Charles, I have not done studio monitors for decades either, but I HAVE designed them. I am into hi end, so my reference speakers until today, have been Wilson Audio WATT's that are used by a number of recording studios.
When John Meyer and I made our studio monitor/PA speaker, we used 3 separate power amps, a 'transient perfect' electronic crossover, and an electronic delay line (for the tweeter). It sounded pretty good, better than anything else at the time. We might be able to do better, today. Most studio monitors are kind of a commercial compromise, as you must know.
It is good to see that this thread has finally come full circle and we are talking about good audio gear rather than gear that is designed to take money novices (or fools).
Charles/John - I've long been interested in the notion of using studio monitors to listen to audio. After all, the marketing logic is indisputable - the brands that make the recording gear should in fact market to home audio consumers.
What is a good entry level fully active set of monitors?
I've also cited papers that were incorrect. People have cited some of my work that was incorrect.
I think you don't understand the purpose of "cites" in literature. Appreciate your suggestion, but I'm not stuck in 1968.
Spotify really sounds bad in comparison to studio quality and CD, even when paid. Not even close to .mp3 320k. I use it mainly because it is such a hassle to find new material to listen to, and then single out the three good songs that the artist has made in his/her career.
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I've heard that recording studios, at the mixing step, will test the final mix by playing it into crappy consumer grade speakers, just to be sure the music still sounds good. For the record or CD buyers that own bad equipment. In a sense, those crappy speakers are a reference of sorts...
One may cite a paper because of agreement with part of it, or in order to criticise it. Citation is no more a guarantee of correctness than publication itself. Most working scientists will read lots of papers and see mistakes in some of them. They won't immediately rush off a rebuttal unless it is closely relevant to their own current work. Mistakes may stay in the literature; many will simply be ignored; some may be cited positively by others making the same mistake.
Really? My impression is that Barrie finds this work very provincial, that is the audio community operates in a world of its own paying little attention to what goes on in the EE world at large.
BTW that was a web article not a reviewed paper.
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Remember everybody:
1. It doesn't exist. BG 1974
2. It exists but it is not important. BG 1997
3. We invented it. (today)
1. It doesn't exist. BG 1974
2. It exists but it is not important. BG 1997
3. We invented it. (today)
Vintage Yamaha NS10 are one of those holy grail studio monitors that may not sound very impressive on their own, but increases your chances of having a mix that works on every kitchen radio and car stereo.
Studio monitors are another snake oil myth sold by music stores. Most are biamped with built-in class D amps, using textile dome tweeters and cone speakers.
Add a limiter for protection and any hifi system can be used for studio monitoring with much better results. Selling points are biamping, portability, a limiter and near field listening, but this can all be achieved with DIY.
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The Stones' 'Sticky Fingers' was mastered in London using the very first pair of Tannoy 'Reds', powered by a Radford Hybrid TT100 power amp. The bass guitar used a HK Citation 2 poweramp.
I bought all of these items from the old Olympic Studio in SW London. The Tannoys were too big for my apartment, and they were sold.....the Radford went a little later as I found some more suitable stuff! Wish I still had it all though.😡
The then used 'nasty' speakaers were Aurotones...and they were nasty!😱
I bought all of these items from the old Olympic Studio in SW London. The Tannoys were too big for my apartment, and they were sold.....the Radford went a little later as I found some more suitable stuff! Wish I still had it all though.😡
The then used 'nasty' speakaers were Aurotones...and they were nasty!😱
Why didn't you design your own since this is DIY ? I find Wilson speakers to be not worth the asking price with too many design flaws, low impedance dips with high capacitive values, lumpy frequency response. They are more of a snob appeal speaker than a speaker for those wanting great sound.
A unit that is spoken highly of, by those who've been around the traps for a while, is the AVi ADM 9.1, British units. Doesn't have earth shaking bass, but has proper amps with decent grunt - and, is digital, as a bonus! Has Wolfson DACs - add a laptop and you have a complete system ...
Your looking at $27,000 actual Dollars right here.......for the pair. That's $2,700 for each driver, A pair of Eight inchers, a seven inch and one inverted dome, 4, and $2,700 for the cabinet & crossover. Nonsense!
____________________________________________________Rick.........
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