What do You think...
Adam P22, Adam P33 or Dynaudio BM15A?
Which are best for postproduction studio?

You might also want to have a listen to the new Genelec 8000 series. I have a pair of 8040A's here on audition and I think I may keep them.

In article , Franz wrote:
What do You think...
Adam P22, Adam P33 or Dynaudio BM15A?
Which are best for postproduction studio?

For tracks that will be used where?

The top end on the Adams is very detailed and very clean, almost exaggeratedly
so, without being spitty. That's nice for some things. The Dynaudio is very
different on top.

None of them will sound like a theatre system. On the other hand, a set of
Radians might.

So, how do you like to mix?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In article ,
(Scott Dorsey) wrote:

In article , Franz wrote:
What do You think...
Adam P22, Adam P33 or Dynaudio BM15A?

The top end on the Adams is very detailed and very clean, almost exaggeratedly
so, without being spitty. That's nice for some things. The Dynaudio is very
different on top.

I'm also interested in this subject; I've listened to several of the
Adam systems (at AES SF last fall) and to a few of the Dynaudio systems,
though not in controlled enough condition to make confident decisions
for use with the material I'd be working with (mostly traditional
American music with acoustic string instruments and vocals). When I
actually have the money on hand to improve my monitoring system, I will
of course be doing more detailed listening tests. However, I've been
interested in some of the Dynaudio passive systems, particularly the BM6
and maybe the BM15; they seem like they might give good bang for the
buck, and the Adams are mostly above my price range.

Scott, I'd like to hear more about your perceptions of the more
affordable Dynaudio monitors (both strengths and weaknesses), especially
the BM6 and the BM15, if you've listened to them enough to form an
opinion. And could you elaborate on your comment about the BM15A being
"very different on top" than the Adam systems? I'd agree, based on what
I've heard, but I'm thinking you might be more articulate about those
differences with your (undoubtedly) more developed ear, which could help
me understand what I'm listening for/hearing when I'm comparing
speakers. Also, do you have any comments about the passive vs. active
Dynaudio versions (I'd be powering the passives with a Hafler P3000, if
that's helpful)?

I have "Googled" quite a bit on the subject, but have not found specific
enough comments to be very helpful; mostly general comments scattered
amid endless threads/arguments about monitoring systems.

Thanks much in advance for any comments you might have! By the way, I
enjoyed meeting you and Melissa at AES in SF (I'm the local old-time
banjo player who told the Recording mag folks to feature more of your
articles, if that rings a bell). Nice to connect faces to names.

--
Brendan Doyle

Brendan Doyle wrote:

I have "Googled" quite a bit on the subject, but have not found specific
enough comments to be very helpful; mostly general comments scattered
amid endless threads/arguments about monitoring systems.

While that is both real and also frustrating, it derives from the fact
that various systems work so differently in different environments.
Blend that with how differently many of us hear things, and it's a
recipe for confusion and war. g

If I had the money I'd buy the biggest Klein & Hummels I could afford.
(I did, in fact, just buy a TRA100 Portable PA of theirs, but that's a
different widget.) Even on the exhibit floor at Moscone I thought I
could sense the singer's lips moving over the O300D's.

--
ha

hank alrich wrote:

If I had the money I'd buy the biggest Klein & Hummels I could afford.
(I did, in fact, just buy a TRA100 Portable PA of theirs, but that's a
different widget.) Even on the exhibit floor at Moscone I thought I
could sense the singer's lips moving over the O300D's.

They are good. Also check out the Gethein speakers if you're into that
kind of sound. I don't even know if they have US distribution, but I was
really pleased the couple times I used them.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Brendan Doyle wrote:

Scott, I'd like to hear more about your perceptions of the more
affordable Dynaudio monitors (both strengths and weaknesses), especially
the BM6 and the BM15, if you've listened to them enough to form an
opinion. And could you elaborate on your comment about the BM15A being
"very different on top" than the Adam systems? I'd agree, based on what
I've heard, but I'm thinking you might be more articulate about those
differences with your (undoubtedly) more developed ear, which could help
me understand what I'm listening for/hearing when I'm comparing
speakers.

I have spent more time listening to the Adams and only a little bit of
time listening to the BM15. The top end on the BM15 just sounds like a
typical soft dome tweeter sound to me. The midrange is okay, but it sounds
a little bit boxy. It sounds like a good monkey box speaker, but it still
sounds like a monkey box, and I have a personal prejudice against that.

If you like that, the Hot House monitors also might be worth looking into.
They also have a similar upper midrange and treble characteristic.

The Adams don't sound like monkey boxes, but the upper midrange is a little
forward and they have this incredible sense of top end detail. I think that
top end detail is artificial but I could learn to like working on them after
a while. The low end on them differs a lot from speaker to speaker but none
of them really blew me away.

The Genelec S30 is probably about halfway between the two, with the smooth
ribbon upper midrange and treble, but the low end on it is kind of boxy.
I sort of like it, but Genelec doesn't seem to want to sell them.

Also, do you have any comments about the passive vs. active
Dynaudio versions (I'd be powering the passives with a Hafler P3000, if
that's helpful)?

No, I have really only worked with the active ones, and not that long with
those.

Thanks much in advance for any comments you might have! By the way, I
enjoyed meeting you and Melissa at AES in SF (I'm the local old-time
banjo player who told the Recording mag folks to feature more of your
articles, if that rings a bell). Nice to connect faces to names.

I really enjoy the shows to meet folks! Sometimes you even get to hear
equipment now and then. Come to New York!
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."