Hmmm....In my own studio I use Tannoy Reveal (non active) monitors driven hard by a Bryston 4B amplifier. I went into the store a few years back to buy something new (I was tired of my Tannoy PBM 8's and sick of their blatant lack of midrange) with the idea that I would spend whatever it took to get great speakers. At least up to about $3000.00. I seriously listened to everything there; Genelec, Quested, Dynaudio, Mackie, Krk, Event, JBL, you name it. I ended walking out with a pair of $350.00 speakers. The Reveals are easy on the ears, are quite detailed, and have a good soundstage. They are not without their flaws, but what are? They were my hands down favorites. I also use a Sunfire "True" subwoofer set at just enough volume (quite low actually) to hear the lower octaves you just cant really hear or feel on ANY nearfield monitors (no matter what "they" say.) It can play pretty loud as it does have a 2400 watt amplifier built into the little bugger! I don't use a crossover on the Tannoys, and have the Sunfire set to about 60 hz-ish. Just the real low stuff. With digital audio it is even more critical to use a subwoofer as there can be a lot of garbage information at about 20 hz that can truly suck the life out of a mix. With analog there was a gentle roll off down there, or the tape would somehow absorb the garbage, but not so with digital. You have to take more care. I find it to be a good thing to watch your woofers on occasion; if something is shaking those puppies in a strange way, chances are something is seriously wrong in low-endville. I also sometimes reference my headphones which are Sennheiser HD-600's driven by a Musical Fidelity tube headphone amplifier. And lastly, I have a pair of JBL Control 1's when I want to hear what the mix would sound like on, well, a pair of JBL Control 1's! Why do I still have these things after 12 years???

When I am at other studios, I tend to use Genelecs these days. The basic 1031A (I think that is the model). To me they have replaced the Yamaha NS-10M as the ubiquitous studio nearfield monitor. Almost every studio has 'em, and I pretty much know what to expect. I do find them harder on the ears than the Tannoys. I will also still use the Yamaha's if that's what they have. I also sometimes (at one particular studio) use these things called PMC AML-1's. They are about $6000.00 per pair (for friggin' near field monitors!!!!) They sound pretty good, but I find them very hyped on the toppest top end. The good(?) side of this is that you can easily hear noise, hiss and other garbage that could be detracting from your mix. I still prefer my Tannoys, and I don't think the PMC's are worth the price of a decent used car. I also don't mind the Dynaudio M1's, but I find them a bit flattering and polite. Quite frankly, I often mix with whatever is in the room, as long as I have listened to plenty of material I have previously mixed (usually on my Tannoys.) This will tell me right away what I need to know...I don't think I have ever had a problem with monitors.

My only pet peeve is with active (powered) monitors. I usually can't get them as loud as I would like if I am mixing a record that has a good deal of bottom end (which I so often do.) The Genelecs and the Mackies both crap out on me frequently. The PMC's do shine in this department (I guess you pay 6 large for something!!!) I believe they have Bryston amplifiers in them already (they are distributed by Bryston as well.)

I listened to a pair of Audix monitors a year or so ago that sounded good. A friend of mine always used Pro Ac's which I also enjoyed mixing on once...

Basically, I think all monitors are very flawed. Just like people, but that also makes them loveable, doesn't it?

Respectfully Submitted,

Eric

I'm looking into getting a new set of 8" mix monitors and would love to know
what all the cool mofo's out there are using and why....I guess you could say this is a survey....

peace and love
nataraj