Alice of Old Vincennes
Major Contributor
- Joined
- Apr 5, 2019
- Messages
- 1,428
- Likes
- 921
The pro world is not infected. Just stay with the pros that have been around for the pros. This product masks as a professional monitor for the "audiophile" crowd.The pro world is infected as well.
This is just standard industry practice. Having informed consumers make rational choices would be dangerous.
The lack of measurements and difficulty of comparing in the flesh are the same as in the consumer space.
What's left is hearsay and evaluation by ear.
Also you don't need to mix on current gen perfect speakers to get on the charts. See Tony Maserati and his System 1200s/Studio100s or Warren Huart's 1032s, or Billie Eilish/Finneas and how the bulk of it was supposedly done at home on HS5s (oh the heresy!).
A Genelec-y non-romantic/cold/industrial approach (compared to the lone hero) can be harder to sell to some.
On the electronics side some seasoned engineers still yearn for some even more transparent-er AD because their current one has jitter at -130dB and that is just absolutely hellish and unworkable.
And they tell you about their new monitoring controller with a claimed extra 0.5dB dynamic range way outside the audible range they really needed because it now gives them a dramatically better insight into reverb tails.
(But then it all goes through a 30 year old unserviced Bryston with something like -70dB THDN to NS10s placed sideways on the meter bridge)
People starting out are pushed to upgrade entry interfaces before getting any acoustics done, etc.
Industry interests, client/AnR retention/expectations, psychoacoustics, lack of education, endless misinformation from youtube sellouts, etc.
I believe broadcast/film is less susceptible to snake oilery.