Matching Naim amplification with american speakers

I had a sort of unique experience back in the very early 90's... Enough time has passed that I don't remember all the details but I DO remember the key point of the experience.

I was in a hi-fi dealer in Nashville, who incidentally sold Linn and who had at one time performed a definitive LP12 demonstration that effectively sold me that I would one day own an LP12. I was leaning on the counter, discussing cartridges with the sales person when a sloppily dressed fellow came in and began buying supplies for his recording studio. IIRC he bought things like numerous reels of (reel to reel) tape, some other odds and ends and then said something like (with a strong Nashville country drawl) "you guys got any a them Yamaha XB-450 monitors (truth is I don't remember the model number) that everbody is usin'? Guess I better get me a set a them." I was flabbergasted that he'd buy them without listening to them and also surprised that they cost something like $450 for the pair. The casualness of this experience plus subsequent experiences in a couple of studios have convinced me that many studios pay far far less attention to audio quality than the most rank beginner audiophile or Naim equipment owner. I mean, at least the typical enthusiast pays attention to the *sound* and *fidelity* of the equipment and recognizes that there is a value in some level of accuracy...

Markus
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I think there will often be several types of speaker systems used in a recording studio, depending on what the recording is to be optimized for. For example, the mixing and equalization of classical or adult contemporary music might be mixed or mastered using more "high quality" monitors, akin to what the listeners might have in their playback system, while a Brittany Spears pop recording might use monitors more similar to what a boom box or car stereo would use as speakers. Sometimes a mix might also me a "compromise" that will have to sound good on various types of systems. This is why many studios have several pairs of monitors - large monitors at a good distance from the console as well as nearfield monitors often resting on the console. And then there are headphones...

At least this is what I remember from my brief career as a rock star in college, circa 1990.

-M

Markus,

As an afterthought, I should add that perhaps this particular Yamaha monitor was "in vogue" at the time - all other studios were mixing to the sound of it, and to compete he also needed to have this monitor as a particular reference. It didn't matter if he liked the sound, it was a sound the industry was using, and he had to fall into step. As I recall, Yamaha was also positioning thier speakers as "natural sound" - perhaps this meant less pronounced mid-bass etc.

-M

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As such, the monitors used usually are very strong in the mid-range and rolled off in the highs and often with poor/no real bass response. This is the model that the JBL Studio monitors appear to have been designed for in the 70's and 80's.

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That will mean most of the 70s and 80s LPs monitored by JBLs are coloured...um...

Is that possible?

[This message was edited by David Ng on SUNDAY 22 February 2004 at 04:02.]

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) "you guys got any a them Yamaha XB-450 monitors (truth is I don't remember the model number) that everbody is usin'? Guess I better get me a set a them." Markus
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Not positive, but I believe it was/is a Yamaha NS-10. Never heard them, but have had several pieces of Yamaha gear over the years and I doubt I would have liked them.

Jeff A

ps...search Bob Ludwig's setup at Gateway Mastering for some fine studio equipment (round earth)... he has a large number of very good-sounding CD's that he mastered in circulation.

Hi Markus!

How are you getting on with the Apogees? I thought I was the only soul on the forum who used the Centaurus units (the middle sized ones, driven by a 250)

I have had them since new and have been very pleased with their performance. It has only been in the last few months That I have been wondering if I should explore an alternative. The ML Clarity is high on the list. I understand that the Maggie 12 is also a good candidate. The presentation of sound stage cannot be matched by a cone speaker.

I would be interested to learn of any alternatives that you are familiar with.

Thanks
David

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And I've heard anecdotally that Meadowlarks work well.

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I used a Nait3 with Kestrels, and it was a pretty bad match, in my opinion. They seemed to exaggerate each others weaknesses... almost the opposite of synergy.

The Nait3 with a friend's Magnepan MMGs just sounded confusing.

Now, Shahinians... yes indeed.

jay

Are the Obelisks operational ?

With generous assistance from Shahinian, the Obelisks are on song, only held back by their current venue (pretty small room with all manner of acoustical challenges).

Room (actually, entire living situation) upgrade is underway.

jay

For what it is worth, I have been using Paradigm Studio Monitors (Canadian) with my 102/250 for several years. The match seems to work quite well.

Regards
Matt

David,

Nice to meet another Apogee owner on this board. I use the Centaurus Minors. This year I replaced the woofers developed a slight "buzzing" at certain frequencies. I'm planning on replacing the ribbon tweeters this year. I don't take it for granted that these replacement parts are still available for these speakers.

I've not seriously auditioned speakers for a long time but have always appreciated ML's and recently heard one of their lower priced models. I was impressed! But I would hate to have to replace my speakers since I don't think I'd be satisfied with anything less than, say, a used pair of sbl's and I dont' want to spend that kind of money...

The 135's have kind of made me go "loud crazy" and I'm wondering if I might have messed up a woofer again what with some loud Isley brothers a couple of weeks ago. Too early to tell--these problems seem kind of intermittent and don't always show up from recording to recording...

Markus

Markus,

I have replaced my ribbons three times now. The first two occassions were necessary when I had a major feedback problem with the 250 which created a signal that burned the ribbons out. Replacing them is a fiddle, but not too difficult if taken slowly and carefully. There are spare parts available off the internet.
The only other problem I have experienced is the gradual reduction in tension in the ribbons with time, as the stretch. This is exacerbated by playing loud highly modulated music that results in relatively large excursions of the ribbons. However, that is life, I guess!

I believe my woofers are still OK and would not know where to source replacements, sorry.

David

Chaps

Has anyone ever linked up a 15" Tannoy to Naim. I keep toying with the idea.

Regards

Mick

Bob Edwards-

With apologies for my being only semi literate in the ways of the forum, would you check your private topics. I have attempted at least, a series of questions about your experiences that lead you to believe that Avalon and Naim are, or were, not a particularly synergistic match.

Thanks for your help,

Bruce

Mick Parry-

I do have a friend who uses, and loves a combination of a Naim system and Tannoy speakers. I believe his speakers are a variation on their dual concentrick driver approach with either a 12" or a 15" woofer. The Naim part of his system is CDX2, 282, Hi-Cap, and 250 Mk 2. The system was very nice tonally, and dynamically, but may not offer the greatest degree of volume adjustability due to the extraordinarily high sensitivity of the Tannoys.

Good luck,

Bruce