Re: How is it determined that a monitor is good/accurate?



muzician21 <muzician21@xxxxxxxxx> wrote:

On Nov 7, 8:34 pm, klu...@xxxxxxxxx (Scott Dorsey) wrote:

There ain't no monitors that are accurate or even good.

However, the best microphones are a lot better than the best monitors.


How are either of the above determined, and if so, when pro studios
pay however many multiples of thousands for monitors, I assume there
must be a reason they do so?

Some speakers give me a sense of the _reality_ of the sources coming
through them. Some do not. Mind you, I most often deal with what I'll
call "natural" sounds - acoustic instruments, human voices, sounds that
are generated without electrical amplification.

Some years ago at an AES convention on the floor of the large exhibit
room at Moscone Center in SF I heard Laura Nyro via various Klein &
Hummel monitors. Even in that horrible acoustical environment full of
ambient noise and distraction I felt I could perceive her lips moving in
front of the mic she had sung into. It was as if those speakers offered
a transparent time travel window to where she was singing and playing an
acoustic guitar.

A similar experience could be had in another, better treated room where
ATC's were on demo.

To me, those are good speakers, in the extreme. (I am obviously less
extreme about this than is Scott. <g.)

This past week working as an artist in Cedar Creek Recording in Austin
TX we mostly monitored over a pair of Genelecs with which I am
unfamiliar. I gradually got used to them though even after three days
I'm not confident in my judgements about what I hear through them. Fred
Remmert, the studio owner, certainly is. Sometimes he would switch to a
pair of 6' tall Dunleavys driven by Brystons, and over those I felt I
could tell what was going on in detail. If it sounded good going into
them, it sounded good. If it didn't, it was painfully obvious. The
Gennies aren't completely dishonest, to me, but they do have some
euphonic coloration that makes things sound a little better than they
do. (Sometimes that's probably a relief for the engineer.)

At home I've been working with a pair of Genelec 8040A's. I got used to
them quickly and the first mixes I did with them for clients came out
quite well. Played back at Terra Nova mastering over a pair of Duntechs
the mixes held up well, with the big speakers in a very well treated
room bringing me slightly more detail. In September I made some changes
to my control room, and the rough mixes I've put together so far aren't
quite as good. I have some adjustments to make to get the 200 to 400 Hz
octave in balance. That said, those are not terribly expensive speakers,
and I know that when I have things set-up properly I can get reasonably
accurate mixes that will translate very well over other systems.

Keep in mind that as one moves toward an unobtainable audio perfection,
the closer one gets to 100% the greater the cost of each additional
percentile of improvement. It gets to the point where tiny improvements
cost loads of money. If had I had loads of money I'd buy K&H's or ATC's
in a heartbeat.

--
ha
shut up and play your guitar
.



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