Your latest G.A.S. purchases
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Ermz
¯\(°_o)/¯
Ermz
¯\(°_o)/¯
Thanks Louis, Dan & ShadowWalker.
They are without a doubt the most cost effective, high-end monitoring solution available at the moment; An absolutely new level compared to most nearfields out there. They could very well be the best near-field monitors currently in existence. Check out the Futuremusic review & shoot-out to confirm that sentiment.
I'm still burning them in, but so far my impressions are very positive. I have to run them at 1/4 space mode to avoid rattling my walls. They take about 12 seconds to 'power up' and run their self-check.
I'm hearing stuff that I didn't think possible in this space of mine. The transient reproduction and detail across the spectrum is superb. Whereas the ASP8s created this muddy, mid-forward tonality, these just represent pure midrange detail and airy highs. There is so much to the high frequencies here. The low distortion and resonance design allows you to hear so much deeper into the mix. I understand these are all cliched remarks in the monitor reviewing field, but I'm being as honest as I can be. At the moment these are doing everything short of wiping my arse for me.
The first 'project' I did was a restoration/mastering job for a friend of mine. He recorded a live gig with his minidisc recorder and wanted it cleaned up and maximized. These made it a cinch. I heard EVERYTHING I needed to hear. EQ adjustments came as naturally as dialing an amp, and the ability to hear compression so well made me aware of when the material was approaching over-maximization. This was after half an hour of familiarity with the monitors.
First tracking session will be tomorrow, and will go through until mid-week at the very least. This will allow them to burn in and be ready to go by the time I start mixing early next month. I will hopefully have more detailed impressions then.
Also, to hopefully demonstrate a lack of bias, their weakest point: amp hiss. There is some seriously pronounced amp hiss coming from the tweeters which makes quiet monitoring of dynamic sources like orchestral recordings a little bit of a chore. These are definitely pop/rock/metal/RnB/electronic monitors. They like LOUD and PUNCHY.
They are without a doubt the most cost effective, high-end monitoring solution available at the moment; An absolutely new level compared to most nearfields out there. They could very well be the best near-field monitors currently in existence. Check out the Futuremusic review & shoot-out to confirm that sentiment.
I'm still burning them in, but so far my impressions are very positive. I have to run them at 1/4 space mode to avoid rattling my walls. They take about 12 seconds to 'power up' and run their self-check.
I'm hearing stuff that I didn't think possible in this space of mine. The transient reproduction and detail across the spectrum is superb. Whereas the ASP8s created this muddy, mid-forward tonality, these just represent pure midrange detail and airy highs. There is so much to the high frequencies here. The low distortion and resonance design allows you to hear so much deeper into the mix. I understand these are all cliched remarks in the monitor reviewing field, but I'm being as honest as I can be. At the moment these are doing everything short of wiping my arse for me.
The first 'project' I did was a restoration/mastering job for a friend of mine. He recorded a live gig with his minidisc recorder and wanted it cleaned up and maximized. These made it a cinch. I heard EVERYTHING I needed to hear. EQ adjustments came as naturally as dialing an amp, and the ability to hear compression so well made me aware of when the material was approaching over-maximization. This was after half an hour of familiarity with the monitors.
First tracking session will be tomorrow, and will go through until mid-week at the very least. This will allow them to burn in and be ready to go by the time I start mixing early next month. I will hopefully have more detailed impressions then.
Also, to hopefully demonstrate a lack of bias, their weakest point: amp hiss. There is some seriously pronounced amp hiss coming from the tweeters which makes quiet monitoring of dynamic sources like orchestral recordings a little bit of a chore. These are definitely pop/rock/metal/RnB/electronic monitors. They like LOUD and PUNCHY.
Better than your beloved OH300's and MM27's? 
I'm sure they're awesome regardless, and they sure are sexy; are those vertical slits bass vents? And it's probably just the angle of the picture (and the fact that everything is black ), but how much distance is between their backs and the wall/window/whatever behind 'em?
I have to say, Event really seem to be embracing the "THESE ARE THE BEST EVER IT'S TRUE BELIEVE IT" style of marketing; check out this ad in the newest Sweetwater (I am incredulous)
I'm sure they're awesome regardless, and they sure are sexy; are those vertical slits bass vents? And it's probably just the angle of the picture (and the fact that everything is black ), but how much distance is between their backs and the wall/window/whatever behind 'em?I have to say, Event really seem to be embracing the "THESE ARE THE BEST EVER IT'S TRUE BELIEVE IT" style of marketing; check out this ad in the newest Sweetwater (I am incredulous
)
Ermz
¯\(°_o)/¯
LMFAO, your expression is priceless. Friedman should hire you as a consultant.
Those ads have been ALL over the audio tech magazines. Rightly so - these monitors are SERIOUS business. They are selling out all over Oz.
The vertical slits are bass ports. They call them 'variable impedance ports', which is another patent pending gimmick type thing they've got going. What's truly impressive is the voice coil on the woofer. They aren't too far from my back window. I'm still trying to find the sweet spot, but they are pretty close to it. Plus it's not really fun trying to lift 20kg monitors along with 10kg stands. I mean these things are fucking HEAVY.
FWIW, I've never heard MM27s. Just went by people's impressions. The O300s... they're different beasts. Much more gentle, different sweet spots and possibly a better choice for orchestral/acoustic recording types that don't need massive power output. Check out the Futuremusic review. They recommend the O300s as the best alternatives to the Opals in terms of soundstage. Both are huge.
Those ads have been ALL over the audio tech magazines. Rightly so - these monitors are SERIOUS business. They are selling out all over Oz.
The vertical slits are bass ports. They call them 'variable impedance ports', which is another patent pending gimmick type thing they've got going. What's truly impressive is the voice coil on the woofer. They aren't too far from my back window. I'm still trying to find the sweet spot, but they are pretty close to it. Plus it's not really fun trying to lift 20kg monitors along with 10kg stands. I mean these things are fucking HEAVY.
FWIW, I've never heard MM27s. Just went by people's impressions. The O300s... they're different beasts. Much more gentle, different sweet spots and possibly a better choice for orchestral/acoustic recording types that don't need massive power output. Check out the Futuremusic review. They recommend the O300s as the best alternatives to the Opals in terms of soundstage. Both are huge.
Well I definitely remember your initial review of the ASP8's to be far less favorable, so I don't doubt that you're not one to be blinded too much by the honeymoon phase with new gear, so I hope you keep diggin' them! 
And who's Friedman? The only thing that comes to mind is Marty
And who's Friedman? The only thing that comes to mind is Marty
Fox Mulder
The Truth Is Out There
Ermz
¯\(°_o)/¯
By the way, 'The End of Heartache' sounds AWESOME on these.
With the ASP8s I always thought 'meh, cool guitar tone, but hardly a great mix'. These are popping the drums right into my face, as well as bringing out those amazing squishy nuances that the guitar amps have. I have a feeling I'm about to attain a whole new level of disdain for impulses and softsims.
@Marcus: Oops, I meant Freedman. He's the dude pictured with the monitor
With the ASP8s I always thought 'meh, cool guitar tone, but hardly a great mix'. These are popping the drums right into my face, as well as bringing out those amazing squishy nuances that the guitar amps have. I have a feeling I'm about to attain a whole new level of disdain for impulses and softsims.
@Marcus: Oops, I meant Freedman. He's the dude pictured with the monitor
Styvo
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- Feb 27, 2008
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Ermin,
Shortly after having the K&H in at the studio,we got to try the Events.Originally one place said to us leave $3200 here and you can demo them and we have already a pretty descent account with them,spoke to some others and they just immediately packed em in boxes and said take for a week or so.
They are a very impressive monitor you wouldn't have to sell it to me and indeed the detail was splendid.Behaved very much like a 3 way design.We settled on the Adams s3a's or whatever they are which I'm equally as happy with but i definitely put those Events up there for sure.
Pleases me to know you bought them because I've also heard you speak about em with passion so once again........Good Going.
Shortly after having the K&H in at the studio,we got to try the Events.Originally one place said to us leave $3200 here and you can demo them and we have already a pretty descent account with them,spoke to some others and they just immediately packed em in boxes and said take for a week or so.
They are a very impressive monitor you wouldn't have to sell it to me and indeed the detail was splendid.Behaved very much like a 3 way design.We settled on the Adams s3a's or whatever they are which I'm equally as happy with but i definitely put those Events up there for sure.
Pleases me to know you bought them because I've also heard you speak about em with passion so once again........Good Going.
@Marcus: Oops, I meant Freedman. He's the dude pictured with the monitor
Ah right, that creepy Aussie (he had that same expression in the Rode ads from a few years ago
)You remind me of Michael Lee Aday.
Except about 200 pounds lighter!
Ermz
¯\(°_o)/¯
FFS, it seems I paid $100 more for them than I should have
. I knew that prick was holding out on me!The S3As are great monitors. Between the 3, you really had your work cut out for you. I've been tracking on them a lot lately and they certainly do the job. The thing is that the ADAMs project a certainly tonality that I'm not really 100% in line with. For me it was either going to be the Opals or O300s. At nearly half the price, the Opals were the easy choice.
in the last year... Macbook Pro, 003 rack, music production toolkit, shit loads of plugs, glyph hard drive, Audient ASP008, Mics (57s, SM7, SM81s, KM184s, D6, Beta 52), Mackie HR824s, NS10s, 6505, Big Block, Drumdial.
Ben Johnson
SSSSSSSSSSSSSS
Ermz
¯\(°_o)/¯
Tis an RME Multiface! I got it with the intention of expanding to a decent 8-channel converter set via SPDIF, but I realized that the Multiface converters weren't really all that limiting.
Ermz,
Keep us posted on how the new monitors work out for you after you've had some decent time to mix on them. I've heard some good things about the Opals but I've also heard a fair amount of negative feedback as well so I'm curious to hear your impression after the "honeymoon" period wears off.
Keep us posted on how the new monitors work out for you after you've had some decent time to mix on them. I've heard some good things about the Opals but I've also heard a fair amount of negative feedback as well so I'm curious to hear your impression after the "honeymoon" period wears off.
joeritson
queenslander
Today I picked up a pair of Presonus TubePRE's and a Rode NT1000. Sounds fucking sweet! Loving the tubes!
Soundlurker
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- Nov 19, 2005
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joeritson
queenslander
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