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Post by Deleted on May 21, 2019 8:23:47 GMT -6
I'm mixing on Genelec 8040's in a well treated room. All my clients are very happy with their music (even happier with my mixes than what they got from pro studios where they recorded).
Have some spare cash and I was recently offered:
- Tannoy System 10 DMT II: coaxial mixing monitors from the 90's. I mixed a while ago on DMT 15 and never experienced such depth and soundstage
- Avalon Acoustics Pro Monitor: from the audiophile brand. They released these monitors for professional use. MTM configuration. Same size as Amphion Two15. I tried them last week in an untreated small room and was one of the most revealling listening sessions ever. They are very cruel and honest. Any sign of over compression and eq sounds so bad you just want to get rid of 90% of your record collection
- Tannoy LGM 12": Tannoy again. This model came from the hifi branch but was extensively used in recording studios. It's on the edge of my budget but I'm sure they will last a lifetime
- Should I spent hard earned cash on gear/microphones?
- outboard gear options: LTL Silver Bullet / Manley Massive Passive / Hendyamps Michelangelo
- microphones: 2 x Coles 4038 / Neumann M149 / Mojave M300
Mics I already use: Schoeps CMC64, Royer 121, Beyer M160, Senn 441/421, 414 BULS, AKG D12, AKG C24, B&K 4004, Beyer M201, Gefell UM70,
Gear: Manley Vari Mu, SS Pultec, Barry Porter Net EQ, Studer mixer,
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Post by jcoutu1 on May 21, 2019 8:38:00 GMT -6
I vote compression.
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Post by Deleted on May 21, 2019 8:47:43 GMT -6
Haha I think compressor is the only gear I don't intend to invest on. I mix with almost no compression and using varimu only for tube coloration |
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Post by jcoutu1 on May 21, 2019 8:50:08 GMT -6
Haha I think compressor is the only gear I don't intend to invest on. I mix with almost no compression and using varimu only for tube coloration We're obviously living in different worlds stylistically then. |
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ericn
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Post by ericn on May 21, 2019 8:51:52 GMT -6
I’m going to vote find the monitors you can work with the easiest be they Tannoy Avalon or something else. You have to be able to listen through not to your monitors, know what they do right and what they get wrong. You get there and your golden, all speakers suck, it’s finding the ones that suck in away you can work around, not me, or anybody else.
I have owned Tannoys and friend almost bought Avalon the company many years ago both very seductive in very different ways if one could weld together the best of both you would have a damn near perfect speaker!
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Post by Deleted on May 21, 2019 8:53:14 GMT -6
Haha I think compressor is the only gear I don't intend to invest on. I mix with almost no compression and using varimu only for tube coloration We're obviously living in different worlds stylistically then. That's why I didn't put no compressors in the list  |
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Post by Deleted on May 21, 2019 8:56:20 GMT -6
I’m going to vote find the monitors you can work with the easiest be they Tannoy Avalon or something else. You have to be able to listen through not to your monitors, know what they do right and what they get wrong. You get there and your golden, all speakers suck, it’s finding the ones that suck in away you can work around, not me, or anybody else. I have owned Tannoys and friend almost bought Avalon the company many years ago both very seductive in very different ways if one could weld together the best of both you would have a damn near perfect speaker! 100% agree with you Eric! It's been a long journey learning these monitors and finally realised there's no right or wrong monitors, just unlearnt ones. The only reason to think about Tannoy's and Avalon is they are rarely for sale and I can get a pretty good deal on them. On the other hand I've never been a "multiple monitor guy" but I love having microphones to choose from when recording |
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Post by sean on May 21, 2019 9:21:29 GMT -6
Not sure what instruments you are recording but a pair of something would be useful Id imagine. Maybe another Royer, 414 or M160 to use as overheads?
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Post by Deleted on May 21, 2019 10:01:02 GMT -6
Not sure what instruments you are recording but a pair of something would be useful Id imagine. Maybe another Royer, 414 or M160 to use as overheads? Thanks for answering Sean! I mainly record jazz and always try to get mics in pairs for piano, overheads, vibes... I currently have 2 Schoeps, 2 Royer 121, 2 Beyer M160 So I assume you'd get a pair of Coles 4038  Good microphones carefully placed make mixing a pleasure |
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ericn
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Post by ericn on May 21, 2019 10:24:39 GMT -6
Then go for the coles!
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Post by Blackdawg on May 21, 2019 10:29:31 GMT -6
If it ain't broke. Don't fix it.
The 8040s are great monitors. You know them. You know your room. Mixes sound good. Leave it alone.
Get the Coles.
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Post by Deleted on May 21, 2019 11:04:03 GMT -6
I think I answered my own question,
Glad I opened this thread here instead of the purple one. I'd receive all kind of s****y advices.
Definitely beginning and end of chain (microphones and recording room and monitors and control room acoustics) are the most important
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Post by Deleted on May 21, 2019 23:50:56 GMT -6
Interesting to see 2 people voted for Silver Bullet. It's been on my radar since it came out and I can get one used basically for the same price without shipping, customs and taxes
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Post by Blackdawg on May 22, 2019 0:38:54 GMT -6
The silver bullet certainly would be good choice too. Especially if you don't use a lot of compression that thing should give you a nice way to beef up audio with no compression.
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Post by Deleted on May 22, 2019 1:48:38 GMT -6
The silver bullet certainly would be good choice too. Especially if you don't use a lot of compression that thing should give you a nice way to beef up audio with no compression. This opens a new horizon for me so I can get a Silver Bullet and a single Coles now and saving some money for a second one in the near future. I'm not really worried about frequency response deviation in an unmatched pair of brand new mics |
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