Recommend me a PRO monitor upgrade
- Thread starter MetalSound
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greyskull
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- Mar 22, 2006
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nice one mate.
Give your room a bit of treatment before placing the sub. WELL worth it
Yeah, my room is treated quite well, I guess. Lots of bass traps and absorbers. It´s rather small so bass has always been a problem but the sub may be a little help for that.
I tried a lot of different positions but I think I´m happy now.
Just did a quick remix of an old production and it turned out awesome. Now I know why I´ve never been quite satisfied with my own work.
I may post an a/b comparison as well.
I tried a lot of different positions but I think I´m happy now.
Just did a quick remix of an old production and it turned out awesome. Now I know why I´ve never been quite satisfied with my own work.
I may post an a/b comparison as well.
no, they are much bigger. i think they have a 10" bass woofer and the 1031 just have a 8".
it´s a different box with a even wider frequency response.
it´s a different box with a even wider frequency response.
plague_rider
Coffee
Whats you's guys's (couldn't think how else to phrases that) opinion of the KRK RP8s?? the older wooden ones before they rounded the shape of them...
Jaymz
Stymphalian Productions
I know that the RP6's have better rep than the 8's as the 6" woofer gives the right balance between low end and midrange rather than the 8's "OTT bass".
You got speakers with 10" woofers and still want a sub? That almost seems like overkill, I thought smaller drivers generally were more effective at producing midrange frequencies (which is pretty all they'll be doing in this case if paired with a sub)
i got the sub together with the 1032. its frequency response goes down till 19 hz!
i can´t say anything to the 1031 as i have never used them. i just know that the 1032 are absolutely awesome (and i just checked them a few hours).
i didn´t want to have the sub but the guy i bought it from wanted to sell only the complete system so i got it all.
i can´t say anything to the 1031 as i have never used them. i just know that the 1032 are absolutely awesome (and i just checked them a few hours).
i didn´t want to have the sub but the guy i bought it from wanted to sell only the complete system so i got it all.
Josh Burgess
Member
Josh Burgess
Member
I think it really doesn't matter whether a set of speakers are hyped or not if the person mixing on them knows their speakers and knows how their mix will translate to other speakers. It's very much possible to mix on quite shitty (or hyped, or un-flat) speakers and have your mixes translate well to other sources with enough time practicing. The important part is using your ears and getting to know the speakers and figuring out what you need to do to compensate. I'm 99% sure if you gave Andy a pair of shitty yamaha desktop speakers and made him use them to mix and gave him a week or two, he would have no problems.
Josh Burgess
Member
I'm well aware of that, but the genelecs (and even yamaha ns10s) are used by some of the greatests mixers around. I think they'd be "good enough" for most people, eh?
Ermz
¯\(°_o)/¯
They're good enough for a lot of renown people, Ermz. Or should I say mister anal . j/k
NS-10s even more-so, but it doesn't mean we should have to touch them with a 10 yard stick in this era. With monitors like the Opals and KH-O300s, it puzzles me why people still mix on largely compromise-ridden speaker designs. I dig the horrortone thing where you do your balancing in mono at low level to make it punch on consumer systems, but surely you want a flat, neutral monitor system to compliment.
The Genelecs are client impressors. If you notice most people that have a set also have some NS-10s... because the NS-10s are used for 90% of the time.
I still recall the drums to my first debut were recorded in a studio loaded with the 1031s and NS-10s. Man the raws sounded HUGE on the Gennies. Massive bass, massive attack on the drums. You put it on the NS-10s and they sound like wooden shit (ie. exactly what they sounded like at my place when I mixed them, and every other speaker system).
The Opals just give you everything dude. I can't really put it into words. If something sounds vile, the low distortion spec will throw that vileness right in your face. You will know it. With material that's well balanced, well mixed and well saturated you just hear excitement coming from them, almost like a hi-fi system. You learn to hate bad mixes and truly love good ones. It's a perfect vibe-related way of mixing - exactly what I've been looking for, for years. If you recall I was looking for near-fields for about 3 years actively before I settled on these.
phew
/anal rant
-1 on the genelec hate!
1031's are fucking excellent imo. Not hyped when you use the -2 high/treble switch. I think the +-0 setting is more for the impress-factor for the client and the -2 for actual mixing. At least my mixes have improved a lot since I got used to mixing with them.
There's a lot more than freq response when it comes to monitors.... The way you hear the reverbs and acoustics in the material is drastically different when comparing genelecs and for example ns-10/hs-50's.
that said, I love my yammy hs50's at home for just listening to music.
Get the 1031's!
1031's are fucking excellent imo. Not hyped when you use the -2 high/treble switch. I think the +-0 setting is more for the impress-factor for the client and the -2 for actual mixing. At least my mixes have improved a lot since I got used to mixing with them.
There's a lot more than freq response when it comes to monitors.... The way you hear the reverbs and acoustics in the material is drastically different when comparing genelecs and for example ns-10/hs-50's.
that said, I love my yammy hs50's at home for just listening to music.
Get the 1031's!
Line666
Fendurr
- Sep 2, 2006
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Can definitely see how "client impressors" are worth having, in the college I go to's studio theres a set of Questeds and after recording a band I always make sure they listen to the raws on them because they sound stupidly massive. You get to see their little faces light up over something that you know probably sounds like total ass.
Having said that I'm always worried about that setting some sort of massively high initial standard that once they get even the finished mixes back onto their home machines they will be disappointed with in comparison, because nothing quite sounds the same as a 3.5k's worth of wallmounted monitoring in a proper acoustically treated space.
~BURNY~
Member
- Apr 20, 2005
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hahaLook, my english isn't good enough to develop a counter-argument without spending hours with a dictionary.
But I just think it's a bit more complex than that. I know how the 1031 sound. They're definitely flattering, I agree. But that's nothing you can't deal with if you know them.
The 1038cf are way better to impress clients btw. lol.
I also want to put this clear.
I am in no way saying that the opals aren't super awesome.
You certainly are very lucky to have them.
Josh Burgess
Member
I think a really good trick to use if you are using less than great speakers, is to listen through an EQ (whether in your DAW or mp3 player like winamp or whatever) and set the EQ so that your reference cd's sound their absolute best to you on that pair of speakers. Use reference cd's you know you already like and you know are very good. Set the EQ so that it is balanced for a bunch of different reference cd's.... as in, an EQ that makes a wide variety of music sound it's best through your speakers. then use the same EQ on the master while mixing and try to get as close to possible to your reference cds (which you already know are great, so you don't need to double guess yourself). after you do this a few times, you won't need to keep checking the reference cds (if you don't want to), and the balance should be just right. and, of course, remember to turn the EQ off before rendering your master mix. it's only there for your monitoring purposes. you don't want to leave it on when you mixdown.
obviously it's not ideal, but I think someone with a really good ear for how the music should sound and who is capable of mimicing good reference cds can definitely do some awesome stuff mixing this way. if anything, mimicing good reference cds a few times is just helping you learn how it should sound, and after a little while you won't need to. if you really think about it, if so many people mix on yamaha NS10s, then there's no reason this can't work also.
obviously it's not ideal, but I think someone with a really good ear for how the music should sound and who is capable of mimicing good reference cds can definitely do some awesome stuff mixing this way. if anything, mimicing good reference cds a few times is just helping you learn how it should sound, and after a little while you won't need to. if you really think about it, if so many people mix on yamaha NS10s, then there's no reason this can't work also.
