Went and listened to some Amphions today

Thanks, I will.

I didn't like this purely out of respect for Tony

 The 38% concept came from Wes Lachot... this is what he had to say about it a few years ago on another forum:


Wes Lachot:

"Hey guys. Yes, I think it was I who started the whole 38% thing as a starting point for the listener position. But I never called it a "rule" - that just sort of happened as it spread around the internet.

The main point is to get safely outside of the midpoint (50%) of the room, and 38% often works out to be about right, particularly when using wall-mount speakers in a typical mid-sized (20 ft. deep) control room. For a mastering room, approx. 38% from the back wall might actually be better, if the room is deep enough that 38% is 10 ft. or so.

For an all-in-one room like the one in the EQ article, there are many considerations other than just the straight up question of where to place the listener in an empty room. You've got to have room to accomodate performers, room for a couch, and so on. So it usually makes sense in that type of scenario to place the console and listening position forward of the 50% location. And again, 38% is recommended as a starting point, not a "rule".

I often use RPG's Room Optimizer program to check the interaction of the modal and boundary effects, and combine that with knowledge gained from experience of past room designs. Then there's the size of the sweet spot, and the interaction of the speaker focus point with the room modes to consider. All of these things go into the equation when deciding on the listening position. But all things considered, 38% is not a bad place to start."

Not particularly a fan of this sub. I have one, collecting dust. In my room, I could not get any clarity from it. I might end up adding it to my home theater system, to enhance the effect of cinematic artillery, bombs, earthquakes, tornadoes, and such.

I'm setting up my new monitoring rig with a sub, I'll put a switch under the desk like JK's, it's simply a fun button, not for analytical stuff, just for when a potential who needs impressing comes in the studio, and I want to pound, punch and thump the money out the pocket without violence 8)

well with bass being omnidirectional and probably mono in the mix, as a minimum that sonic information would affect your sense of the imaging of all the rest of the information.

when I spoke before about the visceral nature of sound that bass information would really interact with our body too so you would really sense it and your brain is trying to compute what it is hearing and what the body is feeling.

If I had one 18's and nice amps, I would lose the inexpensive sub pronto and/or pull a Tony strategically !

I am thinking your sub vs the one 18's and your nice amps is a first world recording problem ?

This stuff is kinda like plastic surgery isn't it? Sometimes people do stuff that no one notices, but it makes them more confident. Then others go totally overboard and they think it's awesome, while others think it's too much...

I was just thinking that. Early reports are that the integration is just insane good. The price? Well...

If you have a path through a KRK sub like that, you can bet your bottom dollar the sound is getting changed..  Would be better to wire it in parallel or something.

JK and his wallet don't want to know but amphion have subs now too

saw that afterwards

That's about what most studio control rooms are from the glass if we think about it.

But I still hold to the opinion that less than ideal conditions can be easily overcome by being farm iliac with ones setup.

Your latest mixes sound great man. I would think a lot of that has to do with the capture and some killer mix decisions.

Nicely done. Your only an inch from big league studio quality. The other inch would be in a list players I would think.