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Massenburg og Kramer om JBL LSR6300

Publisert: 11.12.09 kl. 14:46

JBL LSR6300 studiomonitorserien har lenge vært en tungvekter i lyd-til-bilde-verdenen, med norske brukere som Storyline Studios (Chimney Pot og Frogner Kino), Nordisk Film og Cutting Edge. Men serien står også høyt i kurs i musikkmiljøet, noe George Massenburg og Eddie Kramer gladelig forteller om:


George Massenburg Relies On JBL Studio Monitors

Multi-GRAMMY® Award-winning producer/engineer George Massenburg, who is world-renowned for his contribution to studio design, signal processing, and legendary projects with Linda Ronstadt, Randy Newman, Lyle Lovett, The Dixie Chicks, Earth Wind and Fire, chose JBL LSR6300 Series studio monitors for his recent projects. Patty Loveless’ Mountain Soul II and Livingston Taylor’s forthcoming release were mixed at Massenburg’s studio using two LSR6328P 8-inch bi-amplified studio monitors and the LSR6312SP 12-inch powered subwoofer.

“They’re really competent monitors, well-powered, linear, great, and all the JBL technology has been brought to bear to give well-balanced dispersion,” Massenburg comments. “I listened to them in a bunch of different positions and compared them to other speakers I had been using, and as a speaker I can depend on in any number of circumstances, these really deliver.”

The JBL LSR6300 Series monitors incorporate patented dual-drive transducers, capable of delivering very high SPL and flat response at all listening levels. Using Linear Spatial Reference design criteria, JBL takes 70 measurements, 360 degrees around the speaker providing 1200 times the data of a single on-axis measurement. Using this data, JBL designs critical components of all LSR6300, 4300 and 2300 series monitors to deliver very neutral response in a broad range of acoustic conditions. Going a step further JBL incorporates its acclaimed RMC™ Room Mode Correction system that compensates for the low frequency issues in acoustically less-than ideal spaces.

Having heard the LSR6300 Series in several settings, George chose them for his latest projects. “They were around [John McBride’s Nashville-based] Blackbird Studios. For the past six months or so they’ve been in my studio as my main stereo monitors. They’re neutral in any circumstance I’ve heard them in. You get use to them in about six seconds flat. And then they disappear. And your listening to music, you’re not listening to speakers.”

As Adjunct Professor of Music Technology at McGill University in Montreal and Berklee College of Music in Boston, Massenburg dedicates a significant portion of his time to sharing his experience and knowledge with audio students. When asked his priorities for equipment in the control room, he stresses the importance of investing in high-quailty studio monitors. “Our professional recommendation as educators is, your first priority in any situation is hearing what you’ve really got,” he said. “Monitors are the critical link and even more critical in a home production situation. No matter how much money you’ve spent on your other equipment, if you can’t hear, you’re going to make the wrong decisions, and it doesn’t matter what you’re putting down on disc.” Specifically on his JBL LSR6300 Series monitors, Massenburg comments: “I feel like I’m listening to the music, not the speakers. You can’t spend ‘too much’ on monitors that work this well.”


Eddie Kramer Mixes Restored 'Woodstock' Movie Using JBL Monitors

NORTHRIDGE, California – Celebrating the 40th anniversary of arguably the most significant musical event in history, Warner Home Video has released “Woodstock: 40th Anniversary—Ultimate Collector’s Edition” on Blu- Ray disc. The release features a re-mastered director’s cut of the original film, including many previously unreleased performances. Legendary producer/engineer Eddie Kramer, who engineered the original recordings that captured the 1969 event, was called by Warner to mix this wealth of previously material. For the project, Kramer relied on a 5.1 JBL LSR6300 studio monitor system to bring the tracks to life in Capitol Records Studio C control room.

According to Kramer, “The original recording during the festival was pretty scary in the sense that there was no communication between the stage and myself in what was essentially a tractor-trailer,” Kramer said. “We had to mix everything on the fly, so the first song in each set was basically an experiment in identifying where everything was in the mix.”

Thanks to modern recording technology, Kramer has been able to restore and improve the quality of the recordings from those historic three days. “Interestingly, with the technology that is afforded us today, one can now repair things that were irreparable even 15 years ago,” Kramer said. “It’s great, because where a lot of things weren’t working in those first songs, we’ve salvaged a lot of great performances and literally raised tracks from the grave.” The project includes unreleased performances of Creedence Clearwater Revival, the Band, Santana, the Grateful Dead and other iconic acts.

For the project, Kramer utilized a 5.1 surround system comprised of JBL LSR6300 series studio monitors during his mix sessions. “For the longest time, I have been looking for a set of monitors that I can feel comfortable with, at high volumes as well as low volumes, because I do a lot of my mixing at low volume,” Kramer said. “Anybody can turn a speaker up. But when the volume comes down and the relative quality and definition does not change as you pull the monitor fader down, that is a very key element in what I’m doing. I want to hear the detail, and I can hear tremendous detail in these JBL monitors. I think JBL is really doing it right these days.”

In addition to the detail, the neutral and even coverage of the LSR monitors has also proven advantageous for Kramer. “I love the LSR monitors because they’re so smooth and the top end doesn’t take my head off,” Kramer said. “I can sit in the studio all day long, for 12 or 14 hours, and my ears don’t fatigue.

“I needed to get this to sound as good as it possibly could,” Kramer added. “When people are listening to this on a 5.1 system in their living rooms, I want it to feel like they’re dead center in the middle of the crowd, they can smell the smoke, feel the mud and get the vibe.”


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