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Mark
Ha`aha`a
USA
1628 Posts |
 Posted - 12/22/2006 : 09:58:24 AM
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Howdy all -
I've got some time on my hands right now, so I tho't I'd return to a topic I mentioned in regards to a question about mics and insterfaces -- namely, studio monitors.
Back in the way back, big deal studio control rooms generally had at least three sets of monitor speakers. The mains were this huge set of speakers built in to the wall -- usually JBLs or Ureis or some other high end brand with humongous drivers and massive amounts of power. Their purpose was to hear what was going on, as well as to impress the hell out of the client's business manager...
Then there were ususally two sets of "nearfields" -- speakers meant to be heard up close. Brands varied, but two models were ubiquitous: You'd always see these yinky little speakers made by Auratone, whose purpose was to let you hear what your mix sounded like on the typical crappy speakers (that's a technical term) most people had in their dorms or car.
And then there is the famous black & white Yamaha NS10. NS10s were originally designed for the home market, but engineers took to 'em like white on rice. The idea was, if you could make a mix sound good on NS10s, it would sound good on anything!
And speakers were just part of the equation: studios I worked in were just as concerned with power amps, cabling, placement, etc etc etc.
The whole point is twofold: First you want to know exactly what is on the tape (disc, memory stick, whatever). For that you need highly accurate, uncolored reproduction of all the frequencies your ears can hear (20hZ-20 kHz is the stated range -- it's actually broader than that.)
Secondly, you need to know how your mix will translate to real world situations. Most home stereos have misplaced speakers, underpowered amps, etc. And most home stereo speakers are designed to emphasize certain frequencies -- yr basic "loudness" curve. And let's not even talk about car stereos...
OK, so what's this got to do with you? Just this: if you can't trust your monitors to reveal what's on your recordings, how can you mix?
No, you don't have to run out and by a set of Genelecs (but, Santa, if you are reading this, puh-leeze?). But you should put some thought into setting up a proper listening environment. That means a couple of decent monitors, placed at ear level with the tweeters and your ears forming an equilateral triangle. Speakers should be close enough so that you hear the direct waves first , not reflections from the walls, etc. Obviously, nothing should be in the way. Oh, and keep 'em away from walls & corners (huge problem) and be aware of what's behind yer head, too.
You need adequate power -- more is better than less. Spring for decent wire -- but I'm not going to get into the debate about super premium cable. If you can hear the difference, spend the bucks.
There are manay great choices in the $200 to $400 range from Event, M-Audio, Alesis, Samson, Edirol, Tannoy, etc etc. Powered monitors are a terrific choice for home studios. Powered subs can help make up for the difficiencies of tiny drivers. Home stereo speakers usually aren't a good idea cuz they are so colored.
And you can't mix on head phones!!! Why not?? Cuz head phones won't tell you if a stereo signal is out of phase. But you absolutely need a good set to spot check recordings -- you'll hear stuff you might miss on the nearfields.
Here's a tip: no matter what monitor system you mix on, be sure to play the mix on as many differnt systems as you can to hear how it translates. Is it boomy? Does the `ukulele drop out? What happened to the high end?
OK, that ought to give you something to mull over. Let's hear your tho'ts. What are you using? Why? What works? (One favor: can we refrain from discussions about so-and-so's tech support, customer relations or corporate mascot? Thanx)
For starter, here's my set up: (yes, it's an old system)
Alesis Monitor Ones (old style): they are essentially NS10s without the annoying high mid bump that causes fatigue.
Alesis Mattica 500 watt amp
Sony MDR-7506 and Fostex T20RB 'phones
Some itty bitty Yamaha powered desktop speakers to reference files meant for computers.
Happy recording!
Mark
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Lawrence
Ha`aha`a
USA
1597 Posts |
Posted - 12/22/2006 : 11:05:44 AM
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Aloha e Mark,
For the monitors in my studio, I have a pair of Mackie HR824s, but I would LOVE to have a pair of Genelec 1037C units. (You ain't the only one hankering for Genelec's!) I also have a stereo system with old Infinity speakers in the living room and another one in the shared-office and I play stuff back in the cars and on a couple of boom boxes that I have. These various other systems are used when the mix is nearly complete and I am doing "finalizing" activities to double check. (i.e. they take the place of the NS10 and Auratone)
The Mackies are pretty darn good for a two-way system, but therein lies the problem. The most sensitive and critical range of the ear is roughly from 500Hz to 5000Hz. Two way speakers cannot avoid putting the crossover in this range. Multiple driver loudspeakers generate time domain distortion and frequency irregularities (comb effect, etc) across the crossover frequency range (usually about an octave). This is UNAVOIDABLE but better speakers (Like the HR824) try to minimize it with time alignment of the drivers, etc. This can reduce the effect by 80-90% but this crossover distortion will always be present. If you add more crossovers you add more places where crossover distortion occurs but you can move this distortion away from the ears most sensitive range. The ultimate result of all these engineering trade offs is that a properly designed THREE-WAY loudspeaker (using conventional drivers) is the best overall compromise.
Another thing: Speakers with passive crossovers suck! Consider the fact that 80-90% of a speakers impedance is due to the resistance of the coil and that this resistance varies by as much as 20%-50% from cold or "off" to "full volume". Crossover circuits are designed for a finite non-changing impedance, so when the speaker warms up the response can (and does) change, sometimes dramatically. This problem can be overcome by using active crossovers and a separate amplifier for each driver.
Ergo, these Genelec 1037C units are three way and have a separate power amp for each driver, but last time I checked it took close to 10K to get them. (small change for a big studio)
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Headphones - since they are relatively cheap I have several (all are closed for isolation when overdubbing, etc.):
Beyerdynamic DT770 Pro - Very good headphones. Very flat with 40db sound isolation. Particularly good for live situations due to the high isolation. (Very good to use on the plane home to listen to the stuff you just recorded in Hawaii)
A high-end pair of Sony's similar to MDR-V900, almost as good as the Beyers and better than the 7506's below.
Sony MDR-7506 - A bit too bright in the 6-12KHz range.
Sennheiser HD280 - good overall cans.
Audio Technica ATH-M40F - Best-made cheap cans with a little too much mid-bass.
I do not mix much on headphones, but I do check the mix on headphones fairly often!
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Mahope Kākou...
...El Lorenzo de Ondas Sonoras |
Edited by - Lawrence on 12/22/2006 12:26:48 PM |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 12/22/2006 : 4:10:33 PM
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OK, I start out with Sennheiser HD280s coming out of the Layla3G or Mackie mixer, depending on in or out. First on tracki ng and then on initial mix. I have a pretty canned process now, because I know what to expect after suffering a lot. Then I listen through a chintzy Altec/Lansing powered subwoofer/satellite combo attached to another cheap soundcard (Turtle Beach Santa Cruz) in my small recording room. Repeat until near target. Then I burn a test CD, inexpensive but decent quality, and play it through an old, but pretty high end, Sony CD deck, connected to an old but wonderful Proton "smart" preamp/power amp (socalled integrated amp, but I could insert stuff in between if I wanted) (ave. 50 watts/ 450 watts for 200 ms) connected by heavy flat cables of about 8 ft. each way (NOT expensive Monsters, but pure and heavy) connected to regular stereo (no 5.1 or anything) PSB Alpha (Paul Barton the Canadian audio science whiz) speakers in our approx. 30x15 ft. living room. I sit at the apex of an equilateral triangle and then I move around the room, both around and up and down. If I don't like it in the living room I repeat after modifying the sound in a way I think is appropriate. Repeat if necessary. Then when I like it, I burn to Mitsui Golds.
All this is shortened considerably by a great tracking session with mics in the right place, as Dawg has always said. And, we are moving more and more to overdubbing the vocals, after the guitar, which requires lots of planning put gives superior results overall. Never less than 4 channels in.
...Reid |
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