Tweet
O meu novo blog, onde o áudio profissional e o Hi-Fi serão devidamente tratados. Artigo de estreia:
HOW NEAR-FIELD MONITORS ARE DESTROYING YOUR SONGS
AND WHY MASTERING STUDIOS ARE NOT TELLING YOU THE WHOLE STORY
Near-field listening puts every vocal and instrument in-your-face. It brings you all the advantage of a headphone but with all the bad things a headphone never gives you. The vocals and instruments are all there, with exagerated presence and aparent immaculate frequency response. They don't suffer from wall bounderies, reflections or ceilling reinforcement - but who said these are always bad to a loudspeaker's performance? And you don't have to deal with stereo pan pots because, usualy, near-field monitors are aligned with 1 and a half meter beetween them or less. In my early days of audiophile entusiasm, as a compulsive reader of magazines such as Hifi-News or Stereophile from the early 80's, I learned that one should have at least 2 meters from the left loudspeaker to the right loudspeaker to get a proper stereophonic image... Near-field studio monitor gives you the easiest and trickiest job in the world: all you have to deal with is the volume balance between the musical sources and tone. What about stereo soundstage, solid phantom center or depth layers? You don't worry about them because you don't worry about what you don't listen at the studio. That's the modern pop/rock sound engineer job today thanks to near-field monitors: don't try to emulate a real soundstage in your recording or mix; try to make it sound like the narrowest mono radio broadcast with every sound pumping forward in the mix! And every hit will sound the same!
To read full article go to my blog "Loud and Clear" at www.oganhodosom.pt/BLOG.html
HOW NEAR-FIELD MONITORS ARE DESTROYING YOUR SONGS
AND WHY MASTERING STUDIOS ARE NOT TELLING YOU THE WHOLE STORY
Near-field listening puts every vocal and instrument in-your-face. It brings you all the advantage of a headphone but with all the bad things a headphone never gives you. The vocals and instruments are all there, with exagerated presence and aparent immaculate frequency response. They don't suffer from wall bounderies, reflections or ceilling reinforcement - but who said these are always bad to a loudspeaker's performance? And you don't have to deal with stereo pan pots because, usualy, near-field monitors are aligned with 1 and a half meter beetween them or less. In my early days of audiophile entusiasm, as a compulsive reader of magazines such as Hifi-News or Stereophile from the early 80's, I learned that one should have at least 2 meters from the left loudspeaker to the right loudspeaker to get a proper stereophonic image... Near-field studio monitor gives you the easiest and trickiest job in the world: all you have to deal with is the volume balance between the musical sources and tone. What about stereo soundstage, solid phantom center or depth layers? You don't worry about them because you don't worry about what you don't listen at the studio. That's the modern pop/rock sound engineer job today thanks to near-field monitors: don't try to emulate a real soundstage in your recording or mix; try to make it sound like the narrowest mono radio broadcast with every sound pumping forward in the mix! And every hit will sound the same!
To read full article go to my blog "Loud and Clear" at www.oganhodosom.pt/BLOG.html
Ficheiros Anexos