C´moooooooon, help me out?

[MajorFubar]

Dave did you ever come across an ATR124? I've never had the pleasure of using (or hearing) one.

 

[davedotco]

Dave did you ever come across an ATR124? I've never had the pleasure of using (or hearing) one.

Not as I recall. The big machine of the day was the Studer A80, a lot of the better studios were using them to replace their old M79s.

Saw the big Ampex at shows (APRS, AES) but do not remember using one, I was never a 'proper' recording engineer anyway, my interest was always in two track machines.

 

[MajorFubar]

Might be wrong but my vague memory tells me the ATR100 used a capstanless tape transport. 30 years on or thereabouts and I'm still not entirely sure how the hell that worked.

 

[davedotco]

Might be wrong but my vague memory tells me the ATR100 used a capstanless tape transport. 30 years on or thereabouts and I'm still not entirely sure how the hell that worked.

A lot of very clever servos, there were no mechanical brakes either, all done with the main reel motors, actually quite strange to watch in action. You could tell it to go to a specific point on the real time counter, it would wind to that point very quickly, overshoot, wind back, overshoot again and quickly come to a stop at exactly the right place, to the second. Very impressive in the pre-computer world of the mid 70s.

The B67 on the other hand was quite traditional, using dual capstan drive it virtually took the reel motors out of the equation. Stop the take up spool and it would just dump tape on the floor, still playing perfectly of course.

Something very tangible and tactile about reel tape recorders, not quite the same with a hard drive.

 

[ReValveiT]

Holy thread hijack Batman!

 

[davedotco]

Holy thread hijack Batman!

Apologies, I do get a bit nostalgic sometimes........ :silenced:

Back on topic, it is the years spend in 'the business' that lead me to the conclusion that if you want an inexpensive system that can really kick at the bass end, then the active route is easily the best option.

This is not just for technical reasons but due to the popularity of home/project studios the market for active (studio) monitors is huge and the competition fierce. Margins at all levels appear smaller than in hi-fi and and this also helps keep prices down, value for money can be excellent.

The problem though is getting to try the things, music/pro-audio shops will often have a decent range but demonstration facilities are rather different from normal hi-fi shops, but given the appaling standards of demo facilities in stores at the low end of the market this is not the issue it might have been.

Where are you based? I might be able to recommend somewhere.

 

[ReValveiT]

I believe he's talking about more of an upper/mid punch than a kick punch Dave, something that the 6005 doesn't do*.

*I was going to say doesn't do 'well', but doesn't do is more apt.

*And by the way, something the 6003 DID do, very well indeed.

 

[davedotco]

I believe he's talking about more of an upper/mid punch than a kick punch Dave, something that the 6005 doesn't do*.

*I was going to say doesn't do 'well', but doesn't do is more apt.

*And by the way, something the 6003 DID do, very well indeed.

Not the way I read it....... :doh:

But then, you know me, anything to get active speakers into the discussion...... 8)

Anyway, the Presonus Eris 8 that I showed above have a range of controls to optimise response, you can probably make them sound like whatever you want.

 

[gasolin]

I believe he's talking about more of an upper/mid punch than a kick punch Dave, something that the 6005 doesn't do*.

*I was going to say doesn't do 'well', but doesn't do is more apt.

*And by the way, something the 6003 DID do, very well indeed.

Not the way I read it....... :doh:

But then, you know me, anything to get active speakers into the discussion...... 8)

Anyway, the Presonus Eris 8 that I showed above have a range of controls to optimise response, you can probably make them sound like whatever you want.

Mostly to compensate for a placement of the speakers in a corner or a bright sounding room, studio monitors are surpose to play the sounds,music the way it's recored, not a boomy bass a dark or bright top unless it's how the music,sound is recorded or they way you like it, on most active studio monitors you can only cange the highs,mids and lows by a few db.

If you do want it louder or lower then the adjustments alows you to (presonus eris 8 +/- 6db) don't you think you have the wrong speakers or need a subwoofer if you feel it's not enough enhancing the bass 6 db? Even at less then +6 db in the low frequency it must indicate you might have the wrong speakers or need a subwoofer .

Unless it's a matter of a price and/or space limited and you only trying to get as much punch from you speakers as possible like teenager who can't get the bass loud enough on there logitech thx 2.1 or 5.1 speakers or later get a pair of cerwin vegas to get enough bass/punch

 

[davedotco]

My comments were meant to be rather frivolous.

But if you want to be serious, compare the adjustment on these speakers to any hi-fi speaker at a remotely comparable price.

I find the acoustic space control incredibly useful, the mid and high frequency less so, but are probably useful in home/project studios that have little or no treatment and where playback levels are a little higher than I normally use.

They also have switchable bass filters, something you are 'desperate' for on your own system.