Active studiomonitors - beware/recommend brands....

[liquidsound]

When I got my Genelec (after Yamaha) I thought all my VSTi were updated! Small and powerful.

[ford442]

i looked at Focal when i was buying my ADAM A7X - ADAM you can get from zzounds, guitar center, b&h, musicians friend, etc - but, it looked like for Focal one has to go to a specialty shop in Berkley.. that put hem a little above the working man's equipment and into the realms of the rich and famous.. i couldn't see the price on Focal, but i imagine that it was more than the $1500 i spent on my A7X..

i spent money that i inherited from my father's passing and i am very pleased at my investment.. i believe it was Uncle E who said to me "you can't go wrong with A7X" and i believe it - i have never heard such accurate reproduction of sound.. people say that they are one of 'the' industry standard near-fields right now..

[Shy]

ADAM A7X are wonderful..!! far superior to my previous B2030A Behringers..

Yes, if going for the €1000 range(a pair) - I think those are favourites - reading different forums and reviews.

Even though A7X are more than fine, around that price or a little higher, you may be able to get a pair of Dynaudio Acoustics BM6A (not BM6A Mk2 which are not as good). If you do care so much about mixes translating properly, I don't know any other monitor in that price range that's as good, and hardly any nearfield monitors in -any- price range are at the same level.

[lfm]

ADAM A7X are wonderful..!! far superior to my previous B2030A Behringers..

Yes, if going for the €1000 range(a pair) - I think those are favourites - reading different forums and reviews.

Even though A7X are more than fine, around that price or a little higher, you may be able to get a pair of Dynaudio Acoustics BM6A (not BM6A Mk2 which are not as good). If you do care so much about mixes translating properly, I don't know any other monitor in that price range that's as good, and hardly any nearfield monitors in -any- price range are at the same level.

Thanks for input.

Are you the one that have BM6A on sale on eBay - original not the mkII?
Just kidding.

My hopes are set on cutting the number of 'final' mixes until it actually works on most listening devices.

I really think you can make increadible mixes on any speaker/headphone - but do you have the patience to really redo it until it works on everything you can find playing it back.

It takes a lot of time to go on a fieldtrip in the car and listen, over at some friends place and listen and so on and on - this for every try on a final mix.
- No I need to cut low end a little more.

I think I did this 'final mix' more than 20 times with one song I felt worth bothering with. Today I think it sounds crap - but at the time it was ok.

I know I lack patience - and try to compensate for that - getting decent monitors - not over the top stuff.

I had many revelations - thanks to kind tips for KVRians - from the book Mixing Secrets for the small studio. The whole book is about what you listen to, what you are listening on, where you listen and how you listen.

I have some cheaper Tannoy that will have a go and see how it affects that monitors start loosing low end above 60Hz - and see how that translates, calibrating ears with reference stuff you know are good.

And I see what I learn from that - before going for the real deal. Passive AE22 that also lack low end but are extremly good having no resonances almost. Or A7X or something else that covers low end but may resonate quite a bit in low end.

I really think I need a lot more of mileage mixing before I know.

[Unaspected]

I had been using (now discontinued) Tannoy 6Ds for a couple of years but they failed half way through a project and I had to replace them before any repairs could be made.

Originally I was interested in Adam A5Xs and whilst they sound really nice for general listening, they sounded overly boomy in the audition room. Wicked for dnb but not quite as hot for rock music.

Then I spied the Focal CMS50s and whilst they weren't in my budget, after hearing them, I had to have them and am using them presently. The precision on the highs and mids is excellent for what I needed them for. Their characteristics also make vocal processing quite a pleasant experience.

I'm still contemplating obtaining a pair of Adam speakers for electronic music but as I've mostly been working with live acts of late, the Focals fitted my requirements best.

Otherwise: http://www.me-geithain.de/studio/index. ... 40&lang=en

^ I really want to try out those monitors.

The most disappointing monitor brands that I've used have been KRKs, Yamahas and (I know, I was shocked too) Genelecs.

I've also had the pleasure of using higher range Focals and they were very nice indeed. Again, I would say that they suit rock music best. Mackie make quite nice monitors too - nothing special, nothing bad but a number of people I've worked with really dig Mackies.

Monitor choice is so subjective though. No one has the same ears and reviews don't really tell us much. Statistics can offer some information but not enough to make a decision.

My personal recommendation therefore is to try as many monitors as you can and go with what works for you. Forget hype and brand. Another little thing I often do is simply close my eyes - as I'd also recommend when adjusting processing effects and mixing in general.


EDIT: Typo.

[ford442]

how many physical dollars did the Focals cost if you don't mind me asking?

EDIT - oh i see, almost identical to A7X price only small like A5X.. hmm..

[Unaspected]

how many physical dollars did the Focals cost if you don't mind me asking?

EDIT - oh i see, almost identical to A7X price only small like A5X.. hmm..

I don't mind at all. I'm going to have to dig the bill out though as I've forgotten...

Which also forces me to sort through my pile of receipts... a good thing and long overdue.

£798 for the pair, which is roughly $1200 in American dollars - though it probably doesn't translate like that. I suspect they would be cheaper in the US.

And thanks for helping me sort that pile of paper.


EDIT: Just noticed how pedantic my pound to dollar figure was.

[ford442]

CMS50 = $699 at Amazon.com
A7X = $699 at B&H

[surferman]

I'll add a +1 to the Samson Rubicons.

[lfm]

Then I spied the Focal CMS50s and whilst they weren't in my budget, after hearing them, I had to have them and am using them presently. The precision on the highs and mids is excellent for what I needed them for. Their characteristics also make vocal processing quite a pleasant experience.


I've also had the pleasure of using higher range Focals and they were very nice indeed. Again, I would say that they suit rock music best. Mackie make quite nice monitors too - nothing special, nothing bad but a number of people I've worked with really dig Mackies.

EDIT: Typo.

Crap - I think I have to add Focal to my list too.

What I liked was extensive possibilities to configure - apart from reviews I read.

Mackie is kind of ruled out having soo little to adapt to the room you're in. I have bass and treble on every amp I've had and could go passive with those and make them more affordable as well. With active you are stuck with what they put in there.

Top actives would have something for general room adaption(around 160, 300 or 500Hz for some). And they would have something to cut lows - not just boost like Mackies(if I remember correctly). For normal room sizes 50Hz resonance is more common than lack of resonance I figure.

Tannoy Reveal8 has a pretty cool switch system that you can use their software to measure room - and you get how to set switches for correction. And it was I think at least 10 switches or something. But have not read any stunning reviews on them so lacking that they are out - more expensive as well.

[lfm]

I'll add a +1 to the Samson Rubicons.

At least the r6a model is discontinued by them. I think they only make Resolv series now.

Otherwise pretty good reviews on SoundOnSound as really good value for money.