What Is Mac Studio

[Do Kieu]

Most of the time I play / compose / record at home. But I like to play and sing loud, even to myself. Now, sometimes I like to invite friends over or I'm invited to play in small places (livingrooms, small restaurants). I have two big PA style Fender boxes, but it makes no sense to take them to small places. And my small Tannoy Reveal monitors don't seem to be quite up to the job. I'm looking for a pair of studio monitors, preferably active, that can act simultaniously as studio monitors, but also as a small PA for small spaces. Something up to the 800 USD mark the pair. Suggestions, please...?

I understand your need for clean sound at low volume levels. However, if someone were to recommend a monitor speaker, then you purchased it and something happened to destroy it while you were using it for PA, you may blame the person who recommended it.

PA systems are robust enough by design to take beatings studio monitors can't (I know from experience, I blew up a $500 pair of studio monitors using them as vocal monitors in a practice session once - tweeters got FRIED in a matter of minutes)

I agree. Another issue is that studio monitors, in their quest to be accurate, are very power hungry. In a small venue, you'll want at least 90 to 100dB SPL even for an acoustic act, and that would take lots of power for a typical (inefficient) studio monitor. (For blues in small venues, I need 125 dB SPL for my keyboards, thanks to those damn guitarists. That's well over 4 times as loud as 100 dB SPL.)

For example, a typical studio monitor has an efficiency rating of 85dB SPL, measured with a 1kHz tone at 1W, 1 meter from the front. Typical stage monitors and PA speakers have efficiencies around 99 dB SPL. That's more than twice as loud for the same amount of power.

To add power to make up the difference (twice as loud), you'd need ten times the power, believe it or not. So, if a stage speaker at 100W is loud enough, your studio monitor would need about 1000W to be that loud. (Of course, it wouldn't handle it.)

Those studio monitors may sound nice and loud in your home, but if you put them in even a small venue, you'll be surprised how quiet they sound. You'd be tempted to run them too hot, and you'd be disappointed when they got damaged as a result.

A better bet might be to get a small PA that you can use as studio monitors. You'll sacrifice clarity and accuracy. There will be flaws in your recordings that you won't be able to hear (there always are, but using good recording monitors helps to minimize that). But you won't be wasting your money and damaging your gear, and meanwhile you can save up for the ideal studio monitors.

Studio monitors are not designed for long throw applications - besides their amps as pointed out by Learjeff above, their drivers (especially the tweeters) just aren't suited for it. Consequently, in anything other than a small room, they will not project the sound the way you will need them to.

Didn't even think about that, but you're right. The tweeter in every PA speaker I've ever seen has been incorporated into a horn device, in order to project the HF. Most top-shelf PA also includes horn-loaded woofers as well, for the same reason.

Since you've already got studio monitors, leave them where they are, and find small PA speakers that will do the job for the live venues. All of the advice above is very sound. Each form of speaker is designed for their specific application. Taking them out of their comfort zone will make them perform at less than optimum.

One design aspect is to keep them as light-weight as possible. For this reason you will find woofers under 10" (like 6.5" or under) and piezos or even a complete lack of tweeters. The power amps are generally about 100 W or less. For example, the Peavey Messenger M100 (50 W/channel).

Fender makes something similar with a little more power: the Passport Deluxe PD-150. This has 75 W/channel and has the added functionality of being able to run off of a battery power supply (no need to plug in to an electric socket). [Note the discussion earlier about how power relates to loudness, or sound pressure level (SPL). You may not be able to tell the difference in loudness between 50 W and 75 W as these are not measures of SPL.]

Something that looks more like a traditional PA system would be the Peavey Audio Performer Pack. This includes a 4-input PVi 4B powered mixer (with 100 W mono output), two PVi 10 (10" woofer) cabs, two tripod stands, and two PVi dynamic microphones. Or, as they say, "[e]verything needed for a PA system included in one package."

Of the systems noted above I've only used something similar to the Audio Performer Pack. It has been used successfully in many coffee house settings for vocals, acoustic/electric guitar and electric piano (in mono). However, it is not loud enough to provide just vocals for a rock rehearsal with drums.

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Are you in the process of applying to colleges, exploring majors, and finding yourself wondering what is studio art? If you answered yes to the above, then you have come to the right place, as this article will be a guide on earning a studio art degree. Keep reading to uncover the definition of studio art, why it is important, and how to use a studio art degree in the professional world.

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AILSA CHANG, HOST: All right, well, we did ask the Alliance of Motion Picture and Television Producers if a studio head was available for interview. They declined, and a spokesperson wrote us this instead - quote, "the AMPTP fully recognizes that the talented, creative community makes the entertainment industry possible. The AMPTP is focused on reaching a swift resolution to the strike and is eager to have a meaningful negotiation about the issues on the table with SAG-AFTRA and WGA leaders."Well, we're going to bring in NPR culture correspondent Mandalit del Barco now. She's been covering the double strikes in Hollywood, and she was with us during that interview with Fran Drescher. She joins us now in studio. Hey, Mandalit.MANDALIT DEL BARCO, BYLINE: Hey, Ailsa.CHANG: OK, so tell us more about what studio executives are saying about the strike.DEL BARCO: Well, you know, if it's any indication, the AMPTP also recently hired a crisis management group and a public relations firm to try to change the narrative that they're the bad guys in this scenario. But then again, almost everybody in Hollywood has a PR agent.CHANG: Right.DEL BARCO: You know? So other than Disney's Bob Iger, who you quoted, Ailsa, we've heard very little from the heads of the studios, just a few anonymous quotes in some of the trade publications. Months into the strike, the studio CEOs finally met directly with the Writers Guild of America. That didn't go over so well. They were accused of chastising the writers. And as Fran Drescher noted, the studios haven't gotten back to the actors yet. But we might get some clues from the second quarter earnings calls these studio heads are making. Take a listen to Warner Bros. Discovery CEO David Zaslav talking to investors this week.(SOUNDBITE OF ARCHIVED RECORDING)DAVID ZASLAV: It's critically important that everybody - the writers, the directors, the actors, producers, all the below-the-line crews - everyone needs to be fairly compensated. And they need to feel valued and feel that they're fairly compensated in order to do their best work. And we have to focus on getting that done. You know, I'm hopeful it's going to happen soon.CHANG: That does kind of sound hopeful.DEL BARCO: Well, Zaslav said because of its hit movie "Barbie" and because they're not spending on productions, Warner Bros. has had a good summer. But he says if the strikes go through the end of the year, he expects profits to go down by as much as $500 million.CHANG: Well, how long do you think the studios can go without the writers and actors working?DEL BARCO: We'll see how this fall goes for the studios. Actors and writers are not promoting their shows and movies. Some studios have delayed some of their big movie openings and will soon start noticing the only new content on the small screen are unscripted shows, reality shows. And one last thing - younger generations may not even have much use for traditional Hollywood. Just ask my 11-year-old. She watches TV and movies, but even more TikToks and YouTube videos.CHANG: (Laughter) Oh, I so believe that. That is NPR's Mandalit del Barco. Thank you so much, Mandalit.DEL BARCO: Thanks, Ailsa.(SOUNDBITE OF PHARRELL WILLIAMS AND KANYE WEST SONG, "NUMBER ONE")

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