# Upgrading Studio Monitors...?



## RRBE Sound (Jan 19, 2017)

Hello everyone! 

I have been building my small studio set-up for 2 years now, (personally and material..  ) and I have finally decided or come to sense that the Mackie CR4 Monitors I use now, are great, but not great enough. 

As I mix and master track, I am in the lucky position that my dad owns a high-end studio and when listening to my track on his speakers, I hear good, but also bad things.. Mostly frequencies which are to high. 

As I have just registered my freelancer company ''RRBE Sound'', I am in need for some more studio related speakers.

So I am asking to which monitors you use..? I love to hear about your high-end expensive monitors, but as finance isn't there to support more than, say 500-600 pounds, I am searching for something in that range. 

I compose mostly symphonic music. But I mix and master rock, indie-music and alike... 

Thank you for your time! 

All the best
Rune


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## synthpunk (Jan 21, 2017)

see if you can hear a pair of Neunmann Kh-120 which have quite a popular following here for composers. Dynaudio Bm6a are a favorite of mine.


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## Nick Batzdorf (Jan 21, 2017)

RRBE, I'd suggest doing a search.

This will turn into a 5-page thread of everyone posting their monitors. There are two reasons that there are so many monitors on the market:

1. People have different taste.

2. The perfect monitor hasn't been developed yet.


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## RRBE Sound (Jan 22, 2017)

Nick Batzdorf said:


> RRBE, I'd suggest doing a search.
> 
> This will turn into a 5-page thread of everyone posting their monitors. There are two reasons that there are so many monitors on the market:
> 
> ...



Yea!! :D You might be right. 

I just think people on this forum give great advice!  

But yea, I am of course searching for answers. 

What I have got my eyes on, are the following:

Adam Audio: A3X or A5X - Concerning my small room.
and
Genelec M040

and now the Neumann!!


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## jamwerks (Jan 22, 2017)

Just wondering why you want to spend so little? You may have spent twice that just on the couch in the back? Depends also if this is you profession or just a passional hobby. Imo, for professionals, monitor prices start at around $4000.

YMMV...


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## Ashermusic (Jan 22, 2017)

jamwerks said:


> Just wondering why you want to spend so little? You may have spent twice that just on the couch in the back? Depends also if this is you profession or just a passional hobby. Imo, for professionals, monitor prices start at around $4000.
> 
> YMMV...




All I can say to that is that I could now list the names of my Logic clients who are professionals who have speakers that cost no where near $4000.


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## URL (Jan 22, 2017)

Treat your room and learn your speakers, there are "40" years of mixning at Yamaha ns 10...and a lot of listeners who love those records.


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## passsacaglia (Jan 22, 2017)

You have a PM Rune!

Have Focal Alpha 50's, to me I don't think I will ever replace them, so goddamn satisfied with them I won't be needing any more expensive stuff'ish. 
For a long time ...  Very much value for the money. To me the Adam A5- series reminds me of KRK Rokit 5 aka 7-eleven speakers hehe. No but, I don't like them, feels that some sounds are trapped inside and wanna come out and superduper hi's . 
Focal (alpha or cms) or the Genelecs, be sure to check out the 8020 ones! Terrific!!!


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## RRBE Sound (Jan 22, 2017)

jamwerks said:


> Just wondering why you want to spend so little? You may have spent twice that just on the couch in the back? Depends also if this is you profession or just a passional hobby. Imo, for professionals, monitor prices start at around $4000.



You are so right and I do agree. However it is a question of budget. As I am only starting out, I am hoping to get something which can ''travel'' with me in life.  - If I do get to a point of my carer, I will upgrade! 




URL said:


> Treat your room and learn your speakers, there are "40" years of mixning at Yamaha ns 10...and a lot of listeners who love those records.



The best will be for me to have the speakers home, to test . Yes!  ??


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## passsacaglia (Jan 22, 2017)

ps don't forget KRK's VXT serie. Excellent!
VXT4 is super good imo! Another solar system compared to the krk series, but the bigger krk's are better ofc.

Or check the reviews for the APS Klasik's;
https://www.gearslutz.com/board/aps-audio/klasik-g20105/

edit: whoah, a little pricier than I thought... 
Nah I'd throw my 2 c's on my Alpha's.


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## URL (Jan 22, 2017)

Yes, if possible test speakers at home but it takes a little time to get used to the speakers and how they "colours" the sound
and funny Passacaglia named Krk VST one of my speaker pair that I use is KrK Vxt as "main" speaker... I have long way to well-stocked music stores so its not that easy...to decide...


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## jamwerks (Jan 22, 2017)

RRBE Sound said:


> If I do get to a point of my carer, I will upgrade!


Congrats for the new company btw. If cash is low then go with what you can get. But if you're investing in your future, buy great monitors! Why spend money on gear, plugs and samples that sound great, if you can't even hear it?

There's a record I know pretty much by heart (Steely Dan, Two against nature), when listening to it for the first time on Barefoots, I heard backround vocals & percussion that I didn't even know was there!

Since you say you mix and master, you're the guy who needs to be able to hear all the stuff that people like Jay's clients can't. Ask yourself how much time you could save by getting quicker and better results. Say you save half hour (a day) x 300 days a year, that's a ton of money. On Barefoots or Amphions, you can hear the tinyest of eq changes. To say nothing of the pleasure factor...

You will thank me later


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## passsacaglia (Jan 22, 2017)

jamwerks said:


> Congrats for the new company btw. If cash is low then go with what you can get. But if you're investing in your future, buy great monitors! Why spend money on gear, plugs and samples that sound great, if you can't even hear it?
> 
> There's a record I know pretty much by heart (Steely Dan, Two against nature), when listening to it for the first time on Barefoots, I heard backround vocals & percussion that I didn't even know was there!
> 
> ...


Here I also agree with jamwerks! Once you upgrade, you really upgrade. Ofc it's for a smaller room etc and you don't have The biggest budget but still a reasonable amount you can get good stuff with.
I am super satisfied with my focals. Ofc I would Love to have even better ones (read Focal Solo6be) but don't have That cash now. Recently, the other day I purchased a machine...the newest iMac, paid 3k, and I know I will be set for at least 8-10 years. An investment.
Your current monitors are good, they work etc. If it's no stress , wait 1-3 months and save like a 100-200 more if you can - perhaps more cash will drip in and you can get something even better.

In that case - consider a really good pair which you will be able to have in the long term -Barefoots and Amphions are pro pro pro ofc  what a pricetag. But in your situation Rune I mean...
Wait and save for some better ones, you still are gonna find good ones. But to step up a game, consider the CMS 65 or Solo6be. Then, you will be set for at least 10 years of professional and really good speakers, for a reasonable amount of price.
I'd say Alpha 65's, CMS 65, VXT 6 (KRK not Focal) and the Solo 6be. Semi-pro / intermediate investment  you can find very much on Gearslutz forum too on these.
To me Focal is the best, can't stand Genelec's superduper crisp open hi's they're "too open" to me, Focal is the best to my ears and the high ends with Berylium, whoa my goodness! Those frenchies really know what they're doing!


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## Ashermusic (Jan 22, 2017)

jamwerks said:


> Since you say you mix and master, you're the guy who needs to be able to hear all the stuff that people like Jay's clients can't. Ask yourself how much time you could save by getting quicker and better results. Say you save half hour (a day) x 300 days a year, that's a ton of money. On Barefoots or Amphions, you can hear the tinyest of eq changes. To say nothing of the pleasure factor...
> 
> You will thank me later



it is true that mastering requires a higher level of speaker than simply mixing. But for mixing, there are a lot of solutions for under $2000 that if you know your speakers well, allow you to do mixes that translate well.


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## passsacaglia (Jan 23, 2017)

cannot stress the Alpha series enough:
http://h-happening.blogspot.se/2015/06/focal-alpha-50-65-80-review-and.html


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## passsacaglia (Jan 24, 2017)

ps and like some others said, acoustic treatment! For your small room/bedroom/studio, first reflections are most important as well as top prio some sort of bass traps:

http://realtraps.com/art_room-setup1.gif

http://www.nzacoustics.com/picts/studiomirrorpoints.jpg

- bass traps, the best you can
- cieling above you
- first reflection point: http://cdn.ledgernote.com/wp-content/uploads/2015/08/reflection-panels.jpg
this may be a good starter pack: https://www.thomann.de/gb/eq_acoustics_classic_wedge_foam_tiles_grey.htm
- if you have more pads left, put them in the back behind you:
http://dt7v1i9vyp3mf.cloudfront.net...o9EtqZFHzSebhyeWw.FZHA4vqzx1xt3&itok=uKZsQGGK

here someone else could chime in if one should skip the diffusors (perhaps better in larger places) and or/where to put the rest of the pads. Right behind the producer, to the Right and Left of the rear/back wall or the 2nd reflection point in the room next to the 1st pads on the sides (mirror trick).
Jay and J - you guys def. know this better


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## JeffvR (Jan 24, 2017)

I've heard a lot of speakers but I still prefer my own PSI Audio A17M. They are far above your price range, but for me it was an investment for a lifetime. I came from the KRK Rokit 5 and it was a night and day difference. 

Best tip I can give: go listen to a lot of different speakers in your price range. Preferable a shop that's specialized in high end audio (not your local music store). I was amazed at how much character each speaker has. Totally different when you listen to them side by side in the same room with the same converters.


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## RRBE Sound (Jan 24, 2017)

JeffvR said:


> I've heard a lot of speakers but I still prefer my own PSI Audio A17M. They are far above your price range, but for me it was an investment for a lifetime. I came from the KRK Rokit 5 and it was a night and day difference.
> 
> Best tip I can give: go listen to a lot of different speakers in your price range. Preferable a shop that's specialized in high end audio (not your local music store). I was amazed at how much character each speaker has. Totally different when you listen to them side by side in the same room with the same converters.



Thank you! -
I definitely will!!


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## Ashermusic (Jan 24, 2017)

JeffvR said:


> I've heard a lot of speakers but I still prefer my own PSI Audio A17M. They are far above your price range, but for me it was an investment for a lifetime. I came from the KRK Rokit 5 and it was a night and day difference.
> 
> Best tip I can give: go listen to a lot of different speakers in your price range. Preferable a shop that's specialized in high end audio (not your local music store). I was amazed at how much character each speaker has. Totally different when you listen to them side by side in the same room with the same converters.




Better yet maybe, if you can, buy from a store that lets you bring them into your own room to try and return if you are not happy.


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## mc_deli (Jan 24, 2017)

RRBE Sound said:


> Thank you! -
> I definitely will!!


Buy from Thomann - free postage to return unwanted items. Probably the best prices too. Look in their blow outs and hot deals for monitors that others have sent back.
Here you go: https://www.thomann.de/dk/blowouts_GF_studiemonitorer_HL_blowout.html

I posted elsewhere about my experience with the KH120A and KRK VXT6 / 10-s combo. Search for more info.


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## JeffvR (Jan 24, 2017)

Ashermusic said:


> Better yet maybe, if you can, buy from a store that lets you bring them into your own room to try and return if you are not happy.



True!


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## RRBE Sound (Jan 26, 2017)

Thank you all guys!! 

I have got a great impression and idea of what to look for! 

May this thread guide others..  

Thanks again! 

All the best
Rune


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## nbd (Jan 27, 2017)

One thought to add; how about sonarworks plugin with calibrated headphones?

That would eliminate the quest for the perfect room, as most probably the biggest problem won't be your monitors, but your room.

I have a friend (not affiliated with anything/anyone) who has calibrated headphones and sonarworks plugin and he said that he would never ever again do any serious mixing without those. Because you might be spending hours tweaking and the end result would sound strange for others if the original problem was your room, if you know what I mean.


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## synthpunk (Jan 27, 2017)

If you want your hearing when you're old don't rely on headphones for your main monitoring option. You are really playing with fire.


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## N.Caffrey (Jan 27, 2017)

Have you seen the new Adam S Series?


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## Emmanuel Rousseau (Jan 27, 2017)

I'll suggest to try different speakers in a store, those things are really a matter of taste !

For exemple, I seriously hate the sound of Genelec monitors, but I know some people love them and do more than amazing mixes with them.

For me, the winner was the Eve Audio Sc305, awesome 3 way monitors, and the perfect size for my room (a huge factor, no need to go "too big" unless you want serious low end issues). And nothing near 4000$ 

About Sonarworks headphone calibration, they're doing an amazing job with this plugin, and it's been a great addition to my headphones (Blue Mofi). But as mentioned before, careful with mixing on headphones (audition issues, false perception of panning and reverbs, etc). Those things are great for controlling small details, low end... only when needed !

Good luck


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## ghostnote (Jan 27, 2017)

If you're on a budget:
https://www.thomann.de/gb/swissonic_asm5.htm

My choice:
2x https://www.thomann.de/gb/neumann_kh_120_a.htm


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## mc_deli (Jan 27, 2017)

... just to bang the Sonarworks drum again... for me it's not the headphone plug in that's useful but the monitor correction plug in - especially in a small room, especially with mid-tier monitors.
...just to make it crystal clear the Sonarworks plug in has a little switch so you can swap between the headphone calibration correction (based on headphone model or your actual personal headphones if you send them in) and the monitor calibration correction (based on your measurement of your room with their measurement mic).


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## ghostnote (Jan 27, 2017)

I agree that headphones can be a great alternative, trust me I've been there, I have the HD800, my right ear goes to 11k, I am 30. But your ears will pay the price once you get 40 or 50. If you want to keep going during this age, get some good monitors instead and keep the volume down.


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## N.Caffrey (Jan 27, 2017)

Michael Chrostek said:


> If you're on a budget:
> https://www.thomann.de/gb/swissonic_asm5.htm
> 
> My choice:
> 2x https://www.thomann.de/gb/neumann_kh_120_a.htm


so you have the neumann? they're on my list of the ones to try out.. read a lot of good stuff about them


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## emid (Jan 27, 2017)

Speaking of second hand, sometimes on ebay or gumtree you can grab a good deal. Be aware though, gumtree = cash in hand after demoing at seller's place. I got a pair of JBL LSR6325P-1 for £225 including p&p in perfect condition on ebay that are sold for around £800-900 new. 

Also check Bax-shop online. They are emerging as competitive contender of Thomann with great free return hassle free policy of 60 days.


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## Nick Batzdorf (Jan 27, 2017)

passsacaglia said:


> ps and like some others said, acoustic treatment! For your small room/bedroom/studio, first reflections are most important as well as top prio some sort of bass traps:
> 
> http://realtraps.com/art_room-setup1.gif
> 
> ...



Yah.

I've posted about this so many times I even bore myself - which isn't easy, because I find myself totally fascinating.

Very politely, every one of those links is giving bad information, especially the "mirror trick," which is snake oil. Those "first reflections" from the sides are a good thing, not something you want to eliminate!

Nothing against the actual products in those links, just the way they're telling you to use them.


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## passsacaglia (Jan 28, 2017)

Nick Batzdorf said:


> Yah.
> 
> I've posted about this so many times I even bore myself - which isn't easy, because I find myself totally fascinating.
> 
> ...


Ohh ok cool!! Thx a lot Nick!
All the best


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## nbd (Jan 28, 2017)

Nick Batzdorf said:


> Very politely, every one of those links is giving bad information, especially the "mirror trick," which is snake oil. Those "first reflections" from the sides are a good thing, not something you want to eliminate!



Hi, very interesting. Could you post some references/research links about why eliminating them is considered bad? So far I have read that the first reflections are the ones that should be minimised to some extent at least.


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## mc_deli (Jan 28, 2017)

Nick Batzdorf said:


> Yah.
> 
> I've posted about this so many times I even bore myself - which isn't easy, because I find myself totally fascinating.
> 
> ...


I don't really get this post. It reads like you are saying controlling reflections is not important, which would be bizarre, given the non-parallel walls and non reflective materials used at reflection points on walls and ceilings in... Well... Every acoustically designed control room. 

Could you clarify what you mean?


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## Nick Batzdorf (Jan 28, 2017)

Okay, I'll start it up again. 

For a stereo monitoring room - not a tracking room, that's different - the conventional thinking is that the best sound is from the speakers and it goes downhill from there, so you want to eliminate as much of the room's effect as possible. That's the first fallacy, because if that were what we wanted we'd simply mix outdoors. We don't.

So the concept I agree with (which is based on reality, not just opinion!) is to treat the speakers like they're instruments in the room. Not only is it impossible to eliminate the room, sticking up absorption all over the place has the effect of screwing up its frequency response. How many control rooms have you been in where your voice booms when you talk?

Next, our brains/ears separate sounds coming from different directions with amazing accuracy. The only reflections that combine with the sound from the speakers come from the same angle - the front of the room. That's the place to get rid of excess reverb in the room: broadband absorption on the front wall. The reflections from the sides help you localize the sound, which is why the mirror thing is bollox. Also, you have to think about how wide your speakers' dispersion is; you can clap and excite all kinds of flutter echoes that your speakers can't excite.

(A guy I respect a lot recently suggested diffusion at the sides rather than reflection, and I haven't tried that. If it works well, it'll force me to rethink some of this. But certainly not the basics of what I just wrote.)

So: broadband absorption to get rid of excess reverb at the front of the room, flat sides, diffusion at the rear if you want, diffusion overhead if you want, and bass trapping. That's all it takes to make a room workable.


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## Gerhard Westphalen (Jan 28, 2017)

Nick Batzdorf said:


> Okay, I'll start it up again.
> 
> For a stereo monitoring room - not a tracking room, that's different - the conventional thinking is that the best sound is from the speakers and it goes downhill from there, so you want to eliminate as much of the room's effect as possible. That's the first fallacy, because if that were what we wanted we'd simply mix outdoors. We don't.
> 
> ...



If you wanted to reduce some of the reverb in general by having panels on the side walls would you purposely avoid putting them at those side reflection points and start with them farther back in the room on the side walls? 

I used to also think the usual panels on the reflection points but now that I'm reading "Sound Reproduction" I'm learning that it isn't so. I might move around some of the panels in my room once I've gotten through the book.


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## wst3 (Jan 28, 2017)

I sorta kinda agree with Nick (which is also getting sorta kinda boring, but he started it<G>!)

Broadband absorption is better than tuned absorption unless (a) you have a documented problem that can be fixed with a tuned trap, and (b) you know how to measure the problem and build the appropriate trap.

Diffusion in the rear but only if you have at least (about) 11 feet from the back of your head to the rear diffusors - this applies primarily to QRD diffusors, the distance can be less with polycylindrical diffusors.

Diffusion over head - tricky call, I prefer reflection/redirection overhead because it is a lot easier to do well. Diffusion can work, but so too can absorption, the overhead part is tricky.

Where we really diverge is the side walls - while it is true that making the room "go away" is great in theory, it is darned near impossible to accomplish without a TON of space, and a really clever designer with lots of experience. I have worked in rooms that used both LEDE(tm) and RFZ(tm) approaches, and they were very easy to work in, and the results translated well to the rest of the world. Keep in mind the main monitors probably cost more than my car, and they are a key component.

Which brings up my biggest challenge - for the mains I continue to believe that angled walls, reflectors on the side walls, or even (dare I say it) strategically placed absorption works better than untreated walls. I've worked in too many well designed rooms to dismiss it. And there is science to support it, even if it is somewhat counter-intuitive, and it is!

But for near field monitors, which is probably what most of us are using, I'm not as convinced. I think it is very easy to place the near field monitors such that the side wall reflections still cause problems, but I also think that it is possible to place the near field monitors such that the side walls don't cause problems.

There is so much really bad information on the web... if you are really interested in treating a critical listening space I recommend finding - and reading - texts from Rettinger, Cooper, D'Antonio, and Newell as a great starting point. They range in time frame from darned near ancient to relatively recent, and the extent to which they agree (fundamentally) is amazing. 

Then look for papers published by all of them, as well as Dave Moulton and Art Noxon from ASC. These last three are especially applicable to project studios. (I really wish Dave Moulton would publish more of his thoughts!) There was a web page, I think at Recording Magazine, that had a pretty decent bibliography on the topic. (Sadly too many of the really good papers are only available to members of the AES and ASA.)


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## synthpunk (Jan 28, 2017)

All valid arguments but also don't go overboard some of the greatest recordings have been done and mixrd in bathrooms, attics, churches, libraries, offices, hall ways, castles ,mansions, and funeral homes.

I don't think I've ever heard once a artist or technical person affiliated with something that's been applauded credit his room treatment.

Also it's fair to say nothing can suck the energy or mood out of a recording space like a dead room, especially if you can't breathe in it which Bill and I have discussed in the past before.


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## Nick Batzdorf (Jan 28, 2017)

Gerhard wrote:



> If you wanted to reduce some of the reverb in general by having panels on the side walls would you purposely avoid putting them at those side reflection points and start with them farther back in the room on the side walls?



As a compromise? Yes I would, or better yet farther forward with my speakers away from the front wall. And I'd angle the speakers in toward me - in fact that's exactly how I have my room set up (not because it's ideal but because the window at the front of my room is more important).


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## Nick Batzdorf (Jan 28, 2017)

Bill:



> I think it is very easy to place the near field monitors such that the side wall reflections still cause problems, but I also think that it is possible to place the near field monitors such that the side walls don't cause problems.



I've never heard hard, flat side walls cause a problem with small speakers. However, I hear absorbent traps on the side causing problems with my large speakers every day.

You know the line: like politics, acoustics is the art of the possible rather than the ideal.


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## mc_deli (Jan 28, 2017)

Out of all the topics I read and research online, studio acoustics is the most challenging, partly because of the complexity of the language.

I son't think this thread helps. The John Sayers forum is a much better place to get into real world studio acoustics. 

There are some great books and research cited in this thread. For beginners Paul White's Creative Recording books are also a good place to start.


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## wst3 (Jan 29, 2017)

synthpunk said:


> All valid arguments but also don't go overboard some of the greatest recordings have been done and mixrd in bathrooms, attics, churches, libraries, offices, hall ways, castles ,mansions, and funeral homes.


And if you think any of those are sub-optimal take a look at pictures of the original "control rooms" at studios like Motown, Sun Recording, and others. Can you say crowded, stuffy, claustrophobic? And probably not optimal acoustic environments.



synthpunk said:


> I don't think I've ever heard once a artist or technical person affiliated with something that's been applauded credit his room treatment.


And darn it, they should!!!



synthpunk said:


> Also it's fair to say nothing can suck the energy or mood out of a recording space like a dead room, especially if you can't breathe in it which Bill and I have discussed in the past before.


But an air tight control room would be pretty much noise proof....


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## wst3 (Jan 29, 2017)

Nick Batzdorf said:


> I've never heard hard, flat side walls cause a problem with small speakers. However, I hear absorbent traps on the side causing problems with my large speakers every day.


I think it is probably easier to demonstrate absorption causing problems with mains than it is to demonstrate reflection causing problems with near fields because t he magnitude, and even the 'shape' of the problems is different.

[QUOTE="Nick BatzdorfYou know the line: like politics, acoustics is the art of the possible rather than the ideal.[/QUOTE]

First, may I borrow that? 

Second, I tend to forget, when we get into these conversations, is that I am still striving for ideal, and for me it is a two fold goal

-First, I'd like an ideal critical listening environment because somewhere in the back of my mind I remember working really good environments, and how easy it was to work in those rooms. (although if push comes to shove the difference may not be as large as I remember) (and I've also worked, successfully, in sub-optimal rooms).

-Almost as important to me, I'd like to understand the physics behind the problem sufficiently to solve it. I've been studying this stuff, and trying different things, for a long time now, I'd just like to close that chapter<G>! Heck, I think I'd just like to know if the puzzle can be solved!!!


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## wst3 (Jan 29, 2017)

mc_deli said:


> Out of all the topics I read and research online, studio acoustics is the most challenging, partly because of the complexity of the language.



I'm not trying to be funny, I am curious as to what about the language is complex? The concepts can be complex, and there are certainly quite a few conflicting theories... but I never imagined the language as a stumbling block.

Here's the thing - you can build from recipes (and there are plenty at John Sayer's site) and get pretty darned good results. Or you can play with the recipes, or even wander off on your own, and get really great results, or a complete disaster. As one who has seen both ends of the spectrum I can tell you that the disasters can be spectacular! (I've been fortunate, my disasters have usually been my own spaces, I'm not quite so adventurous with other people's spaces.)



mc_deli said:


> I don't think this thread helps. The John Sayers forum is a much better place to get into real world studio acoustics.



I respectfully disagree - when you have folks like Nick (and others) who have experience building critical listening spaces you have a direct line to the information you need.

Of all the resources on the web I'd place John Sayer's forum third after AES and ASA. I would place forums like this in fourth place. Sure there is some bad advice being dispensed, but usually someone will point out the conflicts - after which you are free to do some leg work to figure out who is right. While that is a little more work, at least folks have narrowed your search!


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## Nick Batzdorf (Jan 29, 2017)

> I son't think this thread helps. The John Sayers forum is a much better place to get into real world studio acoustics.
> 
> There are some great books and research cited in this thread. For beginners Paul White's Creative Recording books are also a good place to start



Well, Bill is very experienced and knows a whole lot about audio, and... sorry to brag, but just so you don't think we're total wankers, Paul White was my UK counterpart at Home & Studio Recording when I was the editor in the US (before we changed the name to Recording). We used to sell the Creative Recording series along with Dave Moulton's series, which I edited - along with his book Total Recording, which I also edited. TR is used in a lot of college programs.

Bill wrote a lot for Recording, and he was one of the best writers in my pool. So *here's* your other forum.


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## Nick Batzdorf (Jan 29, 2017)

And now I see that Bill replied too, only he's more modest than I am. 

***
Bill wrote:



> I think it is probably easier to demonstrate absorption causing problems with mains than it is to demonstrate reflection causing problems with near fields because t he magnitude, and even the 'shape' of the problems is different.



Probably true, and especially true with the way they're set up in my room, which is totally suboptimal. My small speakers are easy to hear, but I don't have many options for the big ones - which still sound great, but you can't hear in detail.


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## creativeforge (Jan 29, 2017)

Ashermusic said:


> Better yet maybe, if you can, buy from a store that lets you bring them into your own room to try and return if you are not happy.



Very wise advice. DO IT!


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## Nick Batzdorf (Jan 29, 2017)

Bill:


> Second, I tend to forget, when we get into these conversations, is that I am still striving for ideal, and for me it is a two fold goal



I'm just happy to have a room that's comfortable to work in and sounds 96%.


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## synthpunk (Jan 29, 2017)

I'm very appreciative and respect the opinions in this thread btw. Just wanted to add my opinion as I hit 50 that a good view of the park is far more inspiring than a corner bass trap to me and many others these days.Ymmv


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## RRBE Sound (Mar 1, 2017)

Hey all! - Just as a resolvement of this thread ''kind off'' ...  Here is what I ended up buying! 

A lovely pair of Genelec 8040! 
- Just waiting for the cables to arrive. 

Thank you all for the great advice! 

All the best
Rune


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## mc_deli (Mar 1, 2017)

Go Finland!


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## mc_deli (Mar 1, 2017)

wst3 said:


> I'm not trying to be funny, I am curious as to what about the language is complex?


The theoretical terms
The physics terms
The mathematical terms
The acoustics terms
The construction terms
The construction materials terms
...and then the use of US vs UK English terms, added to the use of the popular studio building forums by non-natives.

This area is tough to penetrate at the start. The language is complex. And not helped by the soap boxing that tends to go on


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## JohnG (Mar 1, 2017)

synthpunk said:


> a good view of the park is far more inspiring than a corner bass trap



lols

same here


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## N.Caffrey (Mar 3, 2017)

does anybody have an opinion about PSI Audio?


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## muk (Mar 4, 2017)

N.Caffrey said:


> does anybody have an opinion about PSI Audio?



People over at Gearslutz like the Psi monitors. Very well received by critics as well. I haven't heard them, so I can't comment. If you are interested in PSI Audio, have a look at Geithain as well.


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