NSMD!

DrewJD82

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I hate the white, but for $200 a pop I wasn't about to start bitching. I'll put some fucking stickers on them. :rofl

I need some good monitor stands I can put on the floor and set these back a bit, then I'll put the HS5's back and use them to reference. Just like when I tried a pair out in GC last weekend, these are highlighting the exact issues I'm having with congestion/low end with the HS5's.

Going to just listen to music for a couple days on these and reset my ears a bit!
 
View attachment 16304

I hate the white, but for $200 a pop I wasn't about to start bitching. I'll put some fucking stickers on them. :rofl

I need some good monitor stands I can put on the floor and set these back a bit, then I'll put the HS5's back and use them to reference. Just like when I tried a pair out in GC last weekend, these are highlighting the exact issues I'm having with congestion/low end with the HS5's.

Going to just listen to music for a couple days on these and reset my ears a bit!
You heathen! The white rules! You shall not cover them in stickers!
 
I can’t wait to start mixing on these. Already with a quick clip I recorded yesterday just to get an idea of how they translate is proving they were a wise choice I should have made years ago. It’s practically a 1:1 match to my truck.
 
Man, this has been a HUGE learning lesson with a LOT of growing pains.

I've been sitting in here pretty much daily since I got these just trying to learn them. The first thing that became apparent to me; I waited way too long to upgrade. Advice for others- If you've been mixing for about 3 years and it's something you really enjoy that you want to take further, upgrade your monitoring situation so you're hearing the whole frequency range. Get your room in order.

Getting the settings on the backs of these, the Room Control and High adjustments is integral. Learning how those end up affecting the end result is also integral. The whole aspect of 'Robbing Peter to pay Paul' with frequencies is right in your face with these. The first thing I noticed when tracking; the click track started and as soon as the music came in the click track's perceivable volume dropped in half. I never even heard a change on my HS5's in the 6 years I used them.

Sometimes when I bite off big chunks I surprise myself when I succeed in swallowing them, so I took the biggest session I have, 70-something tracks, in a tuning I never use, and thought I would learn these speakers on that mix. :roflI was crushed when I bounced my first mix down! It was like I regressed 5 years (and I started 6 years ago). There's layers and layers of stuff and I'm just not experienced enough yet to make that song sound how I want it to, which is why I stopped trying to mix it 3 years ago.

Just getting a guitar tone was a hurdle, because I still wasn't recognizing how much fucking low end I had in my kick drums and how much headroom it was removing. Low end was just information that wasn't on my radar until I went in my truck to see if I hypothesized it right in my studio. The best analogy I've thought of yet was 'If you carve Mt Rushmore out of a block of butter, that doesn't make it a stone carving" and I was carving my mixes out of nothing but mids and highs previously with the 5's, with whatever shitty information I got from the non-correct sub.

They had to come off this shitty folding table before they fell off and/or knocked over the computer.
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Once they were spaced out correctly (with a tape measure) things started moving along quickly. Finally in the last week and a half I'm getting bounces I'm expecting to get. They're still not exactly how I want them to sound, but it's getting there. Fab Filter just made some money off me as I want to be able to understand the shitty frequencies a lot better, that solo function on the Pro-Q3 is invaluable and that Multi-band comp is getting a workout with all the double bass sidechained to the bass. Stuff I was aware other people did, but never heard a need for it until now.

It was really frustrating at first, but I'm a bit more excited than I've been in the past because the entire reason I wanted to learn how to record/mix on my own was a result of spending years in studios recording and never getting to hear a damn thing how I wanted it to sound.
 
Once they were spaced out correctly (with a tape measure) things started moving along quickly. Finally in the last week and a half I'm getting bounces I'm expecting to get.
Don't fight the room.

Learn what's wrong with, and work with it.

:cop
 
The room is as important as the speaker (and that includes things like speaker position, listening position, treatment, room dimensions, stands, angles and god knows whatever else).

The biggest thing for me was treating the room so I wasn’t just EQing the effect of my room on the sounds, but actually hearing things accurately (or at least more accurately). So much of what I was doing before was just correcting things the room was doing, that I didn’t actually need to touch.

It’s quite amazing how much effect the position of the speakers can make, both in terms of distance apart from each other, distance from rear walls, and height.

Well worth investing in a measurement mic and having some kind of reliable way to see what effect moving things around makes to how you hear things. Room treatment goes without saying too, there’s only so much benefit good speakers will make if the room is undoing it.
 
The room is as important as the speaker (and that includes things like speaker position, listening position, treatment, room dimensions, stands, angles and god knows whatever else).

The biggest thing for me was treating the room so I wasn’t just EQing the effect of my room on the sounds, but actually hearing things accurately (or at least more accurately). So much of what I was doing before was just correcting things the room was doing, that I didn’t actually need to touch.

It’s quite amazing how much effect the position of the speakers can make, both in terms of distance apart from each other, distance from rear walls, and height.

Well worth investing in a measurement mic and having some kind of reliable way to see what effect moving things around makes to how you hear things. Room treatment goes without saying too, there’s only so much benefit good speakers will make if the room is undoing it.
Word. If it weren't for correction software I wouldn't have bought a sub, or be mixing in my current room.
 
I’ll be getting a measurement mic soon, for sure. No point in going this far and not taking that step.

I’ve already got foam packed in everywhere, it’s floor to ceiling in every corner and I’ve got either side of my general listening position covered . There’s not a whole lot of flat space in there and the floor is covered with a commercial rubber mat I snagged out of one of my building lobbies.

My biggest hurdle was just going from this limited frequency range to a wider one while realizing there was so much audio information I had never been able to consider as a result of that.
 
You wanna be careful with that "acoustic foam" stuff - it largely doesn't do very much, and you can spend a pretty penny on it, without it actually controlling reflections in any meaningful way.

This! Very likely it won't adress any of the most critical room nodes, either (most often happening in the lower frequency range). To fight those, thick materials are needed (such as bass traps, just as one example).
 
You wanna be careful with that "acoustic foam" stuff - it largely doesn't do very much, and you can spend a pretty penny on it, without it actually controlling reflections in any meaningful way.
Thanks for that nugget of information. You probably saved me hundreds of dollars and a ton of frustration.

:beer
 
Word. If it weren't for correction software I wouldn't have bought a sub, or be mixing in my current room.
I’m a huge fan of room correction software, but it’s really the finishing touch. I think it’s possible to do great work by just treating the room and learning the monitors.

You wanna be careful with that "acoustic foam" stuff - it largely doesn't do very much, and you can spend a pretty penny on it, without it actually controlling reflections in any meaningful way.
Yep, gotta be careful because a lot of it does next to nothing (and certainly doesn’t fix the most common issues with rooms). A lot of that foam stuff is basically 1 step above putting egg cartons on the wall. The best bet is to use the room dimensions to predict the areas that’ll need targeting, plan around that, then measure and target problem areas accordingly.

Dense corner traps and (thick) ceiling clouds are basically always going to help, and are probably worth planning for. Some approaches like attack walls can be very effective with limited space. Lots of free .pdf guides are available online for building these things quite cheap and they’ll be very noticeably effective.
 
Thanks for that nugget of information. You probably saved me hundreds of dollars and a ton of frustration.

:beer
You want high density stuff. A lot of those acoustic tiles are no more dense than a burlap sack!

I've got DIY made frames. Inside I've got Rockwool, then covered in breathable fabric. They work quite well. You can think of them as more of a broadband absorber. Think they can go down to around 130hz, if you have an air-gap behind them. If they're flat against the wall, they're effective down to around 300hz, iirc. Material dependent.

Bass traps need to be deeeeeeep for them to have much effect.
 
Man, this has been a HUGE learning lesson with a LOT of growing pains.

I've been sitting in here pretty much daily since I got these just trying to learn them. The first thing that became apparent to me; I waited way too long to upgrade. Advice for others- If you've been mixing for about 3 years and it's something you really enjoy that you want to take further, upgrade your monitoring situation so you're hearing the whole frequency range. Get your room in order.

Getting the settings on the backs of these, the Room Control and High adjustments is integral. Learning how those end up affecting the end result is also integral. The whole aspect of 'Robbing Peter to pay Paul' with frequencies is right in your face with these. The first thing I noticed when tracking; the click track started and as soon as the music came in the click track's perceivable volume dropped in half. I never even heard a change on my HS5's in the 6 years I used them.

Sometimes when I bite off big chunks I surprise myself when I succeed in swallowing them, so I took the biggest session I have, 70-something tracks, in a tuning I never use, and thought I would learn these speakers on that mix. :roflI was crushed when I bounced my first mix down! It was like I regressed 5 years (and I started 6 years ago). There's layers and layers of stuff and I'm just not experienced enough yet to make that song sound how I want it to, which is why I stopped trying to mix it 3 years ago.

Just getting a guitar tone was a hurdle, because I still wasn't recognizing how much fucking low end I had in my kick drums and how much headroom it was removing. Low end was just information that wasn't on my radar until I went in my truck to see if I hypothesized it right in my studio. The best analogy I've thought of yet was 'If you carve Mt Rushmore out of a block of butter, that doesn't make it a stone carving" and I was carving my mixes out of nothing but mids and highs previously with the 5's, with whatever shitty information I got from the non-correct sub.

They had to come off this shitty folding table before they fell off and/or knocked over the computer.
View attachment 17567

Once they were spaced out correctly (with a tape measure) things started moving along quickly. Finally in the last week and a half I'm getting bounces I'm expecting to get. They're still not exactly how I want them to sound, but it's getting there. Fab Filter just made some money off me as I want to be able to understand the shitty frequencies a lot better, that solo function on the Pro-Q3 is invaluable and that Multi-band comp is getting a workout with all the double bass sidechained to the bass. Stuff I was aware other people did, but never heard a need for it until now.

It was really frustrating at first, but I'm a bit more excited than I've been in the past because the entire reason I wanted to learn how to record/mix on my own was a result of spending years in studios recording and never getting to hear a damn thing how I wanted it to sound.
Turn the monitors right side up. It looks nice on its side but sucks acoustically.
 
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