A/B audition monitor

Posted: Sat May 24, 2008 11:59 am

Hi,

How do you guys setup the A/B audition monitor?

what device are you use for the setting?

Do the setting posible to setup from Control Room output or Main Output from a Mixer?

Thanks!!

Posted: Sat May 24, 2008 1:53 pm

It depends on the mixer.

Personally, I use a PreSonus Central Station (which I don't really use for A/Bing, as generally, I think A/Bing is a bad idea, but it has that capability).

If your mixer has discrete outputs for Control Room and Main Mix and you don't need those for anything else (and you're feeding the same mix to both), then sure, you could do it on your mixer output.

Posted: Sat May 24, 2008 10:18 pm

Cucco wrote:

Personally, I use a PreSonus Central Station (which I don't really use for A/Bing, as generally, I think A/Bing is a bad idea, but it has that capability).

Why did you say so?A/B is not a Good idea?Why...

Cucco wrote:

If your mixer has discrete outputs for Control Room and Main Mix and you don't need those for anything else (and you're feeding the same mix to both), then sure, you could do it on your mixer output.

Actually most of the Mixer do had the Control Room and Main Mix output (balanced).So,what and how's my setup s'ld be?I did try with a small Behringer Mixer 'http://www.behringer.com/MX602A/index.cfm?lang=ENG',it work with both output,but when i use the Control Room channel,the Main Mix output still ON,that's mean both of my monitor are work together.

Once i try to turn off the Main Mix ... The Control Room mix was turn off as well ...

And of cause, when turn off the Control Room Mix, the Main Mix is On as usual.

How'ld i mute the other when the other is ON?Do the mixer s'ld have the MUTE button?

Posted: Mon May 26, 2008 6:41 am

ray1018 wrote:

Cucco wrote:

Personally, I use a PreSonus Central Station (which I don't really use for A/Bing, as generally, I think A/Bing is a bad idea, but it has that capability).

Why did you say so?A/B is not a Good idea?Why...

Simple -

First, let me ask you what the value is in doing this?

I assume your answer will be "So that I can hear my mixes on different speakers..."

Here's where I see the problem. If you use a pair of speakers to mix on and then switch to another and you hear something you don't like, do you remix? Do you switch back and forth mid-mix a lot? The problem is, you're constantly second-guessing what you think you should hear from one to the other and never really settling on a solid, good mix.

You should get to know a good, single pair of speakers so that you can trust them implicitely and that any decisions you make on them, you know will transfer to other speakers.

Switching back and forth is a monumental waste of time. The money spent on two or more pairs should be spent on a single, better pair with quality room acoustics.

Cheers-
Jeremy

Posted: Mon May 26, 2008 6:59 am

At RC we have two sets, one we mix on (nearfields), and one larger set of boxes we crank for the band.

Typical setup.

However, the HP8 has separate controls for the outputs, unlike the Behringer in question here and on this post:

http://recording.org/ftopicp-335363.html#335363

Posted: Tue May 27, 2008 9:43 am

Cucco wrote:

Switching back and forth is a monumental waste of time. The money spent on two or more pairs should be spent on a single, better pair with quality room acoustics.

Well put...I totally agree. I used to mix on NS10's like just about everybody else in the 80's, then things changed and everybody started hating on the NS10's. So we kept a pair for A/B purposes with all the best intentions, but the problem is that they tell a whole different story than the "A" pair. Cucco brings up a great point that doesn't get brought up often. If you find drastic midrange differences between the "A" set and the NS10's, what do you do? If you mix for the 10's you'll scoop the "A" set, and vice verse.

The goal is translation, nothing else. One good set of monitors and an acoustically reliable room is the ticket.

Frank

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