You should check what's on the domestic market. A lot of sealed boxes. I've never owned ported speakers. Even my infinity servostatic sub is sealed (and uncomissioned). I understand that many ported speakers are underdamped to give 'good bass' which compromises other things.
I will research later and come back with some options for you to consider in your fantasy mix suite 🙂
I will research later and come back with some options for you to consider in your fantasy mix suite 🙂
The NS-10 was introduced as a near-field monitor; it was NOT designed for normal domestic use. And for that matter, nor was the LS3/5a. The sole advantage of these desk monitors was that they sounded marginally less fatiguing/nasty than the Auritones, which they largely replaced. Even in the (usually) well-designed confines of a major recording studio they were pretty nasty bits of kit requiring Kleenex tissues over the tweeters!
On the larger front, most studio monitors sound pretty naff in normal domestic situations. [I had at home the very original pair of 15" Tannoy Reds in their own cabinets, all as removed from Olympic Studios in London....they too were horrible and ended up in Japan along with a pair of (torn) 15” Silvers].
The only exceptions I have heard are some of the larger B&W speakers as used in the 1980s-90s in, for example, Abbey Road. But they were normally used for classical music, even then they were equalised for their specific location etc.
On the larger front, most studio monitors sound pretty naff in normal domestic situations. [I had at home the very original pair of 15" Tannoy Reds in their own cabinets, all as removed from Olympic Studios in London....they too were horrible and ended up in Japan along with a pair of (torn) 15” Silvers].
The only exceptions I have heard are some of the larger B&W speakers as used in the 1980s-90s in, for example, Abbey Road. But they were normally used for classical music, even then they were equalised for their specific location etc.
Only studio monitors I have heard in domestic settings were the ATC-50A and 100A. They sounded rather good. Of course NOT hifi at all.
At AMI we originally got a few pairs of Meyer HD1s, but we settled on the better-sounding Genelec 1031As in QC and mastering suites for nearfield and they were pretty good...but I have to agree the NS-10s, despite sounding anemic in the low end were very forward and revealing, especially of issues with vocals.
My personal favorite for nearfield are Tannoy dual-concentrics. I value imaging over full-range in a nearfield, and the coaxial placement of the two drivers really reduces the comb-filtering issues I had with two-ways with offset drivers. Of course I am doing much more just listening for enjoyment than mixing these days, so the requirement is different.
Cheers!
Howie
My personal favorite for nearfield are Tannoy dual-concentrics. I value imaging over full-range in a nearfield, and the coaxial placement of the two drivers really reduces the comb-filtering issues I had with two-ways with offset drivers. Of course I am doing much more just listening for enjoyment than mixing these days, so the requirement is different.
Cheers!
Howie
Re - Post # 92021
I think you, & some others, might have missed my Post # 92039 about CPU Optimising & how to "grab a processor core" for Free 🙂
I think you, & some others, might have missed my Post # 92039 about CPU Optimising & how to "grab a processor core" for Free 🙂
Comparing files for Exactness
To see if two files are identical, or not, you can very easily Hash them to compare. If ANY difference/s are there, the hash will not be the same !
Nirsoft is a Very trusted source !
To see if two files are identical, or not, you can very easily Hash them to compare. If ANY difference/s are there, the hash will not be the same !
Nirsoft is a Very trusted source !
What you mean the Apogee 26" ribbons? Already done that, but when I finally get around to open baffling below there I am going to have to transfer to a box around 100Hz for pesky physics reasons.
Without a doubt 😉 But in this regard, as a generalisation, I think they are more easily able to ignore the equipment, I envy them. According to Linkwitz we learn through exposure to the real musical event and this helps us recreate a more believable image in our minds. Perhaps they are an extreme example of this.
OB in general. They are already influenced by one big box, mine get down smoothly to 40Hz in my room till they drop off. Obviously big compromise regards space. I probably will add sealed sub below that sometime....wish there was an alternative, don't like the idea of huge power and excursion
I cannot go wider than the 13" my apogees currently are which means heroic boost to get below 120Hz. But its a (very slow) evolution.
Low frequencies mask higher ones. So poor bass response makes for a more revealing loudspeaker! Not a more accurate one.
(Meyer you can buy better but you can't pay more...)
I can't go forwards, so H baffle is out and wings wouldn't gain that much based on sims with the space I have around the speakers. I have looked at all the options. Going sealed box below 100Hz is the best compromise for my space.
Hi Ed.
Hmmm, lows supply foundation.
When the lows are good/correct the mid/highs can sound good too, and if the lows are wrong the mid/highs can never sound correct....masking ?.
When the lows are diminished then the emphasis is on the mids (and highs) and any wrongs in the mids/vocal band will be clearly apparent.
This is the value of the likes of NS-10's....the emphasis and clarity is in the vocals/percussive area allowing dialling in of the mix to 'sit right' on most consumer playback systems.
Of course they give no valid real information of what is going on 'down low', but they will tell you if the lows are wrong.
Dan.
Some of the best touring PA rigs I have heard have been Meyer Actives...what's in your comment ?.
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