front baffles, the separate all-discrete Class-AB amplifiers driving the woofer and tweeter, the acoustic filters and even the Event logo that lights up to remind you when the speakers are powered up.

After connecting the system and powering them up, the first thing I noted was an absolute lack of noise. No hum. No hiss at all, yet the onboard 160 watts of total biamplification (80 WRMS x2) is capable of driving the 20/20 BAS v3s to impressive peaks of 108dB, which is VERY LOUD for the near-field use which these are designed.

I began with the shelving filters in the "0" position, and found the 20/20 BAS v3s to sound extremely natural with an excellent balance of highs and mids and the bass response was spot-on, both in overall level but also in terms of providing tight, controlled reproduction that was never flabby or boomy. What surprised me more was the volume of bass, which made the 20/20 BAS v3s seem like a much larger system.

The response at the system's critical 2.3 kHz crossover point was transparent, and virtually impossible to detect. This is a weak link in many systems, but not exhibited here at all-even on playbacks of solo piano tracks. In fact, the monitor's system response-out of the box, without the need for any acoustic fiddling or tweaking the shelving filters-was spot-on.

More impressive, perhaps was listening to playbacks of mixes made on the 20/20 BAS v3s. These exhibited a high degree of consistency with accurate translation on a variety of systems ranging from automotive, boom boxes and both moderate and high-end home systems. Also worthy of note is that the v3's overall frequency response stays consistent at nearly every listening level.

With the new 20/20 BAS v3s, it seems Event Electronics has done the impossible. They've resurrected a classic design and actually even improved on the original. This is no easy feat, but in any case, I'm glad the 20/20 BAS v3s are back and anyone looking for an accurate, un-hyped, mid-priced monitoring solution should check these out.

Read the whole review on audioinfosource.com

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“With the new 20/20 BAS v3s, it seems Event Electronics has done the impossible. They've resurrected a classic design and actually even improved on the original.”

DJ BOOTH.net

Event is a company known for its professionalism and reliability and this is reflected in the design of the Event 20/20s. Unlike some other companies who choose to incorporate flashy colors and components into their speaker's designs, Event chose to keep the look of the 20/20BAS clean, simple, and completely professional. However, aesthetic nuance isn't lost on the makers of the 20/20s as the logo on the bottom of the speaker lights up when the power is turned on. Its a nice touch and looks great in a dimly lit studio.

The 20/20 BAS monitors deliver absolutely incredible sound across all ends of the spectrum. Oftentimes monitors over-emphasize the low or high end of the output, but the Event 20/20s do an incredible job of providing a completely balanced output. The bass emanating from the 7.1 inch subs is extrmely powerful but punches in a way that doesn't drown out any of the highs in the mix. Even at ultra-high volumes the 20/20s manage to deliver crisp, precise sound without a hint of distortion. In short, these speakers absolutely knock. Listening to your favorite songs on the 20/20s will be like hearing them for the first time. Each and every note is clear and you might even hear an element of the song you had never heard before. Out of all the monitors and speakers we have reviewed to date, the 20/20s score the highest on clarity and output level.

The Event 20/20s simply deliver absolutely impeccable sound without any bells, whistles, or glitz. As a result they come highly recommended for any professional or non professional who puts sound clarity above all else. If you are producer then they come highly recommended as the 20/20s will not only allow you to clearly hear each individual element of the track, but will also provide a true representation of how the mix will sound on a variety of speakers systems. The 20/20s also come recommended for DJs who record their mixes and are looking for a set of speakers that will enable them to perfect each song transition. In addition, a non-professional looking for simply a great-sounding pair of speakers for a home or office may find the 20/20s to be a great choice.

Read the whole review on djbooth.net

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“The Event 20/20s simply deliver absolutely impeccable sound without any bells, whistles, or glitz. As a result they come highly recommended for any professional or non professional who puts sound clarity above all else.”

Carl Siegel

Music Producer For TV & Film

So the 20/20s arrived and I had no choice (as tired as I was) to start mixing a client's record with them immediately. So I took down my Project Studio 8s and put up my brand new pair of 20/20 Bas V3s.

Out of the box I was extremely impressed with the look of them alone. Very sleek looking, I love how the word "EVENT" lights up when you turn them on (nice touch fellas). Anyways, to do a good comparison I pulled up a record I mixed a day prior to trying out the 20/20s. And when I turned on the mix instantly I heard the mud I couldn't hear in the PS8s which I was using before.

Now to my defence I loved my PS8s and it took some convincing in my own mind to try something new because I mixed & produced a lot of records over the past eight to nine years using the PS8s.

But the 20/20s have instantly gained a permanent spot in my studio and I love every minute of working with them.

I would say three thumbs up to Event for the re-release of the 20/20s, but I only have two! They get a tremendous thumbs up from me because for Hip Hop, R&B, Dance and Pop music I'm able to roll off any unwanted frequencies I don't want in my mixes with the greatest of ease.

From mid, to high, to low frequencies the 20/20s give you a completely true sound - So if you're looking for an incredible pair of Monitors to mix Hip Hop, R&B, Pop, Dance music etc. I couldn't think of a better set to recommend to you.

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“From mid, to high, to low frequencies the 20/20s give you a completely true sound.”

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