I need to get a pair of speakers for my control room which I can use
for rehearsals. I would love to get a pair of control monitors which
are sturdy enough to use as P.A. speakers. Any suggestions?

these would be my second set of monitors (I have a pair of Genelecs
already).

I will sometimes be putting an electric bass, keys, etc. through it, so
it needs to be pretty beefy - although I rehearse at very moderate
volumes.

I have an excellent amp (Ashley 500 watt into 8 ohms, mos-fet), so I
don't need powered speakers (although I wouldn't cut them out of
consideration). If I could get something used, that would be great.

Thanks,
Ken Winokur

wrote in message
oups.com...
I need to get a pair of speakers for my control room which I can use
for rehearsals. I would love to get a pair of control monitors which
are sturdy enough to use as P.A. speakers. Any suggestions?

these would be my second set of monitors (I have a pair of Genelecs
already).

I will sometimes be putting an electric bass, keys, etc. through it, so
it needs to be pretty beefy - although I rehearse at very moderate
volumes.

I have an excellent amp (Ashley 500 watt into 8 ohms, mos-fet), so I
don't need powered speakers (although I wouldn't cut them out of
consideration). If I could get something used, that would be great.

Thanks,
Ken Winokur


suggestion: headphones, either wired or wireless. the wired ones won't use
up batteries. wireless gives you more freedom of movement. either way
feedback issues become nil

I don't know if I would use any studio monitor for P.A. use. It's worth
just buying an inexpensive pair of PA speakers or wedges. If I was to
tink of something, maybe some big old Urei monitors with the 15 in.
speakers. Those were pretty tough monitors. But I still wouldn't
recommend it.


wrote:
I need to get a pair of speakers for my control room which I can use
for rehearsals. I would love to get a pair of control monitors which
are sturdy enough to use as P.A. speakers. Any suggestions?

these would be my second set of monitors (I have a pair of Genelecs
already).

I will sometimes be putting an electric bass, keys, etc. through it,
so
it needs to be pretty beefy - although I rehearse at very moderate
volumes.

I have an excellent amp (Ashley 500 watt into 8 ohms, mos-fet), so I
don't need powered speakers (although I wouldn't cut them out of
consideration). If I could get something used, that would be great.

Thanks,
Ken Winokur

wrote:
I don't know if I would use any studio monitor for P.A. use. It's worth
just buying an inexpensive pair of PA speakers or wedges. If I was to
tink of something, maybe some big old Urei monitors with the 15 in.
speakers. Those were pretty tough monitors. But I still wouldn't
recommend it.

Basically, the things that make good monitors and the things that make
good PA are very different.

The Ureis are sort of in-between... they aren't really all that good at
either but you could do either with them.

Your other alternatives would cost even more. The Stage Accompany and
Tannoy PA speakers might make you happy but you won't like what they
cost. A good set of monitors and a cheap set of PA speakers together
would probably be cheaper than anything that could do both effectively.
--scott


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

You could contact Fred Vogler at Walt Disney Concert Hall in
L.A. They're using ATC studio monitor components to augment
the JBL-based house sound system.

Flies against conventional "wisdom", but proves it can be
done (not that it hasn't been proven before). And I'll bet
the black-tie audience at WDCH is at least as finicky as you
might be.

Might be worth the effort to investigate.




TM



wrote:

I need to get a pair of speakers for my control room which I can use
for rehearsals. I would love to get a pair of control monitors which
are sturdy enough to use as P.A. speakers. Any suggestions?

wrote:
I need to get a pair of speakers for my control room which I can use
for rehearsals. I would love to get a pair of control monitors which
are sturdy enough to use as P.A. speakers. Any suggestions?

these would be my second set of monitors (I have a pair of Genelecs
already).

I will sometimes be putting an electric bass, keys, etc. through it,
so
it needs to be pretty beefy - although I rehearse at very moderate
volumes.

I have an excellent amp (Ashley 500 watt into 8 ohms, mos-fet), so I
don't need powered speakers (although I wouldn't cut them out of
consideration). If I could get something used, that would be great.

Thanks,
Ken Winokur

The JBL 4425's (12"/horn) or 4430's (15"/horn)
can get pretty loud but if you try to push them
to 'PA' levels you will be burning up diaphrams.
Klipsch Professional had some decent 3 way PA boxes
but they weren't really control monitors, just
good sounding PA.

rd

In article .com writes:

I need to get a pair of speakers for my control room which I can use
for rehearsals. I would love to get a pair of control monitors which
are sturdy enough to use as P.A. speakers. Any suggestions?

JBL 4350s, perhaps?

I think that for your purposes, you should just get a set of PA
speakers. But do you really have room to rehearse with loud speakers
in your control room?

--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

I have two rooms in my studio. The rehearsal room is typically filled
with the vast percususion set up for Alloy Orchestra. When I'm doing
rehearsals with other groups, or just jams, I set up in the control
room. It's big enough (barely - 12 x 20) for a few musicians as long
as they don't bring amps with them.

In fact, I do use a pair of 3 way Klipsch Professional speakers (15",
tweeter, and passive subwoofer) for my rehearsals. They do sound very
good (and I occasionally use them as a second set of monitors to listen
to mixes - particularly when it's a mix for a live performance), and
that's what made me think that perhaps there was a pair of monitors
that would do double duty.

I can see that this is probably not a great idea.

Thanks,
Ken Winokur

In article , Scott Dorsey
wrote:

wrote:
I don't know if I would use any studio monitor for P.A. use. It's worth
just buying an inexpensive pair of PA speakers or wedges. If I was to
tink of something, maybe some big old Urei monitors with the 15 in.
speakers. Those were pretty tough monitors. But I still wouldn't
recommend it.

Basically, the things that make good monitors and the things that make
good PA are very different.

The Ureis are sort of in-between... they aren't really all that good at
either but you could do either with them.



Geez, seems like I'm disagreeing with Scott all the time now ...

813's will play loud as hell. When I first looked at and heard a pair,
I called them PA speakers. But I wouldn't use them as such, they are a
control room speaker. But they will play plenty loud for his
rehearsals, which was what he was asking.

I have 813c's in my control room that work very, very well. Of course
the reason why they do is control room was built and rebuilt three
times by its previous owner and was specifically designed for them.

If you're ever in the area Scott you're invited for a listen.




David Correia
Celebration Sound
Warren, Rhode Island


www.CelebrationSound.com

In article .com,
wrote:

I have two rooms in my studio. The rehearsal room is typically filled
with the vast percususion set up for Alloy Orchestra. When I'm doing
rehearsals with other groups, or just jams, I set up in the control
room. It's big enough (barely - 12 x 20) for a few musicians as long
as they don't bring amps with them.

In fact, I do use a pair of 3 way Klipsch Professional speakers (15",
tweeter, and passive subwoofer) for my rehearsals. They do sound very
good (and I occasionally use them as a second set of monitors to listen
to mixes - particularly when it's a mix for a live performance), and
that's what made me think that perhaps there was a pair of monitors
that would do double duty.




Are you familiar with how large and heavy a pair of 813's are. They are
beasts.

Plus they were designed for use in a control room to be soffit mounted,
not something wheeled around on dollies.

I had to transport mine from Manhattan in a Uhaul truck. Some things
you never forget ... I got them up into my soffits the day after I got
them into the studio without having to call friends for help. A band
came in to check out the studio and they all looked like they were
weight lifters or a motorcycle club. One of them actually said he'd pop
them in there by himself but I made a couple others help.




David Correia
Celebration Sound
Warren, Rhode Island


www.CelebrationSound.com

david wrote:

Geez, seems like I'm disagreeing with Scott all the time now ...

Well, I admit to a strong personal bias against the 813.

813's will play loud as hell. When I first looked at and heard a pair,
I called them PA speakers. But I wouldn't use them as such, they are a
control room speaker. But they will play plenty loud for his
rehearsals, which was what he was asking.

They will go plenty loud, yes, but they have very wide dispersion by PA
standards. That's a problem even in a practice situation if it
is a live room. Also, while they are hard to damage, if you DO manage
to damage them, they aren't cheap.

I have used similar speakers (mostly the older Radian monitors) in PA
applications and film sound applications, and you can do it, but it's
more work than it should be.

I have 813c's in my control room that work very, very well. Of course
the reason why they do is control room was built and rebuilt three
times by its previous owner and was specifically designed for them.

They still just sound like horns to me, and I don't like anything that
forward as a studio monitor. But that is a matter of personal taste.

If you're ever in the area Scott you're invited for a listen.

I'd like to. I'm not working NEFFA but I might be up there in February
on the annual film gig in Boston.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

wrote:
I have two rooms in my studio. The rehearsal room is typically
filled
with the vast percususion set up for Alloy Orchestra. When I'm
doing
rehearsals with other groups, or just jams, I set up in the control
room. It's big enough (barely - 12 x 20) for a few musicians as long
as they don't bring amps with them.

In fact, I do use a pair of 3 way Klipsch Professional speakers (15",
tweeter, and passive subwoofer) for my rehearsals. They do sound very
good (and I occasionally use them as a second set of monitors to
listen
to mixes - particularly when it's a mix for a live performance), and
that's what made me think that perhaps there was a pair of monitors
that would do double duty.

I can see that this is probably not a great idea.

Thanks,
Ken Winokur

There's nothing wrong with the idea of creating
an environment conducive to jamming and germinating
ideas. This often requires a minimum dosage of SPL.
I don't think you would get results with the
smallish nearfields that are the rage now.

It seems like it was standard practice years ago to
use much higher spl's for monitoring than is popular
now. Even the small radio production rooms I started
out in (early 70's) had decent size speakers.
I was told then to use as much volume as was
comfortable to reveal detail that could be masked
at lower levels. Now everyone wants to mix as low
as possible.

For what you are doing in that size room you
might just get a pair of 'full size' monitors
like the JBL's or 813's, or continue to use
the Klipsch's.

rd

In article ,
(Scott Dorsey) wrote:


I'd like to. I'm not working NEFFA but I might be up there in February
on the annual film gig in Boston.
--scott

Would that be the New England Folk Festival Assoc?

I used to work the festivals about 12 years ago with Eric Kilburn.
Pretty hectic, but fun.

Edwin

In article , Scott Dorsey
wrote:

I have 813c's in my control room that work very, very well. Of course
the reason why they do is control room was built and rebuilt three
times by its previous owner and was specifically designed for them.

They still just sound like horns to me, and I don't like anything that
forward as a studio monitor. But that is a matter of personal taste.


Horny or not - I couldn't resist that one - the name of the game, as
you well know, is using something that allows your mixes to walk out
seamlessly into the real world. For any large monitor, that is a huge
accomplishment. I guess that transportability is my personal taste.

The room images very well too. Countless times I've turned my head
looking for sounds that weren't actual ones, they were coming out of
the monitors. Fooled again.

For pretty listening, I use DQ-10's w/sub at home and Grado SR-125's.
And most everything I do these days is just so damn prettay ;





David Correia
Celebration Sound
Warren, Rhode Island


www.CelebrationSound.com

Edwin Hurwitz wrote:
In article ,
(Scott Dorsey) wrote:

I'd like to. I'm not working NEFFA but I might be up there in February
on the annual film gig in Boston.

Would that be the New England Folk Festival Assoc?

I used to work the festivals about 12 years ago with Eric Kilburn.
Pretty hectic, but fun.

Yes. You should volunteer again! They're looking for people!
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In article writes:


I used to work the festivals about 12 years ago with Eric Kilburn.
Pretty hectic, but fun.

Yes. You should volunteer again! They're looking for people!

Too much volunteering, not enough pay.

--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

I've got a pair of Big Reds and some really nice stands at my space in
NJ. I'm happy to sell them pretty cheaply if you're interested.

In article ,
(Scott Dorsey) wrote:

Edwin Hurwitz wrote:
In article ,
(Scott Dorsey) wrote:

I'd like to. I'm not working NEFFA but I might be up there in February
on the annual film gig in Boston.

Would that be the New England Folk Festival Assoc?

I used to work the festivals about 12 years ago with Eric Kilburn.
Pretty hectic, but fun.

Yes. You should volunteer again! They're looking for people!
--scott

Actually, I got paid. I ran the sound in the auditorium. I would do it
again, but the commute from Boulder CO is a killer!

Edwin