dirtyp said:
For mixing but you pretty much said that wont work.
please understand that i didn't say that you couldn't mix with those monitors.....what i said was that *i* wouldn't *want* to.
personally, i like tools that make my job easier. call me a skeptic, but something tells me that these monitors would probably not make that job easier. i don't want to discourage you from trying.....but i don't want you wondering "why did i bother?" after you've already spent money on em, either.
keep in mind i DO have experience mixing with the sp5b's, and know exactly what the problems mixing with them were......and i just think that trying to mix with something "less" would be a losing battle. but that's me--YMMV.
[QUOTE = dirtyp} So what your saying is ill have to add to the dip and subtract the peak to balance them out[/quote]
no, i'm saying you need to be able to trust your monitors (and, more importantly, the room in which they're in).
the goal with monitors is not necessarily to find ones that sound good--but rather to find ones that allow your mixes translate well to other systems. there's nothing worse than spending hours and hours recording and mixing a song only for you to take the cd to the car or a friend's and have it sound like crap b/c you can't accurately hear what's going on.
dirtyp said:
This whole monitor thing sucks
this whole recording thing sucks. what starts out as a harmless hobby and desire to "save money by doing it at home and not going to a 'real studio'" becomes a very large hole in which you just throw your cash. i know guys with coke habits that aren't costing them as much.
dirtyp said:
I want a pair of rokits cant afford them.
you know, there IS this old timey practice called "saving up". the concept goes like this--you put a couple dollars a day into a jar that you can't easily open (typically made out of pink porcelain and shaped like a pig), and after a few months or a year you have a solid chunk of change to spend on something.
dirtyp said:
I would buy one at a time but that would be a waist a time.
there's nothing that says you need a *pair* of monitors. i start ALL of my mixes in mono--and only once that mono mix is really happenin, that's when i switch it over to stereo. i'd say that 75% of my mixing actually happens in mono.
then once my mix is done, i take it to a little RCA boombox that is stereo, but the speakers are so close together that it's practically mono. that thing really helps me hear any problems with mono compatibility in my mixes. best $35 i've spent in a long time.
so no, buying one for now and buying a second later is NOT a waste of time. you'd at least be able to use one in mono and use your existing speakers as a second, stereo reference.
dirtyp said:
The vocals are around 10-12?
vocals typically live in the 1-2.5k range. that's why the crossover location (frequency) is very important. if your monitors have a crossover that's not very good and negatively influences what you're hearing at the crossover frequency, i'll make your job harder. some crossovers are so cheap that it actually sounds like there's a *hole* right at that crossover frequency.
dirtyp said:
so whats around 18-20 would that be high pitch sounds.
that would be a bunch of stuff that you probably couldn't hear, anyway--most people can't. however, the energy up there can definitely affect the clarity of a mix.
for example, a kick drum usually has a fundamental frequency around 80Hz. but there's some deepness around 40Hz, some body around 1k, and the beater snap tends to be somewhere between 3 and 4k. believe it or not, boosting or cutting even something at 12k can actually affect the sound of the kick drum. you might not be able to hear *what* is happening at 12k, but you can hear what boosting or cutting that 12k does to the rest of the sound. so having a clear (and non harsh) upper high end is very important.
i'd suggest saving your pennies and buying the ones you want. as the old saying goes, "buy cheap, buy twice."
anyway, enough out of me.
cheers,
wade
