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In Reply to: RE: Of course, - but not the point posted by Sordidman on June 02, 2016 at 10:10:09
So you don't want to hear music the way the artist envisioned but the way you think it should sound like?
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So you don't want to hear music the way the artist envisioned but the way you think it should sound like?
I suspect the "artist" has little to do with what the recording engineer does.
I have little interest in using what is normally used as "studio monitors". I prefer using better.
You said that very well.....
Besides (likely) being not "full-range," - there's also the "amp," again, often solid state, thin through the mid-range, & harshly analytical.
Perhaps my posts should've included the fact that, (at least from my experience), There are at least a couple of stereos to test final mixes on several types of systems. Mixdowns, (IME), always get done on home speakers.
"Asylums with doors open wide,
Where people had paid to see inside,
For entertainment they watch his body twist
Behind his eyes he says, 'I still exist.'"
Studio monitors, and other tools, - are designed to find problems, (sometimes noise), - analyze what has been recorded.The final product is designed in the studio to be heard differently in context of presentation as a cohesive whole, not an analysis of the parts of the recording....
Before mixdown, the rough track of one recorded track may be analyzed for "hiss" or extraneous low level amplifier hum that the engineer may want to add a limiter or gate to eliminate.
A type of "studio monitor" designed for hyper detail analysis of low-level noise may be too detailed and "noisy" & not as well balanced across a full sonic spectrum to create the "illusion" of a soundstage to give the home listen the cohesive "whole" experience of being at a live event.
A studio monitor is more of a tool, than a home audio "finished" experience. Listening at home is designed to put you into a complete event, where-as studio monitors are tools designed for correcting, adjusting, analyzing individual parts of a recording.
Often, studio monitors are small foot print "bookshelf" sized powered monitors that do not deliver the kind of mid-range "bloom" and/or bass response that a home floor standing speaker delivers.
Finally, - most studios do not "mix" to the same speakers they use to analyze the rough tracks.
At Skywalker Sound, we mixed down to B&W 801s & 802s: home speakers.
Cheers,
"Asylums with doors open wide,
Where people had paid to see inside,
For entertainment they watch his body twist
Behind his eyes he says, 'I still exist.'"
Edits: 06/02/16
Who are your Bassist influences? Favorite recorded Bass tone?
Abbey Road also 'use' B&W but they are getting paid to do so.
They are practically drowning in those things, there are B&W tucked away in corners, shoved into cupboards etc. Most engineers working there don't like them since they sound nice enough but are far from neutral and thus make the engineers job unnecessarily difficult.
The Magic we hear - the imaging and placement, "realism" in created by the Producer and the Mastering engineer almost always in a control room. There are products called monitor controllers where the mastering engineer will play back through various loudspeakers in the control room and validate the representation he wants the recording to represent.
Remember the microphones or electronic pickups or the syntesizer signal or drum machine do not sound real, the engineer/produc "places" them be various means in the environment he wishes to create. he can mess with the frequency and phase response to place a signal to your left or right or even behind you if he likes... even from a stereo speaker system. Now they don't really often do that. because that wouldn't match what they consider realism.
Good monitor speakers can make very good hi-fi speakers and good hi-fi speakers can make very good mastering speakers.
The JBL M2 is a current example, or the B&W 801 back in the 80's was a premium home loudspeaker that was also used by the BBC and others as a classical reference monitor.
A mastering Speaker can be designed to purpose a little better than a home speaker because the general listing configuration and room acoustics in a studio playback environment are a lot more consistent.
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
I like the old days. A stereo microphone or two microphones in a great acoustic space with proper placement. Muscians played balanced and the job of the engineer was to get the correct placement of the microphones. A spot microphone is ok if used judiciously. I despise modern recordings were it is obviously multi mic'd. It is difficult to find good big band recordings that don't sound or obviously multi mic'd. Chesky Records is one of the few that do a great job.
Edits: 06/05/16 06/05/16
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