Studio monitor roll call - who has what?

House of Quested
308s powered by Bryston 4B
F11as

Had Yamaha's, had Adam A7X, sold them two months ago for the Avantone Abbey, and I'm really glad I did.

Genelec 1031A's
Yamaha NS-10M's

(no longer use my UREI 809's)

B&W matrix 805 with hafler amp
cheap pair of small stereo shelf speakers on art sl1

the old krk 7000b still sitting in the room.

JBL LSR4328P with matching sub
NS-10
Auratone 5s

Pro Ac Studio 100's with sub

PSI's are some of the most precise monitors I've ever had, they were too technical for me, I found I needed something more "broaband" to mix on if that makes sense. Best way I could describe them was it was like an EQ, a very good one that you could use to notch and find little things, but not so broad. I remember being able to hear all sorts of things on those monitors you couldn't hear on other speakers, I mean like any other speakers. That got me to thinking though, if they really don't fit my ears and you can't hear what they reveal on pretty much any other speaker, can I justify the expense. Definitely a monitor for certain people. The transient response of them is what I miss about them, they had the transient response of NS10's but still gave you accurate and a good amount of low-end. 

And hit me up on cloning your speakers.... I might be able to help. 

I mainly mix on the Equator D5's with the ADAM Sub 8 inline.

I check my mixes for Cell Phone/Computer Speaker/Flat Screen TV/Laptop Speaker balance on the ROR's because they do that sort of narrow bandwidth the Auratones/Avantones do only much, much better and more articulately.

And I check for mistakes, pops, clicks, plosives, reverb and delay tale problems...pumping....phasing, etc. on the PSI's. They're my magnifying glass to make sure I didn't miss something. But 90% of the time I'm on those those cheap ass Equators on the 3rd switch setting (which has the biggest bass response.) And usually I'm monitoring at very low volumes.

I feel you on the PSI's...I can't listen to everything on them for too long...it'll drive a man nuts. But I can't seem to work out a faster workflow when it comes to double checking things for stuff that sticks out.

I hate mixing on anything bigger than nearfields, and when I go to master I swap to the PSI's...they're just more accurate for that...almost as good as much more expensive monitoring rigs for the job. I use the ROR's during mastering too, but as a reference monitor prior to swapping to cell phones and car speakers.

I'll message you sometime tomorrow (I'm heading to bed now...) but if you want to talk shop about cloning my old ROR's I'd love to swap numbers and chat about them. They're something truly special but I spent six years hunting down my pair. =/

Love my PSI a21-m's --- blew away everything else I demoed, and very easy on the ears from a fatigue standpoint. As others have said, they're extremely revealing, so I guess you could get lost in details, but I don't find that to be an issue. For me, they are far easier to work on and translate much better than the Rocks, KH120's, and Equator D8's that I compared to. Of those three, the Rocks were the clear standout, but my ears didn't really get along with the ribbon tweeters.

Pelonis Model 42s with a Tannoy TS-8 sub. KEF Q-10s. Vintage Auratones I bought new in the 70s. I find myself mixing mostly on the 42s at low volume in mono. I do a lot of checking with the sub, KEFs, Auratones and headphones. The 42s are really thick in the mids, with lots of detail. They are about 30 inches away. Works really well.

Good ol Dynaudio BM5a MKII's here.