L1® for Studio Monitoring: Difference between revisions

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I have been using the {{Classic}} since 2004 and the {{Model II}} since it came out. Either {{L1 no link}}'s flat response is perfect for checking overall instrument tone and balance, especially the reverb levels. Multiple monitoring systems are typical in most all studios, and the {{L1 no link}} is a fine cross reference tool, when used in conjunction with other [http://www.mackie.com/products/hrmk2series nearfield monitors]

The {{L1 no link}}'s use in the studio as a PA monitor during tracking and dubbing sessions is also substantial. The {{L1 no link}} frees us from fatigue inducing headphones, and it's smooth response at low volumes does not leak unwanted (boomy or shrill) frequencies into open microphones in the room. It's even spread, when it does leak into ~~mics~~ tends to give the recording a fuller *room sound* without the *honk* of a typical floor type monitor.

The {{L1 no link}}'s use in the studio as a PA monitor during tracking and dubbing sessions is also substantial. The {{L1 no link}} frees us from fatigue inducing headphones, and it's smooth response at low volumes does not leak unwanted (boomy or shrill) frequencies into open microphones in the room. It's even spread, when it does leak into microphoness tends to give the recording a fuller room sound without the honk of a typical floor type monitor.

As a remote live recording sound system the {{L1 no link}} <i>really</i> shines! Easily portable, sets up in a small space, and is the live PA and playback/dubbing monitor all in one. The {{T1}} expands greatly on it's usefulness. An {{L1 no link}}, a {{T1 no link}}, a laptop, and a firewire or other digital in/out recording interface, and you are ready to roll. They days of washing machine size recorders, mixing consoles, and large wall mount monitor speakers are over...thankfully.

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Here is an example of a recent set up that I used for recording a 4 piece band on location, in a small living room.

Setting up the {{L1 no link}} and other gear near a corner of the room, I used the single rack space 8-in/8-out [http://www.presonus.com/products/Detail.aspx?ProductId=43 Presonus Firewire Project] '''mixer''' for my six microphone inputs. Those signals ran though the Firewire cable into a laptop recording on six individual tracks.

Setting up the {{L1 no link}} and other gear near a corner of the room, I used the single rack space 8-in/8-out [http://www.presonus.com/products/Detail.aspx?ProductId=43 Presonus Firewire Project] ''''mixer'''' for my six microphone inputs. Those signals ran though the Firewire cable into a laptop recording on six individual tracks.

The Presonus has 10 assignable outputs of which two were the main output monitor running into the T1<sup>®</sup> channels 4/5, which we used for playback of the completed songs.

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 I have been using the {{Classic}} since 2004 and the {{Model II}} since it came out. Either {{L1 no link}}'s flat response is perfect for checking overall instrument tone and balance, especially the reverb levels.  Multiple monitoring systems are typical in most all studios, and the {{L1 no link}} is a fine cross reference tool, when used in conjunction with other [http://www.mackie.com/products/hrmk2series nearfield monitors]
-The {{L1 no link}}'s use in the studio as a PA monitor during tracking and dubbing sessions is also substantial.  The {{L1 no link}} frees us from fatigue inducing headphones, and it's smooth response at low volumes does not leak unwanted (boomy or shrill) frequencies into open microphones in the room.  It's even spread, when it does leak into mics tends to give the recording a fuller *room sound* without the *honk* of a typical floor type monitor.
+The {{L1 no link}}'s use in the studio as a PA monitor during tracking and dubbing sessions is also substantial.  The {{L1 no link}} frees us from fatigue inducing headphones, and it's smooth response at low volumes does not leak unwanted (boomy or shrill) frequencies into open microphones in the room.  It's even spread, when it does leak into microphoness tends to give the recording a fuller room sound without the honk of a typical floor type monitor.
 As a remote live recording sound system the {{L1 no link}} <i>really</i> shines!  Easily portable, sets up in a small space, and is the live PA and playback/dubbing monitor all in one.  The {{T1}} expands greatly on it's usefulness.  An {{L1 no link}}, a {{T1 no link}}, a laptop, and a firewire or other digital in/out recording interface, and you are ready to roll.  They days of washing machine size recorders, mixing consoles, and large wall mount monitor speakers are over...thankfully.
@@ Line 11: / Line 11: @@
 Here is an example of a recent set up that I used for recording a 4 piece band on location, in a small living room.
-Setting up the {{L1 no link}} and other gear near a corner of the room, I used the single rack space 8-in/8-out [http://www.presonus.com/products/Detail.aspx?ProductId=43 Presonus Firewire Project] '''mixer''' for my six microphone inputs.  Those signals ran though the Firewire cable into a laptop recording on six individual tracks.
+Setting up the {{L1 no link}} and other gear near a corner of the room, I used the single rack space 8-in/8-out [http://www.presonus.com/products/Detail.aspx?ProductId=43 Presonus Firewire Project] ''''mixer'''' for my six microphone inputs.  Those signals ran though the Firewire cable into a laptop recording on six individual tracks.
 The Presonus has 10 assignable outputs of which two were the main output monitor running into the T1<sup>®</sup> channels 4/5, which we used for playback of the completed songs.