Anybody know how good these speakers are?

F

fdsa

Active member
Roland- MA-10A They accessible in my area no need to wait, also not pricy. Thx whoever can say something about these. :thumbsup:

Also is anyone using non-monitor speakers for audio? like Logitech stuff or someothers? I don't feel like getting a crappy expensive moniter, would rather get a high-end non-monitor speaker, probably for half the price. I heard some Logitech are do-able for monitoring sound, also it has the bass too, which the moniters seems to lack. Welcom any comments.... @@
 
I have some here in the shop, and for $100 for the pair, they are pretty nice. Not as nice as the 20d's, but definitely nice. I wouldn't be cutting sound on these, but just as a basic reference monitor for something like FCP or AVID, they are perfect. I've really pushed some air with these things, and I like them.

-Dave
 
agreed. we have em in my classroom and they're great for the money. wouldn't mix an album on them, but my students do editing (fcp,) and radio journalism (faux this american life- type stuff,) and they're great for that.
 
You need crappy speakers to test mixes on. Cheap $2 computer speakers are as crappy as you can get!
 
"Roland- MA-10A " saw on some reviews, 2 people said don't like'em, they said not enough power and no bass. Why wouldn't your guys mix on them and say they are nice? hows the bass and loudness? do the sound hold up when the volume is up? thx
 
Do not save on monitors, do not... :thumbsup:

Go and test them out! It's the only way to find out if they are good in to your ears. :beer:
 
I had heard great things about these and bought them. I use high-end mackie THX speakers at work. I was nervous as to how these were going to sound.

The Behringer Truth monitors kick a$$. They cost around $300 for a pair, and are worth every cent. They are powered, and have plenty of headroom for serious OOmph.

http://www.zzounds.com/item--BEHB2031A

I ran into an audio engineer/friend of mine and he had the same speakers, and loves em. Besides a little spike in the 2k region.....they rock.
Newer engineering seems to have solved a previous heating problem they suffered.
Jeff Patnaude :thumbsup:
 
Gotta agree with Jeff there. I worked out of a guys small studio last winter and he had some Truth monitors, amazing response. As close to my Genelec as I have heard a "budget" speaker get. I plan to get these for our next Avid workstation. Amazing deal for price.
 
How bout these speakers? Behringer MS40 and MS20, I am in a small room, I think the $300 speakers are too big for my room. those are in the 100 range. comment please
 
pmark23 said:
You need crappy speakers to test mixes on. Cheap $2 computer speakers are as crappy as you can get!
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Why? All you'll be testing is how they sound on *those* crappy speakers, not anyone else's.

Dan
 
it's pretty much standard practice to have some real crappos around to test mixes on. every real studio i know does that. and though every "crap" speaker isn't the same, they tend to share some common flaws. first and foremost, they tend to only reproduce the mid to mid-high range of frequency. major rolloff starts to happen below a couple hundred hz, and above around 10 khz. this makes sense, because the spoken human voice occupies that range, as does the heavily compressed crap that is played by most radio stations. especially am stations. if you listen to the music most often associated with "am radio," you'll find that there aint much bass there anyhow. and the car test is crucial too, since the majority of consumers end up listening to music in their car. there is at least one studio in la that actually has a car in a room in the studio for checking mixes on a car system. for lower budgets, you have to actually go to a car parked outside. testing mixes in mono is also essential. but now we're talking about recording studios for music.

why would i recommend the ma-10's even though i wouldn't mix an album on them? because you're talking about logitech, which may as well be a four-letter word as far as i'm concerned. and i assume you're not going to be mixing an album on them. dave and i both explicitly stated that they're good for the money. in one of my jobs, i was in charge of spec'ing out equipment for a 15-station lab for fcp editing. this is at a large state university. now i don't know if you have any idea of the realities of state school budgets, but suffice it to say that tannoys, genelecs, or even mackie monitors aint gonna go in that room. these kids needed decent reference monitors for editing, and not a great deal of power. the edirols fit the bill. given the nature of this board, i assumed that you are primarily interested in editing video, not mixing albums. and i also assumed that you won't be hiring yourself out as a sound mixer for studio features. if i'm wrong, correct me. otherwise, i don't know of any speaker that's better for that incredibly low price. you should probably consider people's intended uses for equipment while reading reviews. tracking and mixing music is a very different thing than, say, needing to be able to hear dialogue while editing video. ultimately, you should either figure out a way to listen to the things before buying, or buy them from a place with a decent return policy. that goes for any monitor from $100 to $10,000.

also, bear in mind please that non-monitor speakers require amplification (as do many studio monitors, though the ones you're discussing are self-powered.) so non-powered speakers might not save you as much as you think if you're planning on getting home stereo type speakers. cheap-crap computer speakers are also often self-powered, albeit with crap amplifiers driving crap speakers, inside of crap cases. in my experience, logitech hasn't ever made anything that doesn't fit firmly into the "crap" category.

so perhaps you need to establish what you plan to do with these monitors. if you're talking about mixing albums on them, then you need to re-think your strategy. you need good monitors to do so. it's also preferable to have better monitors for serious video work, but it's also possible to edit just fine with relatively inexpensive monitors. (just not crap like logitech.) presumably, (again, given that this is dvxuser.com,) you're trying to make videos, and you hope to make money with them, and you'd like to one day bust into the world of real feature filmmaking.

if you make a movie with your pro-sumer camera that gets picked up for theatrical distribution, you'll be exporting your audio and handing it over to a mixer with a better room, mixing board, monitors, effects, a/d-d/a conversion, and software than you (or i) can afford. so don't worry about it.

if you're doing industrial work or (god forbid) weddings, then you'll be fine too. any of this kind of work will only get played back on systems with speakers far worse than the edirols anyhow. the vast majority of what i do gets played back either on tv's, or, when i do stuff for a gallery setting, on a projector, with the sound handled by a stereo amp and a pair of speakers like jbl control 1's or something. (control 1's are also a perfectly serviceable cheapish speaker for an editing station, though they -like any actual "speaker"- require amplification.)

so that's the only advice i can give you. if i was mistaken about your intended usage for these monitors, then i apologize. if you can give us more information, then everyone here will try to consider this before we offer advice. based on your post, it seemes pretty clear that budget is a serious conideration for you. there's nothing wrong with that-budget is a big deal for me too (and most of us, i'd suspect.) so i stand by my the endorsement based on the price range that you seem to be considering.
 
Quite a story, discs of tron, heheheh! :thumbsup:

Totally agree with that it's better to have also some real crappy speakers around. No questions about that. In their own way, they also reveal some things about what you are doing. Or plenty of them, like I do, hehehehe! :thumbsup: Logitech's nro.1! :grin:
 
discs of tron said:
it's pretty much standard practice to have some real crappos around to test mixes on. every real studio i know does that. and though every "crap" speaker isn't the same, they tend to share some common flaws. .
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If you mix something properly on real monitors and then go back in and change things because of how it sounds when played through low-end speakers...well, you've missed the point, to put it politely.

It's just like monitoring your video using a calibrated monitor. You make it look like it's supposed to look, and let the end-user worry about whether it looks good on their 13" Hitachi in the kitchen.

Make it sound like it's supposed to sound. If want to hear what it sounds like under non-optimal conditions, go ahead...but don't change anything because of it. And, if you're not going to change things, why bother with that step in the process?

Dan
 
I want to get cheap speakers do-able for monitoring and also can be good for listening to regular music. Are monitors good for listening to regular music? like CD, mp3? or are they maybe too flat.... that maybe regular stereo speakers a better for that? because you want to hear the thumping bass and chee chee highs in the tunes you know... monitors=flat?
 
GenJerDan said:
If you mix something properly on real monitors and then go back in and change things because of how it sounds when played through low-end speakers...well, you've missed the point, to put it politely.
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THE thing is to make it sound as good as possible on 'EVERY' speaker system. Not just on your highend Genelec near field monitors. It is totally possible, that the thing you are mixing sounds amazing on decent near field monitors, but it's totally lost when played with the low end speakers. It happens all the times. And that is a HUGE problem, really. And one just can't run out of it, it has to be dealt with somehow. The thing is to try to find the right path between all of those speakers. Otherwise your mix will suck, literally. One have to compensate.

And now I'm mostly speaking of mixing and mastering music, because that's my main thing. But, I suppose it goes with mixing the sound to the video also. :thumbsup:

And we have to remember also that 99% of us don't have a proper listening environment, even though some might have decent monitors. I mean the acoustics of the room. It's really hard to do good sounding mixes in a bad acoustical room. But that's something you'll understand after you have bought your first decent near fields. I mean, very few of us have optimal monitoring set, even if they have good monitors. It's not only about the monitors, it's about the listening environment also. :beer:
 
fdsa, don't be too scared that the near field monitors are a little bit 'flat'. It doesn't mean you can't listen any music with them. Again it depends on your personal taste as always. And you can also buy subwoofer for some near field monitor sets, if you want to add bass.
 
Dan, it's just like useing an image monitor, you never let things go as contrasty as you'd like, because every TV in the world has a contrast filter so it's image can stand out in the Eletronics store... Even though the monitor is "reference", we sometimes have to give in...
 
GenJerDan said:
If you mix something properly on real monitors and then go back in and change things because of how it sounds when played through low-end speakers...well, you've missed the point, to put it politely.

It's just like monitoring your video using a calibrated monitor. You make it look like it's supposed to look, and let the end-user worry about whether it looks good on their 13" Hitachi in the kitchen.

Make it sound like it's supposed to sound. If want to hear what it sounds like under non-optimal conditions, go ahead...but don't change anything because of it. And, if you're not going to change things, why bother with that step in the process?

Dan
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again, i'm talking about standard recording studio practice here. no one is advocating MIXING on car stereo speakers. but every serious engineer i've ever talked to or read about in interviews TESTS their mixes under various non-optimal conditions. i'm not suggesting anyone should forgo real monitors in favor of $15 radio shack speakers. i'm saying you test under non-optimal conditions. including mono.

in fact, i'd extend that to say that every serious maker of any kind of cultural product considers the actual medium in which said product will be transmitted.

there's a reason that news photographers don't lug around 8x10 view cameras. maybe an ansel adams style panorama is how a photograph SHOULD look. but the news stringers know that the final output will be a newspaper so they opt for the speed and light weight of a nikon.

what things "should" sound (or look or smell or taste) like has nothing to do with reality. we SHOULD have national healthcare. we SHOULD not have troops in iraq. all things being equal, i would much rather see these "shoulds" come into being before i start expecting that the average consumer will have a pair of genelecs and a perfectly tuned room. that one aint gonna happen for a long long long time.

back to the monitor question- the thing is, you can spend gazillions of dollars and get the "flattest" monitors in the world but ultimately, you need to get to know your monitors. every loudspeaker has distinct charateristics. when you've worked with your monitors enough, it gets easier to know what the material actually "sounds" like. for example, someone mentioned the behringer monitors having (if i recall,) a bump around 2khz. fair enough. truly "flat" is very difficult to achieve, and even if your speakers are, your room acoustics are probably a whole different story. point is, eventually you get to know your monitors, and you will have listened to mixes on various other systems. then, instead of mixing everything so that certain vocals and anything else in that 2k range ends up being too quiet (compensating for that bump,) you know the bump is there and you mix accordingly. and you still test and listen on other systems. and you test it in mono. but the better you become at listening, and the better you know your monitors and, more importantly, your material, the better your stuff will sound on any system.
 
So what do u guys think of the ms 20 and 40? it's a digital input and new product. for the guys who heard the ma 10a, is the bass satisfying? sigh... don't know what to get....
 
discs of tron said:
again, i'm talking about standard recording studio practice here. no one is advocating MIXING on car stereo speakers. but every serious engineer i've ever talked to or read about in interviews TESTS their mixes under various non-optimal conditions. .
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And after the test...what? Go back in and change something because of it? That's insane. If you use the cheap set to determine what sounds "good", you might as well mix on them, too.

But y'all go ahead and do what you want.

Dan
 
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