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Vladimir said:
Just had a quick look on kmr.
Very interesting as some of the models they do are for listening, not just studio monitoring.
For anyone interested in cheap actives
nitial impressions of the Mackie Mr6 mk3s are that they are a hell of a lot of speaker for the money. These are a chunky unit and are more than adequate for a 7x5m room. They can be pushed fairly hard and it does not fluster them
It took me a while to get the switched to my liking but I'm going with the LG at normal and the HF at -2, the treble us a bit sharper at normal, i prefer it at -2, obviously this will be a personal choice. I have at the moment the speakers about ,2 feet from any wall.
I don't buy into electronics burn in time bs but i do think speakers need a few hours to loosen out or something and to me they sound better now after a few days of playing, this could be in my mind but I've kinda felt the same about any speakers i have owned.
I don't have the knowledge or terminology to explain in audiophile words, but these speakers sound full, energetic and for want of a better word, cool. I've had them on all day running Spotify through a Chromecast and feel i could listen for hours.
A set of speakers without the need for an amp at this price is nice, being as powerful and nice to listen to is nicer.
I'll update after the honeymoon period
nitial impressions of the Mackie Mr6 mk3s are that they are a hell of a lot of speaker for the money. These are a chunky unit and are more than adequate for a 7x5m room. They can be pushed fairly hard and it does not fluster them
It took me a while to get the switched to my liking but I'm going with the LG at normal and the HF at -2, the treble us a bit sharper at normal, i prefer it at -2, obviously this will be a personal choice. I have at the moment the speakers about ,2 feet from any wall.
I don't buy into electronics burn in time bs but i do think speakers need a few hours to loosen out or something and to me they sound better now after a few days of playing, this could be in my mind but I've kinda felt the same about any speakers i have owned.
I don't have the knowledge or terminology to explain in audiophile words, but these speakers sound full, energetic and for want of a better word, cool. I've had them on all day running Spotify through a Chromecast and feel i could listen for hours.
A set of speakers without the need for an amp at this price is nice, being as powerful and nice to listen to is nicer.
I'll update after the honeymoon period
Andrewjvt said:
They are Canton custom made for Sony Europe, for their ES range in 1991. ITT and Seas drivers in a sealed box.
Andrewjvt said:
Many sound engineers and musicians consider them amazing and better than 99.99% of what is out there. Worth checking out.
From the first video it's apparent how poor he thinks the ADAM A7x's sound.Andrewjvt said:
If you Google "adam a7x what hi fi forum" you'll find links to threads on this forum where some people have been saying how great they are!
And as for the huge price difference, the trick is to get ATC 150 performance for c£900 - ie A7x pricing.
lindsayt said:
Adams get huge praise from professionals. He uses them as grot-boxes which is a bit silly. They are too flat to do the job of car audio, built in speakers in TVs, soundbars, BT speakers and phones. NS-10s or Auratone would work better. The reason why studio headphones and speakers (AKG K702 and Yamaha HS8 for example) have exagerated upper midrange and lower highs is because that is the range most devices successfully reproduce. That is the biggest priority to get perfectly done in a mix. As you go at the extremes of 20Hz-20kHz you get less and less devices that can reproduce them. It's a bell shaped curve.
Every studio mix gets checked on super accurate clean sounding high SPL main monitors and then a pair of grot-boxes or even car speakers. Then compromises are made to get the mix sounding the best it can be on both, therefore get a wide range of devices that can reproduce the music and sound good.
In web design I do the same by checking how a page looks on my 27" main monitor, on a laptop, tablet and finally on a phone. If the website is targeted at mostly PC users, I aim getting the site looking best at that resolution, then compromise for other devices. If it's phones who are my client's main users, then we start working on phone screen resolution first, and leave the big screen HD last. Application determines the method, there is no wise all applicable universal truth. "Make big decisions on small speakers, small decisions on big speakers" only applies if the type of music is targeted at users of small speakers. For classical music aimed at people with good sized stereo gear, you want the opposite method.
In conclusion, you want your main big monitors to be the best reproduction accuracy your money can buy. There is no such thing as good distortion for accurate music reproduction. You want to capture as best as possible, as much as possible of those 20Hz-20kHz extremes.
This is how I've figured out things work for studio monitoring. If I'm wrong please provide feedback.
lindsayt said:
Im going to test them for myself tomorrow all going well.
What do you.think about the jbl 7 series speaker and drivers?
Andrewjvt said:
Vintage speakers driven by vintage amp, the Technics SU-7700. Only 50Wpc in 8ohms but it's wide bandwith and happily works with 2 ohm dips. It's a good combo, clean, fast, viceral sound. Bass is insane, punches you in the gut.
+VU meters *man_in_love*
It used to sweaten the sound a bit before I cleaned the relay, pots and switches. Now it's very transparent. it's been recapped by the previous owner. Man I got so high on the fumes that day. Headaches for 2 days full.
I may matchmake him with some big Technics speakers in the future. Those don't come up often, so it's an open schedule thing.
There's also a black version SU-7700k.
Vladimir said:
It does not matter how old as long as its designed well.
I think older stuff they cut corners less and built like tanks.
Violin and pianno sounds the same 30 years ago as it does today.
Most of the 'latest' tech is just marketing hype for sales purpose anyway.
On another note: ive just connected optical cable to dac and running a movie through the jbls.
Also very good.
Amazing how atmospheric they sound. What i love is the background details are very apparent but not overblown.
Does guitar nice also.
have not really had a chance to really push it yet though.
Any particular actives make you would recommend for tomorrow demo. I will only have about 2 hours though.
First we going to a chap that has avi dm10s with 2 stereo diy 18inch subs plus another smaller one all set up. After we going to demo monitors
Speaker drivers have progressed since 1950's. In money-no-object scenario I'd have those mentioned legendary speakers for hifi archeology and curiosity sake only.
Never heard them.Andrewjvt said:
The JBL 708i's remind me of a 2008 thread on Audio Asylum that included this contribution from Tom Brennan in reply to someone raving about a pair of studio monitors with 8" drivers:
The main thing is not what I or Tom Brennan or anyone else thinks. It's what you think of them that counts. You're the person that would be living with them if you decided to buy them. Speakers are a highly personal choice.
Edit: and BTW I wouldn't describe EV Sentry III's as having "clean deep bass" I'd describe them as having average (median) bass and above average (mean and mode) bass.
The designer talks about the 7 series drivers (11m of the video). Not exactly your typical CD.
Andrewjvt said:
JBL 708p, M2, 4367
ME Geithain RL904, RL906, RL901K
I would try to listen to at least one model of the JBLs & MEGs I listed. The market is flooded with Adams, Genelecs, Dynaudios and Neumanns. I'd skip those and seek something not so common.
Comment taken from Gearslutz
I know I loved Tannoys for their coaxial design, but I never heard this cardioid trick done with bass. We all know bass is omnidirectional (360 degrees sphere), and is a problem for positioning speaker in untreated domestic situation near walls and corners. Studio's may have invested in heavy acoustic treatment, rich audiophiles have special rooms, but us mortals have to deal with the fact of listening to mostly reflected sound of the room and not our actual speakers.
Cardioid pattern means bass becomes directional, at least not spreading in the back. This may be awesome for us with regular rooms. I picked JBL and MEG because they try to deal with the room modes in their implemented technology, not just slap on low distortion high SPL drivers in a box and call it a day.
Anyways...
Here's some reading material from Linkwitz Lab that I just found.
I know I loved Tannoys for their coaxial design, but I never heard this cardioid trick done with bass. We all know bass is omnidirectional (360 degrees sphere), and is a problem for positioning speaker in untreated domestic situation near walls and corners. Studio's may have invested in heavy acoustic treatment, rich audiophiles have special rooms, but us mortals have to deal with the fact of listening to mostly reflected sound of the room and not our actual speakers.
Cardioid pattern means bass becomes directional, at least not spreading in the back. This may be awesome for us with regular rooms. I picked JBL and MEG because they try to deal with the room modes in their implemented technology, not just slap on low distortion high SPL drivers in a box and call it a day.
Anyways...
Here's some reading material from Linkwitz Lab that I just found.
Just noticed that this company now have a 'hi fi' section on their website and list their 'rock' active speaker for domestic use. Is this another example of the blurring of boundaries between pro and domestic markets? I hope so as we're all listening to music and searching for great sound quality.
Pedro2 said:
Does the hifi version have its drivers covered with old van carpeting? We wouldn't want our tired old audiophile coming back from work to be tortured with brain piercing accuracy and harsh realism, do we?
Vladimir said:
Just a 'nicer' gloss finish and a single unbalanced phono socket.
This has been available for some time but it is nice to see that they now have a hi-fi section on the website. When I spoke to them, several years ago, they suggested that ir was in response to people using their products professionally then wanting a set for home use. They really did not seem to have much idea about the hi-fi market, but then few pro companies are interested.
The Rock is a simple, no frills design, not as powerful as the Event Opal or as electronically sophisticated as the PMC TwoTwo.5 but a very impressive speaker, starting prices from about £2250pr inc vat.
davedotco said:
the website states phono and XLR for both the hi fi and pro versions. XLR would better suit me as the Akurate can operate fully balanced with XLR output. It's just hearing them that's the problem. The domestic retailers are in Scotland and Bournemouth. Not too convenient when you live bang in the middle of both!
Vladimir said:
I'm calling marketing waffle on the Geithain RL901K polar response from their website.
I'm not aware of any other 32 hz polar response charts for any other speaker - so we don't know if the Geithan chart is good bad or indifferent.
The Geithain polar response chart looks like it might well have different scaling to other polar response charts I've seen (which have generally included c300 hz upwards only).
The mounting plate for the squawker and tweeter might make a small difference to the polar response. It's highly unlikely to make a huge difference to the 32 hz radiation pattern.
Apart from that mounting plate, there's nothing that I can see about the design of that speaker that would indicate that it should have a particularly special polar response at 32 hz.
I don't believe their cardoid bass claim for one second.
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