As per the title - what monitors are you taking out on location?

Monitors you travel with and are part of your regular set-up/take-down rig, as opposed to built-in to a truck.

Let's make a shortlist of high-fidelity, small-footprint, lightweight but robust monitors that are convenient enough to schlepp to remote recording gigs without needing a truck or a roadie. (For now, any budget.)

The only ones I've used (borrowed from my pal who does surround installations and has like 10 of them) are the little Genelec 8020s which are very convenient and road-worthy but not exactly the last word in critical accuracy.

If you're anything like me most of your remote recording means cans as you're aways in the same space as the talent, but when the opportunity arises what monitors are you taking to gigs where you know you'll have your own side room to run cables into and set them up in?

PS I have done a search but couldn't find a thread specifically about monitors folks are traveling with to location.

Neumann KH120, Meyer Sound Amie, ATC 25, 50.

Well, I didn't necessarily predict seeing ATC 50s weighing in at 50kg each make it onto a shortlist of "high-fidelity, small-footprint, lightweight but robust monitors that are convenient enough to schlepp to remote recording gigs". But OK, lucky you having a road crew willing to lift those in and out of venues on a regular basis.

Crew? What crew? But yeah, those are not an easy haul.

Used Genelec 1029 for as long as I can remember.

These days also have the more modern 8030.

I know the sound so well and Genelec always seem to ignore the room when in the near field.

TBH they normally are for playbacks rather than setup/recording due to the fact that I am 99/100 in the same room as the talent.

I have only once in the past year been in a separate room and been able to run speakers during takes.

Felt a bit lonely.

(single) fostex 6301-nd
or
(single) k+h o110-d
or
(pair or trio or 5.0) genelec 1029a/
(single) genelec 1091a

more importantly though: whatever speaker i'm using (could as well be a decent inhouse pa speaker/frontfill etc.), i'm taking a speaker processor with me to correct the frequency response and/or to align tops/sub (or the monitor system with the pa).

NHT Super Ones. Not designed for the application and require an external power amp, but with handles screwed into the back they are great field monitors. I can hear small EQ changes.

I used NHT A-20s for a while and they have better top end detail and more bass extension and require twice as many trips to carry in and out. My back is not up to it.

Yes, the piano lacquer finish will be wrecked the first time you take them out, but they still sound the same.

I don't get the love for the Genelec 1029 here. When they came out they seemed like such a huge step down from the 1030 and I couldn't mix comfortably on them.
--scott

i have not much 'love' for the 1029a's - by far the worst speakers in the 10xx series - but their footprint is very reasonable (in contrast to their weight), they can easily be mounted on mic stands and at least around here, they were ubiquitous and could be found in quantities.

my immersive rig consists of nine 1029a's and three 1029a's but i admit that no matter what room, they need correction to measure/sound okay!

more often than for immersive monitoring, i'm mis-using mine as frontfills or as bonsai spot speakers in live applications though...

1029 good point: Can go on a mic stand. How many times this has saved me.

1029 bad point: Sssssssssssssssssss. The Genelec hiss.

Back in the 90s it was the 1030 that no one liked (IIRC) the 1031 was popular.

And if your serious about 1029, then 1091 sub is a must.

I have even used them as PA system, more than once.

Getting to use really good "location speakers" is on my "if only" list. The opportunity rarely presents itself...