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LSR4326or LSR4328 studio monitors rebate


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Over the past few weeks I've been to a Guitar Center and a Sam Ash looking to get a demo of those speakers. At GC, one of the speakers had a bashed-in bass driver dome. I asked the guy if he was set up to demonstrate the equalization feature and he said "nah" and didn't seem at all interested in getting more involved. Same situation at the Sam Ash though at least the speakers were in good shape.

 

I love the concept of these speakers, but if I can't get a demo of the EQ feature then they've lost a sale. It's too bad...

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  • 1 month later...

I *just* demoed these in a GC yesterday.

 

Picking monitors is such a crapshoot. I demoed the crap out of everything they had: JBL LSR series, Mackies, Dynaudio, KRK, Yamaha - in the end I went with the Yamaha HS80m though I'm not going to try to claim they're the ultimate monitor or anything foolish like that.

 

I *wanted* to like the JBL LSR and it did sound nice but a) I'm not sure I buy into the digital room correction stuff and b) if it did work I'm not convinced it's worth the extra coin. YOu can buy a DBX Driverack Studio and run any monitors through it if that's what you want.

 

For my tastes I want monitors that have some 'oomph' in the lowest 2 octaves. Many definitely let you hear down there but don't lend them much authority, if that makes sense. I can't rationalize spending $1000 for the JBL LSR sub.

 

I don't think it's a bad option at all, I just wasn't sold.

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all I can say is that I have the JBL's, and love everything about them. I do my mixes on them, and they sound great on anything else I play them on, including the fancy schmancy Genelecs at the big studio.

 

if it's a good rebate, I'd say GET THEM. You won't be sorry.

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I won't dispute or debate your opinions.

 

I'm now of the opinion that monitors are like guitars or mics or software - there really isn't any common ground. Each has their fans and detractors but most of them won't hurt your ability to create music.

 

Here's something that has caused me wonder....

 

Artists and engineers stew and agonize over microphones, preamps. placement, cables, mixers, converters yadda yadda - You have a U87 with mogami wires into an insanely expensive preamp mixed into a Neve console with boutique gear on-and-on and then in so many cases the devices that's actually moving air are .... NS10s?

 

Am I in the minority for seeing some powerful irony there?

 

Analogous in the digital realm - stewing over how many angel tear's we can hear falling using various virtual signal paths and in SO many cases the final result ends up being heard via a lossy MP3 thru an iPod or craptastic computer speakers.

 

I'm sorry, what where you talking about?

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