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jukap
Published on 01/29/09 at 16:03
- What characteristics have motivated your choice?
Bandwidth, some switches allow for adaptation to the room, quality construction
- For what purpose?
Monitors / mix music listening and possibly from time to time a short film
- What amp / What configuration? ...
They are already bi-amplified and directly related to my RME Fireface 400.
SOUNDS
- The frequency curve is sufficiently neutral?
It's going very well (I had made by receiving a frequency sweep and just the sheet I had a feeling of slight depression between 100 and 200 Hz, and a small peak on the high mids - 'I remember more frequencies - and the treble to 8 KHz if I remember correctly, I have not done it since the "break" but I guess it had to improve, at least I do not feel the need to return).
- The stereo image is good?
This is excellent, the pano side are very clear, broadcasts are excellent even in aerated or weird reverb, center stage is set very well even on thin widths. In addition, the "sweet spot" is quite broad, allowing many to benefit a little or turn around when the space is not that of a pro mastering and we must move.
- The sound is clear and precise on the spectrum?
I could really understand what the obscure term "transitional compliance", I read from time to time by not having a vague insight means (well, should also be said that in receiving the stuff of such, I went back to read a little theory, too). So accurate, yes. The rest were taken to naked in front of you, the various plans and tools makes their grain, their faults too, everything comes off, the eq are confident. I guess you could, again, do even finer, more detailed, more more more now, but probably not without a very large system calibrated to measure a room super processed, so full full full full of wheat more ... Or by going directly to (good) concerts (in the best rooms) - which IMHO is probably still the best thing to do with the difference in the budget, right?
- The dynamics are respected? ...
I was looking for instructors who can just treatment of the dynamics: it is really good, I'm not disappointed. It should again be able to always have a little better but then you start to be in the big leagues, it's serious. It was the real fishing kicks, compression settings agree, it can go more finesse.
On the whole, I had previously Event TR8, clear enough but lacking precision dynamic and also less fine (especially at high frequencies), now I really appreciate the difference, be it for my small projects or simply to listen to real big prods. Then we see more clearly what the major studios pros, and even they do (sometimes) (small, them) crap, it reassures some way!
OVERALL OPINION
- How long have you use it?
I received last week, they are just lapped, and it is true that the sound became more balanced after a while (especially the top was a little too forward and lens and I now have a real made consistent without losing the finesse of departure).
- What is so special that you like most and least?
For more: The fineness of the stereo, the posting of plans, the precise rendering of the dynamic restitution. It's really obvious now as the percussion percussion are before me kernels microphones, movement and placement of the singer feel well, the instruments make their own grain, etc ... Moreover, they make no noise, are very stable and transmits very little vibration even without MOPAD, and little heat. The transition to other sound systems seems very good (home theater, 2 stereo, car) but I still real test as 3 or 4 mix funk / rock and electro, not on more acoustic pieces (but hey I do not work enough sound anyway, and as for the rest of the investments and levels are very well made with BM12a I do not think there is little to fear ).
Among the less, uh ... design is only average? Honestly I can not find their flaws.
- Have you tried many other models before buying it?
I tried living in HS a lot of mid-range monitors (Yamaha, KRK, M-Audio, ...) before finally buying my Event TR8 and since then on the "step up", I could just listen to Genelec (it's good but sometimes a little fuzzy, and they do not go down enough), and Mackie (large print bumps) and Adam (clenching a little high on some sources for me to be too dynamic exactly! - and do not descend as well), I opted for the Dynaudio. I wish I tried the small French Focal home (but I can not believe that a boomer 6 "can go down as well), and of course also super models top high-end but good ...
- How would you rate the quality / price?
It's expensive for an amateur but it's an investment worth (and eventually to as much as what you pay now fi in most mid-range sedans).
- With experience, you do again this choice? ...
I repost a notice if it happens to be, but I'm very happy today.
Bandwidth, some switches allow for adaptation to the room, quality construction
- For what purpose?
Monitors / mix music listening and possibly from time to time a short film
- What amp / What configuration? ...
They are already bi-amplified and directly related to my RME Fireface 400.
SOUNDS
- The frequency curve is sufficiently neutral?
It's going very well (I had made by receiving a frequency sweep and just the sheet I had a feeling of slight depression between 100 and 200 Hz, and a small peak on the high mids - 'I remember more frequencies - and the treble to 8 KHz if I remember correctly, I have not done it since the "break" but I guess it had to improve, at least I do not feel the need to return).
- The stereo image is good?
This is excellent, the pano side are very clear, broadcasts are excellent even in aerated or weird reverb, center stage is set very well even on thin widths. In addition, the "sweet spot" is quite broad, allowing many to benefit a little or turn around when the space is not that of a pro mastering and we must move.
- The sound is clear and precise on the spectrum?
I could really understand what the obscure term "transitional compliance", I read from time to time by not having a vague insight means (well, should also be said that in receiving the stuff of such, I went back to read a little theory, too). So accurate, yes. The rest were taken to naked in front of you, the various plans and tools makes their grain, their faults too, everything comes off, the eq are confident. I guess you could, again, do even finer, more detailed, more more more now, but probably not without a very large system calibrated to measure a room super processed, so full full full full of wheat more ... Or by going directly to (good) concerts (in the best rooms) - which IMHO is probably still the best thing to do with the difference in the budget, right?
- The dynamics are respected? ...
I was looking for instructors who can just treatment of the dynamics: it is really good, I'm not disappointed. It should again be able to always have a little better but then you start to be in the big leagues, it's serious. It was the real fishing kicks, compression settings agree, it can go more finesse.
On the whole, I had previously Event TR8, clear enough but lacking precision dynamic and also less fine (especially at high frequencies), now I really appreciate the difference, be it for my small projects or simply to listen to real big prods. Then we see more clearly what the major studios pros, and even they do (sometimes) (small, them) crap, it reassures some way!
OVERALL OPINION
- How long have you use it?
I received last week, they are just lapped, and it is true that the sound became more balanced after a while (especially the top was a little too forward and lens and I now have a real made consistent without losing the finesse of departure).
- What is so special that you like most and least?
For more: The fineness of the stereo, the posting of plans, the precise rendering of the dynamic restitution. It's really obvious now as the percussion percussion are before me kernels microphones, movement and placement of the singer feel well, the instruments make their own grain, etc ... Moreover, they make no noise, are very stable and transmits very little vibration even without MOPAD, and little heat. The transition to other sound systems seems very good (home theater, 2 stereo, car) but I still real test as 3 or 4 mix funk / rock and electro, not on more acoustic pieces (but hey I do not work enough sound anyway, and as for the rest of the investments and levels are very well made with BM12a I do not think there is little to fear ).
Among the less, uh ... design is only average? Honestly I can not find their flaws.
- Have you tried many other models before buying it?
I tried living in HS a lot of mid-range monitors (Yamaha, KRK, M-Audio, ...) before finally buying my Event TR8 and since then on the "step up", I could just listen to Genelec (it's good but sometimes a little fuzzy, and they do not go down enough), and Mackie (large print bumps) and Adam (clenching a little high on some sources for me to be too dynamic exactly! - and do not descend as well), I opted for the Dynaudio. I wish I tried the small French Focal home (but I can not believe that a boomer 6 "can go down as well), and of course also super models top high-end but good ...
- How would you rate the quality / price?
It's expensive for an amateur but it's an investment worth (and eventually to as much as what you pay now fi in most mid-range sedans).
- With experience, you do again this choice? ...
I repost a notice if it happens to be, but I'm very happy today.