Studio Monitors (for reference) on a budget?

Denalihighway

Hi lads,

I'm gonna buy a pair of studio monitors. They're really only for reference. I won't have a treated room any time soon and if I'm mixing I have some decent cans but I'm not even at that stage yet, it's just for recording and reference.

I had narrowed it down to the KRK RP5s. But I'm just wondering if you think it would be worth going up a bit for a pair of HS80s or even going up to the RP8s?

The music I'm making is very varied. The dancier stuff will have bassy/subby stuff going on and I am concerned about bass response etc but I realise I'm on a budget here (would not go over €500 for the pair).

Any advice appreciated.

godfrey

Have a look at these Genelec 8020's. I use them in one of the TV studios I work in and you won't believe the bass performance, as well as the obviously good mid range clarity that decent monitors provide. Being near-field monitors, they're perfect for your setup.

g

pinksoir

I have the RP5s. I'd say they're not very loud and bass response is not great. Apart from that they're quite decent. Sound is flat and clear.

If I was you I'd go for a bigger woofer. The RP5s are 300 for the pair so see what you can get for the full 500.

There's a pair of 8s on Adverts right now for 400. In Galway though.

Denalihighway

thanks for the replies lads, food for thought.

any other opinions / pointers? thanks

Neurojazz

Denalihighway wrote: »

thanks for the replies lads, food for thought.

any other opinions / pointers? thanks

Can confirm the 8020s kick ass - they are *tiny*, best built speaker ever and you can grab the sub later which includes 5.1 support if you wanted.

I'm also loving the childproof grills on them

Really loud to boot

Denalihighway

cheers

a bit over budget, but they sound worth stretching for.

are these the same as these?

all the specs seem the same but they've different names!

godfrey

Yes they're the same but please, don't be fooled by the 'Thomann is always cheapest' mantra. Shop around, including the UK.

Also, when you say they're just for reference that's quite misleading. Reference monitors were named such because they would be monitors against which others would be judged, because of their accurate reproduction, and also ones used to make critical mix/balance decisions. Reference monitors are therefore high-end, rather than something for merely having a casual listen!! A lot of studio terms have been corrupted over the years...

g

Denalihighway

duly noted

theaaao

Lads anyone able to answer me this!? I'm buying the krk RP6 but wondering about the interface I have and if it will work. This is the one I have http://www.alesis.com/io2. The Alesis IO 2.
Wondering if it will do for the rp6's with the mic/XLR cable connections.
I'm a newbie at this so..:D
Cheers

Denalihighway

so after some more pointers and advice and a bit of a look around it came down to the Genelecs and the Focal CMS

decided to save a bit more and go for a pair of Focal CMS50s next month. seems a worthy investment, I wouldn't be fancying/needing an upgrade for a good while I hope.

just wondered if there was any comments on this?

Be like Nutella

Samson 65a Active Studio Monitors

just f%ckin amazing : )

Highcontrast1

Hey
Don't go for expensive monitors if your room isn't treated(or if you dont intend on treating it).u have to bring into consideration the size of your room.the dimensions etc.is it carpeted?carpet will just eat all the highs.
I'd suggest u get a cheap pair and get used to it.have a look at equator d5s
5 inch coaxials
takes about 2 weeks to get them
Good luck anyways

PingPongDelay

In the same boat, been immersing myself in Ableton Live over the past few months. Using a 5 year old 100 watt hi-fi system and they're getting ROUGH lately. Clarity just is not there.

KRK seem to be industry standard, seen those yellow cones in more than a few pro studios.

Are monitors usually active rather than passive?

Highcontrast1

PingPongDelay wrote: »

In the same boat, been immersing myself in Ableton Live over the past few months. Using a 5 year old 100 watt hi-fi system and they're getting ROUGH lately. Clarity just is not there.

KRK seem to be industry standard, seen those yellow cones in more than a few pro studios.

Are monitors usually active rather than passive?

The krks are active(the yellow ones)I had a pair of Krk st8s about 4 years ago and they were passive.most home studios use active monitors.
Check out Pensados Place on YouTube.there is an entire episode on monitors and acoustics
Might help you decide on what pair to get and how to get the most out of them

Good luck

PaulBrewer

PingPongDelay wrote: »

In the same boat, been immersing myself in Ableton Live over the past few months. Using a 5 year old 100 watt hi-fi system and they're getting ROUGH lately. Clarity just is not there.

KRK seem to be industry standard, seen those yellow cones in more than a few pro studios.

Are monitors usually active rather than passive?

I'd disagree that KRK are an Industry Standard.
In fact , I'd suggest the opposite.

The old 9000b had some respect.

mkegvn

Denalihighway wrote: »

so after some more pointers and advice and a bit of a look around it came down to the Genelecs and the Focal CMS

decided to save a bit more and go for a pair of Focal CMS50s next month. seems a worthy investment, I wouldn't be fancying/needing an upgrade for a good while I hope.

just wondered if there was any comments on this?

Juicing for a pair of the Focals myself. Borrowed a pair off a mate for some location stuff recently, and they're just fantastic.

Denalihighway

mkegvn wrote: »

Juicing for a pair of the Focals myself. Borrowed a pair off a mate for some location stuff recently, and they're just fantastic.

I was in town on Sat with a grand to drop on the buggers but got cold feet

wanted to do one last week of research. big purchase for little me.

if any of the pros here had any comments would appreciate it. some inaccurate stuff in this thread from the noobs.

I'm a noob myself but I know for example the KRKs are far from industry standard in pro studios. maybe they have become popular for a reasonably good option for home studios but pro studios wouldn't look at them.

also, I'm aware having a untreated room doesn't help, but I also know that spending some decent money on good quality nearfield monitors, designed for small spaces, is not a worthless investment, even with an untreated room (I also have a good pair of cans for this reason).

woodsdenis

Definitely Focals over Genelecs. CMS 50 in the 1k range. I am eyeing up a pair myself.

fitz

I was looking at the sE Eggs, but am waiting to hear back about getting hands on with some Neumann KH120's which can be had for a lot less.
Anyone got experience with the Neumanns? They seem to get a lot of praise...

peter05

Some mastering studio's praise those Neumanns. I don't think they are been sold under the Neumann moniker though( If it's the same selection I'am thinking of)

Edit: Different Neumann's am thinking of.

Am in the middle of changing out main speakers here. Toss up between some B&W 605 or a self build http://www.troelsgravesen.dk/Jenzen-Illuminator.htm leaning towards the self build at the moment for the end of summer project.

I love the way the chap has left them in the wood finish, cheer you up no end on a dark winters day. Chatting to some studios that use and nothing but praise.
€1500 for the build/parts. There is some mixing monitors there but I is looking for a 3way system so didn't bother too much looking at specs of them.

tweeky

Just make sure either choice can stand up to general studio abuse, mostly from kick drums and various percussive transients. Mastering environments are a lot friendlier to speaker than general studio tracking.
For €1500 there is a lot of choice both good and bad. I use NS10's that are probably 16 years old with 1 tweeter replace and a great pair of ProAc Studio 100's that are 22 years old with original drivers and both have served well. A good amp behind these is mainly the reason for their longevity.
To me Neumann make great microphones.
Make sure you listen yourself and not rely on hearsay.

fitz

tweeky wrote: »

Just make sure either choice can stand up to general studio abuse, mostly from kick drums and various percussive transients. Mastering environments are a lot friendlier to speaker than general studio tracking.
For €1500 there is a lot of choice both good and bad. I use NS10's that are probably 16 years old with 1 tweeter replace and a great pair of ProAc Studio 100's that are 22 years old with original drivers and both have served well. A good amp behind these is mainly the reason for their longevity.
To me Neumann make great microphones.
Make sure you listen yourself and not rely on hearsay.

The Neumann monitor line is a rebrand of Klein and Hummell apparently, but yeah, really want to hear them. Should be getting some time on the Eggs next week, looking forward to that.

peter05

tweeky wrote: »

Just make sure either choice can stand up to general studio abuse, mostly from kick drums and various percussive transients. Mastering environments are a lot friendlier to speaker than general studio tracking.
For €1500 there is a lot of choice both good and bad. I use NS10's that are probably 16 years old with 1 tweeter replace and a great pair of ProAc Studio 100's that are 22 years old with original drivers and both have served well. A good amp behind these is mainly the reason for their longevity.
To me Neumann make great microphones.
Make sure you listen yourself and not rely on hearsay.

Yea Troels are for mastering not for mixing. They will need to be tweeked to taste and room. Very close to been flat so it's a good start. I've had trouble with active monitors in the past and just very little belief in master on them now. These been passive I have to hunt down an amp to power.

Can't afford the 800series B&W and really dislike buying used.

Really fancying a pair of those SE EGGS though.

CrimsonSounds

I had the KRK VXT 8's for about 2 years. I wouldn't go as far as to say that the KRK's are industry standard, though I've definately seen them sitting behind some big consoles in studio shots around the world. Their original high end range, the ES I think they were called, were highly regarded and I know there's one mix room in the UK where Adele for example was mixed uses them religiously.

In saying that, I upgraded from the VXT 8's to the Adam A77x's. I've had a few friends with Adams in their studios over the years, and I always liked the way they sounded (P22a's and S2's). You should definately consider the Adam A**x range, perhaps the A8x's, or A7x if the 8's out of budget. I almost got the focal twins, but couldn't stretch the extra 800 quid for them at the time. I'm gloriously happy with the A77x's though ;-)

However, as has been mentioned above, room treatment is vitally important. You can't mix what you can't hear, and if you are mixing something you are hearing that is not actually there, both those situations leave you crying in the car driving around wondering why it "doesn't sound as good as it did in your studio" !!

For the record, I never liked those Genelecs, always found them boxy - but I have heard a much bigger Genelec 5.1 system going with the big sub, and it was stunning in fairness.

Good luck ;-)

fitz

Have had the Eggs for a couple of days now, editing a session from the weekend that I'll start mixing proper this evening.
Was using a pair of Genelec 1031a's that were in the room when we were tracking, so have something in the price range to compare too. The Eggs seem more accurate to me.

I was blown away by the detail of tracks that I was very familiar with.
Fired up The Pretender by Foo Fighters.
As soon as the snare came in, I was floored. I could pick out the tone of the reverb used on the snare, something that I'd never really noticed before.

Very impressed. I'm pretty confident that getting this mix sounding good on these is going to leave me with very solid result that'll translate well. I'll post in the Rate My Mix section and link here (band permission dependent).