![]() ![]() Some monitors might excel most in any one of these categories, but the ATCs perform about equally well whatever you plan to do with them. Equally suitable as a production, recording, mixing or mastering speakers. More on that in a moment.īest for: Anything really. For those who want a fuller, bigger bottom and a lot more “fun” out of their mains, there could be other options as well. I didn’t find this to be the case at all-but I have a mastering engineer’s tastes these days. A few of the other speakers on this list that could better suit a producer or engineer who prefers a more forward an unforgiving picture of the midrange.Īnother common critique of the PMCs is that they might be bass light for some tastes, or too “clinical”. For some mixers’ tastes, this might not be ideal, and could warrant a second, smaller set of speakers like Auratones or NS10s to round out the studio’s monitoring options. Just a little more softness and a slightly more forgiving feel than some of the three-ways. There wasn’t quite a “dip” in the midrange of the two.two8 per se. But there was one trick it wouldn’t do: These speakers, unlike some of the three-ways on the list, would not tell me with quite the same alacrity when my midrange was annoying. Don’t get me wrong, the midrange on the two.two8 was terrific. If mastering was the task, this set might be in the top running at this pricepoint, depending on your tastes.Ī good three way monitor really brings the midrange into focus, and can tell you things that a two-way sometimes can’t. The ability to distinguish what is really going on in the highs here is incredible, and assuming your room is up to the job, you’ll certainly have greater insights into what’s really going on in the low end than any of your clients. I’d also say that these are easily suitable speakers for a mastering engineer who doesn’t have tens of thousands of dollars to spend on a pair. There is more than enough detail for any mixer or producer here. I have simply never heard speakers this size that were this crisp and precise in the lows, and with with such exquisite detail and speed in the transients, allowing me to really hear the finest adjustments of attack and release on a compressor in a way that I’ve only experienced before with even more expensive floor-standing speakers.Īs great as all the other speakers are on this list-each with their own unique strengths-the PMCs outshone when it came to the precision of the stereo image, the width of the sweet spot, lack of resonances, and the quickness and accuracy of the transient response-particularly in the bottom. ![]() The notes below are a result of my own journey for the perfect pair, and I think any of the speakers that made this list would be a fantastic option for serious professional mixing or even mastering work. (And that’s not counting the price of a suitable amp!) I wondered how close I could get to this level of quality without the enormous price tag-and footprint-of a pair of freestanding floor monitors like those $20,000 KEFs I had come to enjoy so much. For my mastering work, I need to hear the smallest details I can, and have fun doing it. Yes, I’m now spoiled, and can’t go back to a life of anything less than unbelieveably fantastic frequency response and accurate transients. (An investment that would cost about $20,000 to duplicate… and that’s before buying a suitable amp separately!) ![]() As great as these speakers are for most tracking and even mixing engineers, they wouldn’t have been any better than what many of my clients were working on already, and they wouldn’t live up to the expectations I had developed after working on the beautiful multi-driver monitors at Joe Lambert Mastering for so many years. I knew that for my critical listening purposes, a great professional workhorse speaker in the $1,000-$3,000 range like the popular ADAM AX or Dynaudio BM series wasn’t going to cut it. ![]()
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