Adam is without doubt among the top-brands for studio monitors.

Thank you Dietz and Mika!

I am just curious, why does a ribbon tweeter not cause ear fatique -- for studio monitors that have them? And btw, I don't understand what this ear fatique is really, as I never experienced it...

Dietz,

May I borrow your ears for a second? 😕  I would like to ask your impression on the difference between 2-way speakers such as the Adam A7 (or Dynaudio BM5/6) and The Neumann KH310 3-ways? (recently seen in the new studio).  Is the difference with orchestral sounds drastic or just slightly better?  What do you notice the most?

In terms of cost, I would assume its not a linear scale, and to achieve a slightly better sound you'd have to pay quite a bit more (including a sub).

Thanks,

Hi Greg,

I would gladly give you ind-depth advice - but the truth is that the best speakers are the ones that fit your room, your ears and your budget. 

Although it might seem logical that a 3-way speaker is "better" than a 2-way system, the opposite could happen in a room that's too small or has problems in the bass range (which wouldn't be audible without the bass extensions). Personally I often prefer to work with smaller monitors that don't tend to overpower me with information, but OTOH it's always good to hear "everything" from time to time ... so all I can tell you is: "It depends!".

Ideally you will find the opportunity to listen to all the options in the intended environment, and take it from there.

Kind regards,

Thank you Dietz, and I do understand what you mean.  Our ears also tend to adjust well to different speakers so  the effect of the quality/accuracy has less impact than we realize.  In other words, a great performance can even sound good on cheap speakers.

Nevertheless, I thought you might have had a chance to hear the Neumann KH310 in the new VSL Synchron Studio and might have an opinion on how they sound in "that" room as compared with other speakers in there.

Best,

@nektarios said:

Thank you Dietz and Mika!

I am just curious, why does a ribbon tweeter not cause ear fatique -- for studio monitors that have them? And btw, I don't understand what this ear fatique is really, as I never experienced it...

I guess ear fatigue depends on the ears but, for my ears, it's when I'm having difficulty hearing subtle changes in effects that I've applied to an audio signal.  Also, I tend to be more tolerant of derogatory frequencies in the signal.  Later I'll come back, listen to the signal and immediately cringe saying, "who the hell mixed this muffled mess?" 🤢  "Oh... I mixed it 😳.

It's like walking into a room that has a foul oder but, for whatever reason, you have to remain in the room for a while.  So you build a tolerance for the oder.  You get used to it.  Then, somebody else walks into the room and it hits them like a brickwall.  They hold their nose and declare, "Good God, who died in here?"  

Thanks jasensmith!

Now I see! I liked your smell example... 😃

The other question I always have is, why is it that so many times I will make a mix that sounds great on my monitors but awful on regular speakers. Why does this happen and what goes on technically here?

@nektarios said:

Thank you Dietz and Mika!

I am just curious, why does a ribbon tweeter not cause ear fatique -- for studio monitors that have them? And btw, I don't understand what this ear fatique is really, as I never experienced it...

I guess ear fatigue depends on the ears but, for my ears, it's when I'm having difficulty hearing subtle changes in effects that I've applied to an audio signal.  Also, I tend to be more tolerant of derogatory frequencies in the signal.  Later I'll come back, listen to the signal and immediately cringe saying, "who the hell mixed this muffled mess?" 🤢  "Oh... I mixed it 😳.

It's like walking into a room that has a foul oder but, for whatever reason, you have to remain in the room for a while.  So you build a tolerance for the oder.  You get used to it.  Then, somebody else walks into the room and it hits them like a brickwall.  They hold their nose and declare, "Good God, who died in here?"  

@nektarios said:

Why does this happen and what goes on technically here?

This is an answer which you won't like to read, most likely: There is no actual technical reason but the merciless fact that owning a racing car does't make us a Formula 1 driver all by itself. 8-)

Similar to most (if not all) other art forms, mixing is something you get better in mostly by experience and practice, and a bit of talent helps a lot, of course. Proper tools are a supportive element, but with enough experience and a valid artistic vision you can achieve great results with seemingly humble equipment, too.

... like a well-known colleague of mine once put it: "Only the first ten thousend mixes are difficult." 😉 So don't despair when you don't like your own work right now. It's a good sign and an indication that you're developing discerning hearing abilities. The next mix will be better already. 😊

All the best,

@Another User said:

In terms of cost, I would assume its not a linear scale, and to achieve a slightly better sound you'd have to pay quite a bit more (including a sub).

Thanks,

That's true and something you will find in many other areas nowadays, too: It's quite cheap to get 80% of quality, but it will cost you exponentially more money to get the final 20%. 😛

Kind regards,

Thank you Dietz! I will agree on that! 😊

When it comes to classical music, I've been mixing around 2 years, but on the other hand, when it comes electronic music about 10+ years.

During my electronic dance music years, mixing on my monitors would always yield bad mixes, but on the other hand, my mixes were faar better when I mixed them on my cheap computer speakers!

I would use a few options when mixing and cross checking on all those speakers. So I would have a pair of desktop computer speakers of about 100 bucks. A good pair of monitors like the Adams or similar and a great openback headphone. It's true if it sounds good on crappy speakers, it will usually sound good on your monitors. Although monitors can help you find the detailed problems better.

If your looking for good monitors you can check this link, it's a pretty good guide too:http://getinstrumental.com/best-studio-monitor-speakers/

Hope that helps...

Hey, I'm late to the party.

How big is the dip in your hearing at 1k? I wouldn't automatically worry about that just becaue you see it in a test.

For one, your brain is compensating for it. But mainly, it's normal for your ears not to be totally flat and not identical.

Everyone over, I dunno, 40 is going to have some loss between 4-8kHz. And I'm going to guess that your hearing above 8kHz isn't linear, even though standard hearing tests don't go that high. Last time I checked, I could hear a 20kHz sine wave (if it's loud enough), but I can't hear 14kHz.

There is a 15% (maybe a bit more) dip at 1k. No matter how many times I take the self hearing test it registers, but not on the other ear. I have no problem hearing people talk, etc. but I always wondered how this dip can affect my mixing... I can clearly notice the difference in "EQ" in each of my ear if I cover them... 😕

@Nick Batzdorf said:

Hey, I'm late to the party.

How big is the dip in your hearing at 1k? I wouldn't automatically worry about that just becaue you see it in a test.

For one, your brain is compensating for it. But mainly, it's normal for your ears not to be totally flat and not identical.

Everyone over, I dunno, 40 is going to have some loss between 4-8kHz. And I'm going to guess that your hearing above 8kHz isn't linear, even though standard hearing tests don't go that high. Last time I checked, I could hear a 20kHz sine wave (if it's loud enough), but I can't hear 14kHz.

Thanks, sounds like a good approach! Why would you choose an openback headphone?

@Djagesless said:

I would use a few options when mixing and cross checking on all those speakers. So I would have a pair of desktop computer speakers of about 100 bucks. A good pair of monitors like the Adams or similar and a great openback headphone. It's true if it sounds good on crappy speakers, it will usually sound good on your monitors. Although monitors can help you find the detailed problems better.

If your looking for good monitors you can check this link, it's a pretty good guide too:http://getinstrumental.com/best-studio-monitor-speakers/

Hope that helps...