Phil GM is getting at what size cabinet can you tolerate or how much real estate is available for your application.. (Height x Width x Depth)
Stage monitors tend to favor the critical vocal range. Many are ruggedized to withstand continuous high spl output and compromise frequency extension. Their main purpose is to support the vocalists so they are singing in tune and in time with the rhythm section, and they have to be able to punch thru the obnoxious stage volume of your overzealous lead guitar player. Their secondary purpose is for you the sound guy or the monitor mixer to yell obscenities at the band such that the crowd can't really hear you.so whats the distinction between stage and studio monitor?
Studio monitors cover a pretty broad range from simple editing and production for commercial advertising to serious pre and post production mastering and engineering. There are lots of types of studio monitors. Some are very colored to serve a specific purpose like the Yamaha NS-10M which is voiced with a heavy dose of mediocrity to give the production and recordign engineers an idea of what their mix is going to sound like on the average low end reproduction system or device. Other studio monitors are designed for a very high degree of accuracy and are essentially a microscope used to "look" deeply into the recording to root out any defects and apply the appropriate corrections.
I like my Altec monitors, they all fall somewhere nicely in the middle. I like the Westlakes too. But they are too revealing to use as my only dedicated mains. As the system becomes more truthful to and revealing of the source material, the music library of listenable/enjoyable music shrinks dramatically.
Not all vegetables make good leaders.
form would have to follow function. unless i'm getting into 210 territory
for around the house i would go with a 9846 style cabinets. but i love building these cabinets and if you have something larger and better i'm game GM. i can always swap these speakers back and forth
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i'm falling into this already with the a7s. some albums just suck i'm also finding myself listening to crap like herb alpert because someone spent more than a half hour producing itOriginally Posted by bowtie427ss
Stage monitors tend to favor the critical vocal range. Many are ruggedized to withstand continuous high spl output and compromise frequency extension. Their main purpose is to support the vocalists so they are singing in tune and in time with the rhythm section, and they have to be able to punch thru the obnoxious stage volume of your overzealous lead guitar player. Their secondary purpose is for you the sound guy or the monitor mixer to yell obscenities at the band such that the crowd can't really hear you.
Studio monitors cover a pretty broad range from simple editing and production for commercial advertising to serious pre and post production mastering and engineering. There are lots of types of studio monitors. Some are very colored to serve a specific purpose like the Yamaha NS-10M which is voiced with a heavy dose of mediocrity to give the production and recordign engineers an idea of what their mix is going to sound like on the average low end reproduction system or device. Other studio monitors are designed for a very high degree of accuracy and are essentially a microscope used to "look" deeply into the recording to root out any defects and apply the appropriate corrections.
I like my Altec monitors, they all fall somewhere nicely in the middle. I like the Westlakes too. But they are too revealing to use as my only dedicated mains. As the system becomes more truthful to and revealing of the source material, the music library of listenable/enjoyable music shrinks dramatically.
Their secondary purpose is for you the sound guy or the monitor mixer to yell obscenities at the band such that the crowd can't really hear you.
Sonic Barbarian
Don’t know about ‘cool’, but as already noted it takes a big cab for the 411 to make powerful bass, at least as big as the A7 cab and preferably larger since at least some of GPA’s more recent re-cones require bigger ones than originally.
Anyway, a large MLTL with a 511/808 and 811/902 stacked on top would make for a 9846 on steroids and could be used for center or side ‘fill’ in a large venue.
GM
Loud is Beautiful if it's Clean! As always though, the usual disclaimers apply to this post's contents.
OK, i have these parts
2 808 8as, 2 511s 2 902 8as 2 811s and the gpa reconed 411 8as.
i looked at a few MLTL cabinets. they all seem tall and skinny. (a couple said GMs design.) but i didn't see any that were remotely in the 15" range. where can i find a set of dimentions to start with?
Sonic Barbarian
And this is the wonderful/horrible experience of using most Altec systems!
- Mike
Yep, if you think A7s shrinks it, try A4s + 'subs'.The 411 system's efficiency will only be in the low 90s, so ~10 dB down on the former and ~18 dB down on the latter. At -12 dB, most folks can't hear the lower efficiency speaker without getting right up to it. Little wonder then that typical 'HIFI' speakers sound good even with pretty crappy recordings and totally incapable of reproducing a good one outside the near-field.
GM
Loud is Beautiful if it's Clean! As always though, the usual disclaimers apply to this post's contents.
I think I know what you were getting at originally Phil. Just looking to supplement the A7's low end with a small sealed sub using the 411's. Nothing wrong with that at all.. Just a little reinforcing that's all ... After all, you just got done building the A7's.Before you go into the 210 territory, sitback and enjoy the A7's for awhile..
I'm always interested in seeing some new build threads here.. Build On !
oh yeah, but if GM has something cool in mind, i'll build it.I think I know what you were getting at originally Phil. Just looking to supplement the A7's low end with a small sealed sub using the 411's. Nothing wrong with that at all.. Just a little reinforcing that's all ..
Sonic Barbarian
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