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I think Klipsch should get into the studio monitor industry


GraysonG263

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There are still a LOT of large studios with large speaker systems. Many in the film industry post mix arena. A lot has to do with realestate. The former RCA studios in Chicago had couches in front of the mixer and plenty of room to the window into the studio. Large monitors were soffit mounted.

 

These aren't old school, but modern facilities. There's nothing like mixing in a big room to get the big room mix right

 

 

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9 hours ago, Islander said:

 

Size?  The Jubilee is really great, but in nearly all of the pictures of control rooms that I’ve seen, the mixing board dominates the room, with just two or four little powered speakers sitting on a shelf close to the window.

Perhaps you don't see the big babies up in the soffits?

I say get the new Jubes in some studios and perhaps we will get some better recordings.

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5 hours ago, Crankysoldermeister said:

The big ones are for playback. They are used when you bring the artist in, who wants to be pinned to the wall. The small ones are the mix-down monitors - used for the real work. 

Not quite, mixing, and mastering are done (at least by the good ones) with full range "audiophile" grade speakers. Again, the good ones do this. Doug Saxe, Bernie Grundman, etc., etc. Many don't, and it explains why there is stuff "missing" on the end product. If you can't hear it when you mix it, and then master it, it's a coin toss on whether it's going to be in the mix or not. This has changed greatly with digital domain, and digital work stations when you can visualize the content.

 

Recording/tracking is done with near and mid-field "studio monitors" with cans mixed in for, as you say, the real work. Getting the sound on whatever format you are working with, analog tape, digical tape, hard drives. 

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On 12/16/2021 at 2:55 PM, Marvel said:

I believe Roy built a set of custom speakers for a studio, for a family member IIRC.

 

I've thought the same thing, though. There have been studios that have used different Klipsch models. Bradley's Barn in Nashville used some. Burl Audio has some in the studio they test and use their products. I'm sure there are lots more.

Yes, for Matt Whatley at Comb Over Mastering, a former Klipsch employee. I believe he worked with Artillery @Trey Cannon when he was there. He mixed and mastered this album that is absolutely stunning, and Roy has 3 track in his demo rotation. Pretty amazing on the Jubilees.

 

Matt says they blew away what he had before, and he had some really good ones before. 

 

This is one of Roy's current test tracks, he has a specific reason for using this particular track, he would need to explain it, I sure can't, but my pour attempt at paraphasiing is that a motor needs to start quick, not doubt, but it also needs to stop quick, and he says this track below helps him check that particular aspect.

 

 

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38 minutes ago, Travis In Austin said:

Yes, for Matt Whatley at Comb Over Mastering, a former Klipsch employee. I believe he worked with Artillery @Trey Cannon when he was there. He mixed and mastered this album that is absolutely stunning, and Roy has 3 track in his demo rotation. Pretty amazing on the Jubilees.

 

Matt says they blew away what he had before, and he had some really good ones before. 

 

This is one of Roy's current test tracks, he has a specific reason for using this particular track, he would need to explain it, I sure can't, but my pour attempt at paraphasiing is that a motor needs to start quick, not doubt, but it also needs to stop quick, and he says this track below helps him check that particular aspect.

 

 

A lot going on in that track without many of the individual elements getting in each others way. I can see why that would be a preferred track.

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I haven't seen one recording studio posted yet I don't believe. 

 

ATC (UK)  is the dominator in the high-end market of mid-field speakers. Their list of studios is a mile long., parciulrily their 150 Pro ($23K pair) that are 60 to 17  +/- 2db. 

 

You also see lots of Genelac, those white cone Yamahas NS-10 derivations, (see above photos), Myer Sound has a pair, etc. 

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1 hour ago, Travis In Austin said:

 

As he artfully sidesteps the isssue/question raised by the original poster with the skill and agility of a matador. Ole'! Ole! @Chief bonehead

What are you talking about? 

On 12/16/2021 at 11:59 AM, GraysonG263 said:

Honestly, I'm surprised they haven't already. Studio monitors is a what - multimillion/billion dollar industry? And with the quality that Klipsch brings to the table, I think they could blow this market wide open. I, for one, would absolutely love a pair of Klipsch studio monitors for my computer.

It really think those bad boys  would be overkill...

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28 minutes ago, Travis In Austin said:

I haven't seen one recording studio posted yet I don't believe. 

 

ATC (UK)  is the dominator in the high-end market of mid-field speakers. Their list of studios is a mile long., parciulrily their 150 Pro ($23K pair) that are 60 to 17  +/- 2db. 

 

You also see lots of Genelac, those white cone Yamahas NS-10 derivations, (see above photos), Myer Sound has a pair, etc. 

Not sure what these studios use for monitors, but they all have Harrison MPC5 consoles, designed and manufactured in Nashville.

 

--Sony Pictures (Hollywood), Universal Studios (Hollywood), ARRI (Germany), MMZ (Germany), CinePostproduction Bavaria (Germany), MosFilm (Russia), Creative Sound (France), Deluxe Sound|Picture (Canada), Ardmore Film Studios (Ireland), Ramoji Film City (India), Shree Balaji (India) and China Film Group. MPCs are installed at film schools worldwide including Full Sail (USA), HFF (Germany), and dffb (Germany). Working on an MPC5 puts you in this elite group.--

 

 

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11 hours ago, Travis In Austin said:

ATC (UK)  is the dominator in the high-end market of mid-field speakers. Their list of studios is a mile long., particularly their 150 Pro ($23K pair) that are 60 to 17  +/- 2db. 


Those go down to 25Hz and are loaded with three really nice amplifiers (200/100/50). They are still a relatively small company and everything is done in house and built mostly by hand from the ground up (even the amplifiers).
 

I have the small 20scm passive version, which are 60-17kHz +/- 2dB,  but since they’re acoustic suspension it’s a slow rolloff. I’m running them with two SB2000 subs (also acoustic suspension) in a small area. I caught them on sale for $3K a pair and would probably do it again. Punchy, smooth and open - and more dynamic than I expected from the design. It’s easy to hear why they’re popular. 
 

Cherokee Studios had some Klipsch in them, and I think they used the RB-5 as a mix down monitor for a while. I always thought the RB-75, with revoice, would have been great for that kind of thing. 
 

As for the Jubilee, sure, why not - it just needs to be accurate, and with DSP there are no limitations on that front. 

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