Monitors might not be the most exciting thing, but they are in many ways the most critical part of the signal chain. In the last few weeks we’ve made some huge upgrades to our monitoring situation in both studios, from the smallest speakers, to the largest!
Both Studio A and B now have vintage Auratones and NS10’s powered by Bryston 2B’s. The NS10’s are all in great shape, and really sound excellent paired with the Brystons. Most people’s complaints about NS10’s usually stem from either excessive high volume use, or poor amp choices. With passive speakers the amp is crucial, so we’re happy to have something really great pushing them, and having an identical monitor choice in both studios makes moving back and forth between rooms during one project even easier.
In Studio A we are super excited to have a pair of Westlake LC3W12 midfield monitors. We’re biamping them with a pair of Adcom GFA555II’s, and the results are stunning. These speakers are a perfect match for the room, and offer amazing detail and imaging with an extremely wide frequency response. Having large speakers with big clean amps means tons of headroom and low frequency extension without having to use a sub, which means better mixes, better translation, and no surprises in the mastering room!
In Studio B, in addition to the Bryston powered NS10’s and Auratones we have KRK V8 active monitors. We’ve had these speakers for years, and they continue to stick around, even with more expensive speakers coming through. They are very articulate and tight sounding, and just a little aggressive sounding in a pleasing way. Since Studio B is very freelance friendly, it made more sense to have active main monitors, so that swapping out for an outside producer or engineer’s own speakers is as easy as pulling a few XLR’s and IEC’s.