| chrisj wrote on Thu, 27 April 2006 01:26 |
| ammitsboel wrote on Wed, 26 April 2006 13:49 |
| chrisj wrote on Wed, 26 April 2006 04:00 |
Mix monitors should make it obvious if something is WRONG. Particularly in the mids, but NS10 brightness will make it unrewarding to push the highs too much, the flabby woofers will break up if you hit them with unreasonable bass, the spotlighting of the mids will accentuate the balance between band and vocal, etc.
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From reading your post it sounds like mix monitors has better mids? why did you write no way??
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This thread is heading to the twilight zone...
I wrote no way because 'more highlighted' is not 'better'. Something like NS-10s or Auratones will seriously emphasize the mids in various ways because they lack bass authority and in some cases treble extension- therefore you are hearing the guts of the midrange balance without the distraction of hi-fi sound. The mids are 'spotlit', highlighted, unrealistically.
That's not better, it's just harder to ignore. Functionally it might be better, for some.
As to the bass soffit mounting debate- does this mean if you mount a woofer in the corner you get eighteen db _less_ bass reinforcement? o_O I'm confused and don't think I understand what Thomas is meaning, here.
Could you possibly be meaning midbass bump produced by proximity to a wall- relative to true deep bass where the room is a big pressure zone anyway?
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No, Thomas is correct. The soffit mounts are flush with the wall, so there is no back wall reflection. Soundwaves emit from the front with no reflection from the back. Different ported designs will produce different low end though, due to the inside of the cabinet or the inside of the back wall if they are mounted to the front of the soffit and not in a box mounted in the wall. The free standing speaker will exhibit more low end the closer that it is to a wall and this is compounded by corners. So if you are up against the wall but not in the corners, your low end will increase at the sweet spot, but if they are in the corners, you have two walls reflecting the back and sides of the speaker, thus increasing low end a couple more dB from the monitors that are on the wall but not in the corners. Now if the room is very large and the monitors are as far away from the wall as they are from the sweet spot, than frequency response will be closer to flat like the soffit mounts, because any reflective walls are farther away than the original soundwaves reaching the sweetspot, inverse square law comes into play with that scenario. IOW, you get the low end increase 1. from monitors being placed in front and close to front wall. 2. even moreso when they are in corners and have two walls to reflect the lows which will mask the highs and mids somewhat as they don't increase in gain as much as the lows that don't get absorbed and come back at near full gain. The soffit mounts eliminate low end build. Monitors in the corners increase low end.
When folks started using NS-10's for ref monitors, I believe the NS-10's were the first that I'd seen people using as nearfields and they started much of this controversy back than, I never could get as good a mix on them, as I could on large soffit mounts. I've come to the conclusion that, guitarists, keyboardists and bassists perform through large speakers, typically 15's and 18's on bass, 18's, 15's and 12's on key's and guitars typically 12". PA cab's for vocals and instruments FOH, are often 15's and 18's or 12's, 15's and 18's,There are a few bass cab's that utilize 8" speakers usually 4 or 8 in a cabinet and a few guitar amps that use 10's, typically 4 10's, but for the most part the speakers sizes that bands perform through are 12, 15 and 18's. The reason that I mix better through large speakers is because they mirror the bands performance speakers. I understood back than as I do now that the reason that many people were using the small nearfields was to reference the material so that they would know how it relates on the typical playback systems that use 4, 6 and 8 inch speakers, however people started using them as their number one mixing speakers after some time. IMHO, it's better "for me" to mix with the large speakers, the mixes always relate when playback is on the smaller speakers, but I hear "and feel" more with the large soffit mounts. I don't want to squeeze the sound down to a small playback sized speaker, until I'm finished mixing what I hear the live band sounding like. No doubt everyone's milage varies on this, but I just never could get used to mixing on nearfields and have always used large studio monitors.
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Topic: Why do Me's use full range B&W but mix guys use smaller monitors? (Read 18340 times)