check also the focal cms 65 ,they don t have much depth but they translate well ,they dont go super low but are not really bass shy, they start to fade slowly around 55/50 hz here , it could be good for some room as i find when montiors go to low it can be more a problem than something good .
Wizack Twizack
Wizack Twizack
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Posted : Aug 10, 2010 22:19
0hz
IsraTrance Junior Member
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Posted : Aug 11, 2010 01:05
i had adam a7. in my opinion bm5a is much better and more suited for electronic music production. i have the bm6a mk2 now and im very happy with it.
i didnt get to listen to the bm5a mk2 , but i would go for the bm5a over the a7.
Mike A
Subra
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Posted : Aug 11, 2010 23:42
I'm gonna say that without hearing any of the 2 models you mentioned, but my opinion is that it doesn't matter.
If both models are on the same price range, they are more or less the same quality, with each being strong and weak in some fields. There is no better, there is different. Hits have been composed on almost any monitor, and trust me - having one over the other will not make your mix sound better or worse, only different (if at all).
Another important point which is often overlooked is acoustics. Someone said here that monitors are the most important part of the studio.
WRONG! Acoustics is the most important part. Bad acoustics can take the best monitor ever created and turn it into a worthless piece of crap. I will say this from my own experience, having heard the very popular BM6A in many configurations and it never sounded the same. For this reason, taking a cd to a retailer and listening to the monitors on the spot is useless, because this is definitely not how it is going to sound in your own setup.
I personally own BM6 (passive version) which I love very much. I moved to a new house recently and I moved the speakers around just to see how it sounded. It sounded different in the same room if I moved it inside the same room. When I brought in my acoustics panels, it sounded again very different.
Bottom line - there is no better monitor. Any will do.
Jaadoo
IsraTrance Junior Member
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Posted : Aug 14, 2010 00:04
I got the classic BM6As, but I always have to cross check it with my Sony headphones for the low end behavior.
If I would upgrade I would go for BM15A classic.
https://soundcloud.com/jaadoo
dj chichke
Chichke
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Posted : Aug 14, 2010 03:13
Quote:
On 2010-08-14 00:04, Jaadoo wrote:
I got the classic BM6As, but I always have to cross check it with my Sony headphones for the low end behavior.
If I would upgrade I would go for BM15A classic.
Bagginz
Cosmosis
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Posted : Aug 14, 2010 21:04
My 2 cents:
first off, let me say that room treatment is vital.
If you're making bass heavy modern electronic dance music - which you are - then bass traps are a *must* if you want to have any kind of ability to accurately judge what is actually happening in your mix's bottom end.
I know that it's not what you want to hear but that's how it is.
You'll save yourself a *lot* of time and aggravation by building yourself a bunch of bass traps and mounting them across the corners of your room. You literally can't have too many bass traps, the more you add the flatter will be the room's LF response. Which will cut out all that guesswork. You know what I'm talking about...
Couple that with a couple of first reflection point absorbers placed at the first reflection points and the stereo image will suddenly become much sharper and 3 dimensional. (assuming correctly positioned monitors)
This combined will make whichever current monitors you have suddenly sound twice as good.
You may even find that you don't have to buy a new set of monitors at all because you'll be able to judge instrument balance, pan placements, fx and reverb levels, and most importantly bass levels accurately.
_________________________________________
O.k assuming the above as read, back to Adam vs Dynaudio
My main monitors are Dynaudio BM6a I also have a set of little Adam A3x bought as a secondary reference.
Both are excellent monitors. And I can mix tunes on both with no problem.
Interestingly to me, even though the A3x LF -3db cutoff point is 60hz, after one initial cross ref to the Dyn's when setting kick and bass levels at the start of the tune, mixing the rest of tune was no problem and the fact the woofer didn't have to also produce the sub frequencies appeared to allow better bass transient response - very useful when tweaking bassine envelopes and fine tweaking relative kick and bass levels.
The BM6a's sound nicer to my ears, with more front to back depth and a wider and very pleasing 3d stereo image. (Bm6as go plenty low enough for Trance btw, unless you have a large room and like to monitor at excessive volumes)
The Adam's are perhaps a little less pleasant to listen to by comparison to the BM6s but still pleasant. I certainly wouldn't characterize them as "fatiguing."
Imaging is very good, pinsharp in fact.
The so called "sweet spot" I found to be definitely narrower than the BM6a's - even with a lot of position and monitor stand jiggling the A3x were more fussy about positioning.
However I've been surprised to find that the Adam's reveal even small e.q. tweaks in the midrange and high end with surprising detail. Enabling minute tweaks on the transient of an off hi-hat for example. Though the usefulness of that in the bigger picture is debateable, it gives you an idea of the accuracy.
I'm pretty impressed with the ribbon tweeters on Adam A3x, it's the same tweeter on the whole new Adam AX series of monitors.
If I was looking at a new set of monitors today, I'd be checking out the A7x and A8x or possibly the A5x or with a small sub.
Quote:
On 2010-08-10 12:14, PoM wrote:
i have read on gearsluts it s a design flaw , lot of the new adams make woofer noise
Yeah I saw that thread. The A3x when driven hard also make an audible port noise.
However, I have never yet heard a pair of speakers which had front firing reflex ports that *didn't* have port noise when driven hard. (or part my hair!)
Dyn's have a rear facing reflex port as do Genelecs which helps mask port noise but has the small disadvantage that it's becomes neccesary to keep them further away from the rear wall when positioning.
I don't drive the A3x's that hard so port noise not a problem for me. But overall I think that a rear port is a better design.
Coupling the A5x with a small sub like the Sub7 would deal with port noise as the sattelites would be HP filtered at 85hz.
I won't be selling the Bm6a's just yet but if the A3x are anything to go by, the rest of new Adams Ax range are excellent monitors and definitely worth considering for Psytrance production.
Bagginz
Cosmosis
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Posted : Aug 17, 2010 01:29
Quote:
On 2010-08-14 22:17, mad3 to move wrote:
really nice and profesional review !!!.
thank you cosmosis!
My pleasure.
You mentioned you were considering a pair of Adam A7?
If you did go with the Adam A7 rather than Dyn's (or anything else), then I'd go with the newer A7x over the old A7.
Twice the power in the woofer amps over the A7, (100W as opposed to 50W) better LF response, plus the new ART-X ribbon tweeter - which is the same tweeter Adam put on their high end range.
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Posted : Aug 17, 2010 03:29
yeah a7x.
thank you very much!
psy-junky
IsraTrance Junior Member
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Posted : Aug 17, 2010 09:04
@cosmosis:nice information about acoustics there ...
the first reflection points you mention would be to the the side of the monitors : basically the part of the side wall where the sounds hits first directly from the drivers of the monitor, am i correct ?"Whoever said the best things in life are free... obviously grew their own bud"
Bagginz
Cosmosis
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Posted : Aug 17, 2010 18:34
Quote:
On 2010-08-17 09:04, psy-junky wrote:
@cosmosis:
the first reflection points you mention would be to the the side of the monitors : basically the part of the side wall where the sounds hits first directly from the drivers of the monitor, am i correct ?
Yes psy-junky, exactly.
There also may be one on the ceiling above also - depends on your monitoring position and the height of the ceiling.
The way to accurately check for placement is to use a small mirror and a couple of big blobs of blue-tac.
Stick your mirror at a few places on say the left side wall (If you've ever played Snooker or Pool you'll have a pretty good idea where to place it ) and then sit in your monitoring position. When the mirror is in the centre of the reflection point you will be able to see your speaker cone and tweeter in the mirror. That's where you put your absorber.
But assuming that you're resonably handy with a drill and a staple gun, then it would be *far* more effective to build yourself 6 or 8 of these and mount them across corners.
It's the same construction method that I used for the traps in my studio.
