Post by Owen Y on Dec 3, 2019 13:27:17 GMT 12
The Colours of Sound, a piece by Steve Turnidge, " a noted mastering engineer...with hundreds of albums and thousands of music tracks to his credit. With over 35 years experience in the Pro Audio electronics industry...Steve is also a published author. He was a past chair of the Audio Engineering Society (AES) Pacific Northwest Section...". He writes... " there are those who think that speakers made for the recording studio may give better results than those designed for the listening room.
The challenge with this is that studio speakers like the Yamaha NS-10s which are ubiquitous in the studio can be considered harsh overhead florescent lights,...to ensure there are no unseen flaws that show up on poor systems. "
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Post by michaelw on Dec 3, 2019 14:27:32 GMT 12
hmmmm was the b+w 801 a domestic or professional speaker ? that plus a switch to digital recording inthe 80s killed emi's classical division.  then we get pro monitors that did sound good at home, the bbc designed family - ls3/5a, 5/9, 5/8. and derivatives like the spendor bc1, s100, the popular harbeth monitor 30, 40 series etc.
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Post by Deleted on Dec 3, 2019 17:17:49 GMT 12
I’ve always thought that idea made sense...
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Post by Owen Y on Dec 3, 2019 20:32:22 GMT 12
Turnidge would probably refer specifically to mixing-matering monitoring. In the modern era, it seems to be NS10s, active monitors & the like. The ol' BBC designs probably wouldn't be the explicitly revealing style that these guys seem to favour now.
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Pundit
Post by beeman on Dec 4, 2019 10:18:03 GMT 12
After a long list of JBL monitors - well thats the sound I want
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Post by michaelw on Dec 4, 2019 10:38:59 GMT 12
Turnidge would probably refer specifically to mixing-matering monitoring. In the modern era, it seems to be NS10s, active monitors & the like. The ol' BBC designs probably wouldn't be the explicitly revealing style that these guys seem to favour now.
makes one wonder just what modern producers are listening for.
the majority of new recordings sound like doo-doo.
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Post by colinf on Dec 4, 2019 20:42:19 GMT 12
The studio down the road here uses Focal active monitors to hear what they’re doing, seconded by headphones, some Sennheisers. The tweeter in them is a beryllium unit very similar to the ones in my own Focals at home. Listening to recordings from the studio at home, the bass is less prominent in the studio with more of an emphasis on low distortion and neutrality. At home the presentation tends to be bigger and less grainy. If the NS10s in other studios are so fierce/harsh, does the mix produced listening to them result in the mix’s treble being toned down? Is emphasised treble good in a studio situation, vs a clear but natural speaker? Manger full range speakers are gaining popularity in Germany. I have Manger drivers here, about to be made into boxes. I remember them previously to be clear and smooth and the antithesis of the NS10s. I’d love to hear some recordings mixed using Mangers at home.
AMR-iFi R&D
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Post by Owen Y on Dec 6, 2019 11:25:32 GMT 12
Here's a mastering engineer in Nth Carolina, Dave McNair Mastering, explaining the differences between his studio work system & his home listeing system - requirements & preferences. www.dagogo.com/mastering-engineers-systems/" The notion that a playback system can be completely transparent and colorless as some sort of pure conduit for the recording is a noble pursuit, but that doesn’t cut it for me. The flaw of this approach, in my opinion, is almost no one can know what is ‘correct’... " " What comes out of any playback system regardless of how well recorded any musical performance is, never sounds like what it sounded like in the room with the performers. So given that the recording is an illusion (admittedly sometimes very convincing), I just want my home system to sound good! " No information on his home music system, but this is his studio mastering loudspeaker setup:  (B&W Nautilus 801’s powered by Classe amplification)
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Post by michaelw on Dec 6, 2019 12:24:03 GMT 12
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