Circle of Confusion: Database of Studios and their Monitors

[DSJR]

I don't remember all 800 series speakers by just looking at them, but is that the 801 Nautilus perhaps? In that case the woofer crosses over at 350hz, and I think the 801s typically have crossovers around the 350-400hz area. In that case I'm not sure this setup is necessarily a huge issue.

I'd politely suggest from second hand info that Abbey Rd probably didn't have much choice in the monitors they use, as promotional (to B&W)/commercial cost reasons may play a huge part in their use.

 

[IamJF]

Placement, room and speaker choice is generally irrelevant,

It isn't irrelevant when it makes the job harder or easier. Monitoring situation is one of the major things in a control room.

 

[holdingpants01]

It isn't irrelevant when it makes the job harder or easier. Monitoring situation is one of the major things in a control room.

But it doesn't make it any easier if you are used to other monitoring and need to readjust. It is mostly irrelevant to the result (not the workflow), CLA or Serban Ghenea sound like them regardless of the monitoring they use and could get used to anything, they just stick with flawed monitors (NS10s and Proac Studio 100) just because they work for them. I mixed around 500 albums in the span of the last 15 years and my monitors went from Focal CMS50, Eve Audio SC307, SC207 with sub, Klein Hummel O96, Dynaudio BM15A, through Neumann KH120, Neumann KH310, Genelec 8330 and finally to Genelec 8351B later upgraded with W371A. When I listen to my old work I have no idea which monitors I used for which song or where I mixed them, though they still sound like my mixes (for better or worse lol).

 

[tifune]

From the 708p product page, Joseph Trapanese's Atmos setup. Interestingly, his 708s are horizontally mounted.

Joseph Trapanese Creates Cinematic Scores for The Witcher, Shadow and Bone and Spiderhead With JBL Professional

LOS ANGELES—Composer Joseph Trapanese recently upgraded his studio with JBL Professional 708P mas...

jblpro.com

 

[GXAlan]

From the 708p product page, Joseph Trapanese's Atmos setup. Interestingly, his 708s are horizontally mounted.

Interestingly, the front speakers are LSR’s.

 

[Snarfie]

But it doesn't make it any easier if you are used to other monitoring and need to readjust. It is mostly irrelevant to the result (not the workflow), CLA or Serban Ghenea sound like them regardless of the monitoring they use and could get used to anything, they just stick with flawed monitors (NS10s and Proac Studio 100) just because they work for them. I mixed around 500 albums in the span of the last 15 years and my monitors went from Focal CMS50, Eve Audio SC307, SC207 with sub, Klein Hummel O96, Dynaudio BM15A, through Neumann KH120, Neumann KH310, Genelec 8330 and finally to Genelec 8351B later upgraded with W371A. When I listen to my old work I have no idea which monitors I used for which song or where I mixed them, though they still sound like my mixes (for better or worse lol).

I guess you are making use of room treathment. If so is that room treathment based on a specific delay reverb time and or a flat frequency response (neutral).

 

[IamJF]

From the 708p product page, Joseph Trapanese's Atmos setup. Interestingly, his 708s are horizontally mounted.

View attachment 327947

Joseph Trapanese Creates Cinematic Scores for The Witcher, Shadow and Bone and Spiderhead With JBL Professional

LOS ANGELES—Composer Joseph Trapanese recently upgraded his studio with JBL Professional 708P mas...

jblpro.com

This looks a lot like a composers room, not a (movie) mixing room ...
Pretty strange speaker setup. Rears are to high, ceiling to far out (or the camera position distorts so much?). But you often have compromises to arrange with.

 

[IamJF]

But it doesn't make it any easier if you are used to other monitoring and need to readjust.

No - but it makes it easier in YOUR studio.

It is mostly irrelevant to the result (not the workflow),

That's what I'm talking about. You can also do mixes in bad rooms, especially with as much experience as CLA or other big names (but I'm sure he would just turn around in a bad room and as far as I know he only mixes in his studio on his SSL with his proven and quick workflow?).
But it takes longer and is more of a pain.

CLA or Serban Ghenea sound like them regardless of the monitoring they use and could get used to anything, they just stick with flawed monitors (NS10s and Proac Studio 100) just because they work for them. I mixed around 500 albums in the span of the last 15 years and my monitors went from Focal CMS50, Eve Audio SC307, SC207 with sub, Klein Hummel O96, Dynaudio BM15A, through Neumann KH120, Neumann KH310, Genelec 8330 and finally to Genelec 8351B later upgraded with W371A. When I listen to my old work I have no idea which monitors I used for which song or where I mixed them, though they still sound like my mixes (for better or worse lol).

I got one of the first KH120ii and after calibration with the MA1 ... to be honest this is all you need for reliable monitoring. It's missing the lowest octave (which I like to have for mastering) but the rest is really good and a step up from the old model.
It must not be a super fancy expensive setup - know your room, controll the acoustics and have a good setup. Then buy the best speakers you can afford ;-) and use it for the next 20 years.