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Old 12th February 2014
  #1632
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Quote:
Originally Posted by Fleaman View Post
How do you know the B&W's were responsible for the "too nice" highs and not something else in the recording chain?
I'm an engineer - I do know. Seriously I can say if I like a speaker when I hear it and can give a quite good comment about it and I can for sure say if it is worth for me to test in my own control room (and then give a much more precise feedback). I worked several times with 2 different B&W's at Abbey Road. (Of course the position of the speakers between the glass window and the console is not ideal also but that is another problem). Good possible that if I would work more often there I would get used to it easily, but that does not change my mind that I can clearly say that they would not come in question for my own mixing room. Period.

Quote:
Originally Posted by Fleaman View Post
Lets also not forget that we monitor in a different room than what we record in.
That has nothing to do with it. The real room is anyway gone in a recoding - that is an interesting philosophic discussion about which I often speak with my students, but nothing for here. Just one thing is important: The art of engineering is to bring something to the CD that isn't there in the room, an additional beauty. A Reason that you listen to music on a CD (or LP or whatever). If nothing is there additionally it is only a documentation (at best). Never the less to create this Art I prefer a speaker with great precision. Only in that way I am able to create a great depth of field (but that may be different for others). Moreover when you have to mix a band that is playing virtuoso and an orchestra that function is not to be behind the band but to play fast and loud with the band, well you really appreciate a monitor with precision.
Check my latest project out if you want, it is fun to watch I think:

FINAL MIX: Kolsimcha and London Symphony Orchestra recording Noah at Abbey Road Studio 1 - YouTube

Daniel
www.ideeundklang.com