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Found 24 results

  1. Att välja rätt studiomonitorer kan vara både roligt, skrämmande och smått förvirrande – det är som du säkert känner till en djungel där ute. Klart står i alla fall att god lyssning är A och O i varje seriös studio och en förutsättning för att dina produktioner ska låta så bra som möjligt. Men räcker det inte med ett par riktigt bra HIFI-högtalare kanske du undrar? Det enkla svaret är nej, då den klassiska högtalarens uppgift är att få musiken att låta så bra som möjligt med allt vad basförstärkning, övertydligt mellanregister och förskönande diskant innebär. Till skillnad från studiomonitorn vars huvudsakliga uppgift är att återge musiken så ärligt som möjligt. Denna kompromisslösa återgivning är ett måste när du ska fatta kritiska beslut i mixens hetta. Studiomonitorer kommer i alla dess former och storlekar, det är därför viktigt att hålla koll på vad du behöver och vad du faktiskt redan har. Aktiva eller passiva? Det enkla svaret är att du ska välja aktiva studiomonitorer av både praktiska och ekonomiska skäl. De flesta moderna studiomonitorer har nämligen inbyggda Class D-förstärkare som inte kräver någon extern förstärkare. Det finns en del passiva high-end-monitorer som exempelvis PMC, Amphion och ATC, samt klassikerna Yamaha NS-10 och Avantone Mixcubes, vilka såklart också är trevliga för den som har kunskapen och pengarna. Men för gemene man är det aktiva som gäller. Storleken och två- eller trevägs? Närfältsmonitorer, eller nearfields som de också kallas, är designade för att låta bra nära lyssnaren. Det är också dessa som är vanligast i hemmastudion. Mittfältare (Midfields) å andra sidan är anpassade för större rum och är gjorda för att stå längre bort. Många studiomonitorer har ett högtalarelement och en diskant och kallas då tvåvägshögtalare, medan andra har två eller fler element och kallas därefter. Kort och gott handlar det om hur vida bas, mellanregister och diskant ska delas upp i två, tre eller fler delar. En klassisk tvåvägshögtalare har en så kallad woofer för basen och en tweeter för mellanregister och diskant. Dessa separeras med ett så kallat crossover filter så att de (om högtalaren är korrekt konstruerad) låter som en enhet. En tvåvägshögtalare räcker gott och väl för den mindre till normalstora studion, men i ett större kontrollrum eller mastringsstudion är trevägs ofta att föredra. Större högtalare ger mer bas men kräver också ett större och bättre akustiskbehandlat rum. Stora studiomonitorer i ett litet rum är därför inte att rekommendera. PSI A17-M är en personlig favorit med sin extremt raka frekvensåtergivning. Subwoofer? Vanliga studiomonitorer klarar av frekvenser ner till ungefär 40-60 Hz, vilket är förhållande vis lågt. Problemet är bara att ditt rum förmodligen inte kan återge dessa frekvenser korrekt. Frågan är då om du verkligen behöver en subwoofer som klarar ända ner till 20 Hz? Svaret avgörs på om ditt rum är akustiskbehandlat eller inte. Och då talar vi inte om lite äggkartonger i taket, utan en ordentlig omgång med basfällor, diffusorer och andra nödvändigheter - med fördel professionellt installerade. En subwoofer kan absolut tillföra något med sin sköna botten och luft som flyttas, men kan även skapa nya problem i form av att ytterligare ett crossover-filter skapas och att saker och ting kan börja skramla i rummet. Tänk därför gärna en extra gång innan du uppgraderar neråt. Vilka ska du välja? Avslutningsvis vill jag tipsa om ett gäng riktigt bra studiomonitorer i olika prisklass. Jag inser det komiska (i hopp om att vara behjälplig) att jag motsäger mig själv en smula genom att rekommendera så många. Men förhoppningsvis blir den snåriga djungeln i alla fall lite mer tillgänglig. Faktum är att det är omöjligt att säga vilka som är bäst för just dig. Här får pris, behov och personlig smak avgöra. Tänk på nedanstående modeller är cirkapriser och att priset gäller per styck och inte paret. Instegsmodeller JBL LSR305 – 1 300 kr Adam T7V – 2 000 kr KRK Rokit 8 G4 – 2 600 kr Focal Alpha 65 – 2 800 kr KRK V6 S4 – 2 800 kr Genelec 8010A – 2 800 kr Yamaha HS8 – 2 900 kr Avantone MixCube – 3 600 kr IK Mul­ti­media iLoud MTM – 3 700 kr Mellanskiktet Adam Audio A7X – 5 800 kr Neumann KH 120 A – 6 300 kr Mackie HR824 mk2 – 6 900 kr Focal Shape 65 – 7 000 kr Dynaudio Acoustics BM6A – 8 900 kr Toppklass Focal Twin 6 Be – 17 200 kr PSI Audio A17M/A21M – 17 700 kr / 29 200 kr HEDD Audio Type 20 – 19 000 kr Adam S3H – 29 900 kr ATC SCM25A Pro – 45 000 kr PMC twotwo 5,6 och 8 – 20-80 000 kr Barefoot MicroMain27 Gen2 – 50 000 kr Uppdaterad artikel från 2017-11-10 Läs också: Missa inte Fredagstipset som är en återkommande serie där Studios skribent Jon Rinneby varje fredag delar med sig av tips inom bland annat inspelning och mixning. Här hittar du samtliga Fredagstipset-artiklar
  2. Neu-Anspach – May 26, 2020 – The Adam Hall Group is continuing to expand its international sales network. By partnering with the Mumbai-based company StageMix Technologies, the event technology provider based in Neu-Anspach, Hesse, Germany, is gaining an experienced sales team for India. The exclusive partnership includes the LD Systems, Cameo, Gravity, Palmer, and Adam Hall 19 ’’ Parts brands. “We’re happy to have found StageMix Technologies as our new sales partner in India,” explains Markus Jahnel, COO of the Adam Hall Group. “The event technology market is growing steadily in India and plays a key role in our international endeavors. As an experienced distributor, StageMix Technologies has a wide network of regional dealers and will enable us to react swiftly to the many different challenges that come with such a large country. As such we will be able to work together to continue expanding our local presence – both in the event and installation market.” StageMix’s designated partner Karan Balkishin Nagpal adds: “We’re very pleased to be associated with the Adam Hall Group. It fits perfectly with our company roadmap to enter with a complete solution for all install avenues, as well as middle scale production companies to use LD, Gravity and Cameo products. We see the basket of brands positioned very aggressively against its competition and we’re looking to exciting times ahead.” More information: sonotone.in adamhall.com ld-systems.com cameolight.com gravitystands.com palmer-germany.com
  3. Iisalmi, Finland –May 2020... Genelec –the global leader in professional loudspeakers –is to donate a percentage of every sale of its new RAW loudspeaker range to the Audio Engineering Society (AES), for the remainder of this year. Additionally, Genelec will be funding ten one-year AES memberships for those individuals whose lives have been impacted by the COVID-19 crisis. Founded in the United States in 1948, the AES is the only professional society devoted exclusively to audio technology. Since then, the Society has grown to become an international organisation that unites audio engineers, creative artists, scientists and students worldwide by promoting advances in audio, and disseminating new knowledge and research. Genelec has been a sustaining member of the AES for many years, and greatly appreciates the benefits that the Society brings to individuals for career advancement, and to the audio industry as a whole. The AES’s crucial Standards work, promotion of audio research, development of milestone events and education spanning the breadth of audio technology has led the industry forward for more than 70 years. Unfortunately, the cashflow of the AES has been significantly affected recently by the coronavirus situation. So to help sustain itself and continue to support its members, the Society is looking to raise $500,000 in donations. Genelec Managing Director Siamak Naghian comments: “To us, the AES represents the only serious forum for the development of audio, and the work it does for our industry is invaluable. In its pursuit of excellence and dedication to raising the bar in the industry, it is without equal, and our approaches have much in common. We will do everything we can to help the Society through the ongoing crisis, and this donation is just one way of showing our support and appreciation for this much-loved institution.” Genelec’s special RAW aluminium colour finish is available on a selection of the most popular models in its Studio, AV and Home Audio ranges. All RAW models feature the timeless Minimum Diffraction Enclosure (MDE) design, developed in close collaboration with leading industrial designer Harri Koskinen, and fashioned from recycled aluminium. The RAW versions require no painting and less finishing material than standard painted models –creating an even more environmentally friendly loudspeaker that allows the natural beauty of the enclosure’s raw aluminium to shine through, and gives each individual loudspeaker a unique look and feel. Genelec will donate a percentage of each global RAW sale to the AES, and is also inviting professional or student members of the audio community who have been affected by the COVID-19 crisis to apply for a 12 month AES membership. Genelec will then select ten worthy recipients, and fund the membership for eachof them. This initiative sits alongside Genelec’s existing Ilpo Martikainen Audio Visionary Scholarship, offered annually to U.S. graduate students in the field of audio engineering who are members of the Society. The scholarship is offered in associationwith the AES Education Foundation to students who have a passion for advancing audio through innovation and technology development. “Genelec has been a steadfast partner to the AES for decades, contributing resources and expertise that play a major role in the quality of our Convention technical programs,” shares AES President Agnieszka Roginska. “Genelec engineers consistently and generously share their knowledge as well, enriching the dialogues that advance the science and practice that are the foundation of professional audio. With the announcement that they are contributing a share of the proceeds of all sales of the new Genelec RAW loudspeakers to the AES’s current fundraising initiative, Genelec is reinforcing their commitment to the continued vitality of the audio industry. The AES greatly appreciates Genelec’s pledge of yet further support, helping sustain the Society’s essential contributions to the audio industry.” For more information on the AES fundraising initiative please visit: https://customer258769455.portal.membersuite.com/donations/MakeDonation.aspx To apply to Genelec for a one year AES membership please visit: www.genelec.com/AES For more information on Genelec RAW, please visit www.genelec.com/RAW
  4. Helsinki, Finland, April 2020... Genelec is proud to announce the launch of G SongLab, an initiative that forms part of the Genelec Academy and offers young people free access to asafeon-line learning community, through which they can collaborate and engage with others in developing their skills in songwriting and music creation. Launching in Helsinki, the initiative is a collaboration between Genelec and a number of operators including the Tiuku Public Information Cultural Factory,the City of Helsinki, University of the Arts Helsinkiand the ArtsEqual research initiative, all of whom have joined forces to encourage and support young people’s active participation in music creation –and the sense of social integration and companionship that this brings. The G SongLab concept has been developed by a team of songwriters and music educators led by Petter Korkman and AnnaKuoppamäki. The project provides an international online learning community for all young songwriters aged between 13 and 29, allowing them to participate from the comfort of their homes and share their songs with others – which is particularly beneficial in view of the recent COVID–19 outbreak.Also, Genelec themselves will contribute to the educationalprogram by teaching some of the basics of sound and audio monitoring, so participants can learn how to evaluate and improve the quality of their work. A selection of the music created during the workshops will be shared with the wider public via the Genelec Music Channel on YouTube, along with live performances by workshop participants being broadcast from Helsinki via the Genelec Artist Room in the future. As a company with an international standing, Genelec have a long tradition of supporting educational programs that help young people realise their dreams through the creation of music. With a partnership already in place with the John Lennon Educational Tour Bus in the US and Europe, and the establishment of the Ilpo Martikainen Audio Visionary Scholarship in conjunction with the Audio Engineering Society, G SongLab is a natural extension of this commitment to global music education. Genelec’s Juho Martikainen explains “This is an excellent way to express our valuesof enthusiasm and justice. Music creation belongs to everyone,and if we can help young people to learn and find their own way in life, then that is the best prize there is. In the difficult times we currently live in, we believe that music can help create hope, a sense of belonging and a shared determination to support each other and survive. ”Petter Korkman and Anna Kuoppamäki add “Anyone can write a song just as anyone can draw a picture. Songwriting is a powerful means of self-expression and connecting with others through music. It’s a way of sharing your views, experiences and feelings, and a way of spelling out who you are. We want to be both ears and loudspeakers, as it were, carefully listening but also actively projecting this polyphony of voices out into the world.” To celebrate the launch, Genelec will bestaging a G SongLab Songwriting Challenge, inviting young music creators to submit their original songs.The challenge will be open to young people worldwide, with the three most innovative entrants receiving a premium quality home studio recording package, and the chance to perform their song live at the Genelec Artist Room. More details of the Songwriting Challenge will follow very soon. To register aninterest in G SongLab, simply visit www.genelec.com/g-songlab
  5. Belgium. April 8th 2020 – AUDAC is excited to announce a partnership with the German audio brand Sennheiser, as the new exclusive distributor of their innovative audio solutions in the Indian market. Sennheiser will manage the sales, distribution and service of the complete AUDAC product line in India where they are headquartered in Gurugram and Branches in Mumbai and Bangalore. The Sennheiser team in India provides a large range of audio equipment from multiple audio brands which now will be supported by the experience and products of AUDAC. The company has a rich experience since 2007 and developed a team of 77 reliable employees. AUDAC is announcing to be an addition to the distributor's existing product range. ‘This is an exciting partnership for us and will further help us to strengthen our distribution network. At Sennheiser, we believe in providing the best offerings to all our customers. Collaborating with AUDAC provides us with the platform to share our passion for innovative audio solutions with like-minded companies. Sennheiser has one of the largest sales, service and support operations in India and this new partnership will further strengthen the relationship with our customers. We look forward to a strong and long-lasting partnership with them.”- Vipin Pungalia, Director- Professional Segment AUDAC’s international sales director, Mark Asselberghs, is equally excited about the new appointment. “Sennheiser is a well-established distributor who knows their market inside-out. They understand the importance of not just selling a product, but the added value of excellent service and technical assistance at every stage of the project. And that is exactly what AUDAC stands for.” Audac Website Sennheiser Website
  6. Iisalmi, Finland – April2020... Genelec – the global leader in professional loudspeakers – is now offering customers the option of a special RAW aluminium colour finish, available on a selection of the most popular models in its Studio, AV and Home Audio ranges. All the models feature the timeless Minimum Diffraction Enclosure (MDE) design, developed by Genelec in close collaboration with leading industrial designer Harri Koskinen, and fashioned from recycled aluminium.The RAW versions require no painting and less finishing material than standard painted models – creating an even more environmentally friendly loudspeaker that allows the natural beauty of the enclosure’s raw aluminium to shine through, and gives each individual loudspeaker a unique look and feel. The models available are all two-way designs, and include the 8020, 8030 and 8040 nearfield studio monitors, the 4020, 4030 and 4040 installation loudspeakers, the new 4420 and 4430 Smart IP loudspeakers and the G Two, G Three and G Four home audio models. Genelec’s original use of aluminium enclosures dates back to 1996 with the launch of the 1029A nearfield model, with the distinctive curves of the revolutionary diecast MDEdesign finally achieving worldwide recognition when the 8000 series was unveiled in 2004. By eliminating edge diffractions, the MDE delivers incredibly flatfrequency response, precise imaging and unparalled acoustical performance. The slimline enclosure is elegantly cast and beautifully finished to produce an extreme rigid structure withlarge internal volume – thereby extending the frequency response while simultaneously reducing resonances and thus the quantity of internal damping material required. Over the years the MDE design has made possible an extensive range of custom paint finishes, but with the announcement of the new RAW option, Genelec is confident that customers will be attracted to the idea of investing in an endlessly recyclable Genelec loudspeaker that is itself largely created from recycled beverage cans and automotive parts – but is now even kinder to the environment. Genelec Managing Director Siamak Naghian comments: “We have been trialling the RAW finish for an extended period of time, gauging customer response while fine-tuning the production process. Although we were driven by the desire to offer a loudspeaker option with even greater sustainability credentials, it quickly became clear that customers across all market segments also loved the ‘industrial’ design aesthetic that RAW represents. We hope the audio community will agree that our RAW loudspeakers sound exceptional, are beautiful to look at –and are better for the planet too.” For more information, please visit www.genelec.com/RAW
  7. Att placera studiomonitorerna rätt är A och O för att få en korrekt ljudåtergivning. En studiomonitor ska vara fullt transparent för det ljudmaterial som återges. Den ska inte lägga till, ta bort eller maskera någonting i materialet, detta med minimal påverkan från omgivningen. Det vi hör är summan av våra örons uppfattningsförmåga, högtalarens prestanda och rummets akustik. Att välja rätt högtalare Genelecs rekommendationer för vilken högtalare du ska välja baseras på avstånd till högtalaren samt önskad ljudtrycksnivå. Till varje högtalare finns även en matchande subwoofer. På Genelecs hemsida finns verktyg som gör det enklare att välja rätt högtalare. Läs mer här. Här kommer några tips på hur du hittar rätt lyssningsavstånd och tar reda på den optimala lyssningspositionen: Specificera din lyssningsposition Dela in rummet i tre lika stora delar: en främre del, mitten och en bakre del. För musikproduktion placerar du dina studiomonitorer i den främre delen. Vinkeln mellan den vänstra och den högra högtalaren ska vara 60 grader. Båda högtalarna ska vara riktade mot lyssningspositionen. Rumsresonansen som uppstår mellan rummets ytor kallas stående vågor eller rumsnoder. Det maximala ljudtryck som uppstår av rumsresonansen sker mot plana ytor, därför bör du placera lyssningspositionen minst en meter från någon av väggarna för att undvika att hamna där rumsresonansen är som starkast. Mät upp var i rummet mittlinjen går och placera högtalarna symmetriskt på var sin sida om mittlinjen. För en typisk setup med två studiomonitorer rekommenderar vi att högtalaren placeras så att dess akustiska axel ligger i höjd med lyssnarens öron, vanligen mellan 1,2 och 1,4 meter över golvet. För att minimera reflektioner från golvet kan högtalaren vid behov placeras högre med en lätt vinkel nedåt. För återgivning av ljud i stereo eller flera kanaler rekommenderas dock inte en placering där högtalaren måste lutas nedåt mer än 15 grader. Högtalarna ska alltid vara riktade mot lyssningspositionen. Ju högre upp från golvet högtalarna sitter desto lägre är risken för frekvensgångsstörningar orsakade av reflektion. Dock ska man försöka undvika att placera högtalarna högre än halva rummets höjd eftersom lägre frekvenser även reflekteras i taket. Förslag på hur monitorer kan placeras i två olika typer av rum. Placering av högtalare och lyssningsposition i rummet Ljud reflekteras från väggar, tak och golv. Ljudnivån för lyssnaren ökar när det reflekterade ljudet är i fas med det direkta ljudet. Om rummets ytor inte utformats så att de diffrakterar ljudet kommer det mesta av ljudet att lämna väggen med samma vinkel som det träffade den. Undvik därför att placera högtalarna så att reflektionerna från den närmaste sidoväggen, taket eller golvet träffar lyssningspositionen. Utsläckning mot den bakre väggen – högtalarplacering För att undvika att ljud dämpas eller försvinner på grund av att det reflekteras mot väggen bakom högtalaren bör du följa de här placeringsråden: Den här typen av reflektion uppstår bara vid relativt låga basfrekvenser. För att högtalarens basfrekvensåtergivning inte ska uppfattas som för låg är det viktigt att undvika det här fenomenet. Det gör du genom att placera högtalaren så att det är maximalt 60 centimeter från väggen till högtalarens framsida. Det säkerställer att de låga frekvenserna inte dämpas. Det minsta mellanrummet som krävs för att högtalarens bakre basreflexport ska fungera optimalt är fem centimeter. Läs mer om kalibrering och hur ett ej kalibrerat system påverkar din mixning i vår Monitor Setup Guide.
  8. Iisalmi, Finland, March 2020... Genelec is proud to unveil the 1235A Smart Active Monitor, which fuses the sound and heritage of the iconic 1035 main monitor with high performance 96 kHz processing and the ability to adapt to any space through its tight integration with Genelec’s GLM calibration software. The 1235A is therefore the perfect main monitor for large music, film and post production studios that demand high SPL, and neutral, stable imaging that can be perfectly optimised for the room’s unique acoustic environment. Launched in 1989, the original 1035 became an industry standard throughout the world, fulfilling the need for a wall-mountable full-range monitor that could deliver true reference performance at high SPLs and over long listening distances. Legendary studio designer Sam Toyoshima was an early evangelist for the 1035, and as a result it was quickly adopted by many of the world’s finest studios, including Metropolis and Olympic in London and JVC and West Side in Japan. The new 1235A shares all the finest characteristics of its forerunner. Outstanding frequency response both on and off-axis, coupled with superb directivity, results in a very wide and stable sweet spot that can be trusted by multiple listeners within a room. With a short term SPL of 130 dB and low frequency extension down to 29 Hz, the 1235A also delivers staggering power, but its transparent uncoloured performance ensures that the listener can still make accurate, reliable mix decisions even after long sessions. The 350 litre enclosure of the 1235A matches exactly the dimensions of the 1035, and features dual high performance 15” drivers, dual 5” midrange drivers and a low distortion 1” throat compression driver. The midrange and tweeter drivers work in conjunction with proven DCW waveguide technology to produce the outstanding directivity and smooth, consistent imaging for which the Genelec brand has become renowned. The 1235A’s remote-mountable RAM XL electronics module contains power amplification, crossovers and processing, with Class D amplification delivering 2000 W, 800 W and 250 W for the LF, MF and HF drivers respectively. Input connectivity is provided via both analogue and AES/EBU digital formats – along with an AES/EBU digital output – and the updated design of the 1235 also delivers a flatter on-axis frequency response and improved noise performance than was possible with the original 1035. Through its integration with GLM software, the 1235A can be configured, controlled and calibrated for any type of acoustic environment, allowing the user to tailor the frequency response, level, distance delay and more, to provide a truly optimised listening experience – and mixes that translate perfectly to other rooms and systems. GLM allows users of any type of Genelec Smart Active Monitors to easily and swiftly create systems to suit all types of stereo, multiple stereo, multi-channel or 3D immersive audio formats. Happily, the technology of the new 1235A is also available as a retrofittable on-site upgrade for existing owners of 1035A and B monitors. The upgrade, which includes installation of the new RAM-XL module, brand new drivers and a complete system calibration, can be completed with no structural changes and little downtime, enabling 1035 users to benefit from improved performance, greater flexibility – and many more years of reliable service from their monitors. Genelec Managing Director Siamak Naghian comments: “While control room sizes are generally shrinking, there is still a clear demand from the worlds of music, film and post for main monitors that can deliver pristine truthful performance at very high SPLs. Sitting happily between our 1234 and 1236 main monitors, we are sure that the technology of the 1235A will be warmly embraced by those building new rooms, and existing owners of vintage 1035s that now want to take advantage of all the power and flexibility that our Smart Active Monitors offer. The first pair of 1235As is already destined for Metropolis Studios in London, and we’re excited about the potential for this reborn Genelec classic!” The 1235A is available now. For more details, please visit www.genelec.com and for more information about 1035 upgrade options please contact your local Genelec distributor.
  9. Professional in Middle EastIisalmi, Finland – March 2020.....Genelec –the global leader in professional loudspeakers–has appointed GSL Professional as its new distribution partner in the Middle East,covering the territories of Saudi Arabia, UAE, Qatar, Oman, Kuwait, Bahrain & Iraq. Based in Dubai, GSL Professional was established over 20 years ago with the aim ofbringingthe best in professional Audio, Video, Lighting and Control solutions to customersacross the Middle East, and has carved animpressive niche for itself as a regional leader in distributionandgaineda strong reputation for supplying both products and system solutions. With a dynamic team of highly experienced professionals and a wealth of combined experience across many markets, GSL Professional offers comprehensive solutions and design support from concept to completion. “We are extremely proud to represent Genelecas part of our premium product portfolio for Distribution across the Middle East region. I am looking forward to building a strong relationshipwith our new partner, and extending Genelec’s businessthrough our extensive channel partner network,” said Adrian Curtis, Managing Director at GSL Professional. Arun Kumar, Genelec’sRegional Business Development Managerforthe Middle East, added: “So much of our global business now is based around providing complete loudspeakersolutions, whether the customer is a music studio, broadcast facility or installation project.That requires distributorswith a highly developed commercial and technical understanding of our range, and we can’t imagine a better qualified regional partnerthan Adrian and his GSL Professional team.” For more information please contact marketing@gslprofessional.com Useful links: www.genelec.com www.gslprofessional.com
  10. Baton Rouge, Louisiana—February 2020… Once upon a time, there was a family of Eris who lived at PreSonus down on the Louisiana bayou. There was a great big Eris named E8 XT; a middle-sized Eris named E7 XT, who just recently joined the family; and the cher petite E5 XT. The Eris family also had two sets of nearly identical twins: Eris E4.5 and E4.5 BT and Eris E3.5 and E3.5 BT. (The Eris family included two cousins, E44 and E66, but that’s a story for another night.) Over the years, the Eris family became very popular on the bayou and far beyond, and for good reasons. Eris E8 XT is very powerful indeed, and his 8-inch woven composite woofer and large size results in a deep rich voice that reaches all the way down to 35 Hz. His voice is best appreciated in a moderately large studio space for those that appreciate a big bass sound. Eris E5 XT, with his 5-inch woofer, sounds great in smaller spaces, such as bedroom studios, but his voice doesn’t reach as low as the mighty E8 XT, and he might be too small to fill large studio spaces. The newest member of the family, Eris E7 XT, is just right for moderate-size and some mid-large studio spaces. With her 7-inch woofer and 1.25-inch silk dome tweeter, E7 XT’s voice is significantly more powerful and richer than that of the smaller Eris family members, though not quite as deep as the E8 XT’s. Featuring the same 140W of Class AB biamped power as the E8 XT, the E7 XT can deliver tight, focused bass down to 42 Hz despite her compact form factor. And just like the E8 XT and E5 XT, Eris E7 XT is equipped with PreSonus’ custom Elliptically Boundary Modeled waveguide, which enables her to be clearly and accurately heard across a wide 100 degree “sweet spot” with a focused 60˚ in the vertical to minimize desk reflections and maximize performance. Whether singing at the top in her range or hitting the low notes, Eris E7 XT always delivers the truth. If you need to bring an instrument up or down in a mix or your EQ’ing is off, she’ll let you know. Like the E8 XT and E5 XT, she is extremely flexible, offering acoustic tuning controls that enable you to adapt her voice to the room’s response and to placement close to walls or corners, and she accepts input via XLR, TRS, and RCA connections. Eris E7 XT is available now at your favorite PreSonus dealer at an expected U.S. street price of $229.95 each. For more information, please visit www.presonus.com/products/Eris-E7-XT.
  11. Seoul, South Korea, February 2020... Audioguy Studios in the heart of Seoul is a unique recording space which has taken a different approach to many Korean studios. Focusing on acoustic music including classical jazz andthe ‘Gukak’ style of Korean classical music, the facility has chosen a Genelec 7.1.4 monitoring system based around ‘The Ones’ coaxial three-way monitors, to enable it to fully embrace immersive recording techniques. The main recording space at Audioguydiffers from others in the country since it consists of one large room which accommodates multiple artists together –rather than a series of isolated recording booths. By adopting this approach, the studio has been able to take advantage of the unique acoustic qualities of its recording room. “Typically, studios make the reverberation time as short as possible in order to record mostly the direct sound from the source, whereas Audioguy has a longer reverberation time of 2.7 seconds, more like a concert hall,” explains Jung-Hoon Choi, founder of Audioguy Studios. “We are able to record not only the direct sound from the source to the mic, but also a lot of reflected sound from the walls, ceiling and the floor. Our intention here is to produce music with a unique and colourful sound. ”This kind of environment has made recording in 7.1.4 an interesting process. “With the very long reverberation time, our recordings can emphasise the full benefits of 7.1.4 immersive audio by capturing all the resonances and the reverberation of the room,” says Choi. “We can record using an ambisonic microphone to capture the immersive atmosphere, and spot mics to capture the individual instruments. However, the ambisonic and spot mics tend not to blend well together, so we havetried to separate the two different microphone configurations by using the ambisonic mic to cover the .4 channel content, as well as the rear channel source. The front and side sources are then covered by the additional spot mics next to the instruments in order to capture the unique and atmospheric feel of the content. ”The results of this process are monitored and mixed using Genelec coaxial Smart Active Monitors, supplied by Genelec’s local Korean distribution partner Sama Sound. The system comprises three 8351As as LCR, eight 8331A monitors as surrounds and overheads –with a 7370A subwoofer handling LF duties, and the entire system configured, calibrated and controlled using Genelec GLM software. “When you need to mix 7.1.4 immersive audio properly in a limited space, accurate monitoring is essential. The Ones’ point source quality is a must, and I would be very confused when making mix decisions without the standardised in-situ corrections of frequency response, level and delay offered by Genelec’s GLM software,” reflects Choi. “Using this system, the 11 individual monitors sound exactly as they should -which is very much focused. So, we can mix in the most precise and accurate way, and when the mixing is done, GLM makes it very convenient and easy to switch between 3D, binaural and stereo formats and analyse the differences. ”Having supplied the system, Sama Sound have themselves been able to deploy the studios as the perfect location for listening sessions and seminars, such is the extremely high quality of the monitoring environment. Looking to the future, Choi is also determined to get the best out of the new setup at Audioguy Studios. “As we now have this beautiful 7.1.4 immersive audio system, we will be actively recording, mixing and mastering more immersive audio content,” he states. “Aside from their extraordinary accuracy, it’s actually very interesting and fun to work with Genelec monitors!” For more information please visit www.genelec.com
  12. Ibiza, Spain, February 2020... Superstar DJ, Godfather of EDM, and “the man who almost single-handedly resurrected dance music in America”, it’s hard to overstate David Guetta’s huge influence on the modern music scene. Having DJ’d in Ibiza for over 20 years, Guetta’s personal studio on the island has recently been upgraded with a pair of Genelec 7380A subwoofers, which join his existing Genelec 1234A three-way main monitors to create a smart monitoring system that Guetta describes as “my perfect setup.” The new solution came about after Guetta identified a problem with the mixes that he was creating with his old system. “In the previous system that I had, the subs were so loud that they were not really realistic,” he explains. “If I would mix with those subs, sometimes I would end up with a record that didn’t have enough bass when played on other systems -because the bass in my room was so huge. ”With the 7380As installed, Guetta’s mixes now translate beautifully from his studio straight to the dancefloors of Ibiza, and the subwoofers have helped improve the overall sound in his room. “By installing the subwoofers, we were able to reposition David’s main monitors to avoid early reflections. Finding the best place for the subwoofers also meant that we had a great frequency response curve all the way from low to high frequencies,” notes Genelec’s Pasi Pönkkä, who travelled to Guetta’s studio to calibrate the system using Genelec’s GLM software. Using GLM, Pönkkä was able to analyse the acoustic environment of Guetta’s studio and then optimise each Genelec monitor and subwoofer accordingly -thereby reducing any negative influences of the room on the sound. Pönkkä explains that “Each 7380A subwoofer is paired with a single 1234A monitor, so the low frequencies can be better localised. Also, the locations were chosen so thatthe subwoofer sums aren’t cancelling each other out. The overall result was that we were able to provide David with more bass extension, but with a much smoother and flatter response.” A further benefit that Guetta is enjoying is that he can now work formuch longer periods without the listening fatigue that he used to experience. “When producing, I’m not really playing too loud, and the Genelec 1234As -even though they are huge -still sound very precise even when they aren’t loud,” he explains. “What I like about the 7380As is that I can work at a low volume so that I’m not too tired after a few hours, and it’s still very precise. But, if I want to blast it loud, it’s powerful enough to feel like it’s in a club". Reflecting on his newly upgraded monitoring system, Guetta is certain he made the correct decision. “It gives the feeling of how it’s going to sound in the club, but it’s also realistic,” he states. "This is my reference, and this is my perfect setup.” For more information please visit www.genelec.com
  13. Iisalmi, Finland, February 2020... Genelec – the global leader in professional audio monitoring has signalled a new era of sustainable growth with the opening of a brand new extension to its lakeside factory in Iisalmi, Finland. Utilising the latest technologies, the extension will significantly increase the space, flexibilityand efficiency of the company’s warehousing and logistics operations, while ensuring that the entire facility is now powered exclusively by sustainable sources including solar, wind and hydroelectric energy. For over four decades Genelec has consistently followed a path of sustainable development and environmental responsibility, and has made recycled materials, low energy consumption and long product lifespan central to its design philosophy. The current factory by Porovesi Lake in Iisalmi was built in 1985 with an architectural design that complements its beautiful natural surroundings, and was designed to significantly reduce energywastage through its use ofheat recovery and generous insulation of walls, ceiling and windows. The factory moved from oil to a combination of wind and hydroelectric energy supply many years ago, and the new extension now brings solar energy to the mix courtesy of over 450 roof-mounted solar panels which will supply 30% of Genelec’s annual power. The expansion project was managed by Genelec Development Engineer Annika Hujanen, and provides almost 2000 sq.m of floor space for warehousing and logistics alone, with considerable additional space for customer support offices, a centralised automation control centreand efficient waste processing. In keeping with Genelec’s environmental policies all architects, designers and contractors were chosen for the project based on both their sustainability credentials and their close proximity to Iisalmi, resulting in less travel, better material logistics, and reducedwaste and CO2 emissions. The expansion also enables consolidation of Genelec’s external warehouses, offering furtherimprovements in the efficiencyof material flow, lean manufacturingand reductions in waste and power consumption. Commenting on the project, Hujanen explains: “We take our responsibilities to the local community very seriously, so we were really excited to see all the people involved joining forces with usto contribute to the eco-system here in Iisalmi in a sustainable and innovative way. The work was completed on time, on budget and to a fantastically high standard. We’re really proud of what the entire team has achieved.” Genelec Managing Director Siamak Naghian adds: “For over four decades, total quality and sustainability have been core principles of Genelec’s philosophy. The company has strategicallyregardedenvironmental issues as being equally important as profitability, and while our consistent growth in business has been the catalyst for this factory expansion, that growth has to be maintained sustainably. Continuing to keepour entire manufacturing base here in Iisalmi means that we can always guarantee not only the premium total quality of our products, but also that our entire design and manufacturing process helps to conserve our precious natural resources.”
  14. Iisalmi, Finland –January2020.....Genelec – the global leader in professional audio monitoring –is proud to be showcasing two Smart IP loudspeaker models at the forthcoming ISE show in Amsterdam.The 4420 and 4430 loudspeakers combine both exceptional sound quality with single cable convenience, and their onboard Smart IP technology provides scalable power, audio and loudspeaker configuration, supervision and calibration features via a standard CATcable. Smart IP therefore offers system designers, integrators and installers an easy, powerful and cost-effective solution for guaranteeing enjoyable, high-quality audio across entire installations. Having been unveiled before aselect audience of specially invited Nordic integrators in Helsinki in December, the 4430 will be making its ISE debut alongside its new and even more compact 4420 sibling –with yet more Smart IP models expected to be added to the familyin the future. Producing the clarity and intelligibility for which Genelec has become a benchmark, the 4420 and4430 are compatible with both Dante and open IP standards including AES67and ST2110-30, and derive power viaPoE and PoE+ Power-over-Ethernet formats. Both models feature a single rear panel CATconnector which alsoallows access to Genelec’s Smart IP Manager -a sophisticated software tool that allows installers to configure an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, a versatile room equalisation tool set, system organisation and status monitoring. This enables installers to deploy Smart IP loudspeakers even on highly complex, acoustically challenging projects. While Smart IP Manager isdesigned specifically for installers to use during set-up and configuration,the 4420 and 4430 can beintegrated easily into house automation systems using a public API command set–allowing the end user instant access to volume, poweron/off, loudspeaker activity and a selection of pre-programmed audio settings.Smart IP supports uncompressed low-latency audio streaming directly into each loudspeaker, with loudspeaker synchronisation to sub-microsecond level for solid acoustic imaging. Streams can be managed by both Dante Controller and Dante Domain Manager software, as well as legacy balanced line analogue audio. This flexible connectivity allows both IP control of an analogue source, or use of analogue audio as a failsafe back-up. In terms of technical specification, the 4420 stands just 226 mm tall yet offers a frequency response of 55Hz –39 kHz(-6 dB) via a 4inch woofer and 3/4 inch metal dome tweeter, producing a max SPL of 100 dB via onboard 50W Class D amplifiers for eachdriver. In comparison,the 4430 measures 285 mm in height, delivers 45 Hz to 39 kHz (-6 dB) via a 5 inch woofer and 3/4 inch tweeter, and produces a max SPL of 104 dB via its onboard 50 W Class D stages. Manufactured sustainably to offerlow power consumption, total reliability and long life, the 4420 and 4430 enclosuresare produced from recycled aluminium, are available in black, white or 120 custom RAL colours, and arecompatible with Genelec’s extensive range of mounting accessories to allow both models to be floor, ceiling, wall or truss mounted. Looking ahead to the forthcoming ISE show, Genelec Managing Director Siamak Naghian commented: “With the 4430 already being utilised on prestigious Nordic installations -including Helsinki’s Finnish Music Hall of Fame, Moesgaard Museum in Aarhus and the new G Livelab music venue in Tampere, we’re confident that the new 4420 will also be embraced by installerslooking for an even more compact Smart IP loudspeaker solution. The overwhelmingly positive feedback that we’ve received from the early adopters of Smart IP makes us extremely excited about ISE -and the potential of our AV Installation business in the future.” Genelec will be showcasing the 4420 and 4430 on Stand 3-B115 of the ISE Show, which takes place in Amsterdam between 11th and 14th February. For more information please visit www.genelec.com
  15. PRESSRELEASE Iisalmi, Finland – September 5th, 2019... Genelec, the world leader in professional audio monitoring, has expanded The Ones series of Ultimate Point Source Monitors to bring uncompromised precision listening to a much wider range of room sizes, listening distances and SPL requirements. The announcement of the new 8351B and 8361A coaxial three-way monitors alongside the complementary W371A Adaptive Woofer System means that The Ones family now delivers uniquely uncoloured and neutral reference monitoring performance - from ultra-nearfield through to mastering-calibre and main monitor applications. The Ones range was launched in 2014 with the introduction of the 8351A, whose extraordinary imaging, extended frequency response, controlled directivity and fatigue-free listening enabled professionals to work faster and make more informed, consistent decisions when recording and mixing. In 2017 the 8351A was joined by the 8331A and 8341A models, creating a trio of compact nearfield monitors that stunned users worldwide with their outstanding performance, garnering multiple industry awards along the way. By colouring neither direct sound nor reflections, The Ones rapidly gained a well-earned reputation for making a good room sound incredible. Today, the new 8361A three-way coaxial monitor refines the point source concept even further, offering the most advanced acoustic performance of any studio monitor currently available - with extremely high dynamic range, unrivalled directivity and imaging and a short term SPL of 118 dB with peak levels even higher. Now the largest coaxial monitor in The Ones family, the 8361A will deliver an exquisite monitoring experience at any listening distance up to 5 metres, making it perfect for small to medium sized rooms. The 8361A features two newly-designed Acoustically Concealed Woofers - generating high SPL output with extremely low distortion - and brand new MDC coaxial midrange and tweeter drivers which provide smooth directivity, low distortion, high SPL and extended frequency response up to 40 kHz. Like all models in The Ones range, the 8361A’s unique Minimum Diffraction Enclosure eliminates colouration and its entire front baffle acts as a Directivity Control Waveguide - producing a fantastically wide, uncoloured sweet spot. Efficient proprietary Class D amplification is complemented by advanced DSP processing, including delay equalisation and twenty precision EQs for room compensation. The newly upgraded 8351B shares much of the technology of its other Ones siblings and benefits from the many recent advances in electronic, mechanical and acoustical design that Genelec has continued to pioneer. Drawing inspiration from the electronic design of the 8341A and the driver technology of the 8361A, the 8351B revision has managed to improve on the exemplary performance of its predecessor by offering increased SPL, additional room compensation EQs, equalised delay and enhanced HF response. The W371A Adaptive Woofer System is a truly unique concept, designed specifically to seamlessly complement 8341, 8351 and 8361 monitors, and in conjunction with these models creates a series of full-range monitoring solutions with unrivalled neutrality and supreme levels of control over directivity and the effects of room acoustics. For the first time ever, studios can now experience all the benefits of a main monitor, but with the freedom to locate this free-standing system in optimal positions within the control room; even providing the option to switch between nearfield and main monitors without image-shifting. Standing at 1100 mm (43 1/4 inches) high and featuring dual high performance woofers, one forward-facing and one rear-facing, the W371A introduces a palette of novel ways to custom- tailor system performance carefully to the room over the critical lowest four octaves. As a result, the W371A offers vastly superior performance compared to standard free-standing loudspeakers or supporting subwoofers, since it offers a flatter and smoother in-room frequency response with more coherent low frequency imaging - yet achieves this without sacrificing envelopment. Augmenting the dual woofers of The Ones coaxial models with a complementary W371A yields four woofers in total per channel, and these are combined using advanced acoustic measurement to reduce destructive cancellation and standing wave artefacts - through a host of tools including crossover frequencies, polar response and directivity. As a result, the W371A goes further than any other monitoring system in removing the detrimental influences of the listening room on low frequency reproduction – universally recognised as a key issue in all modern studios. As part of Genelec’s Smart Active Monitoring family, all models in The Ones range integrate tightly with Genelec’s GLM software application, which can configure, calibrate and control entire Genelec smart monitoring systems. Based on experience from thousands of studios around the world, GLM is able to minimise the listening room’s influence on the sound, enabling the user to produce mixes that translate perfectly to other systems, whether the format is mono, stereo or high channel count immersive. Commenting on the launch, Genelec Managing Director Siamak Naghian said: “No other family of studio monitors can offer this level of coherency, control, neutrality and sheer ability to adapt to any acoustic environment. From the ultra-nearfield precision of the 8331A to a full-range system comprising the 8361A and W371A, our point source technology is now fully scalable, broadening its appeal still further and maintaining The Ones’ position as the industry’s benchmark for truthful reference monitoring.” For more information please visit www.genelec.com
  16. Hej! Jo dum som jag är råkade jag pilla på den röda "AC Select´" knappen från 230 till 115 (Dem ligger på 230 original) och nu fungerar den inte längre. Det går inte att få någon ström i den verkar det som, så jag antar väl att det är det som är felet. Men varför ska man sätta en knapp på en monitor som ändå bara förstör skiten? Så om det är någon som vart med om nått liknande, eller kan bidra med några tips vore jag väldigt tacksam! Tack på förhand! MVH, Daniel Namn: ESI Modelnummer: nEar 05 eXperience Input Sensitivity: 200mV LF Amp. Power 40w / HF Amp.Power 30
  17. Har nyligen skaffat ett par av dessa prisade aktiva studiomonitorer, och är grymt nöjd på alla sätt, men igår inträffade ngt konstigt. Har sökt och Googlat men inte hittat ngt angående detta. Efter en studiosession på ca 4 timmar slog plötsligt den vänstra monitorn av, med ett knastrande ljud. Monitorn blev tyst, och lilla dioden i fronten slocknade. Stängde av allt, drog ut kablarna på monitorn, drog ut elsladdar. Startade upp allt igen, och monitorn var åter igång. Efter ca 2 timmars vidare arbete hände det igen. Är hyfsat ny med studiomonitorer, så jag tänkte se om ngn annan upplevt liknande symptom med studiomonitorer innan jag vänder mig till återförsäljaren. Har haft dom i ca en månad och har pressat dom tidigare utan liknande problem.
  18. Hejsan! Jag har precis fått grönt ljus från ägaren av lokalen där mitt studiobygge skall ta fart. Jag behöver nu eran hjälp med att få en liten push framåt när det gäller inredning, ljudisolering, studiomonitorer. Det som kommer produceras i studion är väldigt olika, från House till Hip-Hop instrumentaler. Jag gör en lista för det som jag äger nu och en till för det som kommer behövas, kan även tillägga att min budget ligger på 10.000~:- Tipsa gärna om vilka märken (monitorer) som är bra i mindre rum samt hur ni skulle ha byggt för bästa upplevelse. Finns Externt Ljudkort Dator (Inkl. 2 Skärmar) Bord Kommer Behövas. Studiomonitorer Subwoofer (?) Mikrofon Ljudisolering (Finns det saker ni anser behövs posta gärna i tråden) Och för tillfället så har jag inga direkta mått på rummet. Men jag postar en bild på ungefär hur det ser ut så kommer jag med en update på de exakta måtten på Fredag. Tacksam för all hjälp! $348DD77C35070F15.bmp
  19. Står i valet och kvalet efter att ha sålt iväg mina Mackie Tapco S5 som tjänat mig troget i många år nu. Gör mest hiphop/EDM men självfallet även vocal, och märkte direkt efter en snabblyssning på RCF Ayra att en basport framåt gör stor skillnad. (Mina Tapco hade det bakåt). "Klassikerna" är ju självfallet KRK Rokit, antingen 5 eller 6, men hur ligger det till med andra märken? Jag tänkte lägga ut 2000kr per monitor, så 4000kr paret, och de enda jag känner mig manad till att lyssna på är just KRK Rokit och RCF Ayra igen. Har ni några tips kanske? (Jag vet, man ska lyssna själv, men tips skadar inte). Har inte tänkt mig 2.1 utan två monitorer endast. Hit me! Tack.
  20. Tjena! Har tänkt införskaffa lite studioprylar för att kunna göra bättre låtar rent kvalitetsmässigt. Dock är jag lite förvirrad och skulle uppskatta om jag kunde få svar på några frågor... Jag har tänkt köpa en mikrofon (http://www.thomann.de/se/rode_nt1a_complete_vocal_bundle.htm) och ett "audio interface" (http://www.thomann.de/se/focusrite_scarlett_2i2.htm). Så vitt jag vet fungerar dessa prylar bra ihop, men jag är lite osäker när det kommer till sutdiomonitorer/studiohörlurar. Jag är medveten om att studiohörlurar inte kan överklassa monitorer så länge din studio har rätt fysisk utformning. Dock sitter jag i ett helt vanligt, obehandlat och relativt stort rum. Detta är mina frågor: 1. Om jag skall köpa studiomonitorer har jag tänkt köpa två stycken av denna modell: http://www.thomann.d...yamaha_hs_7.htm Dock undrar jag om detta är slöseri på pengar i och med att mitt rum inte är "ljudbehandlat" på något sätt? Dessutom sitter jag och arbetar i ett hörn (går ej att ändra på), vilket jag förstått skall vara ett stort NEJ! när det kommer till monitorer. Är det mer värt att satsa pengar på bra studiohörlurar än att köpa monitorer där risken är stor att mitt rum försvårar lyssnandet? Kanske är det fortfarande bättre att använda monitorer fastän rummet inte är optimalt? 2. Jag har hört att man behöver en förstärkare till studiohörlurar. Fungerar audio interfacet som jag länkade som en förstärkare eller är jag ute och cyklar? Måste jag köpa en separat förstärkare om jag bestämmer mig för att köra på studiohörlurar eller är det bara att koppla dem till audio interfacet och köra? 3. Rekommenderar NI några specifika studiomonitorer/studiohörlurar? Tacksam för svar!
  21. Det är så att jag planerar att köpa mina första studiomonitorer så jag skulle behöva lite tips. Har läst en del här på forumet om olika storlekar på monitorer och att ju större monitorer desto större rum och att man måste sitta längre bort från dem. Jag har tänkt att fixa en hemmastudio i mitt sovrum som är ungefär 10-13 m2. Jag har kikat på Yamaha HS80M och KRK RP8 RoKit G2 och vet inte vilken av dem jag ska köpa så jag hoppas på att någon med erfarenhet kan hjälpa mig. Och till sist, kan man använda studiomonitorer med 8" baselement i mitt sovrum eller måste jag gå ner till 5 eller 6 och i så fall komplettera med en subwoofer som jag helst inte vill göra? Jag har tänkt att sitta ungefär 80 cm från dem och undrar om det är möjligt med 8orna? Jag kommer att producera house musik om det nu har en betydelse.
  22. Hej! Hur ska egentligen inställningarna vara på yamaha hs 80m studiomonitorer? upptäckte att det fanns en rad knappar bakom dem men ingenaning om hur jag ska ställa in dem? så här ser dem ut bakifrån: http://media.soundonsound.com/sos/jun06/images/yamahahs80mrear_l.jpg En till fråga... Spelar det någon roll i vilket utag man kopplar in monitorerna till ljudkortet? xlr eller mic utgången, vad är skillnaden?
  23. Hallå! Det är så att jag är rätt ny på det här. Har spelat klaviatur och lite akustisk gitarr i några år nu men har byggt upp ett intresse för datamusikens värld. Så för att gå rakt på sak... Studiomonitorer, kör man in dem direkt i datorn eller bör man ha nått ljudkort emellan? varför måste man ha det isåfall? Jag tänker endast göra musik i datorn och inte koppla in tex en gitarr eller annat. Thank you
  24. Hej, Jag har haft ett par krk rokits 5:or (första generationen) som har stått hemma i studion ett bra tag nu och funderar på att uppgradera till ett par lite större och kraftigare monitorer, samt med bättre basrespons.. Jag har endast lyssnat på krk VXT 8:orna och därför har jag inte riktigt kunnat jämföra dem med andra monitorer i samma klass som t.ex. Genelecs 8040s eller Adam A7X? Någon som kan ge mig lite tips? Jag ska försöka att hitta ett ställe så att jag kan gå och lyssna men tänkte kolla här först.. Jag producerar elektronisk musik, mest progressiv house och tech house (därav är basen väldigt viktig, men jag vill inte lägga till en sub) Tacksam för svar.
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