Mr. Crispin from Crookwood posted a reply regarding the topology of mastering console on PSW Recording Forums. We have just get on time to install our custom Crookwood mastering console before the Beijing Olympic 2008.
The original link is here:
http://recforums.prosoundweb.com/index.php/m/0/24091/32/0/#msg_24091
Hi all,
I just caught the end of this thread and wanted to add my 2p.
There is no argument that passive represents the ideal path for minimum distortions. The problems occur in interfacing your passive controller into the real world. DC covered several issues in selecting the correct cable, attenuator topology, balanced or unbalanced system etc. If you get it right, the system in your room could be very good.
So why would you ever need to look at a commercial monitor controller? Well you may not feel confident with the DIY route, and spend more time worrying than ME' ing. Plus in reality things are never quite as simple as they may initially seem, and you may want a bit more form the system beyond simple volume control. The following features are useful for diagnosis, and can all be done passively:
1) Mutes - mute L, R and both is useful. Add 3 switches
2) Monos - mono sum, and mono difference is cool. Add 2 switches
3) Phase - phase L (or R or both) and phase absolute can be useful - add 2/3 switches
4) Swap L&R - amateur recording has so many mistakes! Add 1 switch.
5) Multiple speakers - add a switch per alt set
6) Source selector - you ought to be able to A/B again pure verses processed at the minimum. Add 1-x switches.
7) Dim - always useful for interuptions so you do't have to alter your main levels. Add 1 switch plus some resistors.
The following features need electronics to work well (or at all):
8)A/B trims - so you can remove level changes between sources
9) Adjustable Dim - your initial level is never right.
10)Headphone outputs - always nice to listen on cans, using the same monitor checks as above.
11) unbalanced output - to feed that nice unbalanced amp on the alt set
12) surround world - speaker trims and calibrations, reference levels, and adjustable foldowns.
13) V meter output buffer - so you can meter what you monitor.
Then there are some cool features that our products can provide:
14) K cal - based on bob K's work, so you can define a reference 0dB level on your volume control, and always work around this.
15) subwoofer output - a parallel output to the mains that can drive subwoofers, plus mutes to turn them off and on.
16) fine volume control over a wide range - so you can easily adjust the system to the wide range of material you have coming in.
17) digital sources - so you can treat any source, digital or analogue in exactly the same way.
18)constant output level across alt speakers inc cans - so as you switch, so the levels remain constant
19) Buffered inputs - a good example if with vinyl work, where you want to monitor the record path, but need a buffer so that the low impedance of your volume control doesn't alter the record levels.
20)Lift - opposite of dim: a temporary boost in monitor level for listening to fade outs and tails without disturbing your normal listening levels.
And so on.
I do like passive technology, and you may not realise that our products are completely balanced and passive apart from a single balanced output buffer. Using relays we have got a very big volume switch inside that gives you 100dB range, 1dB steps from 0 to -50dB and 1/4dB trims for A/B within this 50dB range. In 7.1 surround too if you fancy.
I applaud anybody who goes down the passive volume DIY route. If nothing else, you will get to learn a few technical things about your room, the kit inside it, and how you work. This lack of technical ability is one of the big problems with music production today IMO.
However you should also be aware of the other features available to you to do better or faster work. If you try to implement these, and add up your DIY time and sonic quality, you may find that it is equal to a good monitor controller. Or better still a Crookwood mastering console (shameless plug!).
Have fun!
Cheers,
Crispin
Crookwood
www.crookwood.com
The original link is here:
http://recforums.prosoundweb.com/index.php/m/0/24091/32/0/#msg_24091
Hi all,
I just caught the end of this thread and wanted to add my 2p.
There is no argument that passive represents the ideal path for minimum distortions. The problems occur in interfacing your passive controller into the real world. DC covered several issues in selecting the correct cable, attenuator topology, balanced or unbalanced system etc. If you get it right, the system in your room could be very good.
So why would you ever need to look at a commercial monitor controller? Well you may not feel confident with the DIY route, and spend more time worrying than ME' ing. Plus in reality things are never quite as simple as they may initially seem, and you may want a bit more form the system beyond simple volume control. The following features are useful for diagnosis, and can all be done passively:
1) Mutes - mute L, R and both is useful. Add 3 switches
2) Monos - mono sum, and mono difference is cool. Add 2 switches
3) Phase - phase L (or R or both) and phase absolute can be useful - add 2/3 switches
4) Swap L&R - amateur recording has so many mistakes! Add 1 switch.
5) Multiple speakers - add a switch per alt set
6) Source selector - you ought to be able to A/B again pure verses processed at the minimum. Add 1-x switches.
7) Dim - always useful for interuptions so you do't have to alter your main levels. Add 1 switch plus some resistors.
The following features need electronics to work well (or at all):
8)A/B trims - so you can remove level changes between sources
9) Adjustable Dim - your initial level is never right.
10)Headphone outputs - always nice to listen on cans, using the same monitor checks as above.
11) unbalanced output - to feed that nice unbalanced amp on the alt set
12) surround world - speaker trims and calibrations, reference levels, and adjustable foldowns.
13) V meter output buffer - so you can meter what you monitor.
Then there are some cool features that our products can provide:
14) K cal - based on bob K's work, so you can define a reference 0dB level on your volume control, and always work around this.
15) subwoofer output - a parallel output to the mains that can drive subwoofers, plus mutes to turn them off and on.
16) fine volume control over a wide range - so you can easily adjust the system to the wide range of material you have coming in.
17) digital sources - so you can treat any source, digital or analogue in exactly the same way.
18)constant output level across alt speakers inc cans - so as you switch, so the levels remain constant
19) Buffered inputs - a good example if with vinyl work, where you want to monitor the record path, but need a buffer so that the low impedance of your volume control doesn't alter the record levels.
20)Lift - opposite of dim: a temporary boost in monitor level for listening to fade outs and tails without disturbing your normal listening levels.
And so on.
I do like passive technology, and you may not realise that our products are completely balanced and passive apart from a single balanced output buffer. Using relays we have got a very big volume switch inside that gives you 100dB range, 1dB steps from 0 to -50dB and 1/4dB trims for A/B within this 50dB range. In 7.1 surround too if you fancy.
I applaud anybody who goes down the passive volume DIY route. If nothing else, you will get to learn a few technical things about your room, the kit inside it, and how you work. This lack of technical ability is one of the big problems with music production today IMO.
However you should also be aware of the other features available to you to do better or faster work. If you try to implement these, and add up your DIY time and sonic quality, you may find that it is equal to a good monitor controller. Or better still a Crookwood mastering console (shameless plug!).
Have fun!
Cheers,
Crispin
Crookwood
www.crookwood.com