I had a pair of those little Auratone speakers but could not really get into them. Mine had the dark charcoal cases. I sold them about four years ago. I paid about $150 USD years ago and got more for them when I sold them, good ole Ebay. They sat right next to my JBL monitors, you can still see the speaker cables there.Apart from the NS-10's, I've seen alot of those little Auratones in service as well. The whole point back in the day was to make a mix that sounded good on a cheap car stereo. A friend of mine who built his studio had three monitors: the Auratones, NS-10's, and these big JBL's - so he could monitor three different sizes of speakers. I think most studios do this now too.
I read story once when John Fogerty was making his big comeback (the album that ended up being "Centerfield") he was doing mixdowns to cassette tape and he'd run out to his car to listen to it to make sure it sounded good.
Audiotech - Nice rig!In theory, the room where the monitors are located is just about as important as the monitors themselves. I too have a pair of the 7" 2 way Yamaha NS10 monitors that use to be a staple in most recording studios and some broadcast facilities and in some cases they still are. These monitor speakers never really sounded great with their rolled off low frequency response and strident top end, but what they did do well was to translate the program material well into home stereo, boom box and car speaker systems. In other words, if the mix sounded good on the NS10s, then the mix would probably sound good on other speaker systems. If I can find a picture of these I will post it, but back in the late 80s all my photos were of course made to film and I never had the need to find or scan them.
In my large control room here at home, I'm currently using a pair of Tannoy 800 concentric speakers along with a secondary pair of JBL 4406 monitors.
In my voice booth I'm currently using a pair of Tannoy 600 concentric monitors, not pictured but the same shape and style as the 800 series but just a bit smaller.
In my drum room I use either Alesis or Neumann 120s. In addition, this system's secondary use is as a "dub" station where I can transfer just about any format to another.
In my opinion, two of the most important aspects of a studio monitor is their accuracy and how well the mix will translate into other audio systems.
I'd say Mackie 824's would be the starting point. But it's not as wide a spread as SM57/SM58 mics. Or Pearl Exports! There are lots of very good, equally valid monitors out there, none have absolute dominance in the way that Shure were able to entrench the SM series mics for a couple of decades before anyone else really caught up.like shure sm57 mics.
that engineer seem to use as a studio monitor
There's probably only two options to be found, RMG Industrial and ATR Magnetics. There's a distributor for RMGI in Oregon and ATR Magnetics is located in Pa. I'm using RMGI for my 1/4" tape and ATR for my 1/2". At one studio where I work we use ATR in 1/4", 1/2" and 2". When we place an order, I just include mine for a better discount. Since just about every tape machine I own was biased for Ampex (Quantegy) 456, I use the 1/4" RMGI or EMTEC SM911 which is almost identical electronically.Hey Dennis - you have to tell us where you're finding the tape for those machines. Even here in L.A. - tape is really scarce! Especially the larger reel tapes, like 1" or 2".
I think it could be time for you to get into the JoBox (I think that's what its called - a full on 24-track recorder with 24 ins and outs in a single rack space). What do ya' say?