What are you listening on?

[andy_simpson]

With all the many interesting clips posted on Gearslutz and the many opinions expressed by the good people here, I find myself forming a picture of each person listening on a certain type of speakers.

When I see a reaction to a recording clip made using X mic and Y pre-amp, I tend to form an impression of what the person who made the comment is listening on - based on their comment.

I expect that we will find strong correlations between the type of speaker used & the preferences for various equipment, which would be interesting.

Also, I'd love to know so that I can reference this information when reading the various opinions given about various equipment.

As for me, I'm mostly in the workshop listening on my big mackie SRM450s.

So, what are you listening on?! :-)

Andy

[huub]

At home: yamaha msp5, sennheiser hd600.
on the road: ipod with bose quiet comfort (looooove those btw)
At work: Adam S3a.. (Or whatever's in a hired truck, mostly genelec or adam nowadays. dynaudio sometimes..)

[warhead]

My current studio: HR824 and KRK V4
Home: crappy bookshelf Sony
Car: Mustang "Shaker" system (or stock Chevy Blazer)

War

[toolskid]

Geithain RL906s - finest nearfields I have ever heard

[Jimbo]

tracking: Etymotic ER4-P/S
mixing: Dynaudio BM6 driven by a Hafler Transnova P3000

[Tom Hakala]

At home when listening to music and mixing: Genelec 8040a
When I'm recording elsewhere: HD600
On the road: Koss sparkplugs with my iRiver

[mrsteaks]

Here goes:

At home: Legacy Classics and a Hsu 12V sub driven by a Perreaux 2150B with a Musical Fidelity X-Pre preamp
In the Studio: Ohm F's driven by an Sound Code Systems 300 watt power amp and what ever is connected to the patchbay
On Location: Sennheiser HD280's plugged into whatever, usually a Mackie 1604VLZ I use to monitor multitrack recordings
On the Road: Apple 40G iPod with Etymotic ER-4S

[David Rick]

In my production room:

ADAM S2A's (five) with Bag End Infrasub 12 Pro
Lynx IIA audio cards

On location:

Tannoy System 8 NFM II's with upgraded Haffler amp
same Lynx IIA cards

At the office:

Sony MDR 7506 phones
t.c. electronic konnekt 8 firewire interface

David L. Rick
Seventh String Recording

[Coyoteous]

- caffeine and nicotine, mostly... used to be harder drugs and alcohol. Lately, I've even cut out most of the sugar (except a couple days ago when I was flying high on Little Debbie Donut Sticks!).

[Jim vanBergen]

In my studio or on the road, I monitor on:

Genelec 1029s, 1032's

Dynaudio BM5's

Audix N5's

Meyer HD1s...

But these computer clips? I listen to them on SHITTY COMPUTER SPEAKERS, sometimes I use Sennneiser Noise Cancelling Headphones, sometimes HD280 cans, sometimes Sony 7506's. NEVER on my Grados.

I have never heard a clip from GS that I thought needed to be downloaded off the drive, converted to AIFF, & processed thru a pristine D/A converter for aesthetic judgement. Am I the only one?

Great thread. Anyone want to edit their original posts to include how they listen to the demo files posted here on GS?

JvB

[klaukholm]

I listen on:
Krell powered B&W 801's
We also have a pair of these in our living room. My wife usurped them.


PMC TB2's
Sony 7509
Occationally our AKG K1000 headphones with the Krell poweramp as the headphone amp.
We use a grace m902 and a Martinsound multimax surround controller.
Prism and Grace DA converters.

I listen to most of the demo files from GS through the USB option on the grace DA.
This is hooked up to our big B&W's.
The only problem is that this feature is limited to 16 bit up to 48khz only.

[d_fu]

A pair of "Studio 30" from a small german manufacturer, AOS. These usually come as DIY kits, but I bought mine used at a fraction of their price, incl. an excellent power amp...

On the road, various Beyer headphones. If I need speakers, I take along a pair of Genelec 1019A or Fostex 6301.

[fifthcircle]

Currently listening in the Studio on Norberg Model 20's with a Benchmark D-A, Coleman M3P, and a Bryston 4B-ST amp.

My office computer has cheap-o Logitech computer speakers (with sub!). On occasion, I'll download a sample to the studio machine so I can listen to it on the good rig.

In the field, I use Genelec 1031's. Not so much because I think they are great monitors, but because they are powered and I got the pair of them for $500 (and I have custom cases for them). Field monitoring is usually controlled by a Presonus Central Station (once again, small box that has a talkback built in- makes for a pretty easy rig to transport).

--Ben

[mosrite]

I am currently listening on 3-way PMC IB1S's powered by a Mark Levinson 331. Sennheiser HD600's on location.

You actually raise an interesting point in your thread.

I recently went to the IB1's from the mini PMC DB1SA's (in partnership with an REL Storm sub). While the mini PMC's were nice wee monitors I now find it hard to believe that I could effectively work on them. I think that perhaps general and obvious sonic signatures were still apparent on the small boxes but the nuances were completely lost. For example, on the small boxes I always felt that recordings made with my Schoeps sounded fairly dark. On the big boxes I realise this is not the case. The accuracy of the Schoeps shine through and 'dark' and 'light' doesn't really come into it. It's really about room and placement dictating their tone and I can now hear this properly.

From a location recording point of view this is perhaps irrelevent anyway as, I dont know about anyone else, but recording and monitoring through the cans always throws up some suprises when listening back in the studio.

I read a review of the mini PMCs suggesting that they have the same sonic character as their bigger brothers. I know what the reviewer was trying to say with this but it really is nonsense. Details dictates sonic character to me and the small boxes just don't compare in any way.

[Cornchuck]

Right now I am using JBL LSR-28p monitors and Beyerdynamic DT 770 headphones in the studio at home.

[Jungle Jazz]

In the studio:
NS-10Ms
KRK V6 Series II
Avantone MixCubes

On location:
KRK V4 Series II

Headphones (used both on location & studio):
Sony 7506
Beyer DT770 Pro

If anyone has suggestions for speakers that sound like NS-10s but with a little more bass response, I'd be happy to hear them. I heard some Tannoys that sounded like that, but I don't know what model they were.

[hughesmr]

On location:
Remote Audio HN7506 (Posthorn | Remote Audio HN-7506)
(Isolating headphones equipped with Sony Pro 7506 drivers)

Post:
Sennheiser HD545
plus: soon-to-be-named active monitors!

Listening room:
Vandersteen 2Ci

[David Spearritt]

SCORE: So far Kjetil has by far the best system, so his recordings will be the best.

[Plush]

If I read the original poster correctly, he already decided what each person here is listening on based on their comments to prior downloads. Well I listen on small Apple computer speakers to anyone's downloads because these approximate a table radio sound. That should be good enough to tell if something comes across well.

Edit room 1 : Double K+H 0300D (4 speakers)
Edit room 2 : Spendor SA-300

Location: Sennheiser HD 580 and AKG K701 or ratty and beat Genelec S30C

Home: Pro-Ac Response 2S, QUAD ESL

[Jim vanBergen]

Originally Posted by Plush

That should be good enough to tell if something comes across well.

Point taken, and well made.

[sonare]

on the road:

Tannoy 800A (for active)
Sony CD-1700 headphones (for when I am lazy or it pays too little) but after all this time I STILL can't get headphone results to translate perfectly!!

off the road:

B&W 801 matrix 3, stands, with North Creek X-overs (got the rig off ebay for $1400!!) driven by Bryston 3B ST

in the car: iPod through a DICE adapter-- THE solution for car audio!

Rich

[andy_simpson]

Originally Posted by Plush

If I read the original poster correctly, he already decided what each person here is listening on based on their comments to prior downloads......

....

You do read me correctly, more or less.

I don't make any assumptions as to specific brands, just educated guesswork as to the basic type/scale of monitoring.

So far, nobody has surprised me..... ;-)

It seems that most people are listening on the various flavours of direct-radiator.

Also, I notice that most people are listening on systems with relatively low headroom. By this I mean, not enough to recreate a symphony orchestra at realistic SPL.

Anyway, has anybody heard Meyersound X-10s? I just stumbled across them and they look like my cup of tea.....I don't know how new they are but I'd like to try a pair out.

Andy

[boojum]

hafler dh330 tuner, hafler dh110 pre-amp, two mono-bridged hafler dh500's driving AR2ax's/KEF 104/2's/SoundLab Pristine III's. With the KEF's it can get pretty loud. Currently they are sidelined with a burnt tweeter: ferro fluid is dried up after almost 25 years. Will be replacing with Morel tweeters.

Monitor on a SONY receiver and a pair of Paradigm monitors. Truck is just a Pioneer with Dodge in-the-door speakers. Heaphones in the field with the SD 722 are SONY MD V6 and/or Etymotic ER-4's. Schoeps CMC 64's to feed the SD. It works.

[Jim vanBergen]

Originally Posted by andy_simpson

Anyway, has anybody heard Meyersound X-10s? I just stumbled across them and they look like my cup of tea.....I don't know how new they are but I'd like to try a pair out.

Andy

I heard them at the Meyer factory. Yeah...they sounded pretty sweet, it is rare for me to say something sounds more accurate than an HD-1, but these sound amazing. WAY out of my price range, though...at $50,000 USD a pair, I can use something cheaper.

[fifthcircle]

Originally Posted by Jim vanBergen

I heard them at the Meyer factory. Yeah...they sounded pretty sweet, it is rare for me to say something sounds more accurate than an HD-1, but these sound amazing. WAY out of my price range, though...at $50,000 USD a pair, I can use something cheaper.

Yowza! $50K a pair?! There is a lot out there that sounds awesome at that price range (or cheaper). Give me a pair of ATC SCM150's and a new car any day for that kind of coin.

---Ben

[Plush]

Posted previously by Andy Simpson:

". . . Also, I notice that most people are listening on systems with relatively low headroom. By this I mean, not enough to recreate a symphony orchestra at realistic SPL."
===================================================

Oh, I don't see that. Plenty of systems posted here can do realistic (actual) volumes.

Low headroom?? My computer speakers have low headroom. My studio set-up will not wilt no matter what you throw at it.

As for Meyer, those are aimed at Hollywood film scoring stages. There's funny money in Hollywood dont cha know. Commercially, the system is a failure.

Anyway, most orchestral recordings would struggle to present more than 35 dB dynamic range.

Please, tell us more about your mics.

[emkay]

In my home studio--Tannoy NFM 8's through an "Ampzilla" amp
--M Audio BX 5's
In the home--Advent speakers or just the built in speakers in my G4 Powerbook
In the car, whatever the premium system is in my Volkswagen Bug
or the crappy system in the Isuzu Trooper

[StudioTinPanAll]

home : B&W 808 with decent onkyo amps (old 802's for surround) + 2 rel q200

computer : tannoy reveal with 15" sub

studio : genelec 1038, ns-10, mackie 824 (5.1) with hrs-150 sub

car : focal k2p on caliber amps + 15" MTX subwoofer

on the road : sony 7509

PA in basement (rehearsal) : all beyma speakers (top - sub - floormon's)



i listen mostly to the B&W 808's in stereo

[andy_simpson]

Originally Posted by Plush

Posted previously by Andy Simpson:

". . . Also, I notice that most people are listening on systems with relatively low headroom. By this I mean, not enough to recreate a symphony orchestra at realistic SPL."
===================================================

Oh, I don't see that. Plenty of systems posted here can do realistic (actual) volumes.

In my mind I have a vivid memory of a Moscow State Symphony performance. The memory is of their incredible tone & dynamic range. Every player was giving his all, which resulted in amazing dynamics. The cymbals crashed, the tympani roared and the brass blared.

I'm not sure that plenty (or even any) of the systems posted here can reproduce that? Cleanly? According to specs, I don't think any of them can do it.

Maybe an extreme example, but the SPL of an orchestral crescendo takes a very serious headroom in reproduction.

Originally Posted by Plush

.... My studio set-up will not wilt no matter what you throw at it.

Which system do you refer to? I know that the 0300s (even with sub) can't get close to an orchestral crescendo (though they do sound great).

Originally Posted by Plush

As for Meyer, those are aimed at Hollywood film scoring stages. There's funny money in Hollywood dont cha know. Commercially, the system is a failure.

Do you happen to know of any scoring stages which employ these?

Originally Posted by Plush

Anyway, most orchestral recordings would struggle to present more than 35 dB dynamic range.

Tragically this is true. I have had no trouble arriving at >60dB dynamics in recordings but I suspect that the problem lies in post production, where all manner of sins are commited.

Originally Posted by Plush

Please, tell us more about your mics.

I'll put something in the 'new product alert' forum when the time comes.... - thanks for asking :-)

Anyway, I do agree that you can tell many things about the clips posted here while listening on 'desktop computer speakers'......

Andy

[Thom]

Home: Spendor 3/5se, EAR 534 and Red Rose Model 3A
Work: EAW Line Array, Lab Grupen and Yamaha PM5D
Recording: Etymotic ER-4S, Metric Halo ULN-2
Road: Etymotic ER-4S and I-Pod
Office: Altec Computer Speakers...bleh. I can't get them to flip for a pair of Klein and Hummels...yet.
I've always got music on somewhere, can't get through the day without it.