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Which speakers are the Classical Music Pros using?

krabapple

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Or skip “the indoctrinated” and “the holy book” (such an ironic, dare I say desperate, description of a science-based tome) and go straight to the scientist himself and what he has already said in this thread on “B&W 8**”, link.

Especially this quote: “I have noted that B&W 800 series speakers are reported as showing up in control rooms, implying that they have some special quality missing in "non-classical" monitors. Sorry, but this is simply human nature at work…
Wise studios would have an alternative, neutral loudspeaker, to audition as well, and many do. So, is the appearance of this speaker in recording studios a validation of its acoustical excellence and neutrality? No.


Now I can see why you are so proactively aggressive and defensive.

It's a good bet he didn't bother reading what you linked to.

Treating ones own (sighted) hearing as holy strikes me as more foolishly religious than citing the (contingent) findings of scientific research.

Similarly, I have read so much utter 'religious' or at least 'superstitious' blather about sound gear from 'studio professionals' that it's hard to be confident about their appraisals prima facie.
Who is doing the appraising, matters.

Does it come down to 'the proof in the pudding' (the sound of the recording at home)? How can one say, since we don't have the same recording, monitored on a more neutral speaker than the B&W 800s, for comparison? The old circle fo confusion in play again.
 
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tuga

tuga

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It's a good bet he didn't bother reading what you linked to.

Treating ones own (sighted) hearing as holy strikes me as more foolishly religious than citing the (contingent) findings of scientific research.

Similarly, I have read so much utter 'religious' or at least 'superstitious' blather about sound gear from 'studio professionals' that it's hard to be confident about their appraisals prima facie.
Who is doing the appraising, matters.

Does it come down to 'the proof in the pudding' (the sound of the recording at home)? How can one say, since we don't have the same recording, monitored on a more neutral speaker than the B&W 800s, for comparison? The old circle fo confusion in play again.

Did you bother to read what I wrote?
I fear you may have been encircled and confused by Harman's reductionist approach...
 

krabapple

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Did you bother to read what I wrote?
I fear you may have been encircled and confused by Harman's reductionist approach...


I feel you consider science to be a 'reductionist approach'.
 

JustJones

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WGBH Fraser Performace Studios Boston
ATC
Dynaudio
Genelec
 

Galliardist

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Did you bother to read what I wrote?
I fear you may have been encircled and confused by Harman's reductionist approach...
Every single component in your amplifier uses work by reductionist scientists in specific fields and specialist engineers. Please be careful about how you use the word reductionist as an insult aimed at a scientist - reductionism or specialisation is the route that has produced the most spectacular results.

As it happens, Toole's work (which I presume you mean by "Harman's") appears to me not to be reductionist but goes to various disciplines to inform us. There's more than just the work on preference, which I presume you are referring to here.

So I'll ask politely, can you justify your position that Harman's approach is reductionist?
 
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tuga

tuga

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Every single component in your amplifier uses work by reductionist scientists in specific fields and specialist engineers. Please be careful about how you use the word reductionist as an insult aimed at a scientist - reductionism or specialisation is the route that has produced the most spectacular results.

As it happens, Toole's work (which I presume you mean by "Harman's") appears to me not to be reductionist but goes to various disciplines to inform us. There's more than just the work on preference, which I presume you are referring to here.

So I'll ask politely, can you justify your position that Harman's approach is reductionist?
I written several post. Use the search feature.
 

Galliardist

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I written several post. Use the search feature.
I see lots of references to why you say the research is flawed.

I see no reference in the eight pages of search results for your comments on Harman research to the approach being reductionist. I read the lot.

I’ll ask the specific question again. Can you justify your position that Harman research is reductionist?
 

JustJones

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Blue House Productions
ATC
Meyer

Oktaven Audio
Tannoy
JBL
Barefoot
Focal
PMC

Skillman Music
ATC
Barefoot

Dreamflower Acoustic , little different
Anthony Gallo Nucleus
Ohm Walsh MK 2.5 custom

Commodore Recording Studio
Neumann
Avantone Mix cubes
 
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tuga

tuga

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I see lots of references to why you say the research is flawed.

I see no reference in the eight pages of search results for your comments on Harman research to the approach being reductionist. I read the lot.

I’ll ask the specific question again. Can you justify your position that Harman research is reductionist?

 

Newman

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Search for nothing? Nice.
 

Galliardist

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I’ll repeat it for you.., I searched. You have no other post addressing Harman research being reductionist.

As you won’t justify that claim there’s no point in me pressing the matter. I don’t think you do anything for the criticisms you do raise by throwing around what is a common insult thrown around by anti-science people, without being able to justify it.

I don’t think that is what you intend.
 

mSpot

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Abbey Road Studio 2 is used primarily for pop/rock/jazz genres, but does get used for recording smaller classical ensembles. ATC and B&W speakers can be seen after Rick Beato and his host Mirek Stiles enter the control room at 31:05. A Genelec can be seen in the reverb room at 23:36. It struck me that they nerded out over microphones, instruments, recording and editing equipment, but never mentioned loudspeakers even once. The way they were discussing the recording process, the choice of studio monitors would seem to have low importance.

 

Tangband

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The proffesional soundtechnician from pearl acoustics ( doing classical music recordings ) use their own loudspeakers - Sibelius and a Yamaha monitor.
IMG_3893.jpeg
 

Waxx

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The proffesional soundtechnician from pearl acoustics ( doing classical music recordings ) use their own loudspeakers - Sibelius and a Yamaha monitor.View attachment 295244
That is a very nice hifispeaker with a Mark Audio Alpair 10 series driver (customised, but close to the 10.3), but it's limited in dynamics and volume and not neutral in sound like all fullrange drivers. This speaker was extensive discussed at diyaudio btw and is based on older TQWT designs by Scott Lindgren (Woden design/Frugal Pile/Mark Audio).

I have a diy varaition of this design (made before this came out), and altough i like it, it would not be the speaker i use for classical music. It's fit for pop and jazz; but for classical not. Mainly the dynamic range is an issue for this.
 

Tangband

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That is a very nice hifispeaker with a Mark Audio Alpair 10 series driver (customised, but close to the 10.3), but it's limited in dynamics and volume and not neutral in sound like all fullrange drivers. This speaker was extensive discussed at diyaudio btw and is based on older TQWT designs by Scott Lindgren (Woden design/Frugal Pile/Mark Audio).

I have a diy varaition of this design (made before this came out), and altough i like it, it would not be the speaker i use for classical music. It's fit for pop and jazz; but for classical not. Mainly the dynamic range is an issue for this.
The creator of the sibelius loudspeaker says that the voicecoil is slightly different compared to the Alpair 10.3.
Im building a cheaper DIY version in the shape of sibelius right now, ( the same hight ) but with the chn110 and using a bassport on the back, at 31 liter tuned to 36 Hz . I will compare it to my Genelecs .:)
 

Waxx

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The creator of the sibelius loudspeaker says that the voicecoil is slightly different compared to the Alpair 10.3.
Im building a cheaper DIY version in the shape of sibelius right now, ( the same hight ) but with the chn110 and using a bassport on the back, at 31 liter tuned to 36 Hz . I will compare it to my Genelecs .:)
I know from MA insiders that it's a OEM variation, somewhere between the 10.2 and the 10.3 (that were already close to each other). Mine is also using the much newer CHN110 btw and a MLTL, not a TQWT. But as both are variations of each other (both mass loaded TL's) the response is probally similar. I tuned my MLTL to 30Hz F3.
 
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