...is the correct answer! Please step up to the podium to collect your Golden Cleric award.
We’re pretty chuffed to be honest. Tickets are flying out and we know from experience the Trinity sound system will do us justice. Do say hello on the night. 😘
Should I resist doing the Father Ted/Craggy Island jokes and just wish you a pleasant journey?
(Follow up question regarding the hs5 speakers:)
Lastly, do you really think the - bit of uneven - freq response of the hs5's won't be such an issue to mix on them? : https://sonarworks.com/blog/wp-content/uploads/2016/11/anech_HS5.png . Regardless, I have to say I love my 5's! Unbelievable clarity for a budget monitor! I appreciate your mixes even more since I got them. Especially the Fairchildren! Such a smooth high end! Thanks so much for pointing these speakers out! :-)
Like I said, your choice of floor covering, studio sofa, positioning of your speakers on the shelf, will have WAY more influence over the sound which reaches your ears than a dB either way on the manufacturer's plot.
A lot of classic albums were mixed on cheap hi-fi speakers with consumer amps.
Good evening, sir!
A month ago I went to a store to get the hs5's and I tested them side by side with the 7's. Both sounded great, detailed and fast responding, but I loved the 7's more, not because of the extended range, but mainly because the vocals sounded flatter than the 5's which have a dip around the 4khz. I kept them for about 10 days and returned them just to get the 5's and the only reason for this is that you approve them as a descent pair of monitors! (I do trust my ears, but I trust yours even more, and if that's a speaker you could comfortably mix on, then that's the one I'd get as well :-) )
Now, I know you haven't heard the 7's but I remember you preferring the 5's a bit more over the 50's. Though both of them hype the 800 - 1100hz, the 50's don't adopt the 4k dip, which makes them flatter. So what is the reason for which you prefer the 5's more than the 50's. Is it because it sounds even less fatiguing, or is it something regarding the transient response?
I never look at frequency plots or THD specs: I fire 'em up and if they work they work.
The HS5s sound better to me than the 50s but not in any way I could specifically identify. They just sounded 'better'.
Manufacturer specs are of limited use, in that your room acoustics are going to exert way more influence over how the speaker output reaches your ears than a dB either way of 4kHz on a graph.
My main speakers are Yamaha NS10s powered by a Bryston 4B SST amplifier, but I listen on them for, at most, 10% of the time. For the other 90% of the time I listen on a cheap, shitty Sony radio cassette I bought in 1997 for £75, connected via RCA phonos on the back which are so worn out I have to wedge cardboard between them to make them work.
I recommend the HS5s because they represent astonishing value for money and come as a self-contained package which is attainable for just about anyone who is in the market for some studio monitors.
What about eurorack/modular system? What are your thought about it? Future of music or just a trend? If i buy you all the best modules on the market would you make an album entirely with a modular system? is it an idea that could seduce you? Bye
I have a large Eurorack setup, mainly Doepfer A-100, and I have long had the wish to make an album with just it and maybe an analogue sequencer.
I don't think modular synths are the future of music or a trend - they're just another tool in the box. Some people are inspired by the methodology of building cause-and-effect machines with wires and voltages, and I definitely enjoyed being freed from the tyranny of the mouse and screen, but then I love to fire up a big digital polysynth [I LOVE my Roland System 8] and create clouds of evolving polyphonic atmosphere to go with the rubbery monophonic grumbling.
Ultimately I'll use whatever is lying about so if you want to buy me loads of esoteric Eurorack modules I'll definitely use them and I'll even put your name on my record sleeve as Executive Producer.
That's going to cost you a fucking lot of Eurorack modules, though, so this plan will only work if you're rich.
No, it's all done with fingers. I've been messing about with chords since I was 12 years old and I'm still surprised at the permutations I can uncover with only 12 notes and ten sausage-like fingers.
Yes, I am obsessed with the post-war social and technological history of Britain, from 1948 to 1984.
The transition from steam, to diesel, to electro-mechanical, to solid state is something I have almost limitless fascination for and this influences a lot of my work.
'Harwell Dekatron' was an attempt to build a piece of contemporary electronic music using obsolete tools - samplers, tape recorders, hardware sequencers, analogue synthesisers, electro-mechanical signal processors, etc, and was inspired by the early electro-mechanical computers of the 1950s and 1960s.