Krk v6 or Event PS8 please help

  • Thread starter Thread starter RAPD
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Thanks sjoko2, I was asking for your opinion (not scientific proof), and I got it.
In fact I got two opinions: thanks JuSumPilgrim.
And since I have your attention, what is your opinion on Hafler TA1100 and M5 passive speakers combination? How does it look against Events?
 
You cannot really go wrong with the Haffler amp, its more or less studio standard, and now a damn side cheaper as GC has started selling them
The M5 - I have not used them, they're on my list to try sometimes. I only heard them at the AES show, which is not exactly a good environment to listen. I know some people who use them for surround mixing, they know their stuff, and they like them. Also, I have only heard good things about them, which is sorta rare.
 
The M5s are great. They, along with the PS5s have what alot of monitors dont have: clear midrange. They have a slightly smaller overall sound than the PS5s though. But they are very balanced and clear, with a slight rise in the midrange. I havent heard them through the TA1100, I heard them through the P1500 and they were maaaarvelous. Again you would probably want to get a sub with them or learn them well so you dont overdue the bottom.
 
I auditioned the hafler m5 and thought that a subwoofwer was needed with it.(I couldnt hear the kickdrumm well).so I had to pass on them.

nice design though and price but not for me.
 
PS-8's

I'm still getting the hang of mine. I agree with what's been said about them -- they are kind of warm and not really well defined in the midrange. They are perhaps too forgiving of bad sound. When I mix down, then burn a CD and play it on my living room stereo, I am startled by how thin and brittle my guitar sounds. That unpleasantness didn't come across when I was mixing on my PS-8's.

As I've been reading, the trick is to get to know your monitors and learn what they are telling you and what they are holding back. Then you proceed and mix accordingly.

Oops, there's another coaster!

spwee
 
sjoko2

sjoko2 - I was wondering if you or anybody out here had the chance to listen to any Genelec monitors. I thinking either 1029A's or JBL LSR25P. I found each pair for about $450 in classified adds. Since I'm a newbe in recording I'd like to hear from people who know their stuff. I did get a chance to listen to 1029s here in Toronto at the Digidesign show ( every single both had them Bias, Antares, McDsp ...) I was blow away, but hadn't compared them to anything except Alesis Ones - which is not even close to a comparison. Maybe it was the Pro Tools toys that made them sound so good. I have a small room about 4 x 5 meters and would like to buy something of a good quality for about 5-7 years.

Thanks

P.S. Take a look at Genelec's studio Pictures around the world.

http://www.genelec.com/studio/studio.htm
 
The Gen 1029A's have a frequency response between 68 Hz - 20 kHz, designed for surround monitoring with a 1091A matching sub.
Very similar to the LSR25's.
I was never a JBL fan, and I'm definately no Genelec fan, but that changed when JBL threw the book away and designed the LSR series., which I consider to be amongst the best available today.

$450 is a good price for 2 1029's in top condition. 25's will cost you just under 600 a pair new I think?

The differences - the 25's are less coloured, more accurate. The G's "sound nice" (which is why I can't use any G monitor). The 25's are more powerful by quite a bit, and most important, have a superior adjustment (boost and cut) section which might be a big plus in a small room. Their low end is quite amazing for a small nearfield.

My advise - the G's are a cut above a lot of monitors, like Alesis, Event etc. However, if you can afford the little extra cash, I'd go for a pair of new 25's, which you would definately be happy with for a long time.
 
Does a Genre of music make any diff on the selection? I'm in the Techno/ Trance scene where many of the sounds sound almost a like and need something that can distinguish between each sound. I'm still leaning towards Genelec, but your opinion gets me stuck right in the middle - I don't blame you, it's the opposite. Now you say G's sound nice that's why you never use them. What do you mean by that? Does that mean it sounds too good and when I'll play it on my CD player it will sound awful. I don't have the money to buy each pair for tracking mastering etc. So I need one good pair that will do all of these at once. Are the 1029 designed only for surround and are they designed to work with a Sub? Please tell me the prons/ cons of each one where I would benefit from one rather then the other. Also tell me why you were never a Genelec fan.

Thanks again
 
I think you have just answered your own questions.
If you're into dance / trance, you'll need a tight low end.
1029's have, if I remember right, 40w at 8 Ohm low and 40w at 8 Ohm high. The 25's are 100w and 50w at 8 Ohm, which is a very big difference, with the 25's low end having well over double the capacity.
This is why I started my last post by saying "designed for surround monitoring with a 1091A matching sub" The 1091 sub is designed to provide the 1029's low end, not the 1029 itself, which is very plain once you look at the specifications of the amps.
The 25's are designed as stand-alone nearfield monitors first, which is why they have heavy low end amplification, like virtually all other such monitors. In surround configuration the 25's are matched up with an LSR12, which will give you an idea of their power, as the 12 is a real building-shaker.
Note that the above is just technical fact, not my opinion.
My opinion - you'd get p'd off quickly with the lack of bass from the G's, and if you try to compensate by pumping up the volume, you'll ruin the tonal balance.

Second part of your question - "nice" sound. I know G's are amongst the most popular monitor manufacturers, so I'm fully aware I might go a bit against the grain here. But - I am by no means the only person with this opinion. G's sound nice. Everything you play on them sounds nice. Note - I'm not saying good. Good = accurate, if I screw something up, I like to hear it, thats why I use expensive monitors. I want things to sound nice when I'm finished, before then I like monitors to just represent the truth.
The above was first just my, and some of my collegues, opinion. But - I work both as a recording engineer and as a mastering engineer. Every project I do I make sure I get project details, including which main / mid / near monitors were used. In time this gives you a pretty good picture. Tell me what monitors a project was referenced on - I'll tell you in what frequency band(s) I'll have to make corrections, before I have heard the project.
In the old studio we had a large spectrum analyzer, which had coloured markings under the frequency bands, just for fun. Each colour represented a type of monitor - deadly accurate.
Reason for the above, it proved my feelings about G's.

Hope this answers your questions, if not, just ask
 
Thanks, I'm going with 25's then. I'll let you know how it turns out - if you're interested.
 
Also can you tell me that kind of cables I should use. I'm clueless what brand type and size should I use not only for monitors but for my Motu 1224 as well. Another dumb question I have is - If I have Bi-Amped monitors can I still blow them, or is there a safety switch built in? If there is non, where can I get one, what kind how much etc.

Thanks again
 
*grin* the often forgotten - and friggin expensive - element of audio gear. Good cables are expensive, but give superior performance and last long. I have a strong preference for Mogami. Gepco is a bit cheaper, but also very good. Don't use excessive lengths. And don't forget that you need different cable type for digital signal transmissions (if you use any).

The 25's, like most bi-amped monitors, have build-in overload cut-off.
 
impressions on Hafler M5

Well, I asked questions about them, then I auditioned a pair at Guitar Center. In case someone is interested I was not impressed.
They definitely have elevated midrange which is not bad. What I didn't like was lask of bass. I don't mean bass that shakes your internal organs - the boxes were just too small and light to expect them to go anywhere low. But I did expect them to let you hear what was going on down below. In reality, there was lack of kick drum (good observation, darrin_h2000!). Although it was not really my kind of music I brought Metallica recording to torture boxes a little bit, and I could even hear some real low bass notes. No wonder Hafler advises to get a subwoofer. The price of $99 per pair was really tempting, but I still decided to pass.
 
Without looking up all the tech spec - (no time) - I believe all the synth outputs are unbalanced anyway. For that purpose just get good quality instrument cables, that's all you need.
The XT is a cool toy!
Correct me if I'm wrong - but has your emu got that stupid digital output at 20 bit? I think they had the idea ADAT was going to rule the world......
 
You're wrong it doesn't have digital out, it's a wavetable synth like the XT and has analog outs.
 
oh cool... bless the day synth manufacturers "invent" 24 bit digital
 
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