Which speakers are the Classical Music Pros using?

[Floyd Toole]

This is why @Floyd Toole coined the "circle of confusion".

It makes sense to use the same speaker at home as the recording engineer uses in his studio. But as long as not all studios use the same speakers (or with comparable characteristics) this approach is impossible. Therefore the best approach is to use a proper speaker with good spinorama and apply EQ when necessary.

Yes, in addition to the smorgasbord of speakers that find their way into studios, there is a smorgasbord of comparable size in the choice of equalization superimposed on the native performance of the speakers. These days opinion matters as much or more than science, so the situation is very disjointed. The widespread belief that "room EQ" is the final arbiter of sound quality is the final nail in the coffin of standardized sound quality.

 

[tuga]

Teldex Studios in Berlin:

Control room 1 - B&W 801 Matrix (midfield)

 

[DSJR]

Perhaps engineers could correct me, but I was told ages ago that the large impressive in-wall monitors like the PMC's above are there for show mostly these days and all the serious work is done on the near-fields and maybe headphones.

 

[tuga]

Bayerische Rundfunk:

Studio 2 - ME Geithain RL903K

 

[tuga]

Münchner Philharmoniker Gasteig:

B&W 802 Diamond

 

[tuga]

I'll stop here. It's mostly B&W (passive).

 

[amadeuswus]

I am sure the playback in some of these studios is very impressive. But to hear in our homes something closely approaching what the engineers heard in these studios, we would probably need to sit behind a huge (mixing) desk listening to a mix of in-your-face reflections competing with the direct arrival. Another reason why duplicating studio playback may not be the best goal in the home?

 

[sergeauckland]

Perhaps engineers could correct me, but I was told ages ago that the large impressive in-wall monitors like the PMC's above are there for show mostly these days and all the serious work is done on the near-fields and maybe headphones.

Depends. The large main monitors tend to get used for tracking, where it's particularly important to make sure what's going down on the track is right. Headphones can also be used, as stereo positioning and EQ doesn't matter at this stage. Overdubs, drop-ins etc also. Mixing and EQ can be done on either main monitors or something less exalted, dynamics and EQ also. Mix checking gets done of the ubiquitous Yamahas or other small 'domestic' type 'speakers. All of this applies more to pop/rock recording than classical, but even then a lot of classical is multitracked and mixed, much less is done 'purist' direct to stereo.

As to headphones, I can see the value when tracking, but for mixing absolutely not as stereo positioning and EQ needs external loudspeakers. At least, every time I've had to mix and EQ on headphones it's been a pretty poor result. Others might be better at it!

S

 

[SimpleTheater]

I am sure the playback in some of these studios is very impressive. But to hear in our homes something closely approaching what the engineers heard in these studios, we would probably need to sit behind a huge (mixing) desk listening to a mix of in-your-face reflections competing with the direct arrival. Another reason why duplicating studio playback may not be the best goal in the home?

Headphones remove the room issues and I find myself using them more and more.

 

[tuga]

Headphones remove the room issues and I find myself using them more and more.

It's a matter of personal preference. I really dislike listening with headphones, and wearing them.

 

[maverickronin]

Headphones remove the room issues and I find myself using them more and more.

It's a matter of personal preference. I really dislike listening with headphones, and wearing them.

A binaural mix for headphones is also completely different from a stereo mix for speakers, which is probably why some people really dislike listening with headphones.

 

[GD Fan]

So a lot of classical studios use Bowers, we see that. Does that help explain the typical Bowers curve that's much maligned here? I'm not a classical music listener and therefore have no insights as to the implications such a curve would have.

Or maybe it was a promotional tool by the brand to place their equipment in selected locations for reasons of prestige?

 

[andymok]

And most of not all, use Merging's DAW Pyramix and their ADDA...

 

[pierre]

What I can tell about classical music studio is that they do not see a lot of money going through (at least in Europe).

Consequence: they keep what they have for as long as they can. They would likely buy something
different now (cheaper or whatever a big brand give them). Or build a better room.

In recent studio i have been working in they do have excellent acoustic (especially for movies mastering or for games).
The "classical music" only kind of studio I used to know all died / closed in the last 20 years. In Paris, it is
hard to find a surviving one. When you find one, they are dusty, smell bad and are not state of the art. They still
produce good music.

 

[Koeitje]

So a lot of classical studios use Bowers, we see that. Does that help explain the typical Bowers curve that's much maligned here? I'm not a classical music listener and therefore have no insights as to the implications such a curve would have.

Or maybe it was a promotional tool by the brand to place their equipment in selected locations for reasons of prestige?

All these studio's will be using some kind of room correction.

 

[thewas]

All these studio's will be using some kind of room correction

as if they wouldn't, their mixes would have a nasty presence peak due to the presence dip of all later B&W models.

 

[tuga]

Newbie post :
So what is the sound evaluation process like ? While recording/mixing listen to both speakers and for finer details listen to headphones ? I see only few pictures where Engineer is very close to speakers (ESL one in first post). Dont console clutter, large display screen, chairs, lights etc. stuff give reflections, cancellations and additions at mid/low end ?

Pardon for little abstract thinking but how about wireless glove control for consoles ?
A non related example.
that is if reflections, cancellations and additions of sound waves are bothersome.
Regards.

Welcome.
Could you start a topic about that subject. This one is about speakers used by record labels, orchestras and studios for the production of Classical music.

 

[tuga]

as if they wouldn't, their mixes would have a nasty presence peak due to the presence dip of all later B&W models.

You pressume that they all EQ their mixes but some, perhaps many, may not. (those Lyrinx and to a lesser degree CPO recordings that I own sound off tonally but most others are fine).

I haven't seen mention of it in most of the interviews and write-ups I've read, and Classical music production is very different from pop/rock which is heavily processed.

 

[tuga]

What I can tell about classical music studio is that they do not see a lot of money going through (at least in Europe).

Consequence: they keep what they have for as long as they can. They would likely buy something
different now (cheaper or whatever a big brand give them). Or build a better room.

In recent studio i have been working in they do have excellent acoustic (especially for movies mastering or for games).
The "classical music" only kind of studio I used to know all died / closed in the last 20 years. In Paris, it is
hard to find a surviving one. When you find one, they are dusty, smell bad and are not state of the art. They still
produce good music.

That is perhaps partly why orchestras have now taken the role of record labels. But I wouldn't say that the market is dead because I get emails advertising new recordings every single week.

 

[bluefuzz]

Classical music production is very different from pop/rock which is heavily processed

That's a bit of a blanket statement. Yes some pop/rock is 'heavily processed' (whatever that means) – but so is some classical. You don't think modern classical production avails itself of all the capabitities of modern digital recording techniques? And if we are specifically talking loudspeakers used in studios I don't see how the needs of classical production differs (or should differ) from any other kind of music ...