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@@dewaldomusic thank you 🙏! At the time of the video I was doing Mondays, Wednesdays and Fridays with a week break every 6 weeks. Now I’m a little more inconsistent, taking it sporadically while my schedule is so all over the place. Hope this helps!

@@belgradeboy1977 Yung Guru and many others use NS10s in major studios. Pricey Bryston Amp play a big role in those NS10s sound. I’ve seen some of the major mixing spaces in NY equipped with $8000 Bryston 4 amps. Room as well is important for sure. I’d take a pair of NS10s with Bryston for JUST mixing music over ATCs personally. For production and mixing I’m looking a different direction entirely! Thanks for tuning in 🙏

@@mintwith4ts unfortunately I haven’t used the Neumann headphones, just their speakers and mics

@@RAYNETHESAVIOUR I saw you recently replaced your ATCs with the PMC 6-2’s. How well would you say the MM-500 translates or works with those? Do you still find the MM-500’s useful, or that you can mix well with them?

@@mintwith4ts I use them just as much as I use my PMCs. Love them both!

@@mintwith4ts I personally used the RME ADI 2/4 which actually has a bit more power in its headphone amps - specifically for optimizing mastering headphones but I have rented the RNHP before and the amp is great but very much so depends on the quality of your DAC. If you have a great DAC, it’s quite good but I think the RME DAC Fs probably is a better overall investment - though I haven’t heard its headphone amps in particular. The DAC on the RME is really phenomenal. Hope this helps!

@@RAYNETHESAVIOUR This is very helpful. Thank you so much!

@@mintwith4ts my pleasure, thanks for tuning in 🙏

@@aleksandrpopleev amazing, I hope you find the Genelec to sound better through AES! I heard they are best suited for mastering with a proper AES connection. Thanks for tuning in 🙏

@@newman2374 🙏

@@romulomc thanks for the support! You’ll have some ATCs in no time! 🙏

@@davidelmquist8670 Placement changes based on monitor distance. Contact PMC for more details or check out Teezios and Greg Wells monitor orientation on TH-cam for reference. Thanks for tuning in!

@@erkkisepping2738 it’s got more bass than the 25s but you’ll still need something with better low end in my opinion for hard style. Hope this helps!

@@RAYNETHESAVIOUR Thx for reply. Well i have a subwoofer with krks but im kinda looking for the best studio monitors. I was looking for used ATC SCM20ASL PRO MK2s i'm on a fence of buying those my budget is abt 4k. All i need is the most accurate and best tool to mix, design leads / sound design and to master with. I'm open for any recommendations and used markets.

@@erkkisepping2738 best way is to demo some pairs, I could recommend plenty but would probably first reccomend getting speakers with more bass directly in them, unless you get ATC subs or subs that will match the detail of the monitor better (Adam’s, neumanns, etc) I had a Krk sub at one point with my 25s and then some better subs, but I just needed more detail all round to get into the detailed sound design work, especially with 808s and bass work. A neumann setup (310s with 750 sub) or 420s if you have the budget, could work great for you if not PMCs. I figure you’d always want three ways if sound design is what you’re looking to enhance. Best of luck!

@@RAYNETHESAVIOUR Thanks for the info, Best of luck you too!

Honestly, I think the mid range in the 6-2s is more detailed and accurate actually, but the ATCs sounded more flattering to me and forced me to focus on the mids in a mid forward presentation. Initially I wish I could combine both too but then I realized I just enjoy listening to ATCs so much but wasn’t missing anything from a technical perspective in the PMCs so far! Something with respect to ATC tweeters is that they all have this rolloff or otherwise similar response to them. This makes them less fatiguing but also gives us less to work with. That said, I totally understand where you are coming from! Thanks for tuning in 🙏

@@ifelovemusic they all will have AES if they are matching subs from the same company. If you’re trying to match up different subs that could get tricky phase wise to tune, but it would be completely possible with a monitor controller that case both AES and analog. The Grace designs M905 would be good for this. Hope this helps!

@@RAYNETHESAVIOUR I run two Adam sub 10s with the Pmc 6s. They sound great together which I know is weird. I got rid of s3hs which sounded horrible to me even with the same two subs. I’m not using AES cuz of the subs I have. Can’t afford those Pmc subs. I might have to just sell the subs and work with the 6-2a alone. I dunno.

@@ifelovemusic In this case, I wouldn’t overthink it! As long as you’re happy with your monitoring setup, you don’t have to change a thing! The Adam subs are great! If you have two especially, you can definitely get a great balance. If you use them a satellite setup also would definitely work well that way. That said, I still want a little more sub sometimes when I mix on the 6-2s but I definitely don’t need it! I just know I could have an ever finer magnifying glass in the sub area but I’m being greedy at this point. Gotta go out and get a lot more work to make up for grabbing the 6-2s when I did but I hope this helps! 🙏

@@RAYNETHESAVIOUR sure does. Thanks. 🙏🏾

@@MarcasLancaster this is a wonderful setup you have, I fully support it as a previous owner of 310s myself - they make really great speakers. Congratulations on the great setup 🙏

@@RAYNETHESAVIOUR thanks for your generous comment and for provoking an interesting discussion - it’s not often we hear ATC criticism.

I have KH310's and have been contemplating a sub, how did you navigate the crossover points and integrating the sub etc?

@@simonaustin1136As someone who just got a kh750 and MA1 to go with the 310s, I would totally recommend you to go for this sub, the dsp in the 750 takes care of aligning the sub and phase correction with the monitors like magic, my setup sounds like night and day now.

@@simonaustin1136 the guys from Neumann literally came over with their laser and mics and configured the system for free.

@@Sylvain_de_Boscherville essentially, some speakers had a lot of total harmonic distortion in the low end, so even if there’s low end down to 22 Hz, it still is unusable for mixing decisions because it’s too distorted or clipped. In this scenario, I’d definitely prefer a pair with less low end and more accuracy UNLESS I use the speakers with a sub. Thats where I would probably lean toward 310 + sub principally price point wise because the low end will be accurate all the way down to the bottom of its frequency response. That said, the ATCs have virtually no distortion at all the way down to the bottom of its playback but it doesn’t go as low. This means it will translate better above a certain frequency BUT you also can’t mix what you can’t hear. In both situation, a good sub is necessary for sure. Hope this helped!

@@JeanmarkRodriguez my best engineer/producer friend started on result 6s and loved them so much that we both ended up going down this pmc path! They are great speakers for sure 💯

@@dougleydorite Burn in periods are not a myth. Speaker company’s often do the burn ins on their cones before they ship off their speaker but some don’t. Saves companies money to get the consumer to do the burn in instead so I understand the motive there (even though it was annoying for sure). This is formally called a “Run in” time. That said, “breaking in” headphones and analog stuff in general is a myth. Hope this helps and thanks for tuning in 🙏

@@RAYNETHESAVIOUR I hear you… the ex machina’s I got they burn burn in and test the drivers in house, simultaneously. The burn in dilemma is insulting to the customer imo

@@dougleydorite I totally agree, I was pulling my hair out trying to get through my burn in period 😂

@@wdkbeats thank you for sharing your experience and congrats on a long and fruitful career! Which monitors did you end up switching to?

@@RAYNETHESAVIOUR thanks! After 6 months of testing many high end monitors I came up across a new brand from Poland (where I live): Prometheus Acoustics. Long story short - the monitors are fantastic, on par with D&D 8c or Kii Three. Mix revisions went from 2-4 per mix on ATCs to 90% of mixes being approved with no revisions at all.

@@wdkbeats wow they look like incredible monitors! Congratulations on that man and I hope I get the chance to try them at some point in the future

@@AlexProspect thank you 🙏

@@shoogabooga2072 keep the 12 pros! The passive pros are probably the best ATC monitor until you get up to the 50s/100s. I’d definitely stick with those and get a neumann sub or some other sub with good quality that is much cheaper than the ATC sub. That said, if your mixes are already coming out great absolutely keep those speakers. Trust me when I say, if it ain’t broke - don’t fix it! Congrats on meeting your mixing goals 🙏

@@RAYNETHESAVIOUR thanks brother! Ya I think I will keep them. It’s a good point haha if it’s working it’s working. You know how it is always chasing the next best thing lol. I think then the next upgrade would probably be the atc amp and then bypass the 25’s and jump to passive 50’s that way the amp investment doesn’t die with the 12’s. I kindah just check subs on cans. Subs have always been tricky for me to integrated. That’s why I’d probably go atc sub if I go that route because they have a clear recommendation for sub settings to pair with their monitors

@@shoogabooga2072 that’s fair, I honestly think the best thing to do if you HAVE to upgrade monitors is get a pair with enough bass in the box itself or stick to what you got going on. I recently had a change of heart over my 25s and left them for PMCs because I also got tired of using a separate sub, wether it’s ATC sub or anything else. I highly recommend using two subs to anyone that gets into using subs and I highly recommend having a crazy well treated room to not be in low end hell in the mix - no matter the brand of sub. All the way up to the 150s, there isn’t really a ton of sub in the speaker, but the 150s are the start of ATC monitors having real low end in my opinion! That said, the headphones are a great way to get that right. I wouldn’t have a career in music without my cans. Hope this helps 🙏

@@RAYNETHESAVIOUR that’s so interesting that you didn’t keep the 25’s. Did you not like the mixes you were getting with them?

@@DoubleWei777 Congratulations on the new monitors! I’m curious to hear what you felt lacked in the kii3s that the PMC’s have, I haven’t ever tried the kii3s myself and would love to hear your opinion

@@RAYNETHESAVIOUR biggest difference between Kii3 and 6-2 is bass or sub feeling~the client's always want to felt the bass not hearing the sub :P, 6-2 got the good balance between feeling and hearing the sub frequency.

@@BumpyTheGreat thanks bro 🙏

I didn’t get it honestly 😂 but thank you for tuning in 🙏

@@ivanendeavour815 I haven’t personally, but my friend had them for a while and just got into his 6-2s. He really liked the result 6s but would probably lean toward the new PMC 6 instead

@@RAYNETHESAVIOUR Thanks for the answer man, and what about Barefoot, do you think they are as good as PMC?

@@ivanendeavour815 I haven’t heard a barefoot speaker that was as good as the PMCs but the Barefoots stuff I think could definitely be superior to ATCs. For some reason, even though I don’t love them - I’ve gotten good results on them. That said, I haven’t used most of their speakers and probably would steer more towards the Neumann 420s before I look to barefoots personally!

@@lindenfield this is a wild story. I personally really like rockets for production, thanks for bringing them back to my attention! Great monitors by that company!

Hi! for me something similar - on HEDD Type 20 - switchin to Atmos with KRK G5s - no longer problems with tranlation....

@@waltertill1388 congrats on the awesome upgrades! Enjoy it 🙏

@@FTMuisikTV thank you 🙏! Currently using the warm 8000 mic, the TLM 103, and the u87 mic as well. I really like the manley ref mic with the right chain but hate it with the wrong one. I rent mics all the time for project work as well, I’ll be doing some mic reviews very soon too cause I love them all, thank for tuning in! 🙏

@@RAYNETHESAVIOUR Awesome man, if you could recommend a quality mic/affordable chain to record both a male and female vocals what are your favourites based on experience? Thanks

@@TouchToneDSG congrats on the pulsars! I’ve only heard consistently great things about them and hope to hear them myself someday soon. Out of curiosity, when you demo’d the PMCs, did you connect them VIA Analog or AES? Thanks for tuning and the kind words 🙏

@@RAYNETHESAVIOUR no fam analog that’s the reason I didn’t go with him. I’m not a huge fan of DSP at all. I was thinking about a couple other monitors as well that were true analog but the ex machina did it for me

@@TouchToneDSG ahhh makes sense. You can bypass the DSP eq entirely in the PMCs, that’s what made them sound the best in my opinion! Even though they are analog inputs, the Pulsars are DSP monitors too though right?

Just read up on them, the Pulsars have the similar DSP technology with an internal AD/DA converter so there seems to be no way the bypass that round trip! Very interesting technology, I’m glad you like them and I’m definitely curious to try them someday!

@@RAYNETHESAVIOUR very true but for some reason, they sound really natural to me

@@WhoIsAlexElliott Congrats on grabbing the Pulsars! I haven’t gotten the chance to try them yet but hope to sometime soon. When you demoed the PMCs, did you connect them via Analog or digitally via AES?

@@RAYNETHESAVIOURanalogue

@@WhoIsAlexElliott thanks for the response and tuning in 🙏

@@BULLDOGNIC Yes, I happen to personally prefer the PMCs but cost is definitely a huge factor for most people looking to purchase studio monitors in any price range. The 150s were pretty good and I imagine the 200s are even better. The 6-2s just gave me better results than the 150s for lot cheaper. If I had the cash to fork out for SCM200s and sub AND NS10s + Bryston amp on top of the crazy stands or soffit mounts, maybe Id have given that a shot. But I spent a small fraction of that cost to get these instead and just happened to have a much better time working with them so far. I’m definitely a Class D amp fan as well so just a different character overall. Congrats on your dope setup and thanks for tuning in! 🙏

@@RAYNETHESAVIOURtotally get that, yes price is a factor. I dropped pretty lucky tbh. I’ve had the 200a’s for 20 years and got them at a good price, the sub and NS10’s were S/H but I had the sub re-coned as it was an original late ‘90’s one. You are quite right though, it is about user preference. And tbh the music genre also matters, I’m a House producer, but I like slightly “warmer” monitors (I know that phrase technically,y doesn’t mean anything but you get the point), I used to love the old Tannoy Golds etc for the same reason. For the slightly more punchy / “colder” speakers don’t suit my mixing style (which is already quite clinical). So my opinion is just use what you enjoy working on and learn your monitors and room - cause there’s no such thing as perfection with these areas anyway. Keep up the content and make great music on your new speakers 🙏

Just to add, I don’t actually like the 150s. Much prefer the ATC 12” drivers (100s / 200s) over the 15”, as it has better transients imo. You are correct about really low frequencies though. Even on dual 12”s I had to guess a bit below 40-50Hz (they aren’t soffit mounted though), which is why I got the sub. Although I don’t have it on all the time as some tracks I work on don’t need that much sub 50Hz content anyways

@@BULLDOGNIC this is all really good info to know. I’d love to hear a good pair of 200s someday and I definitely agree with you. Genre and style are also factors for sure! Thanks for the support 🙏

Hmm, what I have to say to that is check out Teezio’s mixes. He’s a Grammy winning mixing engineer with one monitor pair and mixes songs from start to finish on them. If I can do 90%-100% of my mixing/production on a single pair of monitors, that’s where I’d like to be. I’ll start posting my work on my channel and anyone can feel free to let me know how my work is coming along. If it sounds right, and Teezios mixes sound right, I believe these two cases would terminate the multiple monitor debate. It’s not necessary but definitely makes it easier to have multiple pairs. I prefer headphones in combination with my PMCs if anything, but to each their own! Thanks for tuning in 🙏

@@RAYNETHESAVIOUR This was not a criticism by the way 🙏🏼 Each to there own for sure, I worked that way for years too. Most of the time my mixes translated very well from one main set, but from time to time there would be something off in translation, something I couldn't hear on my main set. Almost as if there was a blind spot in my monitors that showed up on something else. Something that say, a small set might show up, or some headphones maybe etc etc.Yet every set monitors I would try no matter how good or expensive this issue would inevitably arise again. Over years this caused me to be nervous and second guess how my seemingly great mix might translate to others setups, over time it caused me no end of frustration and disappointment after spending sickening amounts on monitoring/treatment/amps etc etc only to discover yet again it arises. What I came to realise is that every speaker has these blind spots simply by the inherent nature of a speaker. Drivers pushing air, crossovers, amps/the room, etc etc, All incredibly difficult to nullify. So inevitably sooner or later, something will not translate quite right. I started to notice that the most consistent engineers were not relying simply on one set, in fact they would a least check on something else, maybe one reference set or multiple sets. But the reassuring fact is, if your mix sounds great one your mains set and another set too, then you have dramatically increased your chances of your mix translating, get it balanced nice across 3 or 4 sets and you can be sure that what you are hearing is the truth.

@@CurtisGabrielMusic The point of this video is that I don’t NEED more reference points to mix even though I have and use plenty. Andrew Schepps also predominantly uses PMC IB2 XBD. He had a phase where his headphones were a bigger part of conversation. Teezio uses just one monitor pair. I’ve always had multiple, but I want a monitor I can rely of for most - if not all of the job. Besides, NS-10s might take care of >90% of the mix while other monitors such as Augspurgers are used for a low end check or headphones for a final ref point. If your monitors accurately provides both mid and lows, you may not need to use two pair for this. On my channel I’ve got a review for the MM-500s which serve as a great second pair as well, but again - I usually get it right the first time with the PMCs. Lastly, there’s no right or wrong way, there are just tools that work and that don’t. If your speaker is lacking in a way that you can work around then definitely get a second or third pair! If what you got is working for you, grab some headphones and call it a day 👌 Thanks for tuning in 🙏

@@ZikiMusicWHV is says the same thing there so that all monitors are interchangeable (Digital Input, Digital Output). Hope this helps 🙏

When dealing with analog speakers, interface/dac is very important. There are plenty of bad ones out there. I’d reccomend going for an RME ADI Dac FS on SD LD mode and 96khz or higher sample rate for the best playback under 2k and a Hilo for playback under 5k. If you have multiple monitors, the m905 Grace designs is a great all in one. Hope this helps!

@@RAYNETHESAVIOUR Noted, but would Neumann KH310’s + KH750 sub w/alignment kit classify as “analog speakers”?

@@clintyoung9902 yes it would, but a great analog setup indeed!

You'd think so, but upon doing some digging, supposedly the DAC AKM chip is the same one thats found inside the crane song solaris while the A/D chip source is still unknown. The DAC sound impressive - to say the least. Therefore, the foregoing information conversely bodes quite well for the DAC! Still getting to the bottom of the tech behind this special monitors. I'll continue to update the channel as I discover more! Thanks for tuning in 🙏

@@RAYNETHESAVIOUR It's interesting. I would suspect PMC is using top notch ADC as well! I'm just really surprised you hear that big of a difference. They market it as if there's no discernable difference running analog or digital

@@MrBassyk you know what, I’m gonna connect them via analog again tomorrow to remind myself of how different it is! I’ll be back to report after having used them for this long 👌

@@RAYNETHESAVIOUR Lookin forward to hearing! For what it's worth, I have the Dutch & Dutch 8cs. I run them analog because of a specialized monitor controller I use. I just couldn't live without it. I tried the AES and I did hear a slight difference, but I wouldn't say one was worse or better. I tried the PMC 6-2s as a demo and only ran them analog. Maybe that's actually why I skipped them! The D&D's sound pristine via analog in or digital in. But they're of course a different kind of monitor entirely too.

Thanks for sharing this, I actually agree with you. I realize I've become a tad bit spoiled. That said, the Apollo Twin X specifically is a touch too dark to work comfortably when mixing and mastering but work a lot better for recording and for production in my humble opinion. Still use my Apollo daily for recording duties because it makes recording so darn easy! At the end of the day, like myself, there's a reason you own so many converters after all. Thanks for tuning in 🙏

@@thomaswithdollars ns10 + Bryston AMP + Crane Song/Lavry was a near field studio staple for decades! Thanks for tuning in 🙏

@@UpliftedProductions haha no worries bro! Happy to help and thank you for the support 🙏

@@UpliftedProductions thank you 🙏! I’m currently using the prism Lyra for my PMCs. The 802 has a signal emphasis on the AES path and the ADI can’t bypass the DAC filter chip without sacrificing volume control. Only caveat with the prism is that you need a different type of cable to use AES monitoring with it! Otherwise it’s brilliant for this case use. Hope this helps 🙏

@@desmondbosire My pleasure bro 🙏

@@moustafaabdulreda that’s terrible - sorry to hear that man! In Toronto, the distributors were really solid but I know it can vary greatly from place to place. Best of luck! 🤞🏽

@@shineliketko thank you 🙏! I use capsules from a psilocybin store near me. They also used to buy there chocolate bar and I would divide up for storing in the fridge and this saved me a few bucks as well as giving me more precise control over dosing, but the pills are easier for sure. There’s also a company over here called Neurodose and they have great LSD micro dosing kits using distilled water and dissolve tabs. I personally prefer psilocybin but I’ve got some family that still use and love Neurodose. Hope this helps! 🙏

@@gtk_NO Lynx Hilo, Prism Lyra and RME ADI 2/4 (at my own studio) were used to test the analog signal path and I’ve used a drawmer for over a year with ATC 45s and Focals. It wasn’t much different for me, just slight distortion/sweetness or airy saturation from the drawmer - but fairly transparent from my recollection. I appreciate the suggestion though! You’d have to hear the new PMC monitors to see the difference from analog to AES yourself. Roundtrips usually aren’t this noticeable, but also always noticeable to me. The trinnov is a great monitor controller and fantastic room correction unit for sure from what I’ve heard. The DAC is better inside the grace designs m905 and I’m not certain how the trinnov DAC sounds against your RME interfaces. The only great RME dac I’ve ever used was in the ADIs personally after having the UCX, baby face, and 802 on hand. Nevertheless, the result 6’s are great. Enjoy them and thanks for tuning in! 🙏