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Post by patate91 on Sept 19, 2017 18:56:31 GMT
According to this picture some studios have/had speakers of this size high on the walls.  What are the benefits? I guess the console's size is playing here. If there's benefits, is there an easy way to raise speakers of this size and weight? (No in-wall) I do own speakers like that (1 woofer version), I experienced better bass response will standing up in the room. I'm wondering if raising them could help, but I guess it will be complicated. |
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Post by Hexspa on Sept 21, 2017 8:28:48 GMT
From what I understand, those aren't for mixing but for impressing clients.
If you look closely you can see black platforms atop the meter bridge for placing nearfields; for some reason they're missing.
The design is called "infinite baffle" and the benefit, for what I know of it, it's for big bass without a big box.
Thanks
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Post by patate91 on Sept 21, 2017 11:09:47 GMT
I just did another search on Google with 80's recording studio (as well as 90's or just recording studio) and there's a couple of pictures with big speakers behind the console.
I think you're right they are not used for mixing there's always small monitors too.But are they really used to impress?
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Post by Hexspa on Sept 22, 2017 7:18:57 GMT
I just did another search on Google with 80's recording studio (as well as 90's or just recording studio) and there's a couple of pictures with big speakers behind the console. I think you're right they are not used for mixing there's always small monitors too.But are they really used to impress? That's just what I heard. Louder does sound better, though. Some studios use bigger enclosures as midfields such as Abbey Road with their Bowers & Wilkins and deadmau5 with his Dolby Atmos and ATC monsters. I don't know anything more, with certainty. Thanks. |
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Post by Deleted on Sept 22, 2017 18:07:32 GMT
Some studios have smaller monitors soffit mounted into a wall. Just to fully avoid SBIR (Speaker Boundary Interference Response) So basicly your whole front wall acts like a one giant baffle. They sing in harmony  . Bigger studios with those really big "Mains" on a wall, yes i think they are for impressing clients, but also serve (at least) for checking how bass sounds in a mix. |
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Post by Hexspa on Sept 23, 2017 7:37:51 GMT
Some studios have smaller monitors soffit mounted into a wall. Just to fully avoid SBIR (Speaker Boundary Interference Response) So basicly your whole front wall acts like a one giant baffle. They sing in harmony . Bigger studios with those really big "Mains" on a wall, yes i think they are for impressing clients, but also serve (at least) for checking how bass sounds in a mix. Mm. Supposedly one of the benefits of infinite baffle is the bass. Also, I've found that checking bass loud is the best way to know if it's any good; highs also. This is in contrast to the midrange which I think can be done more quietly. |
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Post by Ethan Winer on Sept 23, 2017 19:34:55 GMT
More modern control room designs use a smaller window, and put the speakers on either side to keep the tweeters at ear height which is best:  |
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Post by Deleted on Sept 24, 2017 15:49:06 GMT
Some studios have smaller monitors soffit mounted into a wall. Just to fully avoid SBIR (Speaker Boundary Interference Response) So basicly your whole front wall acts like a one giant baffle. They sing in harmony . Bigger studios with those really big "Mains" on a wall, yes i think they are for impressing clients, but also serve (at least) for checking how bass sounds in a mix. Mm. Supposedly one of the benefits of infinite baffle is the bass. Also, I've found that checking bass loud is the best way to know if it's any good; highs also. This is in contrast to the midrange which I think can be done more quietly. How do you define "Loud" 100dbC? 105dbC? |
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Post by Hexspa on Sept 25, 2017 0:38:30 GMT
Mm. Supposedly one of the benefits of infinite baffle is the bass. Also, I've found that checking bass loud is the best way to know if it's any good; highs also. This is in contrast to the midrange which I think can be done more quietly. How do you define "Loud" 100dbC? 105dbC? "Comfortably loud." As in how they arrived at 83dB for sound stages. You calibrate down based on your room's volume. My room is around 2500ft3 so I use a lower reference; around 72dBC. Any louder and I can hear the sound bouncing off the walls and it feels pointless. That's a pink noise calibration, by the way. I cover it in my video The Ultimate K System Tutorial. When I mix midrange it's arbitrarily quiet. I tend to like to listen quietly to things. Besides, Phil Tan and CLA both use the same subjective reference of "about as loud as a normal conversation" or "quiet enough to hear PC fans". No way they're doing their highs and lows that quiet, though. Actually, maybe but bear in mind the leagues of experience they have on a novice like myself. I find the extreme ranges (below 50Hz, above 10kHz) way too difficult to discern at a low volume with any degree of reliability. It even pays to crank it up occasionally for all ranges since your hearing does perceive in a different relative way. And by "crank" I mean "to reference volume". I never exceed that unless I'm drunk and wearing headphones which is to say I do it a lot but never in any "professional" context. Thanks. |
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Post by Deleted on Sept 25, 2017 20:29:04 GMT
"Comfortably loud." As in how they arrived at 83dB for sound stages. You calibrate down based on your room's volume. My room is around 2500ft3 so I use a lower reference; around 72dBC. Any louder and I can hear the sound bouncing off the walls and it feels pointless. That's a pink noise calibration, by the way. I cover it in my video The Ultimate K System Tutorial. When I mix midrange it's arbitrarily quiet. I tend to like to listen quietly to things. Besides, Phil Tan and CLA both use the same subjective reference of "about as loud as a normal conversation" or "quiet enough to hear PC fans". No way they're doing their highs and lows that quiet, though. Actually, maybe but bear in mind the leagues of experience they have on a novice like myself. I find the extreme ranges (below 50Hz, above 10kHz) way too difficult to discern at a low volume with any degree of reliability. It even pays to crank it up occasionally for all ranges since your hearing does perceive in a different relative way. And by "crank" I mean "to reference volume". I never exceed that unless I'm drunk and wearing headphones which is to say I do it a lot but never in any "professional" context. Thanks. Yes, i'd say i mix probably around 75-83dbC (just using my phones db meter, so its not 100% accurate) I hear bass ok(unless fatigue kicks in). If i really want to "feel" the bass and lets say thump of a snare drum, i need to crank it up 95db+ but its way too loud to really mix anything else. Midrange and high end gets too piercing at those levels.. So i might wear some earplugs if wanna hear how i "feel" those frequencies. When mixing midrange, lets say vocals i keep turning the volume anywhere from barely audible to my normal (bout 75dbC) level. I like also checking snare and kick drum levels as quiet as i can hear the mix. |
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Post by Hexspa on Sept 26, 2017 19:40:37 GMT
"Comfortably loud." As in how they arrived at 83dB for sound stages. You calibrate down based on your room's volume. My room is around 2500ft3 so I use a lower reference; around 72dBC. Any louder and I can hear the sound bouncing off the walls and it feels pointless. That's a pink noise calibration, by the way. I cover it in my video The Ultimate K System Tutorial. When I mix midrange it's arbitrarily quiet. I tend to like to listen quietly to things. Besides, Phil Tan and CLA both use the same subjective reference of "about as loud as a normal conversation" or "quiet enough to hear PC fans". No way they're doing their highs and lows that quiet, though. Actually, maybe but bear in mind the leagues of experience they have on a novice like myself. I find the extreme ranges (below 50Hz, above 10kHz) way too difficult to discern at a low volume with any degree of reliability. It even pays to crank it up occasionally for all ranges since your hearing does perceive in a different relative way. And by "crank" I mean "to reference volume". I never exceed that unless I'm drunk and wearing headphones which is to say I do it a lot but never in any "professional" context. Thanks. Yes, i'd say i mix probably around 75-83dbC (just using my phones db meter, so its not 100% accurate) I hear bass ok(unless fatigue kicks in). If i really want to "feel" the bass and lets say thump of a snare drum, i need to crank it up 95db+ but its way too loud to really mix anything else. Midrange and high end gets too piercing at those levels.. So i might wear some earplugs if wanna hear how i "feel" those frequencies. When mixing midrange, lets say vocals i keep turning the volume anywhere from barely audible to my normal (bout 75dbC) level. I like also checking snare and kick drum levels as quiet as i can hear the mix. I dig it. If you want to feel it in your bones then try one of those kinesthetic transducers like the one that goes on your wrist or the Subpac; haven't tried em but some love em. I heard someone said they like to just feel the bass in their feet. I think that'd do the trick but, don't get me wrong, thorax-crushing bass is fun. idk if I mentioned it but applying a high pass filter while doing low-dB level balancing is great for everything but especially kicks, snares and vocal level automation. Once you take it off, all the midrange mud becomes apparent. |
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Post by rock on Sept 26, 2017 21:57:06 GMT
I'll throw in my 2 cents on far field monitors: True, most of your mixing will be done on near fields and possibly HPs but it's nice to have FFs for simply an alternate perspective during all phases of operations. As far as impressing clients, that's true enough but more to the point, if you have a fairly large control room with say a couch behind the console etc., often a client will ask to hear the big speakers during play back. So if you're building a pro studio, you probably should design in far field monitors. For a home studio, you can get away with near fields and HPs... but if you do have enough room, it's still nice to have an alternate pair of speakers.
Cheers,
Rock
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Post by Hexspa on Oct 4, 2017 3:45:58 GMT
From: pjmedia.com/lifestyle/2015/2/17/avantone-mixcubes/"In the control rooms of virtually every pro studio in the 1970s, overhead would be a pair of giant monitors designed to blast the sound at thunderous levels to knock out those planning to rent the studio, and to record company executives who wanted to hear how the label’s money was being spent. But when it came time to do some serious mixing, invariably, the mixes were checked – sometimes the entire album was mixed – on a humble pair of single cone speakers from a company called Auratone."People repeat this often. I did not exist back then to verify these claims. Thanks. |
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