Studio Monitors

Right now I have an m-box w/ PTLE 7.3 on a mac pro w/ FCP. I get pops and clicks that i can't get rid of in fcp, but in pt, they are not there.

I plan to get the tascam fw 1082 interface for fcp and soundtrack pro.

Thanks for the help!
 
I believe there is a firmware update to fix the m-box clicking. Someone mentioned it here a few weeks ago.
 
I am getting seriously confused about this. It seems to me that any of these options (except the mackies) will need a sub. That prices me out of the system. It looks like I may have to go with the HR824.

I really want the dynaudios or the JBLs.

I suppose I will just have to go and listen to them.
 
No one mentioned Yamahas (one other poster did, but..)

I'm looking at eventually getting a 5.1 surround monitoring system but first thing first, I need stereo mixing right now.

My choice is the Yamaha HS50M monitor.
http://www.sweetwater.com/store/detail/HS50M/

For 5.1 center speakers, should I get the Yamaha HS80M?
http://www.sweetwater.com/store/detail/HS80M/

For the surround monitors, I'll probably pick up another pair of HS50Ms.

Yamaha also carries the MSP5 Studio monitors, but I'm not exactly sure what the differences are exactly. Any comments on these speakers?
 
wabbit said:
Can't speak to the blue sky but you can't go wrong with Genelecs. Mackie 824 or 624 are also excellent but have a large footprint if you are using in small space.
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Agreed. Mackie 824, also check JBL LSR4823p are pretty much standard for a mid level studio, unless you want to spend thousands on dynaudio , tannoy, adam and all that.
 
Hi all! I thought I would post my happy ending. I got..

JBL 4326 for about $1000 as well as a new place with my own office and some bookshelves behind the mix position. I will be adding a bass trap and some diffusion soon, but I am very very happy already!

Thanks for all of the great advice!

I went with the JBLs because the won all sorts of awards, they are easily setup for 5.1 and they work well in less than perfect rooms (plus they have great sound). Someday I will build a studio from the ground up, but until then, these are the best I can get!
 
After listening to different ones when I was shopping...I decided in my price point that the KRK V6 to satisfy my needs. They held up very good..especially when you use it for video editing purposes. I made myself a demo cd from a nvidia demo and played it against many speakers. And the only ones that kept its sound consistent was the mackies and KRKs. If your ntentions is for mixing music then you will need a higher product like the genelecs. But remember a lot of mixers are still using the YAMAHA NS10's for reference..even to me it is so bright.
 
ozduc said:
That would have to be the WORST piece of sound advice I've ever heard. If you have the crappiest speakers and compare your mix on a home stereo and a car stereo, yeah you may have a consistant true mix but more than likely a truely crappy mix!
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That is not good advice and it's Music advice which doesn't translate very well to film. Nobody is going to be watching the film and listening to car speakers. For pop music your sort of correct, in that if it plays well on the two biggest places where people are going to listen to it (of course you should also do a low bit rate MP3) then your probably OK. But you can't compensate for what isn't there, so the speakers have to be in the howe stereo realm at least.
BUT and it's a big BUT this does not apply to sound for film and video. Folks are listening in a much different way. For one thing even if you assume your only going to the direct to dvd home market and no festival screenings your film is still going to be played back on better systems by and large and unlike music where half the time it's not all that important if you can understand the lyrics the first time you hear the song it is CRUCIAL in a film. If your going to festivals then you need to mix in a calibrated room, even if it's not tuned. They don't turn the volume up and down or rewind if it's hard to hear so you have to be mixed to a standard level and you need to mix on a system that can at least come close to the playback system. If you have experience you can do a decent job of compensating for the fact your not mixing on a "mix stage" but you can't compensate for total crap.
 
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