Difference between revisions of "L1® for Studio Monitoring"
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| − | The | + | The {{Model II}}, {{T1}}, and the modern home recording studio. |
| − | The | + | The {{Model II}} & {{T1}} make an excellent alternate monitoring system for multi-track recording studio, and particularly, for live recording. |
| − | particularly, for live recording. | ||
| − | I have been using the Classic since 2004 and the Model II since it came out. Either L1's flat response is perfect for | + | I have been using the {{Classic}} since 2004 and the {{Model II}} since it came out. Either {{L1 no link}}'s flat response is perfect for checking overall instrument tone and balance, especially the reverb balance. Multiple monitoring systems are typical in |
| − | checking overall instrument tone and balance, especially the reverb balance. Multiple monitoring systems are typical in | + | studios, and the {{L1 no link}} is a fine cross reference tool, when used in conjunction with other [http://www.mackie.com/products/hrmk2series nearfield monitors]</a> |
| − | studios, and the L1 is a fine cross reference tool, when used in conjunction with other | ||
| − | It's use in the studio as a PA monitor during tracking and dubbing sessions is also substantial. The L1 frees us from | + | It's use in the studio as a PA monitor during tracking and dubbing sessions is also substantial. The {{L1 no link}} frees us from fatigue inducing headphones, and it's smooth response at low volumes does not leak unwanted (boomy or shrill) frequencies into open mics in the room. |
| − | fatigue inducing headphones, and it's smooth response at low volumes does not leak unwanted (boomy or shrill) frequencies | ||
| − | into open mics in the room. | ||
| − | As a *remote live recording* sound system the L1 <i>really</i> shines! Easily portable, sets up in a small space, and is the | + | As a *remote live recording* sound system the {{L1 no link}} <i>really</i> shines! Easily portable, sets up in a small space, and is the live PA and playback/dubbing monitor all in one. The {{T1}} expands greatly on it's usefulness. |
| − | live PA and playback/dubbing monitor all in one. The T1 | ||
Here is an example of a recent set up that I used for recording a 4 piece band on location, in a small living room. | Here is an example of a recent set up that I used for recording a 4 piece band on location, in a small living room. | ||
| − | Setting up the L1 and other gear near a corner of the room, I used the single rack space 8-in/8-out [ | + | Setting up the L1 and other gear near a corner of the room, I used the single rack space 8-in/8-out [http://www.presonus.com/products/Detail.aspx?ProductId=43 Presonus Firewire Project] *mixer* for my six mic inputs. Those signals ran though the Firewire cable into a laptop recording on six individual tracks. |
| − | Those signals ran though the Firewire cable into a laptop recording on six individual tracks. | ||
| − | The Presonus has 10 assignable outputs of which two were the main output monitor running into the | + | The Presonus has 10 assignable outputs of which two were the main output monitor running into the T1<sup>®</sup> channels 4/5, which we used for playback of the completed songs. |
| − | used for playback of the completed songs. | ||
| − | During tracking we used the Project's individual outputs for vocal, acoustic guitar, bass, and | + | During tracking we used the Project's individual outputs for vocal, acoustic guitar, bass, and [[PorchBoard Floor Bass]] into T1<sup>®</sup> channels 1 through 3. We used Bose preset EQ for the vocal and acoustic guitar channels, (none needed for bass & |
| − | channels 1 through 3. We used Bose preset EQ for the vocal and acoustic guitar channels, (none needed for bass & | + | PorchBoard). This gave a great sound in the room, and allowed us to concentrate on the music and the mix without a thought about the recording. Quite a nice freedom. |
| − | |||
| − | about the recording. Quite a nice freedom. | ||
| − | Set up is amazingly simple and require very little space in the room. Way less than a typical recording setup. At the end | + | Set up is amazingly simple and require very little space in the room. Way less than a typical recording setup. At the end of the day I made quick mixes using the L1. After remixing everything in the studio later with my studio monitors, I found |
| − | of the day I made quick mixes using the L1. After remixing everything in the studio later with my studio monitors, I found | ||
that I much preferred the L1 mix! It sounded much more like what we hear in the room as we recorded. | that I much preferred the L1 mix! It sounded much more like what we hear in the room as we recorded. | ||
| − | Click [ | + | Click [http://www.studio9music.com/studio9/music/BurrAndTheBoys BurrAndTheBoys] for a look at some set up pictures and audio clips of the {{L1 no link}}'s rough mix, as well as an example of the *remix*. |
| − | clips of the L1's rough mix, as well as an example of the *remix*. | ||
| − | Between the L1, the T1 | + | Between the {{L1 no link}}, the {{T1}}, and the Presonus Project, my recording setup has been reduced in size, weight, and number of components, and at the same time increased productivity, efficiency, and quality. |
| − | of components, and at the same time increased productivity, efficiency, and quality. | ||
Revision as of 18:49, 19 September 2008
The L1 Model II, T1 ToneMatch Audio Engine, and the modern home recording studio.
The L1 Model II & T1 ToneMatch Audio Engine make an excellent alternate monitoring system for multi-track recording studio, and particularly, for live recording.
I have been using the L1 Classic since 2004 and the L1 Model II since it came out. Either L1®'s flat response is perfect for checking overall instrument tone and balance, especially the reverb balance. Multiple monitoring systems are typical in studios, and the L1® is a fine cross reference tool, when used in conjunction with other nearfield monitors</a>
It's use in the studio as a PA monitor during tracking and dubbing sessions is also substantial. The L1® frees us from fatigue inducing headphones, and it's smooth response at low volumes does not leak unwanted (boomy or shrill) frequencies into open mics in the room.
As a *remote live recording* sound system the L1® really shines! Easily portable, sets up in a small space, and is the live PA and playback/dubbing monitor all in one. The T1 ToneMatch Audio Engine expands greatly on it's usefulness.
Here is an example of a recent set up that I used for recording a 4 piece band on location, in a small living room.
Setting up the L1 and other gear near a corner of the room, I used the single rack space 8-in/8-out Presonus Firewire Project *mixer* for my six mic inputs. Those signals ran though the Firewire cable into a laptop recording on six individual tracks.
The Presonus has 10 assignable outputs of which two were the main output monitor running into the T1® channels 4/5, which we used for playback of the completed songs.
During tracking we used the Project's individual outputs for vocal, acoustic guitar, bass, and PorchBoard Floor Bass into T1® channels 1 through 3. We used Bose preset EQ for the vocal and acoustic guitar channels, (none needed for bass & PorchBoard). This gave a great sound in the room, and allowed us to concentrate on the music and the mix without a thought about the recording. Quite a nice freedom.
Set up is amazingly simple and require very little space in the room. Way less than a typical recording setup. At the end of the day I made quick mixes using the L1. After remixing everything in the studio later with my studio monitors, I found that I much preferred the L1 mix! It sounded much more like what we hear in the room as we recorded.
Click BurrAndTheBoys for a look at some set up pictures and audio clips of the L1®'s rough mix, as well as an example of the *remix*.
Between the L1®, the T1 ToneMatch Audio Engine, and the Presonus Project, my recording setup has been reduced in size, weight, and number of components, and at the same time increased productivity, efficiency, and quality.