900 Watts

Amie is powered by a dual-channel 900W Class D power amp, and if you think, “That’s a lot of power for a 6.5″ studio monitor.” Yes, it is! Headroom is not an issue for Amie. Said power amp, tuning, and crossover make use of onboard propriety DSP, ensuring incredible phase linearity and a flat tonal response.

Rear Connections

Connections on the rear include balanced XLR I/O for both input and looped output (helpful in multichannel setups). Similarly, power is handled through a 3-prong AC cable with a Neutrik powerCON connector, along with a Neutrik powerCON output for chaining power. While Neutrik powerCON may not be common on studio monitors, it is common in the PA world.

Beyond that, there are no controls for room correction, EQ or level, and curiously no power switch. However, there is a built-in power LED, and low and high-frequency limiter/peak indicators.

Amie Sings in NYC

I first experienced Amie at the 2022 New York AES show, where our associate publisher Brent Heintz and I spent some one-on-one time with a 2.1 Amie setup that included the sizable Amie Sub. Listening in that untreated, curtained-off makeshift demo room highlighted the ability of Amie to throw beautiful, directional spatial sound, even in a sub-optimal listening environment. Essentially this put the speaker’s live sound and cinema-based roots on full display. While this 2.1 setup was room-filling and impressive, we were both equally impressed by the full sound of Amie, even with the sub bypassed.

Amie Back Home

Setup-wise, Amie is about as plug-and-play as a monitor can get. I first set up the Amie monitors in my treated home office/edit suite. I connected the speakers to an RME-2 DAC FS system in a very near-field setup in a 33″ equilateral triangle, and the resulting sound was humbling. The Amie is about as flat, neutral and transparent as I have heard in a studio monitor.

Lest you think flat frequency studio monitor sound is dull, clinical or stark, that cannot be farther from the truth. Combined with its neutral clarity is a smooth, dimensional richness. The lows are full; the mids are even, yet dimensional; and the high-end is open and clear as a bell, yet silky smooth. Nothing on Amie sounds hyped, excited, forced or biting.

Not only does Amie have the ability to crank with the best of them, but I was even more impressed by the full, accurate sound at lower levels of 65–72dB without any sacrifice of presence or detail across the spectrum.

Amie in the Mix Room

Next, I spent time listening and mixing on the Amie monitors in my professionally treated mix room––Moss Garden Music.

Despite the size difference, I was surprised at how close the mid-range presentation was to my typical 10″ driver-equipped 3-way monitors. Overall, Amie offered just a hair more upper-mid presence.

In a larger space having even a modest sub would be a great addition if more reach and room-filling weight are desired. While Amie will not rumble the room on its own, every inch of low-end is still well represented by this 6.5″ box. Bass frequencies sound appropriately punchy and full without ever sounding stressed.

Once again, Amie exhibited an outstanding balance of tightness and depth.

Amie Goes Mastering

For a second option, I took Amie to the mastering room of Justin Perkins at Mystery Room Mastering in Madison, WI (mysteryroommastering.com). Justin typically uses a set of PMC 8-2 monitors balanced with a Trinnov room correction system. I didn’t expect the smaller Amie to fill that void, but I was still curious how they would sound in a mastering rig.

Justin’s initial impression was that despite their 42 Hz–22 kHz operating rating, he was convinced they reached down below 42Hz. He did feel they were perhaps a bit too smooth on the high-end for his tastes in regard to mastering, but he did think they offered a very coherent sound stage and zero brittleness or harshness.

We cranked them up to a hearty 102dB and heard no clipping and still could not audibly engage the built-in limiting.

Final Thoughts of Aime

While I had experienced Meyer Sound systems live, as well as the company’s impressive multi-speaker space shaping Constellation system, when I visited Bobby Weir’s TRI Studios a few years ago, I went into this review with zero preconceived notions or expectations. Frankly, the full, deep and clear, yet silky, life-like sound of the Meyer Sound Amie was gorgeously impressive.

At $6,998.96 per pair, these are a serious investment in a small, elite realm of high-end studio monitors, but after spending time with Amie, it’s hard to dispute their value. If you have never thought of “Meyer Sound and studio monitors,” think again.

Operating Frequency Range: 42 Hz–22 kHz

Frequency Response: 45 Hz–20 kHz ± 4dB

Phase Response: 190 Hz–20 kHz ±45° 

Linear Peak SPL: 120.5dB with 18.5dB crest factor (M-noise) / 117.5dB (Pink noise), 120dB (B-noise)

Nominal Input Sensitivity: 6dBV (2.0 V rms)

Input Level: +20dBV (10 V rms) into 600 Ω

Price: $7,000 (pair)

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