Turtlerock Forum

I currently own a pair of KRK VXT6s which have been my primary monitors for nearly 3 years now. I've never felt comfortable with the way they sound but after a long period of referencing my mixes elsewhere I've learnt to compensate for this. Often times I'll find that I get a better general representation of my mixes on much cheaper monitoring systems, even my old Alesis active monitors or my hi-fi setup.

I'm thinking about getting myself a new pair of nearfields, hopefully something that will translate better than my KRKs. I'd hope to spend less than $2000. I'm not after anything too fancy - just a solid pair of nearfields for mixing contemporary commercial music.

I'd love to hear any suggestions or recommendations.

I've always been a bit of a fan of the Rogers LS3/5A . We have them in every studio at 2UE and I have a set at home (On Quad II Valve Amps) For those who don't know , these are a BBC spec'd near field . I find them very natural and accurate (My opinion) others may differ. There are plenty of opinions on the interweb.
They are still made to the same spec
They have just released a 65th Anniversary edition.
A bloke on ebay has them

http://www.ebay.com.au/itm/Rogers-LS3-5a-Monitor-Speaker-65th-Anniversary-Edition-Brand-New-/260966940131?pt=AU_Hi_Fi_Speakers&hash=item3cc2d77de3

reasonable price. If you can find a dealer to have a listen then go along and audition for a while.

They are passive so you'll need a nice amp to drive them.
They sound great on Valve amps or Bi-polar transistor amps. Best on one with a lower damping factor.(IMHO)Personally I'm not a fan of Mosfets or class D . They're great for PAs and where big power is needed, but I find them a little harsh

That's my 10c worth, there are many other great monitors out there, B&W, Klein Hummel, even Neumann now.
Can someone else chime in here

The first nearfileds I mixed on were NS10's but I was a babe in the woods, and I can't even recall what they sounded like back then.

Then I mixed on Alesis Monitor ones for 10 years. They were the only near fields I could afford back then, and the choice wasn't what it is today. They served me quite well once I learned them.

I went to ADAMS A7's about 4 years ago.

I really like them. I don't even think about it anymore, I just mix on them. Which is about the best thing you could say about a monitor.

They will be around 1500 bucks I guess now for a pair, powered.

Monitors are a bit like women, everyone likes different ones...8)

Re the Rogers LS3/5A - we have a pair of those (mid 80s) and they are just brilliant.

We've also got some original (US made) KRK V8s which are very, very decent (I hate pulling the "all the new stuff is crap" routine, but it does seem to be the case with KRKs now).

I can't recommend the PMC TB2s+ passive speakers enough. You can pick up a pair of those for just over your budget... but then I guess that doesn't leave any money for an amplifier!

Since I got a nicer amp with my NS10's I love them. They will always be bright and lacking in the bottom, but like everyone says, the transient response rocks.
I had Adams A7's for a few years, and whilst they sounded nice, I found that they buried the mid range a bit- things that really fly out on my NS10's and Auratones (spitty vocals, guitars) seemed a bit more 2d and it was harder to mix- everything sounded a bit too nice!

Thanks for the suggestions everybody. I've spent a couple weeks mixing on NS10s at a local studio and I'm convinced, so I just bought myself a pair on eBay along with a Crown DC300A from Mixmasters. Looking forward to getting it all in the next week or so. Cheers!

Here's a fun article on NS-10s if anyone is interested. I picked up a few things I didn't know.

http://www.soundonsound.com/sos/sep08/a ... hans10.htm

i was working on some of the smallest Focal monitors in the focal range on the long w/e... Thought they sounded damn good. bass was really present at low volumes, excellent for long sessions...less fatigue, less stress, win.

Manning wrote:Here's a fun article on NS-10s if anyone is interested. I picked up a few things I didn't know.

http://www.soundonsound.com/sos/sep08/a ... hans10.htm

I followed a link from that page...to Bob Hodas' site...

http://www.bobhodas.com/examining-the-yamaha-ns-10m.php


Interesting read....


I haven't heard NS10's since my first trip into a mates studio back in around 1990....I can't even recall what they sounded like....

jkhuri44 wrote:i was working on some of the smallest Focal monitors in the focal range on the long w/e... Thought they sounded damn good. bass was really present at low volumes, excellent for long sessions...less fatigue, less stress, win.

+1
I A/B'd a few popular monitors at the time (Adam, Dynaudio, Tannoy etc) before I got my solo6 Focals (nearly 5 years ago now!!). Picked them because they still sound really balanced at low levels (I hate mixing loud). I even preferred them to the Focal Twins, although the Twins were awesome at higher levels.

Don't run with the pack, think outside the square and try the little Frenchie's out!

^ haha, the ones i was using were even smaller! the CMS65.

jkhuri44 wrote:^ haha, the ones i was using were even smaller! the CMS65.

My CMS40s beat that!

lol, havent heard those but really liked the 65s.

Alistair wrote:I had Adams A7's for a few years, and whilst they sounded nice, I found that they buried the mid range a bit- things that really fly out on my NS10's and Auratones (spitty vocals, guitars) seemed a bit more 2d and it was harder to mix- everything sounded a bit too nice!

I agree! I've had A7's for a few years now and they do have a decent midrange scoop around the crossover point. It's also very easy to have a bright mix as the high end sounds good no matter how much you push it. I've been considering buying something like Nick's passive guys after finding them very easy to use, but the time + money equation is not working in my favour at the moment.