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Which speakers are the Classical Music Pros using?

killdozzer

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Maybe a good comparison would be trying to do film-productions with a tv-monitor with wrong colours.:)
Its impossible and everyone agrees on that.

The same happens with bad loudspeaker monitors ( non-flat and/or with bad directivity ) when used in sound productions.
Great example. Thank you. That helped me.
 

ZolaIII

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@killdozzer whose referring to refractions from hostile space (environment) among other things and sure put Genelec 8341A to close to the back wall or simply in bad enough room that you have to dial bass - 6 dB (or even more). That's exactly what people have! Less perfect equipment and less perfect environment, trow in small speakers which can't even get close to high sound levels where spectrum is hottest or average one's that cannot do that without distortion even in ideal conditions. I think you see where that is going. However where signal is hottest ain't where you have the most information, that would be mids, uper mids lower highs. Evaluation those have there help you with easier leveling (when monitoring). Easy example would be a bit up front female vocals compared to male one's. Same applies to highs you just need to remind yourself that those are bright and it needs to stay that way and if you exaggerate those will chop your head off how bad it will sound.

Every deviation we bring into original signal is considered as distortion so we try to do it on insane level to minimise the demage (modern DSP's and huge vector calculations 128 bit FP).

Examples of quet listening when you don't want much of a range but you want that mids are more prominent (TV shows and such, Dolby's and cetera) for instance.

Nothing bad about little more elevation in mids and a bit of excitement there (to hell we all love it) and it translates good to hedaphones as all of them already have it there (not flat but rather similar but much more prominent hump there arguably for the same reason and more prominent to complete more as after all those are little speakers).

I don't know is this making any sense to you but at least I tried (all do I whose running away from doing that).
Best regards.
 
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killdozzer

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@killdozzer whose referring to refractions from hostile space (environment) among other things and sure put Genelec 8341A to close to the back wall or simply in bad enough room that you have to dial bass - 6 dB (or even more). That's exactly what people have! Less perfect equipment and less perfect environment, trow in small speakers which can't even get close to high sound levels where spectrum is hottest or average one's that cannot do that without distortion even in ideal conditions. I think you see where that is going. However where signal is hottest ain't where you have the most information, that would be mids, uper mids lower highs. Evaluation those have there help you with easier leveling (when monitoring). Easy example would be a bit up front female vocals compared to male one's. Same applies to highs you just need to remind yourself that those are bright and it needs to stay that way and if you exaggerate those will chop your head off how bad it will sound.

Every deviation we bring into original signal is considered as distortion so we try to do it on insane level to minimise the demage (modern DSP's and huge vector calculations 128 bit FP).

Examples of quet listening when you don't want much of a range but you want that mids are more prominent (TV shows and such, Dolby's and cetera) for instance.

Nothing bad about little more elevation in mids and a bit of excitement there (to hell we all love it) and it translates good to hedaphones as all of them already have it there (not flat but rather similar but much more prominent hump there arguably for the same reason and more prominent to complete more as after all those are little speakers).

I don't know is this making any sense to you but at least I tried (all do I whose running away from doing that).
Best regards.
Thank you for your time and patience. I think I understand what you're trying to say.

Of course, you can do this to any speaker:
close to the back wall or simply in bad enough room that you have to dial bass - 6 dB (or even more)
And even expect Genelec to do slightly better since they are less room dependent.

Also, I never said it couldn't be done. A very good sound engineer can do exactly what you said - keep in mind they're bright and bypass that flaw. My original comment on this subject referred to a notion that NS10 will magically help you achieve good results for all other speakers and will do so thru their shortcomings and this is equally false IMO now as it was before.
 

Frgirard

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Maybe a good comparison would be trying to do film-productions with a tv-monitor with wrong colours.:)
Its impossible and everyone agrees on that.

The same happens with bad loudspeaker monitors ( non-flat and/or with bad directivity ) when used in sound productions.
because you can't imagine a professional spending time adjusting to a speaker.
A good pro can work with anything as long as the bandwidth replicates what he needs to process.
 

killdozzer

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because you can't imagine a professional spending time adjusting to a speaker.
A good pro can work with anything as long as the bandwidth replicates what he needs to process.
Who told you he can't?! You're quite rude.
 

ZolaIII

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Thank you for your time and patience. I think I understand what you're trying to say.

Of course, you can do this to any speaker:

And even expect Genelec to do slightly better since they are less room dependent.

Also, I never said it couldn't be done. A very good sound engineer can do exactly what you said - keep in mind they're bright and bypass that flaw. My original comment on this subject referred to a notion that NS10 will magically help you achieve good results for all other speakers and will do so thru their shortcomings and this is equally false IMO now as it was before.
No one told you it will be a easy ride nor that anyone can do it. All paper cones thanks to material have a point they tight and level up when you drive them fairly strong enough and then they sound great. Good ones have a large range so that crossover point is really high (or there isn't one at all - hedaphones). They always sound a bit bright but don't confuse this with horrible and sibling. In the time NS10 came out you didn't have to explain to anyone and specifically not an experienced sound engineer what paper is or how to bare with it. Now it's a different story.
Any fool today can take a good DAW and do abstraction of what he wants to have a critical insight in, crunch it up until its brain implodes even more and it won't translate to a good mix by it self. It's not convenient and tooks a lot of time and equipment. Back then you couldn't even imagine to have such equipment. Those (and don't even ask me why) become most commonly used studio monitor's in the history and they still enable you to do 80% of the job in efficient, fast and minimal requirements manner when you get to know them good enough (to hell you down even need to drag them as chances are you will already find them there).
 
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Tangband

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01BF4414-8097-4ED7-B574-EFE8D8129F51.jpeg
 

Tangband

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No one told you it will be a easy ride nor that anyone can do it. All paper cones thanks to material have a point they tight and level up when you drive them fairly strong enough and then they sound great. Good ones have a large range so that crossover point is really high (or there isn't one at all - hedaphones). They always sound a bit bright but don't confuse this with horrible and sibling. In the time NS10 came out you didn't have to explain to anyone and specifically not an experienced sound engineer what paper is or how to bare with it. Now it's a different story.
Any fool today can take a good DAW and do abstraction of what he wants to have a critical insight in, crunch it up until its brain implodes even more and it won't translate to a good mix by it self. It's not convenient and tooks a lot of time and equipment. Back then you couldn't even imagine to have such equipment. Those (and don't even ask me why) become most commonly used studio monitor's in the history and they still enable you to do 80% of the job in efficient, fast and minimal requirements manner when you get to know them good enough (to hell you down even need to drag them as chances are you will already find them there).
You can also combine good and bad loudspeakers .
978CCE9C-7479-44F2-A8D6-4FB4494B873B.jpeg
 

Chester

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View attachment 165273

This studio looks great. I can’t see any room treatment though, is that typical? I wonder how it sounds.
 
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tuga

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Would that transportable studio be used for live concerts or something else?
 

fordiebianco

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