Focusrite buys Adam Audio, bringing studio monitors into its range

Adam Audio T5V
(Image credit: Future)

Focusrite’s product line contains a lot of the things that music producers need - audio interfaces, MIDI controllers and synths - but studio monitors are conspicuous by their absence. We can see the logic, then, in the company’s acquisition of Adam Audio, which is a respected specialist in this field.

This represents the Focusrite Group’s first acquisition since it went public in 2014 - it already includes Novation and the Amplify Brands - and as Founder and Chairman Phil Dudderidge explains, the purchase is part of a wider company strategy.

“I am delighted that we have an important new addition to our family of brands,” he says. “For the Focusrite Group, the creation and recording of music is everything.

“With a vision to create the most holistic creative experience for recording professionals and musicians alike, choosing the right high-precision studio monitor brand is key. Together with Adam Audio we can achieve so much more, removing the technical barriers that frustrate artists seeking to record and reveal their true sound.”

Adam Audio’s speakers have won rave reviews, with their products finding favour among professionals and home studio users alike. While the company will share knowledge and resources with Focusrite, it will continue to operate independently out of its Berlin offices, with boss man Christian Hellinger staying in post.

“What a perfect beginning for the next chapter of our great company’s story,” he says. “I’m so proud of what the Adam Audio team has achieved over the past 20 years, and can’t wait to see what we’ll achieve together with the Focusrite Group in our third decade of creating future-oriented innovative professional monitoring and loudspeaker technologies.”

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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