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small monitors Studio Monitors
Old 1 week ago
  #31
Gear Maniac
 
Haigbabe's Avatar
 

Probably the only small speakers I’ve tried that actually have any clarity and definition for the repertoire I record are the Grover Notting Code 1.5

The GROVER NOTTING(R) A&R (Artisan & Relationships) Program

Monitoring is very personal, I admire people who can do so on on anything available at the time. But I need something familiar and trustworthy.

Haigbabe
Old 1 week ago
  #32
Just ordered a pair of these on a recommendation from a good friend and after reading the reviews https://www.amazon.com/gp/product/B0...?ie=UTF8&psc=1. They are suppose to be here next week. I will post back when I get a chance to audition them. Looks great on paper, listening will tell the real truth.
Old 1 week ago
  #33
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Quote:
Originally Posted by Thomas W. Bethe View Post
Just ordered a pair of these on a recommendation from a good friend and after reading the reviews https://www.amazon.com/gp/product/B0...?ie=UTF8&psc=1. They are suppose to be here next week. I will post back when I get a chance to audition them. Looks great on paper, listening will tell the real truth.
I do like those little DIP switch sets on the back of the speaker, seeming to allow for multiple (less compromised ?) placement opportunities on a variety of surfaces near the listener.

Around $150 per box is ok too, although if they're 85dB efficient then you'll need a powerful amp to really wring the best out of them ?
Old 6 days ago
  #34
Quote:
Originally Posted by studer58 View Post
I do like those little DIP switch sets on the back of the speaker, seeming to allow for multiple (less compromised ?) placement opportunities on a variety of surfaces near the listener.

Around $150 per box is ok too, although if they're 85dB efficient then you'll need a powerful amp to really wring the best out of them ?
They are self powered so no need for a separate amp. FWIW
Old 6 days ago
  #35
Lives for gear
Quote:
Originally Posted by Thomas W. Bethe View Post
They are self powered so no need for a separate amp. FWIW
Yes of course you're right...I read that 85dB as an efficiency rating, when it's an output level ie "With 85 dB continuous output at 2 meters (roughly 6 feet,) and 20 dB of headroom, the LP-6 is plenty loud for almost every 1 or 2 person listening space. This includes home studios, editing bays, and most control rooms"

Hopefully there won't be any chuffing sounds from the port opening...?
Old 6 days ago
  #36
Quote:
Originally Posted by studer58 View Post
Yes of course you're right...I read that 85dB as an efficiency rating, when it's an output level ie "With 85 dB continuous output at 2 meters (roughly 6 feet,) and 20 dB of headroom, the LP-6 is plenty loud for almost every 1 or 2 person listening space. This includes home studios, editing bays, and most control rooms"

Hopefully there won't be any chuffing sounds from the port opening...?
This has a "specially designed port" to prevent chuffing and other abnormalities normally associated with ported speakers.

From their literature:

The port tube on the LP-Series was designed to deliver all the benefits of a front-firing port tube, without any drawbacks associated with noise. On most port tubes, air leaves at different speeds from different points of the opening, creating noisy tur-bulence. This turbulence can be heard as "chuffing," or an audible air sound coming from the monitor. This sound will add to the noise floor and obscure the details of the low end.The port tube on LP-Series was designed to ensure that all of the air leaves the port tube at the same velocity. This helps add to the low end response of the speaker, while keeping the bass clean, tight, and devoid of extra noise.
Old 5 days ago
  #37
Aon 2's at $800 per pair. No ports, passive radiators on the sides. These do 35 hz to 45k. Incredible imaging and transient response. They require a very good amp and speaker cables. 11" tall, 7" wide. Designed by industry legend Sandy Gross that started Polk back in the 1960's.
GoldenEar Technology | A Passion For Sonic Perfection
Old 5 days ago
  #38
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tourtelot's Avatar
Th Kalis at $250 a pair might make nice traveling companions. On CD sessions on locations, I have been taking the monitors out of the studio; they travel in an Anvil case. Large package. Everything is bigger and heavier. Nobody almost never (!) listens to them. All the interested parties are using phones of some sort. So monitors get used for an occasional playback for a soloist or a director. The Kailis might be just the thing to keep wear and tear on the studio monitors to a minimum. I suppose I can listen to them and if they don't sound good, return them to Amazon straight from a hotel Amazing times we live in.

Thanks for the link.

D.
Old 5 days ago
  #39
Gear Addict
 
fred2bern's Avatar
 

Quote:
Originally Posted by tourtelot View Post
Nobody almost never (!) listens to them. All the interested parties are using phones of some sort. So monitors get used for an occasional playback for a soloist or a director.
Hi Tourtelot

This sounds funny to me as I'm on the opposite side of the game.
On CD productions I listen on monitors all the time (KH120s) and just use the phones to check noises at the end of a slow movement for example.
For radio recordings I just use phones because it's lighter with the setup, and also because it's too short to organize a room where it is possible to work on monitors. With CD production, even when I'm not in a ready control room where I come with all my stuff including the KH, I take time to check of course the room where the musicians will be, but also the room where I will be.
If necessary I come with some curtains, foam etc. to cancel some too bad response.

Hard for me to imagine producing 4 days, around 6 hours a day with headphones...

Fred
Old 5 days ago
  #40
Gear Addict
 

Quote:
Originally Posted by tourtelot View Post
Th Kalis at $250 a pair might make nice traveling companions. On CD sessions on locations, I have been taking the monitors out of the studio; they travel in an Anvil case. Large package. Everything is bigger and heavier. Nobody almost never (!) listens to them. All the interested parties are using phones of some sort. So monitors get used for an occasional playback for a soloist or a director. The Kailis might be just the thing to keep wear and tear on the studio monitors to a minimum. I suppose I can listen to them and if they don't sound good, return them to Amazon straight from a hotel Amazing times we live in.
.
I would think the Kali LP-6 would suit the situation better, unless one really needs the 100 watts over 80. The LP-8 isn't large, but they're not really as portable as some. The LP-6 is a little smaller dimension-wise and along with less lbs it probably does the job for remote and travel gigs as well as the LP-8 with those factored in, unless one needs the step up in volume, especially if a sub is available for occasional checking. I considered the 8's but went with the 6's for my home rig a few months ago and have been really happy with them, especially for the cost. They deliver more than enough volume for my needs.

One thing I have noticed in reading about the two models is that they don't equally exhibit the same pros and cons (self noise, other misc concerns) interchangeably among users. This may have been more related to first manufacturing runs, but I thought it was worth keeping in mind as I soaked in others' experiences.
Old 5 days ago
  #41
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Quote:
Originally Posted by fred2bern View Post
Hard for me to imagine producing 4 days, around 6 hours a day with headphones...

Fred
That's why they make chocolate and vanilla I guess.

D.
Old 4 days ago
  #42
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Plush's Avatar
Consider Meyer Sound Amie monitors. One of their specialties is offering good sound in poor monitoring environments.

Amie | Meyer Sound
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