Ableton Forum

P.S. I don't like the 824, but I forgot to mention that I cannot stand the 624. Again, don't want to insult anyone or anyone's taste or ear, but man! Those things way too bright for me. I just hear a whispy/zingy high end and confused/mis-matched mids and no low end.

The whole big control room/small control room thing is something I question. Yes, a big room can swallow up a small set of monitors. But, a big ole' juicy set of larger speakers, say the Dynaudio BM15s sound crazy cool in a small control room.

The Mackie's are the best for the money. Had them for years. Love them. Can listen to them for hours without any ear fatigue. I do mostly electronic music, but I always get great feedback on my mixes. Been hearing great things about the new Events though.

Stay away from the Truths. What they said. Too bright.^^^^^^

I went and checked out some monitors yesterday.

The 824s sounded the "best" to me...and frequency response-wise they are very flat. The Events sounded "boxy" in comparison to my ears.

I use some custom-built Altec Lansing monitors that I salvaged from an old NASA presentation room, FWIW. They're not the most accurate by a longshot, but I know what they sound like.

I suppose that the "coolest sounding" monitors are not necessarily the best for monitoring, and I know there's more to accurate sound than frequency response (things like Time Intermodulation Distortion matter, so I'm told).

I've heard a lot of people swear by Yamaha ns-10 monitors -- not because they are the flattest -- but because they have the special quality that "if a mix sounds good on an ns-10 at low volume, it will sound good on most home and car stereos"...

$0.02,
rs

ryansupak wrote: I've heard a lot of people swear by Yamaha ns-10 monitors -- not because they are the flattest -- but because they have the special quality that "if a mix sounds good on an ns-10 at low volume, it will sound good on most home and car stereos"...

$0.02,
rs

Great point, to take it a step further, though it is a good idea to mix on the best monitors you can afford, it is essential to take that mix and play it on the crappiest systems you have access to--i.e. old crappy car stereos, $20 boom boxes, etc. If your mix is audible across the spectrum (esp. check out the low end and kick), and the levels sounds nice and even on these crappy systems, then your mix should be pretty solid. In the end, depending on who will listen to your mix, it is going to be played on a lot crappier systems than your studio monitors, so its best to see what that will sound like from the get go.

Ryan