abusound's RM1s were sweet, but in spite of their size, they were loud. Too loud, in fact, for Shinji's control room. The bass was full, mids and highs sounded accurate... Shinji put up this one song about cats (hehe) and I loved the way the TB-303 sound translated with those speakers. A/B them with Shinji's NX-6 Fostex was a mismatch because even when we dialed down the RM1, it wasn't even close to the Fostex.
It was the RM2s that got our attention and they were absolutely bangin'! This was a (relatively) close A/B with the NX-6 and Shinji's mixes translated well.
These speakers are deep! I mean literally. The RM1 and RM2 reminds me of a computer case because of the depth in their dimensions. If you are going to mount these on a stand, make sure the base where you set the monitor on is long enough or you will surely have some overhang. These are modern sounding monitors; I'm sure any music with deep bass (house, hiphop, rnb) will sound good on these. I liked Haze's comment... "these monitors were made for distorted guitars".
All in all, a great demo. Thanks, Mario! (kudos to your staff as well!)
VinceP brought his Heil Sound mics to the party as well. I've known about these mics for some time already after reading about them in TapeOp and other mags, but they are relatively unknown here.
We put these mics to the test on Shinji's Yamaha Custom; PR40 on kick (as against Shinji's beloved Senn 421), PR22 on snare, and last into the test, PR30 on floor drum. Personally, I loved the sound of the PR40 on kick - as soon as it was positioned properly (a little inside the sound hole), it gave THAT sound - as it is, flat (no EQ) it already captured the click of the beater and body of the kick, fantastic! The PR22 was no slouch on snare either, getting that crack and snare body sound. The PR30 capture a 'roundness' to the floor tom that sounded good to the entire kit overall. Those are great mics, VinceP! I'll give you a call when we're gonna test it on a recording date.
