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More Room pictures... Studio Monitors
Old 3rd November 2006
  #91
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masteringhouse's Avatar
 

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Nice Jerry!
Old 4th November 2006
  #92
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Quote:
Originally Posted by PatrikT View Post
I'd take Sontec over Sonex any day!
I figured any piece of equipment that started with Son.... would be as good as gold,
but this Sony cassette deck has NOT resulted in increased bookings!

Old 5th November 2006
  #93
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WOW, Hagan Daaz!!!!!

Outrageous (in the best sense) and retro/futuristic at the same time.

Now THAT I like.

Major set-up!!!
Old 3rd January 2007
  #94
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Thought I'd be the first to add some pics in 2007. I just had some professionally done this week. It's hard to pick out a fav so if anyone is interested there is more to be seen on myspace
Attached Thumbnails
More Room pictures...-mgm-studio-layout.jpg  
Old 3rd January 2007
  #95
Mastering
 

Quote:
Originally Posted by MattGray View Post
Thought I'd be the first to add some pics in 2007. I just had some professionally done this week. It's hard to pick out a fav so if anyone is interested there is more to be seen on myspace
Nothing like a wide angle lense and lighting to look real sharp! Of course you had to start with a beautiful subject. Nice, Matt.

BK
Old 3rd January 2007
  #96
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Very cool Matt!

Is that a Sterling Modular desk?

Jim is a good friend of mine. I had him work on my room over the past few months and recently replaced my Argosy Dual 15 with one of his to help maintain a cleaner path from the speakers. I have to get a pro photographer in to take new pics though before I post more though. My "photography skills" are very limited.

Old 3rd January 2007
  #97
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Likewise- here's some of my space. Needs more wide-angle to see the bizarre array of room treatment the cloth covered thing is anti-flutter, black back wall is very absorptive and covers a long Helmholtz absorber, big black monolith is a speaker. Lavry Black, and the teeny monoblock is Channel Islands D100, which I quite like oh, and that screen's on a swing arm, it can go right back against the wall.
Attached Thumbnails
More Room pictures...-consoleleft.jpg   More Room pictures...-speakerleftwall.jpg  
Old 3rd January 2007
  #98
Quote:
Originally Posted by chrisj View Post
Likewise- here's some of my space. Needs more wide-angle to see the bizarre array of room treatment the cloth covered thing is anti-flutter, black back wall is very absorptive and covers a long Helmholtz absorber, big black monolith is a speaker. Lavry Black, and the teeny monoblock is Channel Islands D100, which I quite like oh, and that screen's on a swing arm, it can go right back against the wall.
Photos are kind of dark and hard to see huh? Sorry, looks interesting but can't see them very well.
Old 3rd January 2007
  #99
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Quote:
Originally Posted by masteringhouse View Post
Very cool Matt!

Is that a Sterling Modular desk?

Jim is a good friend of mine. I had him work on my room over the past few months and recently replaced my Argosy Dual 15 with one of his to help maintain a cleaner path from the speakers. I have to get a pro photographer in to take new pics though before I post though. My "photography skills" are very limited.

Ahhhhhh I see red on the right hand side of your desk!!

How's the Dangerous Monitor ST?
Old 3rd January 2007
  #100
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Quote:
Originally Posted by Riccardo View Post
Ahhhhhh I see red on the right hand side of your desk!!

How's the Dangerous Monitor ST?
Ha, yeah I kinda got tired of seeing brushed metal from all of the Crane Song stuff so I had to go red for a change. I think green is next, but that would mean Meek?

The Dangerous ST is excellent, very clean pristine sound. Absolutely colorless to my ears, which is probably a good quality in a monitor controller. :-)
Old 4th January 2007
  #101
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Quote:
Originally Posted by masteringhouse View Post
Very cool Matt!

Is that a Sterling Modular desk?

Jim is a good friend of mine. I had him work on my room over the past few months and recently replaced my Argosy Dual 15 with one of his to help maintain a cleaner path from the speakers. I have to get a pro photographer in to take new pics though before I post more though. My "photography skills" are very limited.
Actually my desk has been custom built by Tony Moore here in Brisbane. It's hard to get great quality off the shelf studio furniture in Australia & shipping over a Sterling Modular or Argosy would have been very expensive. So I drew up my own design which is based heavily on the 'Sterling' design but it is actually more compact in dimensions to lesson the acoustic foot print.

I like your room too, the desk is very compact & I like the fact you have a big LCD on your front wall. I'm sure this would reduce the first reflections even further. Your monitors look pretty wild, are they Wilson Watt Puppys? I am also looking to swap my Dyn's for something a bit more special once I've done some extensive testing, my short list includes B&W 802D's, a new model by Dunlavy, Lipinski L707's & ATC SCM50's. I'll probably change my monitoring D/A at the same time from the Benchmark to a Dangerous Monitor, I've been told by a few reliable sources that the built in D/A is on par with the likes of the Lavry Gold & that the unit is slightly more transparent then the Dangerous ST.

Matt
Old 4th January 2007
  #102
High Fidelity
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Quote:
Originally Posted by crna59 View Post
Great room Bob! Too bad all people that "Master" don't adhere to this formula.

Here's the lastest pic of my new Mastering Room. The sub-floor is finished and the framing for the front bass trapping is done.

Regards,
Hi,

I know quite well the typical stud and drywall construction in the US but is lightweight construction not considered a problem for low frequency response for a mastering room?

Typical sandwich wall {plaster/stud framing + fiberglass/plaster} made of single layer sheetrock is very lightweight and typically exhibits strong diaphragm resonances in 100-200Hz depending on stud spacing and partitions.

Even several layer of sheetrock will not match a thick internal brickwall which in turn can be quite flexible as soon as dimensions start to be large enough (I remember a 15x9ft wall resonating almost like a huge drum skin near 52Hz, on a room troubleshooting project).

Single or double glass windows are also good example of low frequency diaphragm resonators (usually below 100Hz), disturbing room acoustic transient response.

Are those considerations addressed with specific construction features?

Regards,
Laurent
Old 4th January 2007
  #103
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Quote:
Originally Posted by MattGray View Post
Your monitors look pretty wild, are they Wilson Watt Puppys?
They're Quested UD1s, unfortunately no longer made.

I used to own dyn BM15's with a BX-30 sub, but found (at least in this room) that the mids translated much better and in general I could hear mix issues much more easily with the Questeds than the dyns. They have literally cut the amount of time I need to master in half. For some odd reason the dyns seemed very deficient around 500 Hz and the measurements that I've done also proved this. It may have been due to placing them on the Argosy desk that I had though. I still contend that dyns are excellent monitors, you just have to know how to use them.

Definitely put Quested on your list of monitors to check out. I forget offhand what Mr. Collins uses, but I believe he's a Quested guy as well.
Old 4th January 2007
  #104
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Quote:
Originally Posted by MattGray View Post
I'll probably change my monitoring D/A at the same time from the Benchmark to a Dangerous Monitor, I've been told by a few reliable sources that the built in D/A is on par with the likes of the Lavry Gold
I would have to disagree with that. Not to criticise the fine Dangerous product, but the gold was the better DAC.
Old 4th January 2007
  #105
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phild's Avatar
Quote:
Originally Posted by MattGray View Post
I've been told by a few reliable sources that the built in D/A is on par with the likes of the Lavry Gold & that the unit is slightly more transparent then the Dangerous ST. Matt
The Lavry Gold DA itself is $8500 USD.
but feel free to draw your own conclusions...


Phil
Old 4th January 2007
  #106
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Quote:
Originally Posted by masteringhouse View Post
They're Quested UD1s, unfortunately no longer made.
Those are cool monitors, but I thought they were too expensive when they came out, considering the 3208s had the same drivers and essentially the same electronics and were far less expensive. Yes, the UD cabinets were much more complex and drove up the costs, but even as a big Quested fan, I wasn't willing to throw out that much cash for the cabinets. They did have great blowout deals when they were discontinued, however. Price aside, I did like them very much.

Quote:
Definitely put Quested on your list of monitors to check out. I forget offhand what Mr. Collins uses, but I believe he's a Quested guy as well.
Indeed, as am I. Great speakers. ATC is about the only thing that would bump them out of here.
Old 4th January 2007
  #107
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Quote:
Originally Posted by High Fidelity View Post
I know quite well the typical stud and drywall construction in the US but is lightweight construction not considered a problem for low frequency response for a mastering room?

(SNIP)

Single or double glass windows are also good example of low frequency diaphragm resonators (usually below 100Hz), disturbing room acoustic transient response.

Are those considerations addressed with specific construction features?
It is something to take into consideration. Glass windows, drywall, plywood etc. will all act as flexural absorbers. You also need to take into account mass-air resonance between membranes depending on your design. This works in concert with the coincidence dip to rob energy at certain frequencies. However, consider this: in a small room (which virtually all control rooms and mastering rooms are, acoustically speaking), the modes below 300 Hz are the most problematic, and using heavy masonry construction will indeed keep that energy in the room. This means you will need far more bass trapping to control that energy, and better planned trapping as low frequency problems will, in effect, be amplified.

In the end, using heavy masonry (filled cinder blocks etc.), you can get a room that matches your design predictions more closely, however you must have a proper design and not take any shortcuts on treatment. Construction with several layers of drywall per side, or "sandwich" constructions with drywall and other materials (MDF, plywood, other limp masses) will be rigid enough, and somewhat more forgiving as some of the bass that could cause room-response problems will be attenuated.

It's not like a concert hall where you want to preserve all that low end energy. Control rooms use electronic means of reproduction, and you are intended to be listening in the direct field, and most likely in an RFZ (reflection free zone). The bass will reach you and be heard just fine from the direct radiator of a speaker in what is essentially the close field (acoustically speaking). A truly reverberant field doesn't really exist in a small room like a control room or mastering room. You are more concerned with the bass from the direct radiation, and you usually don't want the same kind of reinforcement from rigid boundaries like you would in an acoustic performance space. The modes are too distinct in the small space, and the extra energy causes strong interference at your listening position, making it difficult to hear accurately what has been recorded. The use and intent of absorption and diffusion also differs in these two distinct applications.

Of course, there are occasions where the escaping bass energy (absorbed due to flexing of these stud walls, or transmitted) happens in areas that aren't all that helpful, and you can indeed have variations in performance from the design goals and predictions. These, however, are usually not that great in a well designed room, and can usually be easily "touched up" if the variation is great enough to cause concern.

There are advantages and disadvantages to both approaches, and you need to consider cost, available space, weight of construction and possible structural issues with your location, along with other factors. Either approach can yield a superior room. You just need to plan it well and execute it properly.
Old 4th January 2007
  #108
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Quote:
Originally Posted by High Fidelity View Post
Hi,

I know quite well the typical stud and drywall construction in the US but is lightweight construction not considered a problem for low frequency response for a mastering room?

Typical sandwich wall {plaster/stud framing + fiberglass/plaster} made of single layer sheetrock is very lightweight and typically exhibits strong diaphragm resonances in 100-200Hz depending on stud spacing and partitions.

Even several layer of sheetrock will not match a thick internal brickwall which in turn can be quite flexible as soon as dimensions start to be large enough (I remember a 15x9ft wall resonating almost like a huge drum skin near 52Hz, on a room troubleshooting project).

Single or double glass windows are also good example of low frequency diaphragm resonators (usually below 100Hz), disturbing room acoustic transient response.

Are those considerations addressed with specific construction features?

Regards,
Laurent
George Augspurger had me use 3 layers of 5/8 sheet rock in my room to reduce any of these issues. I had the trade off of gaining natural sunlight from the original window through internal glass bricks bonded by silicon vs. no light.
I have not noticed any resonances due to this choice.
Ed
Old 4th January 2007
  #109
Quote:
Originally Posted by phild View Post
The Lavry Gold DA itself is $8500 USD.
but feel free to draw your own conclusions...


Phil
We don't want to fall in to that trap either. I've got some really expensive cables I'll sell you! ;-) The Gold is excellent but as a rule, we can agree that price doesn't always follow quality. I would have been happy to pay less for my Lavry Gold DA924!

As I mentioned, I haven't been able to let go of the Gold as my monitor converter. It's definitely a special converter. But let me also say that I am still surprised at how well the Dangerous holds it's own. It too is an excellent converter.

There is established member of our board that freely switches between a Prism DA2 and the Dangerous Monitor's converter. That one's $9500 but feel free to draw your own conclusions.
Old 4th January 2007
  #110
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Quote:
Originally Posted by phild View Post
The Lavry Gold DA itself is $8500 USD.
but feel free to draw your own conclusions...
Quote:
I would have to disagree with that. Not to criticise the fine Dangerous product, but the gold was the better DAC.
I knew I'd get some reactions from that comment... is it safe to say it's in the ball park or at least a better choice then the Benchmark DAC-1?

Matt
Old 4th January 2007
  #111
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phild's Avatar
Quote:
Originally Posted by MattGray View Post
I knew I'd get some reactions from that comment... is it safe to say it's in the ball park or at least a better choice then the Benchmark DAC-1?

Matt
Hi Matt,
I look at it this way...

I have the Dangerous Monitor. Chris & Bob are practically heroes to me. But I knew that the onboard Troisi converter - as good as it is - in my mind is not the "name brand" converter that I knew I would one day use. I used Mytek and Lavry when I bought it. They have to build to a price point. The Troisi is great.

But it sounds like you want a Lavry so the Troisi will never be good enough. So I think "in the ballpark" won't do here. You can't impress your clients by telling them something you have sounds almost as good as something else you can't afford.

My DM was made sans Troisi and had optional breakout cables to interface to the converters I already had or would buy in the future. It's open ended - which is important to me cause I am always changing stuff around.

Buy a DM without the Troisi and use your benchmark until you can buy your dream converter. Or just go and buy that Lavry you want and you're done!

No worries, mate!

Phil
Old 4th January 2007
  #112
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Riccardo's Avatar
 

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Quote:
Originally Posted by phild View Post
Hi Matt,
I look at it this way...

I have the Dangerous Monitor. Chris & Bob are practically heroes to me. But I knew that the onboard Troisi converter - as good as it is - in my mind is not the "name brand" converter that I knew I would one day use. I used Mytek and Lavry when I bought it. They have to build to a price point. The Troisi is great.

But it sounds like you want a Lavry so the Troisi will never be good enough. So I think "in the ballpark" won't do here. You can't impress your clients by telling them something you have sounds almost as good as something else you can't afford.

My DM was made sans Troisi and had optional breakout cables to interface to the converters I already had or would buy in the future. It's open ended - which is important to me cause I am always changing stuff around.

Buy a DM without the Troisi and use your benchmark until you can buy your dream converter. Or just go and buy that Lavry you want and you're done!

No worries, mate!

Phil
Just a quick consideration, I don't know if Matt was hoping to buy "very close" to the Gold with the converter included in the Dangerous Monitor (The Troisi).
However it strikes me that a sans coverter version like yours has never been publicised.

Many mastering studios will already have their favourite converters and lets not forget that - especially for smaller mastering places) the 5 grand (thats € before taxes) it goes for is not exactly cheap.
That would be a very smart option to offer (the monitor only version I mean).
Old 4th January 2007
  #113
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Quote:
Originally Posted by MattGray View Post
I knew I'd get some reactions from that comment... is it safe to say it's in the ball park or at least a better choice then the Benchmark DAC-1?
Peter Troisi is a smart guy, and the Dangerous guys wouldn't have chosen his DAC if the converter wasn't good. It's just not in the same range as something like the gold or a Weiss.
Old 4th January 2007
  #114
Quote:
Originally Posted by Riccardo View Post
Just a quick consideration, I don't know if Matt was hoping to buy "very close" to the Gold with the converter included in the Dangerous Monitor (The Troisi).
However it strikes me that a sans coverter version like yours has never been publicised.

Many mastering studios will already have their favourite converters and lets not forget that - especially for smaller mastering places) the 5 grand (thats € before taxes) it goes for is not exactly cheap.
That would be a very smart option to offer (the monitor only version I mean).
Well, I don't know if they are readily available. I asked Bob and Chris if it was possible to get the Monitor without the D/A as I had already purchased the Gold and loved it. Chris' response was it's not easy to short-load them. Even thought it's good, I wouldn't have purchased it with the converter since I already had the Gold. It is redundant in my setup.

I currently have the 'D-MTR' output of the Monitor feeding the Gold. That way, I can switch inputs from the Monitor and the Gold follows my selection.

While we're talking about options on the Monitor, Chris also told me that he has come up with a card which will allow it to use the Monitor ST's remote AND hook up to the Monitor SR.
Old 5th January 2007
  #115
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Quote:
Originally Posted by phild View Post
Hi Matt,
I look at it this way...

I have the Dangerous Monitor. Chris & Bob are practically heroes to me. But I knew that the onboard Troisi converter - as good as it is - in my mind is not the "name brand" converter that I knew I would one day use. I used Mytek and Lavry when I bought it. They have to build to a price point. The Troisi is great.

But it sounds like you want a Lavry so the Troisi will never be good enough. So I think "in the ballpark" won't do here.
Well at the moment I find the Benchmark DAC-1 adequate for monitoring purposes & it interfaces well with the Dyn's. However I also like the newer 192kHz D/A in my Cranesong HEDD, which I believe is the same D/A that is being used in the Avocet. The Cranesong D/A doesn't sound quite as stark as the Benchmark.

Ultimately I would like to get 2 rounds of the Lavry Gold D/A's plus one of the Gold A/D's. One D/A + A/D would be used for my analog loop & the other D/A for my monitoring path, but that's serious dollars. So I figured in the interim, if the Dangerous Troisi D/A was an improvement over the Benchmark or Cranesong then I figured it would suit my needs just fine until I could afford to get an extra Lavry Gold later down the track.

So I guess the question I'm really asking is whether the Troisi D/A is an improvement over the Benchmark or Cranesong D/A's?

Matt
Old 5th January 2007
  #116
Quote:
Originally Posted by MattGray View Post
So I guess the question I'm really asking is whether the Troisi D/A is an improvement over the Benchmark or Cranesong D/A's?

Matt
I think so but it would definitely be best for you to check them out.
Old 5th January 2007
  #117
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Seeing as nobody's posted a picture for a while...here's one of our main room, taken last spring
Attached Thumbnails
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Old 5th January 2007
  #118
Gear Maniac
 

...and another one.
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More Room pictures...-studio-c.jpg  
Old 5th January 2007
  #119
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Quote:
Originally Posted by streaky View Post
Seeing as nobody's posted a picture for a while...here's one of our main room, taken last spring
Hey Streaky,
I was there in the fall of 2002 (or was it 2003?). One of the more "alive" coolvibe mastering studios in London that I visited. I remember Kevin Metcalf chain-smoking, swearing and laughing a lot. I think he had just done a Paul Weller record.

Gordon Vicary was there at that time. Is he still there?

I consider those PMC BB5 mains one of the best sounding speakers ever. I'd still like to get a pair but they are very expensive in North America

Phil
Old 5th January 2007
  #120
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streaky's Avatar
 

Nice conveniently placed Grammys...

I checked your website, David you have a great beard, just in the unlikely event nobody's ever told you that before
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