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Event 20/20 Bas...time to Upgrade
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Razor Blade
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#1
4th June 2006
Old 4th June 2006
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Event 20/20 Bas...time to Upgrade

I'm using event 20/20 monitors at present. Home recording enviroment with no wall treatments (yet)

What are your thoughts on these monitors?

If I should upgrade, where is the sweet spot for my type of enviroment and circumstances , in monitors. Dynaudio? Or the new Adam's perhaps? or 824's or?? Bang for dollar, I'd like to find an upgrade if there is a consistant opinion the 20/20's are. even at my level, questionable for my purposes experienced or otherwise?

Thanks
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4th June 2006
Old 4th June 2006
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I have the V2's and love them. That's about all I can say. Oh and they translate pretty damn well.
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4th June 2006
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Sorry
V'2s?
#4
4th June 2006
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EVENTS ASP8´s....

Rave reviews everywhere
just google and see...
Rolo.
#5
4th June 2006
Old 4th June 2006
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Quote:
Originally Posted by Razor Blade
What are your thoughts on these monitors?
Thanks
They are the *worst*, most misleading monitors I have personally ever used. I have never seen improvement in mixes of the degree that I saw when I and the people I worked with changed to differnet monitors (in this case, Mackie HR824s and NS10s, but you get the idea). These are BAD!!
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4th June 2006
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I'm feeling pretty good about the Event asp8 from the small bit I've read now thanks to the post.

What about the Dynaudios bm5a's? ?
#7
5th June 2006
Old 5th June 2006
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I used 20/20's in my writing room for years - nothing wrong with those monitors, they work great for the price range.
I've had ASP-8's for about a year, and love 'em. Ruff mixes from the writing studio translate well when I get in to the big studio.

Get the best monitors you can afford , and then get used to them.

good luck - Dave Darling
#8
5th June 2006
Old 5th June 2006
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kirsten is offline
Quote:
Originally Posted by Razor Blade
I'm using event 20/20 monitors at present. Home recording enviroment with no wall treatments (yet)

What are your thoughts on these monitors?

If I should upgrade, where is the sweet spot for my type of enviroment and circumstances , in monitors. Dynaudio? Or the new Adam's perhaps? or 824's or?? Bang for dollar, I'd like to find an upgrade if there is a consistant opinion the 20/20's are. even at my level, questionable for my purposes experienced or otherwise?

Thanks
I too hated the 20/20 monitors because I found them loose and flabby on the low end and horrid at translating my mixes to other systems.
IOW they sucked, at least for me.

When I shopped for new monitors I borrowed a set of Mackie 824's and Dynaudio BM6a's and did some comparisons.
I liked the Mackies better (no low end on the BM6a) but there was something about the midrange that irritated me.

On the advice from a friend with a very large studio and clientle to go with it, I tried the then new Event ASP8's and I was floored by the sound coming from these monitors.
Bottom line is I have been using them for 18 months and am extremely happy with my mixes and the sound of these monitors.

They sound NOTHING like 20/20's, which IMHO is a good thing.
Very flat, little hype and very revelaing especially for spacial qualites, reverb tails etc.

Go give a listen and see for yourself.
Mackie and Dynaudio make fine monitors as well so you should listen to those too before making a decision.
I would suggest you try the BM15a because it has a much better low end to my ears.
#9
28th June 2011
Old 28th June 2011
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Quote:
Originally Posted by kirsten View Post
I too hated the 20/20 monitors because I found them loose and flabby on the low end and horrid at translating my mixes to other systems.
IOW they sucked, at least for me.

When I shopped for new monitors I borrowed a set of Mackie 824's and Dynaudio BM6a's and did some comparisons.
I liked the Mackies better (no low end on the BM6a) but there was something about the midrange that irritated me.

On the advice from a friend with a very large studio and clientle to go with it, I tried the then new Event ASP8's and I was floored by the sound coming from these monitors.
Bottom line is I have been using them for 18 months and am extremely happy with my mixes and the sound of these monitors.

They sound NOTHING like 20/20's, which IMHO is a good thing.
Very flat, little hype and very revelaing especially for spacial qualites, reverb tails etc.

Go give a listen and see for yourself.
Mackie and Dynaudio make fine monitors as well so you should listen to those too before making a decision.
I would suggest you try the BM15a because it has a much better low end to my ears.
I have just purchased the new 20/20bas V3 and they are amazingly different from the V2's. I learnt how to mix on the originals and thought they were great. That’s the thing about monitors, completely subjective! But in the case of the 20/20's WOW! compared them to a range of monitors in the price range and nothing had their depth, clarity and mix of dry and warm sound across the mid and low end. Very impressed with the new release if you couldn’t tell!!
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28th June 2011
Old 28th June 2011
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8th November 2011
Old 8th November 2011
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Years ago I purchased the Event 20/20 BAS Monitors upon a few recommends.

They weren't cheap. I think they were, if I remember wrong go ahead and tell me; I think they were $800+ a piece. (just remembering this gives me a headache in my eye)

I've been in 3 different studios with them as well. So, it wasn't just the rooms I mixed in; it wasn't that these rooms were poorly treated. These monitors just suck arse.

I have rued the day I purchased them. I'll never buy anything by Event EVER again. I've worked so hard and for so many hours on mixes to find that they didn't translate to other systems. Forcing me to put extra unpaid time into mixes. Quite a few unimpressed customers. But, budget being an issue ... I was kind of stuck with them for a while. Of course, these monitors weren't exactly helping me rake in the money. If you have to give away 2 free hours to make up for miscalcuations in a mix ... You're losing money.

Which, if for no other reason, I recommend you stay clear of this brand. I'm checking out either the Dynaudio or Focal Brand.

I've been reading that the Dynaudio's tend to be easy on the ears. That sounds like a dream to me. Because after only 4 hours of working with the EVENTs ... My ears hurt bad. I'm done.

Then there are the Focals ... they supposedly have a wide stereo field. But, I need to be able to edit, mix and master with which ever pair I decide to get. So, it's still up in the air.

Only one thing in my future is certain: I will not own a new pair of event monitors.tutt

Stay away from the events.
#12
21st November 2011
Old 21st November 2011
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Quote:
JonathanJ Years ago I purchased the Event 20/20 BAS Monitors upon a few recommends.

They weren't cheap. I think they were, if I remember wrong go ahead and tell me; I think they were $800+ a piece. (just remembering this gives me a headache in my eye)

I've been in 3 different studios with them as well. So, it wasn't just the rooms I mixed in; it wasn't that these rooms were poorly treated. These monitors just suck arse.

I have rued the day I purchased them. I'll never buy anything by Event EVER again. I've worked so hard and for so many hours on mixes to find that they didn't translate to other systems. Forcing me to put extra unpaid time into mixes. Quite a few unimpressed customers. But, budget being an issue ... I was kind of stuck with them for a while. Of course, these monitors weren't exactly helping me rake in the money. If you have to give away 2 free hours to make up for miscalcuations in a mix ... You're losing money.

Which, if for no other reason, I recommend you stay clear of this brand. I'm checking out either the Dynaudio or Focal Brand.

I've been reading that the Dynaudio's tend to be easy on the ears. That sounds like a dream to me. Because after only 4 hours of working with the EVENTs ... My ears hurt bad. I'm done.

Then there are the Focals ... they supposedly have a wide stereo field. But, I need to be able to edit, mix and master with which ever pair I decide to get. So, it's still up in the air.

Only one thing in my future is certain: I will not own a new pair of event monitors.tutt

Stay away from the events.
this just smells of bs

maybe it is your mixes that sound harsh after hours

the bas are a good for the money

studio monitors are supposed to be revealing not flattering
#13
21st November 2011
Old 21st November 2011
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I just sold my original event 20/20bas after 13 years of trouble-free service. I think I paid just over $1300 CAD for them when I got them new - quite a bit for me at the time when I was just starting out....but $100/year? Not bad...

Used in multiple studios and on-the-spot locations, I mixed 10-20 albums on them and countless live recordings as well as post-production jobs for net and TV...and cranked hours of tunes through them!

If you couldn't get usable results out of them the only thing I can suggest is the rooms weren't tuned for them or the speaker eq's weren't tuned to the room... too much/too little treble or bass in your mix can be fixed after a couple quick mixes by simply repositioning or making a slight adjustment to the shelving eq on the back...
#14
21st November 2011
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I have since switched to KRK VXT 8's, but for many years I mixed on the Bas 20/20's - my mixes translated very well.

Ronan Murphy & Ken Lewis both still have pairs in active use in pro set-ups, so if you can't use em, I guess the issue is the person mixing, not the tool.

Not to mention, the Events are totally non-fatiging with their silk dome tweeter.

JonathanJ's complaints are based in user error.
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#15
23rd November 2011
Old 23rd November 2011
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I've been curious too about the new 20/20s. I've been using the older bas pair for the last 10 years, mainly for production, and a bit of mixing in the home studio, untreated, & I've been pretty satisfied across the board.....I'm just a bit curious on how the new ones compare with the older model....I don't know, for some reason I'm tempted on these.....the guitar enter here in San Francisco doesn't have em for demoing, which is what sold me on my current 20/20s in the 1st place.

Anyone owned both models who can provide some real a/b comparisons?
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23rd November 2011
Old 23rd November 2011
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I don't really have any advice -- if for no other reason than that I don't have experience with the alternatives -- but after skimming this thread, I feel like I might as well stick in my observations about the 20/20bas, which I've had since 1999 or so but haven't used on an ongoing basis in the last few years for reasons of practicality, preferring to go with my EQ'd NS10s for both everyday listening and my own casual mixing.

The 20/20bas have good bass extension. They are not, across their range, as dampened and tight/dry as the acoustic suspension NS10s. (And you wouldn't probably expect ported speakers to be, after all.) When I got the Events, I'd been using my NS10's [flat] with some ported consumer speakers as a backup reference. I was doing a lot of electronica and the lack of bass from the Yamaha's was killing me. So the extra octave of bass from the Events was much needed.

I moved to using the Events as primaries with the NS10's as reference and that, overall, worked pretty well for me, allowing me to clean up lingering problems in my mixes.

And I generally enjoyed listening to the Events, unlike the un-EQ'd NS10's.

But when I sold my house and folded down my old project studio moving into a small beachside flat (it's all about the tradeoffs), the Events proved just to freakin' powerful for my newly intimate quarters. Not only were they ridiculously loud (200w/ch for cyring out loud) but they put out a lot of heat. And, sitting a little closer to them, with a quieter computer, I started to notice their self-noise, even with the 20 dB input pads fully engaged.

I switched to mostly using the NS10's -- but this time with EQ supplied from a continuously variable passive loudness control on my similar vintage Yamaha hi fi amp. For the first time, I actually liked listening to the NS10's. And, as I got used to them, my mixes started dropping back into place (that is to say, I don't think my new circumstance has hurt my mixes too much).

I still have the Events -- I haven't been able to bring myself to sell them -- but I only hook them up for critical projects.


YMMV.
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24th November 2011
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I have 20/20bas and ASP8s. Although the asp8s are better, I don't think the 20/20s are bad. I will agree with others that you need more than one set of speakers for ref checks. I use the asp8s, my computer speakers, and my car stereo. Also sometimes use the 20/20s.

Tom
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24th November 2011
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I have to agree with the others, the original Event 20/20BAS were very decent monitors for the price. The low end was a little flabby, like the Mackies, but other than that they are perfectly capable of accurate monitoring and translating well. I bought the ASP8 because they were the 20/20 with a tighter low end and a very similar, non fatiguing mid and high end. I can't vouch for the "new and improved" 20/20 though as I have never heard them but what Event says in their ad's is true, many a recording was and still is made on the originals. That's gotta count for something?
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24th November 2011
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The old 2020s didn't stop me from making a few hits...

That said, the PROBLEM with this entire thread is that it's damn near POINTLESS to upgrade monitors when the room isn't adequately treated. That's like saying "my M16 doesn't shoot straight. I need an upgrade to a new gun. What do you recommend so I can hit the target more often? Oh yeah, by the way, I'm blind." Treat the troom. It's cheaper and will yield WAY better results than ANY monitor available at any price. Even if you are renting you can do great treatment DIY for well under a grand with nothing more than a handfull of small nail/screw holes to spakle when you leave. There's NO excuse (unless your studio is your living room and you want to use it as a living room).
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#20
24th November 2011
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Quote:
Originally Posted by chris carter View Post
The old 2020s didn't stop me from making a few hits...

That said, the PROBLEM with this entire thread is that it's damn near POINTLESS to upgrade monitors when the room isn't adequately treated. That's like saying "my M16 doesn't shoot straight. I need an upgrade to a new gun. What do you recommend so I can hit the target more often? Oh yeah, by the way, I'm blind." Treat the troom. It's cheaper and will yield WAY better results than ANY monitor available at any price. Even if you are renting you can do great treatment DIY for well under a grand with nothing more than a handfull of small nail/screw holes to spakle when you leave. There's NO excuse (unless your studio is your living room and you want to use it as a living room).
This is such a crucial point, it's worth underlining.

Anyone who doesn't get what 'the big deal' is about room treatment should roll around the consequences of trying to mix in a typical, small untreated room with 2 or more parallel walls: low frequency standing waves that by 'overlapping' in the acoustic space will create some spots where the resonant frequencies will be greatly 'reinforced' and other spots where the wave interference will conversely cause cancellations.

An untreated room can have differences in 'room response' of as much as 30-40 dB at a some frequencies just from shifting the listening position by a matter of a half foot or so.

If you think about how you mix, it's probably pretty unlikely that you keep your head 'frozen' in one spot.

Why don't you directly perceive those big changes?

Our auditory system evolved (or was 'designed' if you twist that way) primarily for the twin purposes of spatially mapping the immediate environment and threat assessment. When we, as organisms, move through a given sonic environment, our auditory systems -- all that semi-hardwired stuff down the brain stem -- is continually processing the sound of the environment, continually updating our sonic impression of our environment. When we walk through a room with a speaker in it, we typically have the impression of the signal from the speaker as a sort of constant -- even though what we hear as we move through the room changes continually.

Learning how to 'turn that off' in order to really hear what's going on in an environment is one of the first things an acoustician has to master.
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