Help choosing studio monitors. Genelec, Adams, or Dynaudio?

[John Saunders]

So I am looking to buy a new pair of monitors and I am kinda torn. I am coming from KRK rokit 8's at home and KRK V6's at work but I want to invest a little and get a good small pair.

I am using them primarily for video editing but I do some live recording and mixdowns every once in a while.

So far I am looking at the Genelec 6010 or 8040s, Adam A7, or Dynaudio BM5A.
I would like to spend at most $1000 for a pair I have a close relationship with a very large dealer here and I get stuff at cost so that shouldn't be a problem with any of these.

I have heard the Genelec and really like them. I have also heard the Dynaudios but I am not to much of a fan. I haven't heard the adams yet but that is what my friend is pushing me towards.

My thoughts on the genelecs are that I can get the sub down the road for more bottom end and then maybe move them to surrounds if and when I go 5.1

So I was wondering if anyone has any experience with these or any others I might look into. It's kinda hard for me to judge how I will like them for the long haul with only being able to listen to them in the showroom with CD music.

Thanks.

[Andy Balla]

If you have a good relationship with the dealer, see if you can arrange to bring home a couple of pairs to demo in familiar surroundings, with projects you're working on. Seems like that would be the ideal way to make the choice.

[Dan Brockett]

Hi John:

I have had the Genelec 1029s along with the 1091B for over a decade, they are excellent. But I have heard nothing but great things too about the A7s and the Dynaudios as well. Andy's advice is spot on, you need to audition them against each other in your environment, they will sound very different than they sound at the dealer.

Good luck,

Dan

[John Willett]

If you have a relationship with a dealer then the Klein + Hummell (Neumann) O110 should be within your budget.

I spent several years searching for small accurate monitors that I could really trust to tell me what was happening and only the O110 actives came up to the mark.

[John Saunders]

Thanks for all of the input I will see if I can take some home for a weekend.

John
I hadn't even come across those speakers. They seem a little out of my price range but I am fine with spending a little more if I really like them. I will see if they carry them since I don't recall seeing them in the showroom.

[John Saunders]

Another set that I haven't heard but looked at is the Tannoy PRECISION 6D has any one used these?

It's kinda funny since I am a tannoy dealer (pro av side) I have never really looked to much into their studio monitors.

[Greg Bellotte]

Most of the production trucks I mix in have either Genelecs or Tannoys. You can't go wrong with either IMO. Of all the different brands of monitor I mix on, I always seem to prefer the Genelecs. Monitor are such a person choice though, best if you can test them in YOUR environment.

[Kirk Candlish]

Tannoy was the first company to create monitors that were close to neutral. Genelec came along and improved spacial and soundstage accuracy. Adams are much more defined, easier to mix on and one of the references in most studios today.

I use Adam S3As and they're amazing. Mixes translate as expected. I have Genelecs for the occasional producer / mixer who wants them, but they're typically abandoned once they hear the Adams.

[Geoffrey Cox]

I can't comment on the Adam's (and I take Kirk's word for their excellence) but Genelec's are very good and I and colleagues have used them for years. Can't help thinking it is a sweeping generalisation to say that Adams are 'one of the references in most studios today'. What's the evidence for that apart from anecdotal?

[Kirk Candlish]

My reference is working many of the best studios in L.A. and Nashville over the last 8 years and using Adams. The S3A has now been updated but it was one of those that enjoyed huge popularity because the ribbon tweeters are so detailed and their mixes translate well. Much like the Genelec 1031A was a reference.

[Gerry Gallegos]

All the monitors you mention are great choices.

The most important thing besides choosing a pair that you like and are comfortable with is to "learn" them. there isn't a monitor in the world that will guarantee a good mix no matter how expensive or well reviewed it is. Learning how a monitor translates is the critical step, just think of all the old school mixers had great mixes on horrible sounding monitors like Yamaha NS-10 , and Auratones.

Pick the ones you like. then Learn them, listen to all your fave music (no MP3s) and emulate what you hear, this can be done on ANY monitor, but its much better and easier when the monitor you choose is musical to your ears.

Good Luck

[Kirk Candlish]

"Learning how a monitor translates is the critical step, just think of all the old school mixers had great mixes on horrible sounding monitors like Yamaha NS-10 , and Auratones."

They had great sounding mixes because they were using the NS-10 and Auratones to help them hear the kind of sound a 'consumer' would typically hear.

The NS-10s were, are, so bright and nasty that everything is revealed and they're typical of a hyped home stereo with the Loundness button pushed in and/or the EQ sliders pushed all the way up. Auratones were the other end, muddy and void of any detail. Think of a typical factory car stereo from the 70's ~ 90's.

Both are still commonly used and often requested.

[Gerry Gallegos]

And they learned how these staples are "supposed" to sound like, throw an amateur at either of these speakers and you will get junk mixes... regardless of them being popular and often requested, they still need to be learned. Just as any awesome sounding super sweet monitors.

That is the point I'm trying to make

[Kirk Candlish]

I wasn't trying to dispute your point, just explaining why they used monitors that might not be thought of as accurate, when in fact that's exactly what they were.