JBL 705i/708i (7 Series Master Reference Monitors) & 725G/728G (subwoofers): Jan 2015 - Page 70 - AVS Forum | Home Theater Discussions And Reviews
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post #2071 of 3114 Old 03-01-2018, 09:20 PM
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Originally Posted by Blackdevil77 View Post
Thanks. A bit pricey at $200 a pop, but they look like top notch pieces.


nami
Very interesting. If I was rich, I'd have a pair of Salon 2's as well. I didn't hear them both back to back, so I guess it's a case of "ignorance is bliss " I never heard the Salon 2's but I'd like to one day.
I'm not rich by any means, but I "can" afford these speakers. However, I have JTR speakers and two new 2400 ULF delivered Monday.

I went from HTIB to Monitor Audio Silver Series to Paradigm Reference Series and then was stunned when I bought the last pair of JTR T12 LP's to leave the facility. After all of these "lowphile" speakers the JTR's where very impressive. The dynamics and clarity are something I've never experienced before. The thing that pulled me to the JTR's was the reference,by a few prominent AVS members, said that the JTR's did most of the things the Salons did as well or better. er th

After several video and audio upgrades I will say this...After you reach a certain level of audio bliss, it gets much harder to identify a "significant" upgrade in sound or vision. That being said, I do not take my own advice and always want the newer driver, projector etc. But in the end the big money does not necessarily equal return on investment. Psychologically you can probably convince yourself but after 3 different projectors, 4 different amps and several processors the most significant change in my system was done by going with Anthem and the ARC room correction system. I'm running the 1120 now and everything is perfect. The only issue in my way is what MORE can I get by buying soe JBL's? It NEVER ends...

Now, I'm alternating between newer JTR's or the JBL 780's. The JTR 2400 ULF's (Tall) will never leave my system as they have insane output and tactile fee is a significant upgrade from my previous dual Seaton F2's. As is normal for this forum, the F2's were more than enough, but the 2 2400's are enogh overkill to ease my mind....for now.
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post #2072 of 3114 Old 03-04-2018, 06:15 AM
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While I don't doubt the JTRs (which are all very nice products) will offer much greater output I doubt they'd top the Salon2 in overall accuracy. Comprehensive measurements and a controlled blind test would need to be performed to draw reliable conclusions. That being said, Jeff P. knows what he's doing and I don't doubt his products will measure very well objectively speaking, and offer a lot of performance for the $.

The 708/705 are significantly smaller than any of his products, and will get trumped in overall output capability by his offerings. That being said, the JBLs are no slouch, especially in a bass managed system. Also, the spinoramas are readily available for the 7 series, and you can rely on them with certainty to be very accurate. If you need a horizontal center to match (don't know if you do) - then JTR does leave you with more options.
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post #2073 of 3114 Old 03-06-2018, 03:22 AM
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Originally Posted by notnyt View Post
full range


lf


hf
Notnyt, do you have these screen grabs (showing the LF HF split) for the 708i - I'm sure you've already posted them somewhere, but I can find them for the life of me!
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post #2074 of 3114 Old 03-06-2018, 11:57 AM
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If I'm driving 708's from the balanced outs of a Marantz 7702mkII, which has an output rating of 2.4V, I assume I should be using the +4dBu input sensitivity on the JBLs, yes?
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post #2075 of 3114 Old 03-06-2018, 12:01 PM
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Originally Posted by TimVG View Post
While I don't doubt the JTRs (which are all very nice products) will offer much greater output I doubt they'd top the Salon2 in overall accuracy. Comprehensive measurements and a controlled blind test would need to be performed to draw reliable conclusions. That being said, Jeff P. knows what he's doing and I don't doubt his products will measure very well objectively speaking, and offer a lot of performance for the $.

The 708/705 are significantly smaller than any of his products, and will get trumped in overall output capability by his offerings. That being said, the JBLs are no slouch, especially in a bass managed system. Also, the spinoramas are readily available for the 7 series, and you can rely on them with certainty to be very accurate. If you need a horizontal center to match (don't know if you do) - then JTR does leave you with more options.
Totally agree. The 708s - matched with some good subs, and crossed over at 80 hz - are capable of astonishing output for their size. And your argument about accuracy of course resonates with me - I always want to know I am hearing exactly what's in the mix, nothing less and nothing more. The 708s deliver that. I've never seen any measurements on the JTRs - have only heard them in hotel rooms at audio shows. Hardly a good place to listen, as we all know...

I know I've pointed this out before, but it's always good info for people who are new to the thread - Baz Luhrman mixes on the 708s:

https://www.thebroadcastbridge.com/c...-on-dolby-atmo

And I want to doubly emphasize your point of it being difficult to draw any conclusions unless listening tests are conducted blind, with the same source material and volume levels equalized.
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post #2076 of 3114 Old 03-06-2018, 02:09 PM
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Originally Posted by Wookii View Post
Notnyt, do you have these screen grabs (showing the LF HF split) for the 708i - I'm sure you've already posted them somewhere, but I can find them for the life of me!
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post #2077 of 3114 Old 03-06-2018, 04:03 PM
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Originally Posted by John Schuermann View Post
Totally agree. The 708s - matched with some good subs, and crossed over at 80 hz - are capable of astonishing output for their size. And your argument about accuracy of course resonates with me - I always want to know I am hearing exactly what's in the mix, nothing less and nothing more. The 708s deliver that. I've never seen any measurements on the JTRs - have only heard them in hotel rooms at audio shows. Hardly a good place to listen, as we all know...

I know I've pointed this out before, but it's always good info for people who are new to the thread - Baz Luhrman mixes on the 708s:

https://www.thebroadcastbridge.com/c...-on-dolby-atmo

And I want to doubly emphasize your point of it being difficult to draw any conclusions unless listening tests are conducted blind, with the same source material and volume levels equalized.
I can definitely speak for the 708p's. After having JTR Triple 12's, Noesis 212's, Noesis 215's, Seaton Cat 12's and JBL 4722N's(with the upgraded CD).....I am 100% thrilled with how the 708p's work as my LCR speakers. My subs are complete overkill for my room but everyone plays well together.

Highly recommend them as a LCR.
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post #2078 of 3114 Old 03-09-2018, 02:26 PM
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I can definitely speak for the 708p's. After having JTR Triple 12's, Noesis 212's, Noesis 215's, Seaton Cat 12's and JBL 4722N's(with the upgraded CD).....I am 100% thrilled with how the 708p's work as my LCR speakers. My subs are complete overkill for my room but everyone plays well together.

Highly recommend them as a LCR.
Same here (708i) .. In fact I'll also be getting a pair of 705i in 1-2 weeks which will either serve surround duty or as an 'upstairs' system. I'd do the latter first but I'm afraid I'll like them so much they'll never come back down. Any good wall mount options for these btw?
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post #2079 of 3114 Old 03-10-2018, 02:53 PM
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Originally Posted by TimVG View Post
Same here (708i) .. In fact I'll also be getting a pair of 705i in 1-2 weeks which will either serve surround duty or as an 'upstairs' system. I'd do the latter first but I'm afraid I'll like them so much they'll never come back down. Any good wall mount options for these btw?
Mandatory "Kain questions" incoming...

1. What is the size of your room?
2. How far are you from the 708i LCR speakers?
3. How loud can you get them to be?
4. Are you powering them with the 300 watt Crown amps or the 600 watt amps?
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post #2080 of 3114 Old 03-11-2018, 04:28 AM
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Mandatory "Kain questions" incoming...

1. What is the size of your room?
2. How far are you from the 708i LCR speakers?
3. How loud can you get them to be?
4. Are you powering them with the 300 watt Crown amps or the 600 watt amps?
Hi Kain - let's see (converting from meter here)

1) 340 ft² in its entirety although the listening area of the living room is about 170 ft²
2) 10.5 ft
3/4) I use a miniDSP unit for processing and a NAD 2200 power amplifier (240w/4ohm nominal - 570w/4ohm 150ms burst @1khz) on the 708s. I do not tend to listen too loud under normal circumstances. Depending on the source material the receiver will be set at -24 for normal watching (tv-shows) to -18 for most movies. As dynamic range of good recordings (music mostly) increases I sometimes find myself at -9 to -6 on the dial, but not very often. I will mention my center speaker is a JBl SAM3HA. It is not as neutral as the 708s, but panning doesn't seem to be an issue (to my ears).

The 708s have been a great investment in any case. I bought them based on their spin-o-rama sheet after reading in on the 'science side' of things. Common sense told me their output capabilities would meet (and exceed) what I needed. Over the past 15 years I believe I've owned 5 pair of main speakers, and auditioned many others. With the 7 series, there's nothing that really bothers me when listening. Usually in a set of speakers, something will always start to bother me - once the issue or issues have come to surface - they have to go. Sometimes that took a couple of months, sometimes a couple of years. To me they are impressively 'unimpressive' as it were. They don't add, don't take away.. They simply put out what's on the source material. A quality I appreciate so much I went ahead and ordered the smaller 705s as well.

For tinkering purposes I still have a pair of active 3-way DIY speakers to play around with, made up out of old and new JBL parts. Well behaved for an 'older' system, but nowhere near as flat as the 7 series. So now I have a system for listening only, and one for fooling around with. A sensible audiophile's dream :-)
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post #2081 of 3114 Old 03-11-2018, 09:40 AM
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With the 7 series, there's nothing that really bothers me when listening. Usually in a set of speakers, something will always start to bother me - once the issue or issues have come to surface - they have to go. Sometimes that took a couple of months, sometimes a couple of years. To me they are impressively 'unimpressive' as it were. They don't add, don't take away.. They simply put out what's on the source material. A quality I appreciate so much I went ahead and ordered the smaller 705s as well.
I think this crystalizes my own overall impressions with the 705P as well. I think it's also a good design philosophy goal of what speaker systems should do in general. The "wow whee wow" first impressions seem to morph in to irritations and noticing detractions over time. When these things are removed, one is just left with "you and the audio" which isn't a mystical experience...nor should it be. This is the just the audio and you can start obsessing about other things in your sphere of interests.

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post #2082 of 3114 Old 03-11-2018, 07:23 PM
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[QUOTE=John Schuermann;55805604]

I know I've pointed this out before, but it's always good info for people who are new to the thread - Baz Luhrman mixes on the 708s:

https://www.thebroadcastbridge.com/c...-on-dolby-atmo


And Sony's "Home Theater" mix stage uses all LSR708i's............

http://postperspective.com/sony-pict...ter-dub-stage/
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post #2083 of 3114 Old 03-12-2018, 10:16 AM
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I think this crystalizes my own overall impressions with the 705P as well. I think it's also a good design philosophy goal of what speaker systems should do in general. The "wow whee wow" first impressions seem to morph in to irritations and noticing detractions over time. When these things are removed, one is just left with "you and the audio" which isn't a mystical experience...nor should it be. This is the just the audio and you can start obsessing about other things in your sphere of interests.
Exactly. On a side note, I feel too many people involved in the sound mixing business are still looking at it the wrong way. I was reading some user experiences of the 705 recently on a different, more gear oriented board. and some people stated the "mids were weird / recessed".. And all I could think was.. But you're all using monitors as a reference, which have either: resonances, less-than-flat requency responses, directivity issues.. or a combination of the former.

If I were doing this for living, I'd want to know for sure that I'm using objectively good tools and am using them correctly with regards to room and placement. Yet it's often overlooked even in professional studios..

And as far 'translation goes'.. Well, put a 100hz high pass and a 12-15k low pass filter on them to simulate an average low-cost loudspeaker. Result achieved, and no harm done!

I see photographers calibrate their screens using a spider, calibrating their printers.. to make sure the results remain consistent across the board. I see painters working under neutral lights to make sure that what they see is what people will see at exhibitions. Yet audio remains all over the place because a lot of people still remain uneducated and remain partial to opinions and fads.
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post #2084 of 3114 Old 03-12-2018, 10:34 AM
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Exactly. On a side note, I feel too many people involved in the sound mixing business are still looking at it the wrong way. I was reading some user experiences of the 705 recently on a different, more gear oriented board. and some people stated the "mids were weird / recessed".. And all I could think was.. But you're all using monitors as a reference, which have either: resonances, less-than-flat requency responses, directivity issues.. or a combination of the former.

If I were doing this for living, I'd want to know for sure that I'm using objectively good tools and am using them correctly with regards to room and placement. Yet it's often overlooked even in professional studios..

And as far 'translation goes'.. Well, put a 100hz high pass and a 12-15k low pass filter on them to simulate an average low-cost loudspeaker. Result achieved, and no harm done!

I see photographers calibrate their screens using a spider, calibrating their printers.. to make sure the results remain consistent across the board. I see painters working under neutral lights to make sure that what they see is what people will see at exhibitions. Yet audio remains all over the place because a lot of people still remain uneducated and remain partial to opinions and fads.
Well put. You have summed up Dr. Toole's "Audio Circle of Confusion" just about perfectly:

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post #2085 of 3114 Old 03-12-2018, 12:35 PM
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Well put. You have summed up Dr. Toole's "Audio Circle of Confusion" just about perfectly:
True! With perhaps one difference. When I see that picture, I'd assume it was purely about people not knowing better. But many professionals seems utterly convinced that mixing on imperfect* equipment will somehow produce superior 'translation' results. Complete nonsense imho, and, it is only found in audio circles. You'll never catch video guys editing on anything less than perfectly calibrated equipment for instance.

*usually in the form of older speakers with distinct white cones, or small cubes with 5" full-range drivers
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post #2086 of 3114 Old 03-12-2018, 12:44 PM
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True! With perhaps one difference. When I see that picture, I'd assume it was purely about people not knowing better. But many professionals seems utterly convinced that mixing on imperfect* equipment will somehow produce superior 'translation' results. Complete nonsense imho, and, it is only found in audio circles. You'll never catch video guys editing on anything less than perfectly calibrated equipment for instance.

*usually in the form of older speakers with distinct white cones, or small cubes with 5" full-range drivers
And I've known mixers to choose different monitors based on what kind of content they were mixing, as if the monitor were like an instrument in the band or orchestra that should be tuned for the performance. I can understand the thinking, if you approach it from a purely "right brained" perspective. It's still wrong, though.

Imagine picking a video monitor that already emphasized teal and orange because you are going to color grade a movie with a teal and orange color palette: "ooh, let's use the X-COM GX127 monitor since it has such great teal and orange reproduction. The VIDMASTER DM387 has muted teal and orange, so we don't want to use that!"

Wrong on so many levels, but that is sadly the equivalent is what happens often in the audio world. This is the main reason I think Toole and Olive's work is so important, and why Circle of Confusion issues are often the focus of my writing...
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post #2087 of 3114 Old 03-14-2018, 04:11 PM
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But many professionals seems utterly convinced that mixing on imperfect* equipment will somehow produce superior 'translation' results. Complete nonsense imho, and, it is only found in audio circles.

*usually in the form of older speakers with distinct white cones, or small cubes with 5" full-range drivers
In some cases the "imperfect equipment" is used specifically because it emphasizes frequency ranges that may be problematic to help find a problem. For example, the Yamaha NS-10 is supposedly a champ at identifying problems in the vocal range (curious if this effect is real or imaginary). And this helps explain why many studio photos show crappy little speakers on the bridge and killer monitors in the background. That's what I read on the internet and I'm sticking to it

Of course there is no excuse for using crappy speakers exclusively for mixing.
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post #2088 of 3114 Old 03-15-2018, 03:51 AM
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In some cases the "imperfect equipment" is used specifically because it emphasizes frequency ranges that may be problematic to help find a problem. For example, the Yamaha NS-10 is supposedly a champ at identifying problems in the vocal range (curious if this effect is real or imaginary).

I know you're just clarifying, and I'm not attacking you personally. But, this does not make sense to me. What you're basically saying is that the NS10 is being used to fix 'problems' that are not showing up under reference (neutral) playback. Surely, you must realise this is an absurd notion?
Instead of trying to make recordings sound good on 'bad' loudspeakers we should instead be purchasing better loudspeakers, which there are PLENTY ranging from $200 a pair these days.
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post #2089 of 3114 Old 03-15-2018, 06:33 PM
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Surely, you must realise this is an absurd notion?
Yes, that is why I specifically referenced the internet as my source and questioned if the effect is real or imaginary. Lots of stuff in the audio world seems absurd to me but the notion that a mid-range forward (perhaps shrill?) speaker might help someone with a vocal mix doesn't seem totally insane to me
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post #2090 of 3114 Old 03-16-2018, 05:52 AM
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Yes, that is why I specifically referenced the internet as my source and questioned if the effect is real or imaginary. Lots of stuff in the audio world seems absurd to me but the notion that a mid-range forward (perhaps shrill?) speaker might help someone with a vocal mix doesn't seem totally insane to me

But it is insane. Vocal performance (mono) from a stereo set is a recipe for confusion in itself due to the acoustical cancellation effects that occur in a phantom image. What tends to happens is a mixer with a good set of ears, but not enough overall knowledge, will simply adjust the spectral balance for what he is getting out of the monitor playback system (which is often flawed in itself). It may sound good then and there, but more often than not, it results in a recessed recording with midrange smearing - exactly what some people describe when hearing the 7 series with some of their reference recordings (which is due to the recording, not the monitors).

It goes beyond this of course. Monitors being placed on the console at too short a distance (bad) - and often in the wrong direction (cringe). No wonder 'great' recordings are far and few between.
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I already have a Crown DCi 2|1250N and just purchased two 708i's. Any reason I shouldn't use my amp with them? I realize it's a lot more power than needed.
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post #2092 of 3114 Old 03-16-2018, 03:32 PM
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I already have a Crown DCi 2|1250N and just purchased two 708i's. Any reason I shouldn't use my amp with them? I realize it's a lot more power than needed.
Nope, as long as you don't crank it up too high and you have the proper tuning files loaded...

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post #2093 of 3114 Old 03-16-2018, 03:34 PM
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But it is insane. Vocal performance (mono) from a stereo set is a recipe for confusion in itself due to the acoustical cancellation effects that occur in a phantom image. What tends to happens is a mixer with a good set of ears, but not enough overall knowledge, will simply adjust the spectral balance for what he is getting out of the monitor playback system (which is often flawed in itself). It may sound good then and there, but more often than not, it results in a recessed recording with midrange smearing - exactly what some people describe when hearing the 7 series with some of their reference recordings (which is due to the recording, not the monitors).

It goes beyond this of course. Monitors being placed on the console at too short a distance (bad) - and often in the wrong direction (cringe). No wonder 'great' recordings are far and few between.
Plus if a mix engineer wanted to bring forth the voice range, all they'd have to do is drop everything else out in the mix and leave the vocal, then put it back down in the mix where it belongs. If they want to isolate certain frequencies, that can be done with EQ.

If the coloration is in the speaker, it's there all the time, affecting everything played back with it.

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post #2094 of 3114 Old 03-16-2018, 03:53 PM
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Nope, as long as you don't crank it up too high and you have the proper tuning files loaded...
Thanks John! Have you here is such a great asset.
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A not so great mini review/impression of the 708P: https://www.gearslutz.com/board/show...9&postcount=19

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I thought I would jump in here. I had a chance to demo the JBL 708p in my room. Professionalllu built post room in NYC, stellar room. I have had experiences with almost every speaker but have been using ATCs for the last 2.5 years. The ATC SCM20ASL Mk2 with a sub for 5.1, stereo. Other speakrd in the room-- NS10M with a Bryston amp, Avantones, Tivoli radio, Macbook Pro laptop, TV soundbar.-- I need all theses speakers for post for TV and film.

The good:JBL 708p

Good extension, but a little too lose in the low end.
Nice imaging--wide dispersion.
Pleasing to listen to dynamic music.

The Bad:

Filtered sounding, The mids are not open and the highs are very harsh.

They are sibilant. I wanted to extensively test this on VO recordings I have done for TV. All different VOs. Ones that I've listened to on many different systems. And the JBLs are not accurate in this frequency area.The horn compression tweeter is really intense and will not let up.

I actually called JBL to see if the tweeter would soften over time. Nope.

I messed with the parametric EQ but couldn't get the speaker to sit more evenly like the ATC just does straight up

A/Bing them to the ATCs it was apparent that ATC rules the mid range. Nothing can beat them. The 20s with a sub are just a dream.The JBLs don't really need a sub but for post their low end is not tight enough. I cannot recommend them for post. Maybe electronic or dance music. But don't put them next to ATCS!!
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post #2096 of 3114 Old 03-16-2018, 06:31 PM
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The monitors he compared them to are also more expensive, so maybe the ATC are better in some ways. I wouldn't know as I have never heard them. Not that price always reflect quality.

I don't find my 705Ps to be sibilant at all, but I do have a decent amount of acoustic absorbers here. And, as he commented on, they have great dynamics.

Audio Gear: Sennheiser HD 800 & HD 650, SPL Phonitor, Abrahamsen V6.0 DAC, JBL 705Ps, Dual VNF Arendal 1723 Subwoofer 1.

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post #2097 of 3114 Old 03-17-2018, 02:12 AM
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I registered there just to debate some of their issues. The problem is many of the people there, sadly have little knowledge on the performance of loudspeakers in a room, and are no better than the majority of audiophiles when it comes down to subjective opinions and hearsay.

There are still many things in practice (or held in belief) today, that should have been retired 30 years ago.
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post #2098 of 3114 Old 03-17-2018, 02:29 AM
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Originally Posted by Palewing View Post
The monitors he compared them to are also more expensive, so maybe the ATC are better in some ways. I wouldn't know as I have never heard them. Not that price always reflect quality.

I don't find my 705Ps to be sibilant at all, but I do have a decent amount of acoustic absorbers here. And, as he commented on, they have great dynamics.
ATC make high quality drivers, are built solid and offer excellent factory support .. But it's rather old technology. Many advances have been made over the past decade when it comes to loudspeaker performance and what to aim for from a performance point of view. Many brands are held in high regard in this respect (some more deservedly so than others), and although all those things are important, it doesn't change the fact that improvements have been made in the field and as good, or better, loudspeakers can be made for the same amount (or less).

I'm taking my 708s into a blind audition soon to be compared to some ME Geithain monitors. They are highly regarded in Europe and they left a good impression in a sighted evaluation I was in a while ago. Their designer aims for a certain directivity index dependent on the intended listening distance. It'll be interesting to see if they hold up 'behind the curtain'.

PS: A lot of 'respected' brands did nothing for me, even in a sighted test.
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post #2099 of 3114 Old 03-17-2018, 03:05 PM
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Price should have nothing to do with it. As borne out by the measurements, the LSR708is are just about dead accurate. What you hear is what is in the recording.

All of this:

I thought I would jump in here. I had a chance to demo the JBL 708p in my room....blah blah blah....

Is classic "Circle of Confusion" BS. Problems with the above referenced post:

I have had experiences with almost every speaker but have been using ATCs for the last 2.5 years.


So, the poster quoted mixes on the ATCs, which means he is going to mix to their relative strengths and weaknesses. If the ATCs lack in highs, his mixes will sound shrill or sibilant on an accurate monitor. Without any accompanying measurements, we have no idea how the ATCs actually perform. How can the poster tell what problems are in the mix and what problems are coming from the speakers?

I wanted to extensively test this on VO recordings I have done for TV. All different VOs. Ones that I've listened to on many different systems. And the JBLs are not accurate in this frequency area.

Yes they are - in fact, they are particularly accurate in this frequency area:



Question: how did the poster come to the conclusion that the speakers are not accurate in this area? How does he / she know the issues are not in the recording?

The LSR708o measurements prove that the speakers are accurate in the vocal range. Without any measurements on the ATCs we have no idea if they are accurate or not.

I actually called JBL to see if the tweeter would soften over time. Nope.

How would you ever know when the speaker is actually giving you accurate sound if it changed over time...?

But to me, the biggest giveaway:

A/Bing them to the ATCs it was apparent that ATC rules the mid range.

So, we have a speaker we know is accurate - the LSR708i - and a speaker that the poster is claiming has a richer midrange. The answer could be right there - from what he / she is reporting, the ATC has a warmer midrange and a rolled off treble. No surprise that someone mixing on ATCs would produce recordings with a pronounced top end, that would sound shrill and sibilant on a neutral monitor. Of course, part of this is conjecture, as we have no measurements of the ATC to look at...

This is a perfect example of the Circle of Confusion:



And it goes back to what I was saying the other day - it's amazing how many mixers will use different monitors for different types or styles of music. When mixing, you want a monitor that reveals what's actually in the recording - nothing less, and nothing more. That should be the only criteria for picking a mixing monitor - how neutral it is. Otherwise the monitor is acting like a permanent EQ in the mix chain, always adding its own character to whatever you are mixing.

Broken record time, but it's like a video mastering engineer picking a video monitor that over-emphasizes green to do color timing on a movie scene that takes place in a rain forest. The result would be UNDER saturated green on a neutral monitor. Why is it just about everyone can understand this concept when it comes to video, but when it comes to audio all of it goes out the window?
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post #2100 of 3114 Old 03-17-2018, 03:47 PM
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Quote:
Originally Posted by John Schuermann View Post
Broken record time, but it's like a video mastering engineer picking a video monitor that over-emphasizes green to do color timing on a movie scene that takes place in a rain forest. The result would be UNDER saturated green on a neutral monitor. Why is it just about everyone can understand this concept when it comes to video, but when it comes to audio all of it goes out the window?
As we've briefly talked about in private .. self proclaimed 'golden ears' and objective science don't seem to go well together in many parts of the audio world
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