VO-BB - 20 YEARS OLD!

[Mark Szabo]

Mike,

Are you always this much of a jackаss, or is it just today?

I responded to you courteously and with opinions of my own regarding monitoring, and you respond with words like...hobbyist. As a professional, I can tell you that were I doing business with you (as opposed to shooting the breeze on an internet forum), that business would stop the moment you aired that sort of attitude with me.

We turn out professional work in our studio, both on a technical and an artistic level. Both my wife and I turn to the VO-BB as a fount of great information (yours included, honestly) and we all have opinions about the gear we use and how we use it. Do try to remember that your own opinion is not the end of the story.

[Bill Campbell]

+1 Mark.

You do not have to record or mix in a "dead" room. A dead room sounds odd.
Just in normal day to day interactions we talk to people in lively rooms.
Now, you don't want an empty room with lots of reflections, either.

If your mixing on small monitors, at fairly normal listening levels, you can get a good final mix, because people will listen to them (radio, TV, web, theater) in a similar environment.
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www.asapaudio.com

[Mike Sommer]

Just an FYI most professional control rooms are Reflection Free (dead) or have Reflection Free Zones (RFZ).

The general goal of a Reflection Free Zone is to eliminate the early reflections. WHY?

Because when direct sound from a speaker is accompanied by an echo that arrives within 20 milliseconds or less, our ears and brain are unable to distinguish the echo as a separate sound source. You may think it sounds great in your room, but because of the way our brain is wired, you can't hear how bad it really is. It's not a trick it's not an illusion- it's just how our brain works. This occurs at low volume as well as high volume; sound travels at the same speed no matter how loud it is. So to say the sound coming from your monitors is not effected, is just wrong. Even the sound bouncing off your desk colors and blurs the sound.

So instead of sounding like an echo or general room ambience, the sounds coming from different directions combine, which obscures clarity and will blur the audio image. You can tell when your audio is panned all the way to the left or right, but the in-between positions are not as defined. Listening to audio in a Reflection Free Zone it is a lot like listening with headphones - audio sounds clearer, and sound elements placement in a stereo field are better defined or identified.

One other reason for working in a RFZ is to control early reflections and to reduce comb filtering. This is a specific type of frequency response error that is caused when a source and its reflections are combine. Depending on the difference in arrival times, some frequencies are boosted and others are reduced. Thus making accurate adjustments with an EQ almost impossible, because you're adjusting to the frequency response error and not to what is actually coming form the speakers.

My opinions may not be the end of the story, but what I offer comes for proven acoustical science. Yours is based on personal preference or conjecture.
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The Blog:
http://voiceoveraudio.blogspot.com/

Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.

[ballenberg]

I'm sure the scientific information above is fine and correct.

What Mark refers to, however, is worth noting.

It's important not to be posting in a TFZ (Tact-Free Zone).

[Rick Riley]

I know that they are not either of the one's you mentioned, but I bought a couple of KRK VXT4's from Guitar Center, to audition, and never brought them back. I use them all day, every day and find them to do their job extremely well.

[todd ellis]

... and the award for "Bringing The Thread Back Home" goes to ...





rick riley!
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"i know philip banks": todd ellis
who's/on/1st?

[Mike Sommer]

If the hobbyist shoe fits, maybe it's time to step up the game.

Paraphrasing Goethe:
Holding people to higher standards allows them to meet their true potential. If we only hold people to what they should or could be, they will surly fall short of there true potential.

Enjoy:
http://sound4vo.com/voiceover-gear-quality-and-rates-a-correlation/


We should always be willing to invest in the upgrade of our recording and production spaces. Doing so will not only make your product sound better, but it will in turn give you reinsurance in your end product – thusly allowing you to focus more on your job, which should be acting.


If you don't like the information that I give here FOR FREE, please don't use it. If your facts differ to mine, let us have a conversation.
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The Blog:
http://voiceoveraudio.blogspot.com/

Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.

[todd ellis]

aaaaaannndddd we're gone again.
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"i know philip banks": todd ellis
who's/on/1st?

[Rick Riley]

I'm staying tuned just for the Threadjacker's commentary...

[Rob Ellis]

I think I hear Big Mama comin' down the hall.......

[Boothvoice]

Chuck,

I A-B'd the Mackie MR5's and the KRK Rokit 5s and went home with the KRK's. They sounded great in the store and even better at home. I thought the Mackies were a little "tubby" sounding.
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Tom Booth
"Everything You Need in the Booth"
www.boothvoice.com

[Chuck Davis]

That was my impression too Tom. I felt they were a little hyped in the low end....

I'm really happy with the RP6's. What I mix here sounds the same in every other listening venue I've tried.
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Wicked huge.....in India.
www.chuckdaviscreative.com

[Bruce]

Wearing my moderator hat for just a moment, let me say I hope this particular threadjack is done. It'd be nice if we didn't make a "hobby" of it.

Many thanks,

B
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VO-BB Member #31 Enlisted June, 2005

I'm not a Zoo, but over the years I've played one on radio/TV. .