You are correct.One set for each mixing / mastering workstation I would guess.
You are correct.One set for each mixing / mastering workstation I would guess.
It is my home studio. It is non-commercial. In sixteen years that I have been a music producer I have never charged any of the artists. I just do it for the enjoyment. You can hear some of the songs at Soundclick.com/ThomasSheaIs this a sales room?
I always would have loved to get one of these Audient mixers - exactly what I wanted to have for studio work. But since I use Console 1 with 2 fader units I'm convinced from in the box mixing and will stick to it. The sound is finally really good of these emulations, you have full flexibility and workflow is efficient with the channel strip in hardware.
And yes - I also don't have the space in my mixing room and it would be a horrible financial decision as it's not my main job ;-)
I do most of my work in the box. I enjoy using the Audient console and other analog equipment. However, I will not say that analog equipment produces better sound. Doing things in the box can produce great results.Is this a sales room?
I always would have loved to get one of these Audient mixers - exactly what I wanted to have for studio work. But since I use Console 1 with 2 fader units I'm convinced from in the box mixing and will stick to it. The sound is finally really good of these emulations, you have full flexibility and workflow is efficient with the channel strip in hardware.
And yes - I also don't have the space in my mixing room and it would be a horrible financial decision as it's not my main job ;-)
Wow. Do you do it all pro-bono or do you get some portion of the music sales if I may ask? (I understand if you don’t want to answer publicly).It is my home studio. It is non-commercial. In sixteen years that I have been a music producer I have never charged any of the artists. I just do it for the enjoyment. You can hear some of the songs at Soundclick.com/ThomasShea
So, let me know if you have any additional questions.
Very nice and generous. I bet this helps new artists a lot to get going. Thanks for sharing.I give all of the income from music sales back to the artists. In fact in some instances I have paid for the distribution of the music. I have also paid for studio musicians, etc. For example, back when CD's were the thing, I paid to have CD's manufactured and gave all the sales money to the artists. I even paid for one artist to record an album at a studio in Nashville.
Very observant. I am very "neat." For a session I point the monitors toward me. So after each session, I turn the monitors straight ahead - just for visual. aesthetics. It only takes a few seconds.Out of curiosity… at the three workstations, all the speakers are firing directly in front.
Is there a reason why they are not toed-in towards the work seat?
I enjoy it. (I shut down my law practice 16 years ago to do this).Very nice and generous. I bet this helps new artists a lot to get going. Thanks for sharing.
They're custom designs, I believe OEM'd by Peerless.Always thought they use Seas Tweeters ... but that doesn't look like anything Seas?
Maybe I can find time today or tomorrow - I could do measurements to 50kHz with 120, 120ii and 80.
Interesting. As far as I know Genelec still uses Seas but a better version as the old ones?They're custom designs, I believe OEM'd by Peerless.
You do have all three or four of those possibilities. I don't think there is a bad option among them. All would work from one meter. Check out the recommended listening distances on the Neumann website. I use my KH 150's, KH 310's and KH 120's / II's from 1.1 to 1.3 meters. Remember that all of these monitors are designed by Neumann as nearfield studio monitors. Close is good. For one thing, it minimizes the effects of room acoustics. Almost all of the sound you hear is coming directly from the monitors - and not room reflections. A lot of people do not realize this. It is a big deal.
You can see the distances of my monitors in these photos - including the KH 310's.
The KH 120's were as small as I wanted. Also I do not have the KH 420's ---- Not only are they too expensive for me, they are not nearfield monitors.@teashea: you have almost all the Neumann range in your studio, except the KH80 DSP. Is there a reason? Could it be because they would require the subwoofer and you'd prefer not to use one ?
JMF
Have you confirmed this? Hard to tell without destructively disassembling...Neumann tweeter was designed by Neumann. It's a titanium sandwich with a fabric in between. It is manufactured by Peerless.
What speakers do you pick to listen to for fun/relaxation?The KH 120's were as small as I wanted. Also I do not have the KH 420's ---- Not only are they too expensive for me, they are not nearfield monitors.
For pleasure listening I have a few choices but most often I listen to Klipsch Cornwall IV's or Legacy Focus......What speakers do you pick to listen to for fun/relaxation?
You like the 120 ii more than the 80? Do you think the bigger speaker is worth it for 63dB average @ 0.75m? I’ll eventually add a sub or two.I just got the KH 120 II's.
Fantastic speakers. I've had the first version for a while, but sold them when the KH 80's came out. I always preferred the 80's because they just had a better clarity and imaging to them.
Now these same improvements are in the KH 120 II. Together with the deeper low end, MA-1 and more power these are a clear upgrade over the originals for me.
Ah, four decades of medicine. What’s your specialty?For pleasure listening I have a few choices but most often I listen to Klipsch Cornwall IV's or Legacy Focus......View attachment 287459View attachment 287458
I have never owned the KH 80's but they seem to be too small for my purposes.You like the 120 ii more than the 80? Do you think the bigger speaker is worth it for 63dB average @ 0.75m? I’ll eventually add a sub or two.