(heh heh.....forgot the best didnt we!!!!)

Okay. I have heard a lot of monitors. Like Remy, I have owned a few pairs of JBL's....4311's, 4312's, L100's....a pair of Horror-Tones, a pair of NS-10M's, Celestion Model3's(still have those), JBL Model 5's, Model 3's, Model 1's, survived them all....I've worked on Westlake Soffitt mounts....I love the old 12" Tannoy's, I co-owned a pair of Urie 803's....AND, I make it a point to take my projects down to the local High-End Recording Gear Store, and play it on the stuff they have set up, so I get to hear a bunch of different stuff.

Mackies, Tapco, Samson, Tannoys, Genelecs, etc etc....

I have heard or have worked on a LOT of the different models of Genelecs. I own a set of 1029's with the 1091 sub. I have worked on 1030's, 1031's, and both of the older subs....I have worked on the 8030's and have heard the 8020's.

Nothing seems to come close to the complete translation to my ear.

But isnt that the whole secret in truth.

Its my ear.

Well, I'm in love with my 1037... You really hear everything you do..... And i can't believe how low they go!!!

And, as nearfield monitoring, i like the 1030 verymuch.
I had the chance to hear the 8030, and i thought they were pretty nice.

Davedog, post: 344946 wrote: (heh heh.....forgot the best didnt we!!!!)

Okay. I have heard a lot of monitors. Like Remy, I have owned a few pairs of JBL's....4311's, 4312's, L100's....a pair of Horror-Tones, a pair of NS-10M's, Celestion Model3's(still have those), JBL Model 5's, Model 3's, Model 1's, survived them all....I've worked on Westlake Soffitt mounts....I love the old 12" Tannoy's, I co-owned a pair of Urie 803's....AND, I make it a point to take my projects down to the local High-End Recording Gear Store, and play it on the stuff they have set up, so I get to hear a bunch of different stuff.

Mackies, Tapco, Samson, Tannoys, Genelecs, etc etc....

I have heard or have worked on a LOT of the different models of Genelecs. I own a set of 1029's with the 1091 sub. I have worked on 1030's, 1031's, and both of the older subs....I have worked on the 8030's and have heard the 8020's.

Nothing seems to come close to the complete translation to my ear.

But isnt that the whole secret in truth.

Its my ear.

In a bit more than 2 hours my Genelec 1032 (and Adam S3A) are sold on Ebay. They are both very good monitors but I prefer the new S3X-H.

I have worked on the 1029's, 1030's I loved both. When shopping I compared the 8030's to my current set, and it was hard choice. In the end I went with the other monitors, but I really liked the 8030's.

Bit of a bump, but I recently bought a pair of Genelec 8050A PM monitors. Even in my absolutely junk monitoring room (small, still working on treatment but have some OK side wall and corner treatment started) these sound fantastic to me. I work for a music equipment retail company and have audioned a lot of monitors (not that many high end ones, but lots of cheapos and midrange stuff like these speakers... I'd call $4200 "midrange" anyways, some might call it "budget" I guess) - everything else I tried, including the highly hyped (both in advertisment and in sound) new Event Opals, simply didn't come close to these, or their smaller 8040 sisters. Everything else was hyped, it's as if people didn't even try to design monitors, they just tried to make them sound "nice".

I don't have that much experience with midrange/highend monitors, but these seem very good to me.

Also, they have very useful EQ options via dipswitch control on the back of the speakers. I HATE having to use these, it reminds me constantly that I'm not getting the real picture, but considering the insane bass/low mid madness going on in a tiny room like I'm in, the low rolloff is a LIFESAVER.

I almost think I should have gone with the smaller 8040s for my room, but hey, the money is already spent, and once I can get into a bigger space I won't have to add a sub.

+

The EQ built into them isn't detailed enough to make sweeping/pinking worth it. Basically these have 3 bandwidths they act on with a couple of setting each.

I think the one I have in effect is a 4dB shelf below 800hz (also had the option for 6dB). Then there is an HF boost, which I was tempted to use because it sounded nice, but after a lot of listening it was decidedly not flat and not in my best interests. There's also a medium/low Q cut available around 160hz or so that is supposed to help correct for if you have them sitting on a flat surface like a desk, but I have them on stands so not an issue.

If I wanted to I could bring in some pinking gear and get out EQs and such... but I don't think that path leads down a happy road in such a small room (I'd be adjusting almost bloody everything I'm sure). Better for me to just work on them how they are and really learn how my mixes translate to other rooms and systems I think.

AToE, post: 351249 wrote: If I wanted to I could bring in some pinking gear and get out EQs and such... but I don't think that path leads down a happy road in such a small room (I'd be adjusting almost bloody everything I'm sure). Better for me to just work on them how they are and really learn how my mixes translate to other rooms and systems I think.

I know what you mean, but it all depends on what you mostly do.
You could try EQs and such if you mostly do sound for films, because most of the big studios are beeing calibrated (EX)
If you mostly do music, well, that's up to you then...!!!

In one of the studio where i work, the speakers are beeing calibrated because we mostly work for theatre releases in that room. We never had a problem with it.... And all the mixes translate perfectly to theatres and such...

owned the 8030's loved em

another vote here for 1037s...I don't own them anymore (unfortunately), sold them with my old studio, and I was lost without them for a while til I got (a little) used to KRK 5s (i know...). If you can get the low mids right on 1037s you can be certain it will translate well on anything out there. Mine were soffit mounted too, so the low end was superb on them..