In-Depth with Ocean Way Audio HR3.5 Reference Monitors

Join Ocean Way Audio founder (and legendary producer/engineer) Allen Sides as he gives an in-depth look at OWA's HR3.5 studio reference monitors as part of Sweetwater's 2020 Virtual GearFest.
As an engineer/producer, Sides' has recorded over 500 albums and won 5 Grammy's. A brief list of some of the artists he has worked with include: Phil Collins, Green Day, Eric Clapton, Alanis Morrisette, Faith Hill, Trisha Yearwood, Wynonna Judd, Beck, Mary J Blige, Ry Cooder, Joni Mitchell, Frank Sinatra, Ray Charles, Count Basie, Duke Ellington. Ella Fitzgerald, John Williams, Jerry Goldsmith, Tom Newman, Andre' Previn, and Frank Zappa.
For more information, follow Ocean Way Audio online at oceanwayaudio.com
On Instagram: / oceanwayaudio
On Facebook: / oceanwayaudio
Ocean Way Audio products are also available at Sweetwater: www.sweetwater.com/store/manu...

[@raffypeyre]

Beautiful monitors! I´m wondering how necessary are the sub woofers for an optimal setup? Seems like lately, I have been recommended the subs a lot, mainly on the premise of modern bass-heavy genres eating up to much headroom

[@oceanwayaudio3029]

Hi, Allen Sides here from Ocean Way Audio. In regards to your question about what we suggest in terms of subs with our various speaker systems. All of our smaller speakers including Pro3, HR5 and Pro2a have quite good bass extension without subs. All of these systems also can go quite loud relative to their size but when you add subs they can go even louder and of course you will also fill in below 38hz down to 20hz. If you use two subs you will then essentially have full stereo low end below 85hz. When you bass manage these speakers you essentially cut their response off at 85hz and rely on the sub for everything below that. When you cut off the smaller speakers at 85hz you dramatically reduce LF cone excursion which increases how loud the speakers can go. You can also do this with just one sub and it will work quite well but your bass will be mono below 85hz. Another approach to using a single sub with any of these systems is to let the speakers run full range (no 85hz cut off) and then lower the crossover on the sub to 45hz and just add it in to get the extension to 20hz. This way you still get full stereo low-end down to 40hz. Often when I bring one of my speaker systems into the various studios I work at I often find there’s a bit of a null in the 45hz range -- most often caused by reflections coming off the rear wall or the credenza behind the console. (something that you wouldn’t necessarily notice with a NS10 because they don’t go much below 60hz). What I do is usually add one of my S-10 or S-12 subs (I will also let my speakers go all the way down, no cut off) and then set my sub in front of the console, usually under the faders aimed crosswise. I position it this way because if I put the subs in front of the console I will still get the cancellation. By changing the position of the sub to a different axis I can usually fix the problem. (no cancelation). Then I will adjust the delay control on the sub to line up phase wise to my speakers on the console. To do this I usually just play some music with good low bass content and just turn the delay control until I hear maximum output, super easy to hear. If you have a pink noise generator you could also use that. Then I will find a crossover point that starts just where the cancelation begins to take effect. Once it’s all set up, I play music with good low-end content that I am very familiar with and balance the volume of the sub till I get a natural extended low end. I know this sounds a little complicated but it’s really pretty easy to do once you have done it a couple of times. I work at a lot of different studios, and I haven’t found a room this didn’t work in yet. On our bigger systems the subs are actually just part of the whole system even if the sub portion is in a separate enclosure. Hope this is of some help to you.

[@Ellzwerfmusic]

👌

[@redk9102]

The woofers look like the Dayton Audio aluminum cone reference Subs..

[@frankfarago2825]

I have a rather small desk to work on.... just wondering if a pair of these would fit on it fine? Any ideas, hints, suggestions, most welcome.

[@oceanwayaudio3029]

Our HR3.5's are 43" tall and meant to be floor standing 18" off the ground. They each weight 185 pounds so they're not suited for on a desk. Floor standing just behind a desk though is suitable. Hope that helps!

[@waterlife.1905]

Hey the new KRK desktop portable speakers are calling you. They around 400$.

[@waterlife.1905]

My question is what really makes a good reference and studio monitor? Seems like the midrange driver is the key in almost any set up.

[@oceanwayaudio3029]

From my standpoint as an engineer and producer no matter what components or configurations are used in a monitor it really just comes down to the end result, is this monitor accurate, can I mix and not need to worry about compensating for the monitors deficiencies? Can I walk away knowing that my mix is as impressive as it can be and lastly was I able to hear any deficiencies or problems in the recording I was mixing and fix those issues easily? What a well designed monitor should deliver is a totally natural and symmetrical sound with the crossover transitions between the components virtually inaudible. With what's going on musically these days, low bass and definition are really important. You also need a monitor that has extended low end, wide dynamic range and definition. This will allow you to accurately determine how defined the kick or low end samples and bass instruments are in your mix and to know you have pushed it as far as you can and it's still still super clear and punchy with no mud! All these characteristics are what I strive for in our Ocean Way Audio monitors from the smallest to the largest. Our monitors have many different component configurations but they all intrinsically exhibit the same sonic signature and super wide linear dispersion that allows everyone in the control room to hear the same sound. Sometimes I will hear people say "I don't want a monitor that sounds too good because I really want to work hard to make it sound good" Unfortunately if the monitor your using is incapable of sounding amazing you will never know if you have made it sound great and may well screw up your mix by over compensating for the limitations of an inadequate monitor. I do however want to be clear that in the same respect you don't want a monitor system that's a hype. If you have four subs cranking and a super bright mid range you may think your mix is nirvana until you play it in your car and say where did all my mid range and bass go? My final thought is simply that if you're hearing everything accurately every decision you make is the right one but if you're not it's an uphill battle all the way!

[@waterlife.1905]

@@oceanwayaudio3029 Thank you so much for the reply and info. Makes alot of sense. Right now I'm working with inexpensive JBL professional LSR-305 first generation. I will say I can stand off to the side where both speakers are to the left or right of me and still hear them both very easily. They are known for their wave guide that cleanly disperses sound even off axis. They are 2 ways and I am thinking about 3 ways for some reasons. I really appreciate your time. Hope you have a great day.

[@babydove]

There should be passive version, hum

[@Lt.Mingus69]

I think that's the 'Monterey' model in their high fidelity lineup.