I love how a lot of people that obviously don't have a clue about acoustics find themselves giving oppinions, things like "this guy is full of shit, I have my KRKs Rokkit 5 and they are absolutely fine", then laugh when he mentions that most ignore the time domain, focusing on that almost meaningless frequency response. The Duning-Krugger is so common these days that I find it unbelievable. There is a reason why for a room measurements for example, much more important than the frequency response of the room, is the waterfall graph, because that actually shows how long differet frequencies take to dacay in your room. And this is crucial, bacause if that time is too high for a frequency, all detail in that range gets smeared, to the point where you can no longer hear changes, proper transients, you just hear a flabby wall of constant sound without detail. This is what usually happens the most in bass frequencies. You can have a perfectly flat room, and it can be absolutely dog crap with bad decay, any good engineer understands this. What he says about speakers is absolutely true. Even absent of a room, or in a good room, speakers will also smear lower frequencies more and more, depending on speake size, and other factors, which is NOT detected in a frequency response graph. That is why he mentioned sines are not music, because they do not contain any transient information. You can just see how loud it repsesents a constant sine signal at a designated SPL, that is almost meaningless, especially when the room usually has much more influence than that, and it can usually be corrected with treatment/EQ, while time domain smears CANNOT. Than doesn't mean that unless you have those 125k speakers, or build your own human sized ones, all is in vain and you should give up, just know the limitations and aim for the best/biggest speakers you can afford. Bigger is really better, regardless of room size, as long as you have the room to fit them. Some say that speakers too big for a room are bad because you put too much energy in the room ... bullshit. The room has the same response, regardless of the speakers, a bigger speaker (comparative quality obviously) will always sound better, regardless of room size. Plenty of renown engineers say this and a lot of people keep looking over it: "you cannot mix what you cannot hear", and those KRK guys mentioned above usually have no clue what they are mising from the sound. They think that if they slap SoundID Reference to make the sound "flat", they are anywhere close to much more expensive speakers in a well treated room. Until relatively recently, I had a system with KRK Rokkit 6 monitors and a KRK 10 inch woofer, thought it sounded ok, but upgraded to an EVE Audio SC3070 pair. Not saying they are the best speakers in the world, just the best I could afford, and even though I have almost no treatment in the room, still, the difference in sound is mind blowing, both in frequency ballance, and especially transient detail. I basically listenned to all of my favourite songs as if I was listening them for the first time.
On the points of bigger speakers and room treatment (someone mentioned in chat)... If you have hypothetically 100% "perfect" room treatment absorption, it would absorb 100% of all frequencies including bass. It would sound like you're sitting in the middle of an open field with no reflections. The bass would get lost as walls wouldn't be reinforcing it. ^ This is why when you have more room treatment that treats lower freqs, you need larger speakers to overcome the absorption of bass frequencies. Small speakers would have to have more bass added to compensate, but they distort much sooner than larger speakers. It's not that small speakers "can't" produce bass. It's that they're sub-optimal for reasons of loudness and driver distortion due to small cones with high excursion. So he has a point, but yeah, rage bait lol.
If you’re in a little room I’m very sure you can’t even afford the big PA speakers to begin with. I agree with this guy and I think he speaks to a specific demographic which is super invested audio engineers. Which is very niche but everything he said was pretty valid
That was my first thought… and seems to overlook that good mixes and masters are achievable on “standard” studio monitors. It’s a very zoomed in perspective without much nuance
Thick outdoor clothes and a hat, wooden planks with different things stuck to them, an electric tool of some kind alongside audio equipment with a fairly plain background. Dude's a genius baiter lol. He knows people will notice stuff and talk about it.
I was just in the 3rd Man Records mastering room in Detroit, and the room was small and the speakers were huge! I never heard music sound so good. It was the best setup for mastering.
The biggest flaw in his reasoning is , that nearfield monitors have a different purpose than high end massive mastering speakers... He compares apples to oranges. He ditches PSI monitors claiming they're a scam, while those are one of the most precise, clear sounding speakers ever made (by formerly Studer the tape machine company now called PSI). People who buy and use these speakers don't use them for mastering, but for precise composition , post production, mixing ,tracking, radio etc There's a whole lot more to monitors than the sub frequencies. He totally skips "the magic is in the midrange" For crafting a good vocal sound you don't need accurate bass response. Many experienced producers who work from home will work at home on their near fields and headphones and then send it off to a mastering studio who WILL have the large format speakers, and a guy with EARS and EXPERIENCE in mastering who will tackle any issues with the low end.
I think the dude is trying to imply that he's some experienced speaker maker. That's why there's saws and random pieces of plywood around. I don't know. Every custom speaker I've ever seen is just made with MDF. If you're building stuff like this with any kind of regularity you'd probably be using a kind of table saw too. Not the random set piece skillsaw that's just positioned for the camera. As a professional builder (not speakers) it just looks lie a bunch of BS to me.
handmade and bespoke : that's the way it was until (more or less) 1990 speakers in nightclubs, big venues, big studios, outdoor stages were handmade.There were an industry and business around it. I worked as roadie/handyman I did fix speakers : gluing, patching membranes (it's paper made), repairing or changing cabinets...There were blueprints and charts to pair the cabinets (size, depth) with the speakers...And yeah for low frequencies : the bigger the better....
Thank’s, I don’t usually watch reaction videos but this way I can watch just enough of these AP Mastering videos to know what he’s on about this time without giving him any views or engagement
You know how there's like certain measurements that sit in Europe that we all refer to? Until there's a speaker that all 8 billion of us can walk up to and calibrate to this conversation will always be subjective and confusing
Guy must be in Italy, according to the old AC power socket on the wall behind him. Possibly bought a cheap 1 EUR propery in some Italian village… But then, he has his domain registered in Germany. I was just curious where he is because that type of AC power wall socket is unusual, rather rare to see in Europe. Judging from his English accent, he’s from UK.
The problem is the guy comes from an engineering standpoint, so from the start this isn't meant for producers. none of it applies to producers. He is only talking to engineers
Easy answer is: Who do you believe are the best studio engineers regardless of budget? Look at what they use because that will just answer the questions for you.
If he is speaking about mastering on small speakers he is 100% correct. Everyone thinks because they make a song they’re producers, recording engineers, mastering engineers, mixers etc.. If you aren’t in a purpose built room and you have a 2 channel Scarlett from 2012. You are not a proffesional mastering engineer. Nothing wrong with not being a proffesional mastering engineer, which is good news since 99.9% of everyone here and on his channels aren’t professional mastering engineers.
the lower the frequency range, the larger the speaker cone necessary to produce it accurately and truly. there are tricks, adding harmonics etc, to make smaller speakers appear to have more bass... but the science i believe hes talkin of is in reference to this point. the absorption in the room levels out the entire range of fq low to high, by fixing nodes aka buildups and cancellations across all freqs. however lower freqs can only be absorbed by panels big enough and deep enough to handle the size of the waves produced
How is sine waves not music when you can create any signal with sine waves... Also I don't think this dude has ever heard the the phrase "good enough".
if u care about subs just fk get a woofer and place it/tune it correctly, problem solved (and you can spend the remaining 124000 dollars on quantum ruby plated cables)
Weaver, people are able to make good decisions on lower end monitoring because making music is still very much a subjective art, albeit mastering is actually about quality control, not about 'make loud with ozone', hence why good monitoring is so essential for that. Youll never have a clue how your mix/master will hold up on a big festival pa or something working on these home setups and bypassing proper mastering, which may be ok for some but not for someone whos music has a big reach and possibly playing on huge rigs etc. Side note: the guy in the video youre reacting to is talking nonsense, he is so wrong on so many details. He is just waffling on some ragebait there is no value to what he says.
5:50 barely in, and every take is trash. Learn the sound in your room with your speakers with relevant reference audio. Practice > gear. Always. 16:11 show me the receipts. What has he mixed or mastered? 20:16 last edit. No one needed this to make iconic music 60 years ago. Stop it, get a job, make music.
There's a reason virtually no company uses transmission line designs in their flagship speakers, they probably should have asked a professional why. They've read a lot and made a decision based on their own confirmation bias. 90% of musical information is in the midrange and paradoxically, a decent pair of headphones will often allow you to judge, pretty accurately and without room interference, the bass end of a mix. I'm sitting listening to this on a pair of speakers i built that are probably flatter from 100hz to 20 khz than his wardrobes.
Oh and his understanding of speaker cone excursion is zero, the control over that factor is 100% down to the capabilities of the amplifier driving it. That's what makes Hypex amps absolute game changers, they can virtually drive a lump of concrete and keep it under tight control.
If he is speaking about mastering on small speakers he is 100% correct. Everyone thinks because they make a song they’re producers, recording engineers, mastering engineers, mixers etc.. If you aren’t in a purpose built room and you have a 2 channel Scarlett from 2012. You are not a proffesional mastering engineer. Nothing wrong with not being a proffesional mastering engineer, which is good news since 99.9% of everyone here and on his channels aren’t professional mastering engineers.
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I love how a lot of people that obviously don't have a clue about acoustics find themselves giving oppinions, things like "this guy is full of shit, I have my KRKs Rokkit 5 and they are absolutely fine", then laugh when he mentions that most ignore the time domain, focusing on that almost meaningless frequency response. The Duning-Krugger is so common these days that I find it unbelievable.
There is a reason why for a room measurements for example, much more important than the frequency response of the room, is the waterfall graph, because that actually shows how long differet frequencies take to dacay in your room. And this is crucial, bacause if that time is too high for a frequency, all detail in that range gets smeared, to the point where you can no longer hear changes, proper transients, you just hear a flabby wall of constant sound without detail. This is what usually happens the most in bass frequencies. You can have a perfectly flat room, and it can be absolutely dog crap with bad decay, any good engineer understands this.
What he says about speakers is absolutely true. Even absent of a room, or in a good room, speakers will also smear lower frequencies more and more, depending on speake size, and other factors, which is NOT detected in a frequency response graph. That is why he mentioned sines are not music, because they do not contain any transient information. You can just see how loud it repsesents a constant sine signal at a designated SPL, that is almost meaningless, especially when the room usually has much more influence than that, and it can usually be corrected with treatment/EQ, while time domain smears CANNOT.
Than doesn't mean that unless you have those 125k speakers, or build your own human sized ones, all is in vain and you should give up, just know the limitations and aim for the best/biggest speakers you can afford. Bigger is really better, regardless of room size, as long as you have the room to fit them. Some say that speakers too big for a room are bad because you put too much energy in the room ... bullshit. The room has the same response, regardless of the speakers, a bigger speaker (comparative quality obviously) will always sound better, regardless of room size.
Plenty of renown engineers say this and a lot of people keep looking over it: "you cannot mix what you cannot hear", and those KRK guys mentioned above usually have no clue what they are mising from the sound. They think that if they slap SoundID Reference to make the sound "flat", they are anywhere close to much more expensive speakers in a well treated room. Until relatively recently, I had a system with KRK Rokkit 6 monitors and a KRK 10 inch woofer, thought it sounded ok, but upgraded to an EVE Audio SC3070 pair. Not saying they are the best speakers in the world, just the best I could afford, and even though I have almost no treatment in the room, still, the difference in sound is mind blowing, both in frequency ballance, and especially transient detail. I basically listenned to all of my favourite songs as if I was listening them for the first time.
😂😂😂 when this guy is done, there won't be any music in the world.
I’ll give it to him - building your own speakers is walking the talk, especially a floor standing speaker like that.
You're not wrong
He's got a Bad Company UK sleeve in the background. I believe him.
trust a meth head, its on u tho lol
This guy looks like he's dressed for today and tomorrow
On the points of bigger speakers and room treatment (someone mentioned in chat)... If you have hypothetically 100% "perfect" room treatment absorption, it would absorb 100% of all frequencies including bass. It would sound like you're sitting in the middle of an open field with no reflections. The bass would get lost as walls wouldn't be reinforcing it.
^ This is why when you have more room treatment that treats lower freqs, you need larger speakers to overcome the absorption of bass frequencies. Small speakers would have to have more bass added to compensate, but they distort much sooner than larger speakers.
It's not that small speakers "can't" produce bass. It's that they're sub-optimal for reasons of loudness and driver distortion due to small cones with high excursion. So he has a point, but yeah, rage bait lol.
The bad company uk vinyl behind him speaks volumes
they used to be dons in dnb but you listen to a lot of the stuff now it has not aged well at all
@@Barney-ii1no Which BC tunes haven't aged well? I'd say they're aging like fine wine, while 99% of modern dnb is aging like raw milk.
it's funny that he is arguing about near field monitor with a mid/far field monitors LMAO....
If you’re in a little room I’m very sure you can’t even afford the big PA speakers to begin with. I agree with this guy and I think he speaks to a specific demographic which is super invested audio engineers. Which is very niche but everything he said was pretty valid
That was my first thought… and seems to overlook that good mixes and masters are achievable on “standard” studio monitors. It’s a very zoomed in perspective without much nuance
Thick outdoor clothes and a hat, wooden planks with different things stuck to them, an electric tool of some kind alongside audio equipment with a fairly plain background. Dude's a genius baiter lol. He knows people will notice stuff and talk about it.
Everything he is doing is just marketing!
Can we please donate a fucking heater or blanket to this dude. He's freezing his nuts off over there in the North Pole
I'm so tired of that AP guy
Unsub Weaver bru
He went all in😂
I was just in the 3rd Man Records mastering room in Detroit, and the room was small and the speakers were huge! I never heard music sound so good. It was the best setup for mastering.
For the guy asking the question in the chat... just get VSX and be done with it.
first thing i noticed about this guy in the last video you posted about him, is how nice his voice is mixed and mastered
The biggest flaw in his reasoning is , that nearfield monitors have a different purpose than high end massive mastering speakers... He compares apples to oranges. He ditches PSI monitors claiming they're a scam, while those are one of the most precise, clear sounding speakers ever made (by formerly Studer the tape machine company now called PSI). People who buy and use these speakers don't use them for mastering, but for precise composition , post production, mixing ,tracking, radio etc There's a whole lot more to monitors than the sub frequencies. He totally skips "the magic is in the midrange" For crafting a good vocal sound you don't need accurate bass response. Many experienced producers who work from home will work at home on their near fields and headphones and then send it off to a mastering studio who WILL have the large format speakers, and a guy with EARS and EXPERIENCE in mastering who will tackle any issues with the low end.
PSI is Studer?!? Holy cream of the crop, Batman, you just made watching this video more than worth my time!
"You're gonna have to build them yourself, or with a friend or with your Dad. No mums though. Mums cause additional resonance"
I think the dude is trying to imply that he's some experienced speaker maker. That's why there's saws and random pieces of plywood around. I don't know. Every custom speaker I've ever seen is just made with MDF. If you're building stuff like this with any kind of regularity you'd probably be using a kind of table saw too. Not the random set piece skillsaw that's just positioned for the camera.
As a professional builder (not speakers) it just looks lie a bunch of BS to me.
He's the Russell Brand of the Audio world 😂
handmade and bespoke : that's the way it was until (more or less) 1990 speakers in nightclubs, big venues, big studios, outdoor stages were handmade.There were an industry and business around it. I worked as roadie/handyman I did fix speakers : gluing, patching membranes (it's paper made), repairing or changing cabinets...There were blueprints and charts to pair the cabinets (size, depth) with the speakers...And yeah for low frequencies : the bigger the better....
Dillinja is still building his own speakers.
Thank’s, I don’t usually watch reaction videos but this way I can watch just enough of these AP Mastering videos to know what he’s on about this time without giving him any views or engagement
I love this dude.
Wilmslow Audio offer kits of those PMCs with the same drivers for approx 1/10th the price.
You know how there's like certain measurements that sit in Europe that we all refer to? Until there's a speaker that all 8 billion of us can walk up to and calibrate to this conversation will always be subjective and confusing
This guy is a gatekeeping nerd. You're being way too nice to him
Guy must be in Italy, according to the old AC power socket on the wall behind him. Possibly bought a cheap 1 EUR propery in some Italian village… But then, he has his domain registered in Germany. I was just curious where he is because that type of AC power wall socket is unusual, rather rare to see in Europe. Judging from his English accent, he’s from UK.
This is why I have a sub :D
The problem is the guy comes from an engineering standpoint, so from the start this isn't meant for producers. none of it applies to producers. He is only talking to engineers
Easy answer is: Who do you believe are the best studio engineers regardless of budget? Look at what they use because that will just answer the questions for you.
If he is speaking about mastering on small speakers he is 100% correct. Everyone thinks because they make a song they’re producers, recording engineers, mastering engineers, mixers etc..
If you aren’t in a purpose built room and you have a 2 channel Scarlett from 2012. You are not a proffesional mastering engineer. Nothing wrong with not being a proffesional mastering engineer, which is good news since 99.9% of everyone here and on his channels aren’t professional mastering engineers.
the lower the frequency range, the larger the speaker cone necessary to produce it accurately and truly. there are tricks, adding harmonics etc, to make smaller speakers appear to have more bass... but the science i believe hes talkin of is in reference to this point. the absorption in the room levels out the entire range of fq low to high, by fixing nodes aka buildups and cancellations across all freqs. however lower freqs can only be absorbed by panels big enough and deep enough to handle the size of the waves produced
14:07 I think the Neumann kh420s are flat to 26hz
Not so fast! Call a mastering engineer! But not for me!
This guy is crazy… and he cannot stop talking shit to sell his courses, mastering etc.
that's funny i own a pa speaker lmfao no cap
How is sine waves not music when you can create any signal with sine waves...
Also I don't think this dude has ever heard the the phrase "good enough".
I got bored listening to him. Write music, have fun, end of ...
if u care about subs just fk get a woofer and place it/tune it correctly,
problem solved (and you can spend the remaining 124000 dollars on quantum ruby plated cables)
Weaver, people are able to make good decisions on lower end monitoring because making music is still very much a subjective art, albeit mastering is actually about quality control, not about 'make loud with ozone', hence why good monitoring is so essential for that. Youll never have a clue how your mix/master will hold up on a big festival pa or something working on these home setups and bypassing proper mastering, which may be ok for some but not for someone whos music has a big reach and possibly playing on huge rigs etc.
Side note: the guy in the video youre reacting to is talking nonsense, he is so wrong on so many details. He is just waffling on some ragebait there is no value to what he says.
This guy is stuuuee ped
5:50 barely in, and every take is trash. Learn the sound in your room with your speakers with relevant reference audio. Practice > gear. Always.
16:11 show me the receipts. What has he mixed or mastered?
20:16 last edit. No one needed this to make iconic music 60 years ago. Stop it, get a job, make music.
There's a reason virtually no company uses transmission line designs in their flagship speakers, they probably should have asked a professional why. They've read a lot and made a decision based on their own confirmation bias. 90% of musical information is in the midrange and paradoxically, a decent pair of headphones will often allow you to judge, pretty accurately and without room interference, the bass end of a mix. I'm sitting listening to this on a pair of speakers i built that are probably flatter from 100hz to 20 khz than his wardrobes.
Oh and his understanding of speaker cone excursion is zero, the control over that factor is 100% down to the capabilities of the amplifier driving it. That's what makes Hypex amps absolute game changers, they can virtually drive a lump of concrete and keep it under tight control.
If he is speaking about mastering on small speakers he is 100% correct. Everyone thinks because they make a song they’re producers, recording engineers, mastering engineers, mixers etc..
If you aren’t in a purpose built room and you have a 2 channel Scarlett from 2012. You are not a proffesional mastering engineer. Nothing wrong with not being a proffesional mastering engineer, which is good news since 99.9% of everyone here and on his channels aren’t professional mastering engineers.