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Old 3rd May 2013, 10:58 AM   #2261
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Originally Posted by wesayso View Post
Isn't it true that a lot of mixing/mastering is done on nearfield monitor speakers? And yet most reproduce the music in the farfield on most speakers. Line arrays keep you in that nearfield and remove the floor/ceiling reflection.
What's wrong with that?
mixing and mastering is done on a variety of speakers and in a variety of environments - including cars. This is done to make sure the final mix sounds good even on a boombox.
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Old 3rd May 2013, 11:53 AM   #2262
wesayso is online now wesayso  Netherlands
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Originally Posted by Kjeldsen View Post
mixing and mastering is done on a variety of speakers and in a variety of environments - including cars. This is done to make sure the final mix sounds good even on a boombox.
I know, but I got tired of reading that argument about the equipment used in the mixing stage. Surely we don't have to buy that same range of speakers they used in their process?
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Old 3rd May 2013, 01:30 PM   #2263
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Originally Posted by Soundtrackmixer View Post
Since we don't use on/in wall line sources anywhere in the mixing or mastering workflow(whether music only or movies), then playing music or a soundtrack back on FCUFS is nothing more than a "effect" that is all. Much like bipolar, and Bose 901's are "effect" speakers as well. It is not representative of anything used in the mixing and mastering workflow.
what about Don Keele's CBTs? Do You consider them unsuitable for HiFi applications? Because You won´t find anything like them in studios. And they are even a bit flooder-like
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Old 3rd May 2013, 01:35 PM   #2264
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Originally Posted by Soundtrackmixer View Post
Since we don't use on/in wall line sources anywhere in the mixing or mastering workflow(whether music only or movies), then playing music or a soundtrack back on FCUFS is nothing more than a "effect" that is all. Much like bipolar, and Bose 901's are "effect" speakers as well. It is not representative of anything used in the mixing and mastering workflow.
what about Don Keele's CBTs? Do You consider them unsuitable for HiFi applications? Because You won´t find anything like them in studios. And they are even a bit flooder-like
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Old 3rd May 2013, 04:27 PM   #2265
Elias is offline Elias  Finland
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Originally Posted by graaf View Post
Do You know any???
I do, because I have tried flooder.

I think the most notable disadvantage is a lack of pin-point-imaging (HiFi term). The images are bigger than pins with flooder and bigger than what one may have been used to with conventional speakers. Flooders are no suitable for keyhole peekers.

That said, there is another issue, even more severe. If one wishes to satisfy his audiophile desire to listen to his loudspeakers it does not go ! Because the speakers are no longer perceived as sound sources. What a disaster !
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Old 3rd May 2013, 05:21 PM   #2266
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what about Don Keele's CBTs? Do You consider them unsuitable for HiFi applications? Because You won´t find anything like them in studios. And they are even a bit flooder-like
I didn't say anything was unsuitable, I distinctly said it was an "effect".

Can you understand the difference?
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Old 3rd May 2013, 05:27 PM   #2267
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Originally Posted by Kjeldsen View Post
mixing and mastering is done on a variety of speakers and in a variety of environments - including cars. This is done to make sure the final mix sounds good even on a boombox.
I cannot tell you how wrong you are on this. Yes the speakers we mix and master on are from different manufacturers, but their design is similar. They are front firing speakers like 99% of the homes have in their listening rooms.

I have never heard of a single mix done in a car. What we use to simulate a car speaker is a one driver box speaker sitting on the edge of the console.

While studio's have different sizes, their shapes vary between a box to a rectangle. We don't mix in round studios, octagons, or any other shape. The results would be far too unpredictable
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Old 3rd May 2013, 05:31 PM   #2268
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Originally Posted by wesayso View Post
I know, but I got tired of reading that argument about the equipment used in the mixing stage. Surely we don't have to buy that same range of speakers they used in their process?
If you bought a front firing speaker, then you have already bought the same range of speakers used in mixing and mastering. It is the technology, not the different manufacturer that is the issue here.

Let's face it. I know of no studio that uses a flooder to mix or master audio. I know of no Bose 901 or any other speaker that uses a majority of reflections as part of its dispersion pattern used in mixing or mastering. So if you play audio back on these types of speakers, you are creating an "effect" and that is it.
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Old 3rd May 2013, 05:53 PM   #2269
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Originally Posted by wesayso View Post
Isn't it true that a lot of mixing/mastering is done on nearfield monitor speakers? And yet most reproduce the music in the farfield on most speakers. Line arrays keep you in that nearfield and remove the floor/ceiling reflection.
What's wrong with that?
Unless you have a very, very large room, you are listening in the nearfield. AES defines nearfield as anything less than 10ft away. Not many here have a listening room that allows them to hear their speakers from 10ft or more away.
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Old 3rd May 2013, 06:00 PM   #2270
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Originally Posted by Kjeldsen View Post
And since I don't treat my listening room like a mixing room, I can't hear music at all? You can find mixing/mastering rooms with all kind of speakers including dipoles like Martin Logan. I haven't seen any flooders though, but who cares.
You can do whatever the heck you want to do, it is your room and your system.

I think your point here is pretty damn weak. The lion share of speakers in recording studios, tracking studios, editing studios, and mastering studios are front firing cones and domes. Not Martin Logans, and not dipoles. Why? Because the overwhelming majority of people purchase front firing cones and domes, not Martin Logans or dipoles.

Overreaching your point shows there is a definite weakness in it.
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