How BIG do YOUR SPEAKERS need to be!? || HEDD Type 07 & HEDD Type 20
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- Опубліковано 30 чер 2024
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INDEX:
00:00 - Intro
00:36 - Air Motion Transformer
02:03 - Lineariser
03:40 - Closed or Ported design
04:15 - Speaker Placement?
04:42 - Desk filter?
05:28 - The amount of settings...
07:10 - 2-Way or 3-Way?
08:23 - Conclusion
09:14 - Disclosure
09:30 - Support me! - Навчання та стиль
Just wanted to clear up a technological note:
AMTs are an entirely different technology than ribbons. ADAM also use AMTs, but they are called ribbons which has caused a lot of confusion.
I was an original designer at Tectonic Audio Labs and we were using our own designs of NXTs Distributed Mode Loudspeaker with AMTs as high frequency drivers. We found them to be far too inconsistent in their vertical distribution pattern and changed to ribbons.
Ribbons work more similarly to traditional cone speakers in that they move in a pistonic nature, pushing and pulling air molecules directly outward from the cone.
AMTs use flaps that compress and expand vertically to excite the air. Very different from either a ribbon or a cone speaker.
True ribbon speakers will have a much smoother response than an AMT that you’ve probably been listening to.
After a firmware update, my type 20 mk2s can now play louder without noticeable distortion now, great job HEDD!
Nice I need to update.. I want realised there was one out!😅
Hedd, I visited their factory in Berlin a couple years ago. Absolutely love my Type 07 MK1 and I can't wait for my Type 20 MK2 which I'm going to buy in a couple of months!
You could do a speaker series of the most common brands. Pointing out their differences (weaknesses?) with your high-end setup could be interesting and useful.
I have a 2.1 system and it change my life forever.. I was looking for a 3 way speaker back then but went all out on my speakers. It is also really good , not like a 3 way speaker but it works better than a 2 way speaker. way better.
When you say there is something missing in the 7, I think it is because of your placement. These amt tweeters will give a deep notch when you are listening below them. For that console the bigger one has a better tweeter axis.
I love the Type 20, I'm thinking about from 2 years, I've the HEDDphone and I'm in love. Want really try them
I own Type 07 Mk1 and I absolutely love it. I think it’s best value for that price.
I would love to see more speaker reviews on here, and maybe a little review of how they sound? I know it's hard to describe the sound but I value your opinion!
Those high frequencies are helpful as you get older (like me). Our ears tend to lose the ability to hear high frequencies as we age.
If you use ear protection and avoid listening at very high volumes, you can delay the high frequency loss. I'm 24 years old, i still can reach 19.6KHz, basically my hearing is still the same since i was 17 years old.
You have to take care of your inner ear.
@@saricubra2867 we are still young, I’m 27, though I was blessed with extended high frequency range and can still hear up to about 23k
@@queenpurple8433 Holy sh*t, 23KHz?
That is extremely rare, so, 44.1KHz isn't enough for you. I'm glad i'm not the only one with pretty good hearing.
@@queenpurple8433 Being healthy also helps for pretty good ears.
@@queenpurple8433 Hearing up to 23KHz must be pretty difficult.
In my case, everytime i walk on the streets i have to use ear protection because the sound of car breaks are pretty painful to me, specially my +19KHz upper limit.
I also don't like that my ears for some reason are pretty sensitive to 6KHz, 4KHz isn't annoying to me.
Absolutely love my HEDD Type 20's.
Thanks for explaining how speakers work. I did fill up me speakers this morning and I am liking it very much. I am crazy audiophile and love to thinker. Maybe you ask why watch audio engineering videos. One I like how run this channel and I wanna keep up with the other side of audio. Music is made by more party's then just musicians.
It's always good to go for the threeway
Ported vs Closed isn't about precision, but about low frequency driver performance. Generally, a sealed enclosure results in a more gradual and earlier roll off of the frequency response, the ported enclosure will give you a bit of a low end extensions, but will result in a sharper drop in frequencies.
Also the lineariser is only useful for DSP monitors (which pretty much any quality monitor will include some form of latency correction to ensure drivers are in-phase). Loudspeaker manufacturers will always make sure drivers play as 'in phase' as possible. As far as I'm aware, the lineariser uses a lot of latency to PERFECTLY align these drivers.
Would be interesting to see a comparison vs Adam's new monitors. This is because HEDDs engineers left Adam (I think when they got bought out or something like that).
I was really surprised by how close in sound the Tweeters on my Adam T7v monitors are to the 80s Technics/Yamaha Amp combo I'm currently rocking. Maybe my ears are screwed!?
I have the MK 1 version and they were okay.. but why not be able to turn off the linearizer remotely? So now I have to go behind each speaker and flip a switch any time I want low latency?
ngl all these speakers do make the studio look way cool. (dont mind me i aint too technical)
i have the HEDD type 5 MK1 in my studio. i like them
I can hear incredibly high frequencies. It is a gift and a curse. It’s good to hear high shelfs aren’t a bad idea. I avoided them on my speakers.
I reach 19.6KHz, i'm 24 years old. Other people of my age only reach 17KHz aprox.
Another alternative option would be to have Type 07 plus BASS 12. Cheaper than Type 20 or Type 30 and more flexible in terms of placement. Sound quality should be similar to three way systems.
Exactly, and possibly better in some rooms due to the setup options for the sub! I have a type 7 mk2 + bass08 in a small room and have been able to set it up so that the frequencies are aligned as much as possible (they offer sub placement options compared to the main speakers, on the sub) and I get a clean representation of 27 - 20k hz in a room that is barely 2,5 by 3 meters. Aided by acoustic panels, basstraps and IK ARC3 I must add. I love these HEDD speakers, have worked on much more expensive Focal and Genelec speakers and these HEDD Type 7 Mk2 + sub absolutely blew me away
You really can't tell what speaker speaker is right for you without listening for yourselves and working with them for a while, it really is the one product that relies a sales pitch from someone that found those speakers to be the one for them....
It's like trying to figure out how many sugars you like in your coffee by the options of others
Thanks
Thank you so much for your support!
My 1978 "ESS amt 1b" home speakers used Heil Air Motion Transformers, and like their advertisement used to say it really was "Sound As Clear As Light", that being said when I first got them home the amt drivers in the two speakers did not have matching outputs and they sounded very dissimilar which had me questioning their factory quality control, the dealer eventually did reluctantly replace the defective speaker, which meant taking 3 seperate speakers home and comparing them to find out which two were the closest to having matching outputs...what a pain in the ass..seriously.
HEDD 💖 One day I will save money for them! According to my current savings, it will happen in 3 and a half years.
I worked on Adams for years but the AMT tweeters of Hedd type 20s are way more smooth and easier to work with for long periods and the midtange is super 3D.
Which Adams did you have?
I used to use Adam S3A also had A7s for a while.. But to be honest I haven't tested there new generation of Adams so maybe the Tweeter is a lot better now, not sure.. but I´m very happy with my Type 20s not looking for any monitor upgrades at all.@@devianthousend
Genelec 8341 and 8351 will cover everything very small to mid sized rooms and set ups
I like having giant speakers because I’m a bass head, and you can’t really get that with smaller cones, you sorta need the size. When the time comes to change rooms, I want to upgrade to 10 or even 12 inch driver monitors
Funny how most people including myself find AMTs much more pleasant than normal tweeters. Its actually most other tweeters that do sound piercing or harsch imo (especially metal domes). That's why AMTs in general cause less ear fatigue right? 🤷♂ The biggest issue with AMTs is that you mix on them with this silky smooth highs which might not translate that well on other tweeters.
I ❤HEDD
What you are describing is distortion in the high frequencies. That is the 'tiss tiss' sound that seems like detail but in the end is tiring to listen for hours. Low distortion tweeters do not have a specific sound.
Like the gigantic amp and speaker Marty Mcfly used.
A sub is a must…even with my 8” mkII
I think there's a fourth reason as well why you should go with a three way monitor as well - it's best to have your midrange driver no larger than 5 inches, since larger woofers will start to waveguide themselves on frequencies above 1khz, as the sound becomes more directional and distort the stereo field. If I'm aware correctly, this phenomenom is called "beaming" and that's why all three ways usually have a 3 or 4 inch midrange driver. And just generally, having a big woofer, deal with 2khz is absolutely not optimal, sounds similar to having a comb filtering happening acoustically.
I've experienced exactly what you described comparing the HEDD's, when I compared Adam A7V's and A77H's (which I'm buying kind of now).
I do want to have two low end woofers from both sides from the center as then it will stay on axis with the highs and mids.
Learnt all of that when I switched from Adam T7V's to Event 2030's and felt weird things.
I am with you on the AMT tweeters being "bitey" in everything above 10khz, but I like this characteristic if in good balance with everything below. I can set that as an "aural limiter" on how much is too much, particularly on something intense in the high end. Genelec metal domes however - total absolute sandblast, can't stand that even with my favourite tracks. Event metal dome? Too smooth even, can have +10dB of shelving, much warm. NS-10M soft dome? I'd rather have it off.
I've had EVE SC307's for a week. Their AMT didn't have the characteristic bite, apart from being worse than T7V, for some reason.
I'd love to hear your opinion on T7V's though, since everyone seems to have a pair now including me, so that'd be very useful to hear what shortcomings would you hear in comparison to HEDD or even your mains, which you could directly adress on something else.
I am very close to getting the A77H but there's no way for me to try them. Would you recommend them? I'm kinda in love with the specs/reviews and looks as well
@@nartkelmendi6675 I really can't recommend anything until I not only buy them and try them, but have mixed a couple of tracks at the very least and see how well they translate. But I think at this price range it's just really difficult to buy a "bad monitor". I think it starts to rely more on actual features (like DSP) and preferrence on the specific manufacturer's "voicings" like the "Adam sound" and if you are used to it - go for A77H.
If we have a common reference (like a T7V, or A7X, NS-10M or Event 2030), write me a message after a month, I'll give you an answer.
How much do u value the frequency response of the HEDD20 (or any studio speaker)? If seen some online measurements but they look pretty mediocre considering the price of the speakers.
Time alignment is more important
Why are the focals trio so agressive high ? :)
So when your speaking of the steps on the volume control should you set them at exactly the same level or can you set them slightly higher if one speaker is sounding lower than the other I assume they have been calibrated from the factory but have always been unsure of this.
I´m pretty sure I have them matched but sometimes I feel one is louder than the other.. might be one of my ears hears better though! Ha ha.
Speakers are typically not matched in the factory.
And you room and things in your room will impact the balance.
I would suggest measuring, to match the sound, and then probably rather for a system like sonarworks, over trying to manually match the settings on the speakers.
@@TheJonHolstein Ok thanks for the advice..
Can you make a video about the best way to mix and master at the home studio to get a sound that will be good on all devices - speakers, mobile, laptop, cheap Bluetooth earbuds etc.?
Because after mixing with speakers in my home studio, and I think it sounds great, then when I listen to it on mobile, laptop or headphones, it sounds weird. Same thing happens when I mix with my professional in ear monitor , and the final song sounds bad on the big speakers. How do you find a balanced mix that will sound good on all devices? 😅
Its all about translation, which is all about timing precision
whats your room accoustics like? treated or non treated?
I thought those ribben driver are from Adam studio monitors?
Room size vs speakers size? Listening volume vs. speaker linearity?
✅
I'm listening to this video on my Hedd type 7 mk1.. I wish I could afford to upgrade to mk2, or better still type 20s! In my opinion, the 'problem'(?) Hedds have - no-one seems to mention - the vertical dispersion of the hi end is very narrow. You need to be listening at a very definite height, or the sound of the high top end changes a lot. I'm surprised that Wytse didn't identify this with his sensitivity in that area...
That is normal with the type of tweeter. It’s even more lazer sharp with Adams(first generation)
Sounds like it’s comb filtering from your desk as well
I remember the Adams being like what you said but the Type 20’s I don’t get it very much at all
I didn’t have this “problem” on the MKII, the Fluid Audio ones do have this problem
I think that's the waveguide limiting the dispersion. I have a very big desk in front of my speakers and usually empty. A waveguide limiting vertical dispersion is an absolute must for me. It also makes them less susceptible to bad acoustic conditions which is kind of usual.
A lot of Drum and bass producers are switching to HEDD, however, I feel like companies that are breakaways of Audio (i.e, Eve Audio and HEDD) sound so minutely better that i'd rather stick with my £300 pair of ADAM Audio T5Vs and just get a sub down the line. I don't think it's worth spending nearly 10x more just to have something that I pretty much already have bar some of the features. And Plus, with the IsoAcoustics IS0-155 stands i have, my monitors are not only angled perfectly, but eliminate the need for a desk filter feature. Just my two cents though.
Yeah I thought that also.. But... Then I got the Type 20s. I was wrong.
I have a concern with using DSP-controlled speakers in the studio. My problem is that I'd like to know what MY converters sound like because that's what I'm delivering to the client. If I send an analog signal to DSP-controlled speakers, they re-digitize the signal, shift it about in time, filter it for the crossover points, and then turn it back into an analog signal to send through the Amp and out to the speakers. Under those circumstances, I am not listening to my converters, anymore (which will tell me what the client is getting), I am listening to the converters in the speakers.
Am I worrying about nothing, or is this a legitimate issue?
It's a legitimate issue on SOME speakers, but not all, but there are some that have focused more on the DSP side of things than making a good monitor, like the newer Adam's for example, they can be run as a pure analog monitor, but they sound about 50% more dull via their analog input than their AES input, and I've experienced the same thing on multiple monitors I've shot out, because I had exactly the same concerns, and *so* many newer monitors are using some sort of DSP.
The HEDD's are quite a bit different, though. Their design is definitely analog-first, they focused on building the best analog monitors possible first and then found clever ways to implement DSP afterwards. Actually the main difference between the HEDD Mk1 and Mk2's is that the Mk1's were essentially fully analog, with some digital features that could be setup externally via plugins and custom software. The Mk2's are an improved version of the Mk1's on an analog level, the crossovers on the 3 way monitors have been improved among other little tweaks, but theyve simply added the features that used to require external software to the monitors themselves, but you don't have to engage with any of the DSP stuff if you don't want.
I have a set of Type 30 Mk2's in my control room (their biggest 3/3.5 way monitors), I run directly out from my monitor DA to the monitor controller and into the monitors analog XLR input, leave all the DSP turned off, and they are some of the most honest sounding monitors I've ever heard. I've never had better translation than with the HEDD's, even compared to my Barefoot MM's or Trident monitors. They have an AES input as well (as is the case with virtually every new professional monitor it seems), but the only reason to use to the AES inputs is if your actual converters are sub-par. Though, I am surprised at just how good the onboard conversion is, I still prefer to use my Hilo or Burl DA's to monitor through.
Listening thru the AES inputs on most newer monitors is generally the only time they're adding any extra conversion to what you're hearing and the HEDD's most definitely do not add any extra steps of conversion to the signal. I had a long email chain with their lead engineer/physicist (Klaus Heinz) about whether or not the monitors would be digitally altering what I would be hearing by using them as straight analog monitors and was told "there is absolutely no extra conversion or digital reassembly happening when listening to the monitors in their purely analog mode, your DA converters will determine what you're hearing as with any analog monitor".
I think with alot of newer monitors, even stuff in the higher price ranges, the DSP stuff is included for people working in a space with less-than-great acoustics, which is goofy to me, spend money on acoustics first and speakers later, but for working in professionally built and treated studio, I never find myself reaching for the DSP controls.
The only feature I do mess with occasionally is the Linearizer, as it's great for checking translation in a very broad way, but still, the Type 30 Mk2's could have literally none of the DSP and they'd still be far more than worth it.
DSP is best, if it sits in the monitoring chain, before the D/A conversion, but on a separate chain from the master audio, so one doesn't accidentally deliver speaker (in room) corrected audio to a client.
Some nearfield monitors come with digital connectors, that enables them to put the DSP before any conversion.
However, for material that is going out to consumers, the last bit o detail that an extra A/D and D/A conversion, may influence, will not really matter. And if your speakers aren't corrected at all, unless they are perfectly suited for your room, that will impact the way you hear mixes more than that extra process.
Besides, today, most critical listening by consumers takes place on headphones.
So mixing/mastering for speakers is not suitable in most cases, as there are many issues with how speaker mixes/masters translate to headphone listening.
I maybe didn’t pay enough, but when did you talk about the actual topic of the video? Seemed more like ”how do you set up a pair of Hedds?” Video to me. I was looking forward to measurments of rooms in regards to levels and directionality of speakers etc. Like in ”how large speakers are suitable for your studio” kind of thing
Topic suggestion: plate amp failure rates - what to look for, tips, prevention, what to avoid…
We can design all the most amazing sounding speakers but what’s the point when the end user is outside of warranty and replacement parts are non existent
I would thing with all of the “sustainability” pandering that exists in corporate America right now - that this would be a topic “worthy” of review 😀
Ik heb de HEDD TYPE07 MKII speakers. Ben er erg blij mee. Uiteraard zou ik het grotere broertje willen hebben... maar ja 💸💸😂
Ik produceer er trance muziek op maar kan er ook uren op genieten van luisteren naar muziek. Vind het erg prettige monitors.
Size dont matter, when it comes to mixing and its actually best to have as many different types as possible both monitors and any other speaker. I test My music on Yamaha HS5, My 1986 Techics amp and speakers, sony wired ear buds, Sony Headphones, 3 different bluetooth speakers, a tablet and smartphone, and finally 3000 watt Stage speakers and Amplifier. If My music production sounds good across all of these mediums then it's really for release and going to sound good across the widest spectrum.
The Type20's would be HIGH on my list if I didn't already own ADAM S3H's, which of course also had a similar Air Motion Tweeter. My feeling is that once you've fallen for the AMT sound, then you'll find dome tweeters to "have a sound". I feel that AMT's are more precise and dynamic than dome tweeters. Like Wytse, I run my ADAMs with a -1dB high shelf at 3.5 kHz to tame the HFs. The ADAMS have a fully parametric EQ. I love having total control over the sound, but it also comes with great responsibility to not screw it up!! I DO wish the ADAMs had a linear-phase mode like many of the new generation speakers are featuring.
i agree. i'm used to my a8x and everything that doesn't have ribbon tweeters sounds a little dull and washed out.
The HEDD's actually sound quite a bit different than you might expect from a ribbon monitor. I switched to the Type 30 Mk2's from Adam S3X-H's and after getting used to the change, I would never go back. There's something almost "acoustic" sounding about the HEDD's, and they don't have the small distortions typical of ribbon tweeters. The AMT implementation is also quite a bit different than Adam and others.
@@doggodproductions2259 it isn’t different at all. ADAM uses AMTs but often calls them “ribbons”.
@Jeremiah Sheets I never said they didn't? I'm simply saying the implementation of the AMT is a bit different in the HEDD's than they are in Adam's, especially with the HEDD Waveguide and the way HEDD's ribbons are physically produced. The HEDD's also don't have the overly excited sound that can come from ribbons (which is actually the ribbon diaphragm ringing, it creates an audible distortion in the mid-range).
HEDD's ribbons are even made of a different material, but it's the waveguide that makes the biggest difference between HEDD's AMT and other companies'.
I can tell you from personal testing, the Type 30 mk2 vs. S3X-H's, both monitors extend well into the ultra high frequencies, but with the Adam's they start to fall off at about 30k and by 40k they've dropped about 12dB, the HEDD's extend all the way to 40k, dropping by only about 2dB at 36k.
If you're used to the sound of Adam's or any other ribbon based monitor, the HEDD's will sound much different than you're expecting. They make the upper mids on my S3X-H sound kind of "plastic-y" and sterile by comparison.
Nothing against the Adam's, I used them for years, but the HEDD's are what happens when Klaus Heinz designs and builds a monitor from the ground up. He had to work within much more strict confines when he was designing for Adam.
@@doggodproductions2259 you keep calling them “ribbons”. They are not ribbons. Both manufacturers use AMTs.
Bought the Type 07 MK1 in 2020 for 650 EUR per piece. Seeing that the MK2 are now at around 1000 EUR per piece really makes me wonder what the heck has happened to HEDD pricing... That's a 54% uplift for what? The DSP? I really like my Type07, but spending 700 EUR extra for the pair just feels a little like a rip off. Same happened to Type 20 + Type 30 pricing with the MK2 release...
Strange > a speakers right for you who is an engineer but did music production for THE LISTENERS WHICH HAVE DIFFERENT EARS THAN YOU !
I didn't know that
You might suffer a bit with Hyperacusis on the being sensitive to high frequencies. i am too.
I don't like AMT. They usually have a lot of distortion and they are almost never have a flat smooth response.
Did you really test the effect of the lineariser on translation? Or is this simply the claim by HEDD that you understand and so repeat? I would like to understand this claim of improved translation. I understand that the lineariser improves the sound due to a lessening or elimination of phase errors introduced by the monitors, however, I don’t understand how it actually improves translation since regular playback systems / speakers don’t have similar tech.
Its my own experience with Quasar, there are a few things that improve translation, time linearity is one of them. I did have the HEDD’s measured to see if they are indeed time linear, and they where.
In terms of understanding why translation is better, I still can’t explain it, we’ve just got a lot of practical experience from Quasar, not only from my studio, but also from other deployments of Quasar…
@@Whiteseastudio Thanks Wytse! That's really valuable information.
two way with a sub gives you three way, a doh. This is the unspoken combination that nobody reviews. Its always......" bye the way". If you want thumping , thunderous bass or a lower extension this works far better than any 3 in 1 box this side of a lottery win.
Untill we start talking about time precision... Adding an extra speaker box in a completely different location creates all sorts of problems...
@@Whiteseastudio i disagree. And thats my opinion. Nobody has proven me wrong, lol. Since bass below 150 is pretty much omnidirectional, aligning the sub with the satelites isnt harder than using sonarworks. Maybe you know something I dont. Is the Adam site lying to us? Now if you really want to step up , this would be a valuable nuance for everyone. I mean NOBODY is trying or testing like this on the internet. Its unspoken.
Hey Wytse! Love your channel. Oskar Heil named the AMT tweeter when he invented it in the 1960s....
Hedd (or Adams) can't help it, that's what they're called. It's not a marketing gimmick and doesn't need the air quotes. If you were over 60 you'd probably know this. That IS your fault. Be well!
We wanted to hear them through your mic.
To answer the title; as big as your room allows you, as in actual size. Get as much lowend extention as you can.
I was sure it Adams before camera showed woofer
I Like the no nonsense approach, learned something as well. 👍
👍
Hercules Monitor 5 pair $200 off ebay. Sleeper monitors on the cheap.
My friend try barefoot speakers
Someone should develop a clever system so we can hear the difference between speakers as showies.
I asked an American, and he answered that “you need BIG, a VERY BIG, a LARGE speaker”. Hm, I dunno.
😀🎤🎛🎚🎙
Now scrap those adams and try atc
Comment for da algorithm
Streak count: 130
#First
A ribbon driver in a 3 way system is the worst thing that could happen in a speaker design, never buy this ! Just lets introduce the... "snake oil filter", so that we dont have to hear this kind of ..... The answer for the question for the size of the speaker is simply, It depends on the frequency, big for low, small for high.
big speakers are a waste of time for most home producers/studios
Oh no, this is very problematic.
Studio engineers should not pick speakers they like the sound of, they should pick speakers only based on how they measure in their room.
There are already tons of mixes out there that sound bad, because they were either mixed/mastered on a system where the treble was not balanced, or the hearing of the engineer wasn't (a natural process of aging is loosing the hearing starting with the upper frequencies, and it starta out as less sensitivity, something a lot of engineers, unfortunately have compensated for with the way they balance the mix, with over the top treble and upper mids, so young ears and AI, are best for judging best objective balance of a mix).
In many cases when the treble seems harsh, compared to speakers one is used to, that is due to one's other speakers not being balanced. (not everyone will hear it the same way, both me and my brother while looking for nice sounding hifi-speakers, have been troubled with harsh sounding upper frequencies, but that is then due to the mix/master in most cases, not the speakers, unless one cranks the volume to compensate for a weak bass response, but I know not to to that, I do like bass, but if a speaker hasn't got it, it hasn't).
A good suggestion, is to buy speakers/headphones, for personal music consumption or as a test system, that one like the sound profile of, but keep the studio speakers as accurate at possible, even if that means that the recording one uses as reference or to test the speakers, may not sound as pleasing as they do on other speakers.
Sure a speaker that is capable of being accurately balanced can also be EQed to fit personal taste, when needed, the issue with that is that one has to be very sure not to have that EQ profile enabled while mixing/mastering, or sound designing.
Regarding the difference in frequency response, one issue with treble drivers of that design is that they spread the sound well on the horizontal axis, but less so on the vertical axis, I can't say that was the issue, but it could have very well been. Less of a vertical spread of the sound can reduce early desk reflections, so it is not only a downside, but it does create issues when not set-up correctly, or when the listener don't keep their head in the right position, or unfortunately when there are multiple people at varying heights or seated at varying heights. But really, with any studio monitors, there is only one reference position.
But really, we should move away from doing mixing and mastering for speakers. Studio monitors have never been a good reference for typical sounds with home hifi systems. Where most even those really in to hifi, typically don't treat their rooms, and rather spend hundreds of dollars chasing "better" cables, than invest in proper room treatment.
Today, an overwhelming of even critical listening takes place on headphones, so that should be the main focus. Headphones removes room issues, not only for the listener but during mixing and mastering, and moving ones head to tweak a knob will not screw with the balance of sound, as it does when using speakers.
Up until recently, most recommendations for headphones were also the same, no matter if they were for the consumer or for the studio, but due to the removal of headphone jacks on phones, many lists of recommendations for consumers today are focused on bluetooth headphones, typically also with active noise cancelling that will also impact the balance of the audio (in most cases more than the limitation of bandwidth of bluetooth audio).
Many hifi-geeks are willing to pay extra for releases they have heard, or know are better than the standard release, so there will be no real issue getting them to buy the "for speaker" version or a track. For people playing back on tablet, mobile, laptop speakers, or typically bluetooth speakers, it will not really matter if they play the headphone version or the speaker version, as their listening device will not be optimal for either.
There are nice sounding, pretty balanced headphones that one can get for under 100 dollars, really good ones for less than 300, even better ones for less than 1000, and some really really good ones some way above 1000 dollars, but still at a bargain compared to speaker system of similar quality.
So there is no excuse for the industry, to not convince consumers, that they should really consider getting a pair of headphones with good sound quality within their budget, to really be able to enjoy music, as close to how it should sound as possible.
(and with that, I also hope, the industry can move beyond the idea of introducing overtone harmonics to bass sound, to create the illusion of bass in speakers not able to reproduce the low end... if pretty much everyone has a decent pair of headphones, they will much quicker realize how limited their portable device's speakers are, or their portable speakers, or their TV speakers, and thus be motivated to listen more with the headphones).
I do get that headphones can be uncomfortable when used for longer period of times. It is partly not being used. Partly not having a headphone suitable for ones head/ear, but even the most optimized can become uncomfortable, thus one should work on finding a workflow where one does not keep the headphones on all the time. Not when not listening at all, and in many cases speakers can work well for browsing sounds, or working with general arrangement tasks. So a good headphone stand/hanger and a quick switch is recommended.
And a system for having multiple headphones connected, possibly with a complex talkback set-up, for those that work directly with clients or for those that work in teams.
dont like ribbon
...piercing was only the shitty adams A series.....
.....as heinz go away from adam.....🤣