Studio Monitors vs Home Speakers

[PeterMusic]

Originally Posted by Petronius

Regarding the Paul McGowan piece; he finds B&W speakers sterile? And here I thought that a speaker should be astoundingly neutral. That the idea of listening to a recording is to hear the recording.

Interestingly, to your original question--my recording musician son loves my B&W CM-1's as studio monitors. Perhaps what you're really looking for is a home product with a studio heritage? And of course, it's probably much easier for find current B&Ws for an audition than the Harbeths.

On the specific question of "sterility"--I love B&Ws. But if we accept that every speaker has pluses and minuses, or certain characteristics along various spectrums, I understand what he's saying. A sub solves sterility instantly.

[Petronius]

PeterMusic,
What kind of music does your son perform? Does he use them as bridge monitors?
My original question at the beginning of the thread referred to products specifically designed for studio use. I.e. ATCSCM 150, Genelec 1238's JBL LSR6332 and etc. I don't
believe B&W builds any specific studio products for studio use, although I could be wrong.
These products generally feature very flat frequency response and aesthetics that can precipitate divorce proceedings.

[bart]

Originally Posted by Petronius

PeterMusic,
What kind of music does your son perform? Does he use them as bridge monitors?
My original question at the beginning of the thread referred to products specifically designed for studio use. I.e. ATCSCM 150, Genelec 1238's JBL LSR6332 and etc. I don't
believe B&W builds any specific studio products for studio use, although I could be wrong.
These products generally feature very flat frequency response and aesthetics that can precipitate divorce proceedings.

If Abbey Road Studios count as studio - - then B&W is used in studios.
Since the age of the Beatles by the way.

[Petronius]

Right, but I don't think that they were designed for that specific purpose were they? The
Seattle Symphony recording engineer Dmitriy Lipay uses them in his control room.

[bart]

Originally Posted by Petronius

Right, but I don't think that they were designed for that specific purpose were they? The
Seattle Symphony recording engineer Dmitriy Lipay uses them in his control room.

I don't think so either.
They're not ugly enough.

Kidding aside, all kinds of speakers seem to be used in recording/mixing studios. Not only real studio monitors/speakers.

Last year we visited a studio (Northstar) that uses a 7.1 Avalon Acoustics system, amplified by Spectral. On the road he uses Geithain monitors.

We plan to visit the trptk studio also, and they use a 5.0 KEF Blade 2 set-up, driven by Hegel H30s.

[PHC1]

Sound Liaison in the Netherlands uses TAD compact evolution one's. They produce only highest quality, high resolution recordings as a boutique recording studio. Small speaker with a heart of a lion and a massive sound.

[bart]

Originally Posted by PHC1

Sound Liaison in the Netherlands uses TAD compact evolution one's. They produce only highest quality, high resolution recordings as a boutique recording studio. Small speaker with a heart of a lion and a massive sound.

I heard their bigger brethren.
Very good transducers!

[PeterMusic]

Originally Posted by Petronius

PeterMusic,
What kind of music does your son perform? Does he use them as bridge monitors?
My original question at the beginning of the thread referred to products specifically designed for studio use. I.e. ATCSCM 150, Genelec 1238's JBL LSR6332 and etc. I don't
believe B&W builds any specific studio products for studio use, although I could be wrong.
These products generally feature very flat frequency response and aesthetics that can precipitate divorce proceedings.

He is working on highly detailed and layered indie rock; you can hear influences from Steely Dan, The Beach Boys, and Talking Heads.

On B&W--I was thinking of Abbey Road, as noted by another poster.

From your messages, I do think you'd enjoy B&W stand mounts (with a sub), and they will pass the wife test much more easily than other speakers.

[Petronius]

I do presently use 3 bridge monitors on stands (JBL 4408's reboxed in teak) raised to have the HF at 40 inches I also use 2 Altec 411's for VLF's. My JBL 4410's are being refurbished after the Boxes were destroyed by a leak while we were on vacation in Phoenix. We do get our share of rain here.
ADDENDUM:
I probably would enjoy listening to the B&W's. I'll be in Bellevue on Wednesday, so I'll bring a disc and listen to some.

[Petronius]

Colleagues, Here is an anecdote that is germane to our discussion;
Some years ago I read an article about Barry Gordy and Motown in an audio magazine. I have forgotten which one. The article was more on the recordings Motown made and how they were monitored. I seems that Mr. Gordy was interested in a monitor that had "that one true sound."
At one time Motown was monitoring with a system that used 4 JBL D130's per side and were tuned in such a way that they delivered a peak at around 100 Hz and shook the building!
At one point they were using the AR 3a. Unfortunately The AR's were not up to the challenge and would barely last a week before they would go through a woofer or most often the midrange. AR would gladly sent new ones as they were happy to be able to say that the 3a was being used as a studio monitor.
I'm sorry I don't remember what magazine or who the author was. It was probably around 1974.