"Pro Audio Monitors are all crap"

[@Tripwelleverday]

Weaver and Ap look the same it’s hilarious he hates his face

[@JohnH108]

I've never seen the pair of them them in the same room. 😄

[@GrumpyEyeAudio]

I just paused, idk if someone told you already. But if a speaker is rated to go to 37hz like the mackies, they are still going to reproduce that 20hz. If you think of it as an eq - it's like a high pass, and 37hz is basically the corner frequency where it starts rolling off the lows. So, in the case of the mackies (Im on my phone now so I can't see the chart) they are probably still pumping out 20hz, but at a 6db lower volume (if it's a 6 db and not a 12db rolloff) P.s. the crossover is used in between the tweeter and the bass driver. One rolls off where the other one picks up.

[@stevewoodyt]

Maybe we should be mixing in air pods and beats and raycons? What are the most popular head phones? Of course we still check the car but how are people listening now? Learning the equipment you have is the most important thing. Don’t buy new hardware. Save your money for new plugins….

[@TeslaOsiris]

Weaver and AP have never been filmed in the same room together Coincidence?…or CONSPIRACY?! 🤔

[@digidope]

Andrew Schepps still mixes with pair of 80's Tannoys. People made ton of great club tracks with those Tannoy Reveals. Your room is gonna suck more than your monitors anyways.

[@Satwamassive]

I do like his World War 2 dictator hairstyle though.

[@benbenzon]

hey Weaver stop laughing at your brothers hair cut, show him some respect

[@PrincipalAudio]

Kinda gets on my nerves when newbie mix engineers spend their hard-earned cash on NS-10s based upon videos like them. He's right about the time domain "tightness" of the NS-10s, but their frequency response, phase response (including between the LF/HF drivers), dispersion pattern, distortion (this is a BIG one) are all really bad compared to modern monitors where you can mix modern genres to a much higher degree and actually be competitive with other mix engineers. My argument is that NEW mix engineers should avoid NS-10s beacuse they're not skilled in mixing yet and need to be training their mixing muscle memory on high quality, full-range speakers in a well treated room. That's when they can introduce NS-10s and other "flavours" to the mix to see how it works with their ears.

[@stevewoodyt]

19:48 I picked up IKs total studio a while back for $200. It came with ARC and I bought the mic for it used for $55. It actually did make a difference in how my mixes translate. I have a terrible room. You’ve seen it actually. The one with the “bed” hanging from the ceiling. lol This type of software does work to a certain extent. They are a good solution if you have to move often.

[@banparlous2552]

So, the original NS-10's have been discontinued for years & are sought after. I can't speak to the new model NS-10 ( I'm sure they fine). Also, one may want to think about what kind of music was been mixed on them in their era. Mostly Rock. Mostly distorted Rock guitars, Alt Rock, Metal, Punk, some Classic Rock, etc. If one is recording & mixing a lot of multiple guitar, competing midrange heavy music... sure, they make a ton of sense.

[@MvnStn]

I listened to this while working and I couldn't take him serious bc he sounds too much like Russell Brand lmao

[@fruitsbat]

got a union audio ad on this video 😔✌️

[@AKAIMPCJUNKIE-gr5fm]

Americans need to realize just because somebody has an English accent doesn't mean that they know what the hell they're talking about all the time. A lot of people seem to equate an English accent with superior knowledge.. that's why they use British English speaking people on a lot of commercials to sell crap.

[@iswm]

British English speaking people on a lot of commercials? all I see are blacks and browns in commercials.

[@lazyeight01]

How does that relate at all to anything in this video? This guy hasn’t been chosen as a company shill because he has a British accent. He is English and making his own content and I see few to no people here giving him any creditability because of his accent.

[@BassByTheTonne]

it's probably just a skill issue on my part, but if I mix something and it sounds great on my Dynaudio BM5As, it usually sounds terrible in the car and on the kitchen hifi and needs further adjustments. I think AP is right in saying that if you have ringing and resonances, no matter how much you know your speakers, you will simply not be able to judge mix decisions correctly, because the speaker physically prevents you from hearing what you need to hear. It's one thing that already mixed and mastered music sounds great and you know that sound, but like I said I can get that sound for my mixes "locally", then realize I've been misled. The NS10 sounds like shit, but it's only because it is ruthless with the truth. First time I heard it, I was floored how bad they are, but now I understand why and how they are good.

[@N8oRMusic]

Beaver is his doppelganger

[@hexalyte]

i love how Virtual Riot is casually chillin in chat lmao

[@MrSRellz]

Mike Seniors book “Mixing Secrets for the Small Studio” covers what he’s talking about with these speakers, time domain etc. Even Mike senior says using a good pair of headphones along with an Auratone type speaker will be good.

[@iamsyntact]

hi Weaver

[@ifiwantyoutofeel]

Hi

[@iamsyntact]

@ hi ifiwantyoutofeel

[@AKAIMPCJUNKIE-gr5fm]

If you have a crappy sounding room, all you need to do is buy a pack of toilet papers to clean it up. This guy is really trying hard to sell you something you don't need. if you want your music to sound good on home stereo speakers, mix your music on home stereo speakers.

[@fluidshelldesign]

Key point: use the right equipment for the job. For EDM production, there's no need for the 4-channel monitors that are so popular with jazz and classical music. Most of the time, EDM is reproduced in MONO on speakers that are anything but audiophile. You're going to want to differentiate the sounds and get a good representation of the bass, but you're not going to want to emphasise the staccato bowing of a violin. Which is not to say that you should compose and mix on a $15 Bluetooth speaker either. The same goes for studio acoustics. A home studio cannot (for reasons of surface area and budget) have the same optimal treatment as a mastering studio. We're talking about proportions that have nothing in common. A $1500 home studio is possible, but not ideal. But it's not even conceivable for a mixing studio, let alone a mastering studio. We're talking about a difference of at least 10x.

[@RCX_Sco1]

I trusted this guy more when he had his hat and outside clothes on

[@Cartoonist_Music]

I don't even care what AP says anymore. I challenged him to a mastering competition after his "You can't master on blah blah" and he talked his way out of it. I asked him to provide a reel of work too, got nothing lol. Anyway, I used to be annoyed by you, Weaver, but I love your channels now lolol... Go run it up so he challenges me, I told him point blank I will win 😂Have a good one!

[@lazyeight01]

The problem I have with this guy is that he approaches every subject with an air of superiority and condescension. Doesn’t matter if he’s speaking the truth or not, you’re always going to get hate that way.

[@therearenoruleshere]

He's the goofy Weaver version 😂

[@Durkhead]

Hes right about the sealed vs ported

[@gabrock55]

To be fair everything he was saying in the first vid was about mastering. You can mix just fine on some auratone cubes and NS10s but in the mastering phase youre just making sure your polishing off everything without blowing shit up. Id even argue that the process of mastering really is just making mountains out of molehills, it takes a total sonic perfectionist to spend that time tweaking something that 90% of people wont hear just cuz the 10% that will hear either what you missed or messed up tend to bitch about it the loudest 😂 in other terms, mastering to grease the squeeky wheels.

[@aibrainlet8041]

beaver weats v. weaver beats

[@aether3395]

It's the first AP video where he doesn't say complete nonsense but resume all the good points people needs to know when buying monitors. I suppose it's helpful for complete beginners

[@nvisionbeats]

Its terrible for beginners he literally said low end and high end don’t matter at all and furthermore he’s talking to people who can actually afford to send their music off to mastering engineers.

[@aether3395]

@nvisionbeats He's talking about monitors. Yes, he's exaggerating, but low end and high end are less important than mids. And people hear the high end less and less as they get older. It's important to have all frequencies reproduced, but in the situations he describes, when a beginner has an untreated room, his advice is valid: it's useless to have monitors that will add bass problems.

[@aether3395]

@nvisionbeats really, the statement " if you dont have a treated room, don't buy monitors" is 100% true. Headphones are better for these situation.

[@robdot0]

ima menace in chat

[@3eye-hattrick]

I know the professor has a lot of valid points and probably great ears at $60~ a pop, but there is another side to consider. As an example after finishing writing a couple things using FL Studio mobile on my Lenovo Tab Plus with 8 speakers atmos and a bigger sound than any similar Apple product imho, which is why I bought it, also has a nice big screen 🤠 But, I started writing the tunes on my pixel phone and playing the synced pre-mastered version back on it actually has a unique quality to it which is what I was hearing when I put them together originally, so maybe more mono-sounding compared to the atmos speakers🤓 Anyway speakers don't matter to creativity when you know what the sound is, only playback, so I will always reference my crappy phone speakers or whichever ones I happen to have written whatever on to make sure I am keeping on track with the original idea if that makes no sense all I can say is good😅 Guess my next step is to have them mastered and see where they end up in the sonic quality realm, and house shaking or at the least stirring ability😊 And yeah I am a fan of portable devices cause I come up with stuff all the time as long as I don't need a magnifying glass works for me

[@DavidMorley]

Room acoustics are overrated! Just put that there for the hate 😀. If you have a problematic room it’s not going to be fixed by a few random bass traps and diffusers. If you get a pro to do it, it might work, but it’s still a shitty room! I’ve worked for decades in a variety of rooms. Bigger is better, no parallel walls and no low ceilings tends to be ok even untreated. Just get used to your monitors and understand the room. And the worst place to work is a dead room. Some of his points are very fair tbh.

[@jeremybiggs8413]

Big fan of your work, David! To be fair, the guy in the vid says a set of Auratones, headphones or equivalent in a small shitty room is better than a decent big speaker with ports in the same due to the bass. He says bigger rooms are better too.

[@DavidMorley]

@ thanks so much. It’s really a topic that gets everyone fired up LOL but the main thing is don’t let your room stop you working. Use headphones or small speakers or move the furniture. But make sure you make your music despite your room. I guess that’s my main point cheers David.

[@MrGenophyte]

Who are these people spending so much money on just speakers?

[@nvisionbeats]

Bro I know you’re trying to be fair with this guy by saying he’s not really wrong but he’s definitely wrong in areas - the guy said roll off the low end up to 400hz and pass it to a mastering engineer to sort out like what?? Even if he doesn’t mean leave it like that its very literal and terrible just plain wrong advice. The mastering engineer isn’t going to put kicks and bass back in the track.

[@headbangerdnb]

He's mastered tracks for some of the biggest Drum and Bass artists and labels. He comes off like a total douche in these videos, but he knows what he's doing. Most of the stuff on his mastering page are no name artists I've never heard of, as a lot of the known producers don't like to tell people their stuff is mixed or mastered by other people for whatever reason (I personally don't give a sh*t), but he is confirmed to have worked on Chase and Status tracks. There's a bunch of others too, but not confirmed, so I won't name them. Then there's Asap Rocky or some sh*t, but I can't judge his work on that as all rap sounds f-ing horrible to me.

[@KingNiallGT]

I dont enwn own monitors. I just use my BD 770's and can get a nice clean mix

[@Kevinschart]

Weaver single handedly keeping this dude relevant. You gotta let the video play for more than 3 seconds. Your reaction videos just end up being this stream of consciousness and we barely get to hear the content you're reacting to. It's unbearable dude

[@GapsExist]

I find this guy so cringeworthy. If this guy wants any credibility, then show us your credits to validate EVERYTHING you area saying, or are you just a lonely nerd creating hyperbolic nonsense for attention that does nothing but deter and stifle beginners and creativity in the industry by giving the impression that only [insert xxx monitor, plugin, DAW, OS etc here] can be used to create professional outputs. It's like telling beginner guitarists they can't produce anything worth listening to unless they use the most expensive and vintage Gibson guitars with the most boutique valve amps and so on, which is obviously an immediate deterrent to them even starting out, and I'm sure millions of guitarists who have built way more credits, reputations, wealth, and fans than this fool would tell him that his opinion is BS. Such a BS elitist in my opinion. He also entirely ignores the fact that "what is good" is entirely subjective and different from person to person. For example, I'm sure there'd be a bunch of people who'd think his DIY speakers are a pile of sh.... regardless what he says or claims.

[@ggalluuu]

The guy is clearly well informed, but his click baity, hyperbolic titles use the ignorance of your average amigo to sell his courses. He feels like a redpill guru, always giving you the 'truth' about the matrix

[@LukeIcardMusic]

Lmao

[@zendragonmindtuner6207]

Maybe you should do your research before you just go shitting on somebody buddy.

[@Epic3032]

I'm running the presonus eris 3.5" monitors, great sound for their size.

[@denniscorbet4354]

Hey I agree that sometimes this guys seems hyperbolic or too assertive but he is not talking non sense. Also the fact that you don’t know how to read those plots (which are pretty standards when looking into acoustic performances) and the fact that you don’t understand the « frequency response » data that is found on technical data sheets makes me question your legitimacy to comment on these topics… Also if this can help, here a short explanation of the time domain graphs we see. On the vertical axis you can read the intensity of the signal (volume) on the horizontal axis is the frequency (hz) and on the axis that comes towards us is the time (ms). So it shows for a given frequency and time the intensity of the signal. Here they feed a sweeping sin signal to a monitor (a signal that goes in a homogeneous way from 0hz to +40khz as an example) and they mesure how the speakers deliver this signal. Ideally the graph should be flat and should not come towards us. Meaning all the frequencies are reproduced equally as they were fed in terms of intensity (flat) and also meaning the speaker stops to make sound really quick after the end of the signal (not coming towards us). So when we see a kind of mountain coming towards us in these graphs it means the speaker is producing a sound that is not fed anymore to the speaker. Thus it is a made up sound by the speaker. In practice it gives an impression of muddiness or « blurry » sound which especially negative in bass frequencies details. And finally when a speaker is rated as « frequency response : 35hz - 20khz » it doesn’t mean it doesn’t reproduce sound outside this limits, it means that outside this limits the intensity of the frequencies reproduces fall under a threshold under which it is considered we don’t hear the frequencies that much relatively to the others. But they exist. Hope this will help and trigger the curiosity of some :)

[@AlexLapugean]

Thank you! I also responded on the soundID topic just before, was about to write something about what you said as well, but then I saw your comment. It sometimes is baffling to me how obblivious some people are about time domain issues, and how they are actually worse than the frequency response, in the sense that if you can solve timing issues OR frequency issues, you are much better off fixing timing issues. You can get used to frequency imballance, but you cannot do it with timing. If if the transinets are blurred, and you have ringing, you simply have lost information and that cannot be adjusted to. Still, some believe the just need to slap a SoundID Reference and have theyr system sound like a professional studio.