Strauss Mastering Monitors

Call it a unique auditory experience, the most concerning sound engineer should raise their level of quality output when Strauss monitors are employed.
'Nothing But The Truth' is how these monitors are referred to after demonstrations & trials.

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"We have never heard such accurate mastering studio monitors” said the mastering engineers at SONY MUSIC STUDIOS in Tokyo. And since the opening of these HIGH END studios in 2001, the SE-MF-2 has been employed there in twelve mastering studios.

"With all three SE models, the ease with which one can analyze dynamic nuances, the sureness with which you are able to judge mix parameters is unique".



"All three models in the SE MASTERING STUDIO MONITORS series are uncompromisingly designed for the highest audio quality: acoustically functional, passive two-way designs reduced to the essentials as approximate point sources."

"This monitors dimensions exactly fills the gap between the large MF-2 and the compact NF-3."



"On course to become a classic: The concept of a systematic optimisation of the mechanical-acoustic parameters of the drivers, dampers and enclosures on which all three models in the SE MASTERING STUDIO MONITORS series are based has also proved its worth for the nearfield monitor SE-NF-3."

"This monitors near field operation will excite; as well, it perfectly suits the 'home' studio more often found in today's enviroment"


SE Monitors: Passive, NOT Active

A passive loudspeaker construction offers the free choice of an amplifier stage that expresses the personal preferences or the degree of expected quality, desirable by the user.


Amplifier technology change is at its peak. Many have been tested on demonstrations; favoured are Bryston 4B SST2 series, SAC il Picollo Mono Blocks, Benchmark AHB2, & Sugden.


You may be surprised at our suggestion - 'Sommercable'; having indicated that, we do enjoy most varying opinions; SE monitors are perfect in testing these varying opinions, we welcome the opportunity to assist. 'Listening is Believing' we all quote.

Monitor Placement

The formula in point sourced placement is not difficult. Understand that on demonstrations we maintain this formula as closely as possible, whereas strict enforcement is emphasized in studios for the models ultimate results.


We happily confront those beliefs voiced by many (well) established active (and passive) loudspeaker manufacturers. Are you? Following a full session with Strauss Monitors, you can be the judge.

Dedicated Support

Priority to all Strauss interested parties is important to us. Expect full attention, not only on pre sales demonstrations & discussions, but throughout your experience as a SE monitor user.

Listening Demonstrations

We are Melbourne based and have on stock the SE-MF-1 & SE-NF-3 available for demonstrations. Both SAC iI Piccolo mono blocks and Bryston 4B SST2 are usually available for listening comparisions. Call Terry White - 0418 316 768

Excite Yourself, Impress Your Clients & Your Competitors

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Comments & Links

Music, its reproduction, its nuances, its many, many discussion points; we all have our own ideas, whilst hopefully respecting those of others.

Daniel, idee & klang

"As with monitors, very fast it comes to a discussion in which every one just praises the monitor that he has found to be workable for his own...."

"My goal was always to find the most transparent speaker. I immagined a speaker to be, as a AD converter, just a converter that changes the electric waves in to air-waves. Most of the mentioned speakers in all those Monitoring-threads I know, as I have tested a whole lot of speakers."

"They do all have their advantages, but also their bad sides. The really very first speaker that I have heard that I really would say it is transparent ist the Strauss SE-MF-2. It has been custom built for Sony music studio in Tokyo. It is incredible and turns the word mastering Monitor in a new dimension. However it will not fit your budget. But the SE-MF-1 would fit. It is still more transparent than every PMC, Adam or Dynaudio C4 Speaker... ". Link

Robert Henke

"... Spent most of the summer and fall 2011 in the room on the right, working on the Ghosts album" ... "Biggest change was the replacement of my old Genelecs by Strauss SE-NF-3 monitors ..." Link

Martin Ruch

".. At home in Berlin, I work on mixes and masters in my personal environment. My control room offers a world-class listening situation. You can sensually explore music with physical dynamics and space, and it also allows for profound analysis of recordings."

"I see every music production as a unique piece of art. I like to take time, invest in pre-production, visions and planning"

".. I am using Strauss Elektroakustik mastering monitors SE-MF-2 .. " Link

More from Daniel

"... I'm an engineer - I do know. Seriously I can say if I like a speaker when I hear it and can give a quite good comment about it and I can for sure say if it is worth for me to test in my own control room (and then give a much more precise feedback)".

"I worked several times with 2 different B&W's at Abbey Road. (Of course the position of the speakers between the glass window and the console is not ideal also but that is another problem). Good possible that if I would work more often there I would get used to it easily".

" But that does not change my mind that I can clearly say that they would not come in question for my own mixing room. Period".


More about Robert's Recording

"... Resonant timbres of a Sequential Circuits Prophet VS on 'Afterglow', bell-like sounds of a NED Synclavier II on 'Foreign Object', various timbres from a Yamaha DX-27 piped through an Alesis Quadraverb and a Lexicon PCM-80 reverb, pads from a Oberheim Xpander and more I forgot about".

"Very essential for my creative process and for the incredible fun whilst working on this album were my newly acquired Strauss SE NF-3 studio monitors. One of my best purchases ever. The entire album was recorded in 96kHz and only the final master files were down-sampled to 44.1k for the CD / mp3 releases".

"Ghosts' has been mastered in December 2011 at Idee und Klang in Basel by Daniel Dettwiler. Playing back the individual songs directly from my original sessions in Live at his room equipped with Strauss SE MF-2 speakers and state of the art DA converters allowed me to control the spatial placement and to apply final corrections of timbres in each track in more detail than I ever dreamed of."