What monitors for both mixing AND mastering ?

[androne]

Hello,

I am fully aware of the need for acoustically soundproofing my studio room first,
so that's a non issue now.
But I am having a hard time deciding on the best monitors for my needs.
Actually I am more a composer/arranger in several music styles so I need a full range monitor setup, but as I am more reading up on and more getting into mastering too, I would also need my monitors that could meet the mastering ranges also.
I am not sure, but does one need to buy one set of monitors specifically for mastering, if one is serious about mastering the "mastering" art ? And then a separate setup for mixing ? Or can one set cover the whole base ?
I am curious for all valid feedback.

Monitors are to be in the 3000-4000$ range. I was thinking of: JBL, PMC, Dynaudio. And there was this guy handbuilding monitors somewhere... what's his name, with monitors called "Mini...."... Was also interesting. (Damn, what's the name of these monitors again, cant recall)

Anyway, do this kind of excellent monitors for both mixing & mastering exist ?

[NathanEldred]

My 1 cent of advice. If you are in the $3-4K range already, jump up another thousand and look at the Klein and Hummel 0300D's. Regardless of brand, I personally think there is always some form of compromise in speakers below the $5K mark. The K+H 0300D's are appropriate for mixing and mastering, and you won't have a problem with midrange detail OR low end extension. Ask around here, you'll find a few fans of them. Good luck.

[Lindell]

http://www.focal.tm.fr/pro/en/sm8/index.htm

[androne]

I found the "Mini..." one ; I was referring to the still pretty 'unknown' Barefoot MiniMain 12's and the latest one is also looking very promising: the Micromain 27s

[Synthi]

I just can praise and recomend the PMCs AML-1 if you can find them at that price.

Synthi.

[genericperson]

over time i've come to the conclusion that $5,000 is a very important price point. it seems that's where it starts gettin' real.

mixing: volume, reasonably accurate

mastering: accuracy, reasonably loud

[jayfrigo]

Quested 3208

[84K]

Hate to be a dfegad , but I think you should think about creating a budget for (2) sets of monitors. It is hard to mix and master on one set of speakers. I would focus initially on this first set ( I like Quested ) but have a plan for a second set in the not-so-distant future ( K&H or Adams ). Best Of Luck!!!

[deft_bonz]

thumbsup for K&H O300D

I'm using the predecessor O198. As far as I know they're pretty the same like the O300D, just without the digital inputs. Plus the sub O800. That you'll need for fullrange, although the O300D/198 go down pretty low.

Sadly 3-4k won't be enough for a pair of O300D + an O800 But I can assure you that you're not going to regret one little penny.

Kind regards

[Jules]

ADAM S4A-Collumns get my vote.. as a dual purpose set up

[Gomez]

Jules,

Is the column version more expensive?

I'm interested on these guys...

Have you tried them? do you like them?

Ta!

Gomez

[Brad Lunde]

I am obviously biased, but we have sold many ATC SCM20ASL's for this purpose. Telarc is a client that comes to mind. From a design point of view, this is one of the top speakers out there I would guess. They are under 5K now (with the pound vs the dollar as it is). Very low distortion so you hear the flaws (so many flaws its annoying), translate almost perfectly to any medium. Heavy, cast aluminum enclosure. They look like a 2 way but use a hidden acoustic driver under the dust cap to keep mid level correct. Designed and built by the one of the top transducer designers in the world (Billy Woodman). 35dB less 3rd harmonic distortion below 2.5K than anythng I know of.

The K+H O300 are also very good. The designer is a really good guy as well, did and incredible job of crossover, integrating the parts, the box, the baffle. The only negative with O198 and O300's is that dang German hard limiter methodology they use and low (by American standards) SPL max output. If you can keep level down or use them in a small room they can amaze. Hit the limiter, yuck-can't do that anymore. I remember complaining about that and the answer was that you want to know when you are in distortion. Well, I sure do know and that's a heck of good answer! I think German Broadcast is one of their main customers (and they are very fussy).

Some manuf get around the limiter problem by using a soft clip limiter which has been a a good thing ("boy these play loud for being so small") and bad thing("boy these sound really compressed when they are loud"). Others have shifted crossover points when driver meltdown/amp clipping approaches ("what happened there???") and others like ATC use a very fast FET limiter (hardest to hear on peaks). So besides drive units, there are different philosphies in limiters that has impacted the way some companies speakers/monitors are perceived.

Brad

[mixerguy]

1) spend a lot of time and $ on acoustic treatment, then see what you have left for monitors.....

2) I find the ADAMS to have a seductive quality on frst listen, and amazing imaging, but ultimately honky in the midrange. Darned ribbon tweeters. I demo'd them for a short while, then got rid of them....

just my 2c

[mpr3]

KH 0300

Plenty loud to even impress clients (especially with the 0800).

[hannaent]

I don't mean to sidetrack this thread, but I was given the recommendation of using the K&H O 110's. I would be using them to mix/master classical chamber recordings in a project studio. Would I be better served by something else in the $1500 - $2000 price range? (I don't have the $5000 budget )

Thanks!

[bcgood]

Check these babys out, great company...

bcgood


http://nhtpro.com/mastering.html

[dokushoka]

Another vote for the Klein and Hummel 0300Ds. Super impressive monitors!

[Darius van H]

Second hand B&W Nautilus 802's......could be had for $4500 ( www.audiogon.com )....however they're passive so with a decent amp you'd be over budget.