Quote:
Originally Posted by
heb-musik
β‘οΈ
focal sm9 is another league ( lower) and Adam is almost same league but doesn't come close in the detail and low end precision.
I thought the same thing the first time I heard the SM9's. I recently found a good deal on a very lightly used pair, so I thought I'd give them another chance. I figured I can sell them if they don't thrill me, like I've done with all the others. I'm still trying to decide if I like them, and I can easily hear why I didn't the first time around. I also understand why so many others don't love them. They are brutal! If a mix isn't perfect, they really show it. It's really hard to find mixes that sound great on the Sm9's. So you can't just listen to music you know. You HAVE to do a mix to know if they work for you. If you just listen to old favorites, you definitely won't love what you hear. Personally, I find them much more dynamic, detailed, and revealing than MM27's (Gen 1), ATC 25's, or S3X. The EQ also really helped dial them in for my room. That said, I'm finding it difficult to make mix decisions on them if the tracks haven't been perfectly recorded. Garbage in equals garbage out like I've never experienced. It's really hard to polish turds on these, because no matter what you do, you can tell it's a turd. So, they're taking all of the fun out of mixing! Since it's what I do daily, I'm worried these might make my life miserable.
I've been speaker crazy my whole career. Always looking for a perfect monitor that could let me mix exactly how I want to hear things, and then have it translate perfectly to other systems. I now know that'll never happen, but I still enjoy changing things up from time to time, because I learn something each time I switch. I've had pretty much all of the popular nearfields. ProAc studio 100's have been a favorite that I keep going back to, but they still leave a little to be desired. They can sound beautiful before a mix is finished.
My experience with some of the others:
MM27's are a ton of fun, and make me feel like I can fly through a mix, but when I check on ProAc's, or NS10's, I realize I've still got a lot of work to do. They also felt weirdly grainy to me which I always assumed came from the added AD/DA stage. I had them for about a year. Mixed a few records on them, but never without ProAc's. Maybe worth noting that I had the best results with them set up horizontal, no idea why.
ATC 25's just seem like big NS10's that go lower, and sound prettier. They were lacking detail in the highs to me, and everything just had a nice sheen/pleasantness to it. Nothing like the larger ATC models! Had these for just a couple of months, and never really understood them.
Adam's are pretty great. They have a little bit of that everything sounds good character, but still really revealing. They seem to be a good mix of fun, and ultra precise. I don't know if they ever sorted out the port noise issues with the X model, but In tracking sessions, the noise would annoy me if the client wants to crank things. I bought S3XH's and returned them twice because of noises/rattles when they first came out. I assume they've got those issues under control now? I do still frequently work with S3A's at a client's studio. The whole time I'm working, I feel like I'm missing something, but things always translate really well. I just have issues with low end. End up with too much sub, and not enough meat.