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beat this! voting starts in...
Formant024
Digital Smokerings
ill o.g.
mogami is good, its just that we measured these cables in reference with gold (we have a guy who does this for us) and noted some distortion from 1m already which by their specs was said not to be the case (and we needed 72 mogami cables of 2M! each and 144 gold neutrik connectors lol, hardcore soldering action). So ok, we proved the specs were wrong but theyre still good unless im investing in gold which is definitly not going to be the case hehe
thedreampolice
A backwards poet writes inverse.
I agree %100 with Formant024 the NS10s are hifi reference, you should not mix on them.
Formant024
Digital Smokerings
ill o.g.
^^^ Idealy, flip em on B mix, with aurotones on C and a nice set of genelecs as your mains/nearfields. I've worked with Genelecs now for a long time and know its behaviour and considering that our controlroom has worked out pretty well means i can get the best reference for bass/kick behaviour while standing in the corner (i am the basstrap indeed lol) while i get a good sense of the low kicks while being in the hotspot. Then again, this is a perfect environment for them but not impossible for a bedroom techie, you should take into account that a small room needs smaller nearfields, never bigger on which i think that a 6"driver or smaller is really the best for the average bedroom techie as the rest becomes excessive when bigger.
If i had the dough, id be a Genelec guy all the way, everytime i hear those things i wanna make love to the speaker.
I think the reason KRKs get a lot of praise on this site from people including myself is the price point that theyre in and what u get out of that money thats spent, in that respect their one of the best competitors excluding probably the expose's obviously.
I think the reason KRKs get a lot of praise on this site from people including myself is the price point that theyre in and what u get out of that money thats spent, in that respect their one of the best competitors excluding probably the expose's obviously.
Formant024
Digital Smokerings
ill o.g.
^^^ yup, except they're lousy nearfields. Like i said before, i'd rather go for some B&W's instead for the same price except you'd still need a good amp as they do display more accuracy. I've done mixes on those and then compared the mixes on the genelecs and that really wasnt so bad and i've been in homestudio's lately where dudes mixed on KRK and also wennt down to our studio mumbled their annoyance. Same dude then mixed on some classic Philips MFB's and some strange high end speakers and had direct improvements. KRK expose are nice but way out of budget and the rest really just fills up demand for the need to provide cheap "nearfields". Again, if you're in a small room then spend a bit more on the second cheapest genelecs, or dynaudio or adam, there is just no justifying once compared to krk and they're not even that more expensive KRK. Nearfields for under 400 bucks is a myth and producers want honesty, dont kid yourself its 400 wasted on semi nearfields or 400 wasted in saving up for a better set which might cost you 700 or 800. Im not even taking anything serious under 200 bucks thats just eh...buy a nice boombox whatever.
T
The Arkitekt
Guest
Yo Formant, arn't B&W's used for mastering?
Formant024
Digital Smokerings
ill o.g.
yup! 800D (atm) are commonly used for mastering, those will never be active because all OEM will budget on the amp while in mastering its about equally as important (Chord, Bryston or Classe amps used and also very expensive). Its a whole different class on itself because most mastering studios are NOT doing mixjobs but they should be very well capable of doing so. It aint cheap either, a mastering set with 3 x800D en 6x high end amp can easily go way over a 100K (and then you still need processing equipment). The thing which is so great about B&W is that in overal they give a very accurate respresentation of the mids which as stated before is a critical point on most speaker/driver designs (including crossover) That being said of course doesnt imply that the 600 series just as good but i do like and theyre still accurate (and im using a NAD amp, class a/b hi-fi) for the price you pay, hence me saying that you're better off with those kind of speakers opposed to some 400 or less semi "nearfields".
come to think of it, i dont want 800D's, i'd drool all day lol
come to think of it, i dont want 800D's, i'd drool all day lol
Word, well i never said KRKs are the TRUTH when it comes to monitors, but like you noted earlier, u still need to cop a good amp which is in itself another investment (well worth making), but when your balling a budget as many of the producers are on here, I believe their still a worthy set of monitors to cop.
I'm aware their no Adams. Far from it, but like i said, you also have to still live within your means.
If that wasnt the case I would have purchased a set of Adams or Genelecs long ago and wouldnt be trying to gas people up about the KRKs but in the context of bang for your buck, i still stand by what i said.
The B&Ws would be the goods as well, and def worth checking out if i had the cash flow...
The common problems is tho that every time i come into having enough money for say a new set of monitors, my studio also badly needs another critical upgrade unrelated to the monitors, yet still essential to my daily workflow - and the battle continues....
I believe your right Form, but to be able to invest in certain items such as the B&Ws, Adams, etc., one really needs a pretty hefty paycheck in order to continue shopping like that - a category I unfortunately still don't fit in.
And the quest truly never ends when it comes to studio gear...
I'm aware their no Adams. Far from it, but like i said, you also have to still live within your means.
If that wasnt the case I would have purchased a set of Adams or Genelecs long ago and wouldnt be trying to gas people up about the KRKs but in the context of bang for your buck, i still stand by what i said.
The B&Ws would be the goods as well, and def worth checking out if i had the cash flow...
The common problems is tho that every time i come into having enough money for say a new set of monitors, my studio also badly needs another critical upgrade unrelated to the monitors, yet still essential to my daily workflow - and the battle continues....
I believe your right Form, but to be able to invest in certain items such as the B&Ws, Adams, etc., one really needs a pretty hefty paycheck in order to continue shopping like that - a category I unfortunately still don't fit in.
And the quest truly never ends when it comes to studio gear...
KRK's are the SHIT and who ever don't like 'em can suck my _ _ _ _! lmao.....but seriously, they work for me and I haven't been getting complaints about my mix with them so I'm standing behind them as well.
I don't see myself copin' no extremely expensive monitors EVER. There's only so far I'm willing to go on the monitor tip...especially in a home studio. I'd rather spend that kind of money on a piece of equipment for creating music as opposed to monitoring what I create. I'm a producer, not an engineer or a mixing engineer, though I play one on T.V...and the internet...lol That's just me though!
I don't see myself copin' no extremely expensive monitors EVER. There's only so far I'm willing to go on the monitor tip...especially in a home studio. I'd rather spend that kind of money on a piece of equipment for creating music as opposed to monitoring what I create. I'm a producer, not an engineer or a mixing engineer, though I play one on T.V...and the internet...lol That's just me though!
Formant024
Digital Smokerings
ill o.g.
hehe, i think its like how many on the site tell what the most important thing is in your setup and do know the answer and still dont live it up 2 it. I know this cat who i tought to dj way back, the kid had bought a gazillion records over time and never bought an SL but jbl instead... The reason i mentioned the B&W is that for a second hand NAD or any decent QUAD (303/405) amp with a DM603/DM602 would cost about as much as the cheaper KRK. And I aint gonna beat around the bush on studio ethics, to me thats either black or white, dont feel like im attacking you purchase there but if it doesnt seem right then im fair enough to tell you...it stinks . dont be naieve and a blind consumer, this hobby is ffin expensive, wasnt it you bought 5 pairs of monitors already ? and end up with krk ? you could've had a set of genelecs 8020 with sub already dude, thats my point.
Formant024
Digital Smokerings
ill o.g.
hehe, i have another setup which is absolutly not nearfield but does work well too, which is a set of hoffman PA speakers. I think it was underworld who did the same, big hall and big PA boosting a few KW's and then produce tracks and i complety fellt te idea except i'm personally lacking a huge hall. But our studio has one which makes it fun. Also the people i know and that i like to work with dont use proper nearfields either, to this i made some sort of tool. Take your best home made production and go into a proper studio and listen back to it over their nearfields, if you're a customer there and you let your tracks mix by a real engineer then take back home those recordings and use them for reference to find the weakspots on your speakers. My friends always have some sort of live venue or party every once in while on which we bring our beats before that event opens doors, then we play back our home made beats over this huge Turbosound PA systeem and immediatly we hear our flaws and if not we just stand there grinning in the venue's hotspot awstruck on our kick/bass delivery...good feeling hehe
Whereas I go and play my tracks anywhere else and they sound pretty terrible,
I normally play a comercial cd before mixing to get a good idea of how frequencies are being represented on my monitors. I still never truly know what a mix sounds like until I play it somewhere, and Im usually disappointed.
Thats one of the main reason I showcase a lot of tracks to get feedback on how the mix came out.
I tend to overcook bass frequencies. Until I can afford some decent monitors its a problem I have to live with.
A new midi keyboard is my first priority at the moment, due to price and then its monitors.
I cant wait to get some quality speakers.
I normally play a comercial cd before mixing to get a good idea of how frequencies are being represented on my monitors. I still never truly know what a mix sounds like until I play it somewhere, and Im usually disappointed.
Thats one of the main reason I showcase a lot of tracks to get feedback on how the mix came out.
I tend to overcook bass frequencies. Until I can afford some decent monitors its a problem I have to live with.
A new midi keyboard is my first priority at the moment, due to price and then its monitors.
I cant wait to get some quality speakers.
Formant024
Digital Smokerings
ill o.g.
well, another way to prevent in going wrong is to minimize the processing on your tracks, use neutral compressing ( no trick or gimmicks ), check to see if there's presets for compression on those instrument tracks. Dont layer, dont heavy eq, dont eq at all, dont reverb and defnitly dont go maximize bass or try to expand the stereo width. If you can, build up a mix on where you just level out the tracks, minor compression and as less eq as possible and listen back on those productions somewere else. A good mix doesnt need much in the first stage, if that sounds good already then you start beefing up because you before that reference takes place you'd have no clue on whats going on in the mix. Its only after on which you can specify all those little flaws. Normally, that mix would sound a bit timid and not even as hi-fi compared to a commercial cd but that simply because there's no final mix done and certainly not mastering. That minimal mix would still sound well on a PA system, that means, when all the instruments come through in the mix as loud as you want them to be positioned at. I'd also compare on electronic tracks, if i take my analogue hardware and create a live set i mostly dont need any eq to create delivery as its in the ability of the instruments to alter their patches and make em fit in the mix. If i then decide to record the liveset then it mostly wont take much effort at all finalize that mix as i already laid out the proper balance and eq. Again, if you take that live set onto a big PA you'd really think twice about adding heavy compression, i mean, shit ever heard a real 808/909 kickdrum connected to a 5kW PA...
Step Soprano
ILLIEN
ill o.g.
i demoed the bxa5 deluxes, krk rp 5 g2, and the mackie mr 5's... and the bxa5 deluxes were easily the best soundin, and had most accurate sound, particularly in low end, where 5 inch woofers usually can't cut it... i'm plannin on hookin up my jbl sub too it at somepoint tho if thats possible.