Links! ▼ ▼ ▼ ❤ CONNECT WITH ME PATREON ► www.patreon.com/jakobhaq PAYPAL DONATE ► www.paypal.me/jakobhaq INSTAGRAM ► instagram.com/jakob_haq/ DISCORD ► discord.gg/JTmQHAG 🔥 MY PRESET PACK STORE (My Patreons can download these packs without extra charge over at Patreon) MAIN PAGE ► jakobhaq.gumroad.com/ TARDIGRAIN "VOID THEORY" ► jakobhaq.gumroad.com/l/tardigrain-voidtheory 🎵 MY MUSIC DISCOGRAPHY ► hyperfollow.com/jakobhaq 🎛 HARDWARE LINKS MICRO MONITOR PRO ► www.ikmultimedia.com/products/iloudmmpro/?pkey=iloud-mm-pro-black-pair MTM ► www.ikmultimedia.com/products/iloudmtm/?pkey=iloud-mtm-mk2-black-pair ARC STUDIO ► www.ikmultimedia.com/products/arcstudio/?pkey=arc-studio ⏰ TIME STAMPS 0:00 ARC is life! 2:23 Micro Monitor Pro 5:45 ARC & X-MON 8:25 Calibration 11:04 Calibration Run 15:11 Final Thoughts
These monitors do seem like a nice product, with a very distinctive functionality that gives a lot more flexibility than most of the other products that are out there. While it's a major help to have an even frequency response in terms of the volume that makes it to the listener's position for a given sine wave tone, in my opinion that's half of the equation. The other half is the length of the reverberation tails of audio content in a typical rectangular listening environment and the extent of phase cancellation or volume doubling effects that accompanies that, depending precisely on where the listener positions their head. If there is a precise location (think in 3 dimensions) in a room where there is near complete phase cancellation for a given frequency, no amount of volume offset per frequency band processing is going to be able to take care of these issues at a fundamental level, simply because of physics.
My strategy for dealing with this so far is to be aware of the problematic frequencies and to account for them with my mixing decisions, despite the fact that I have significant acoustic treatment & bass traps in my apartment studio. At some point I literally sat at my listening position playing sine wave tones one by one while slightly modifying my listening position (while still remaining in the listening "sweet spot" zone) and I documented every frequency/note that I thought was worthy of mention, whether there was a significant degree of volume doubling effect, or phase cancellation. This stuff REALLY matters in the low frequencies but I chose to document this up to about 2000Hz. Whenever I make music and I'm considering heavy handed mixing decisions, I have the presence of mind of looking at the relevant track volume dB meter, and I audition adjacent notes for the problematic instrument to be able to differentiate between whether or not the source content is itself too loud or too quiet (think about the impact that modulating a low-pass filter with key tracking - or not - can have on a synth bass sound volume over a span of notes) or if I'm being led to think that there is a problem with the source whereas the perceived issue is simply due to the uneven frequency response of my listening environment. I will also systematically double check with my headphones in these situations and in the overwhelming majority of cases I will refrain from making an adjustment. Going one step above that is to anchor my entire music projects around root notes which I know don't have phase cancellation issues at my listening position.
Nice tips and overview of the calibration process 👌🏻 As I do have a setup with (also) the old Micros and the ARC Studio overhere, I was hoping for a audio comparison. How ‘big’ is the step up? There’s so little information from IK Multimedia on the differences in sound with these new Pros (or new MTMs), other than some technical specs.
So I’ve been using the MTM’s mostly for over three years. One thing that stood out was that the MMP’s are less powerful and also “tamer” in the bottom end compared to the MTMs. This is not surprising considering the size and effect of the MMPs (literally like half MTM). I know, this doesen’t really tell you much but my take is; the MTM’s are definitely a big step up from the MMP’s and I must say that the MMP’s are a big step up from the original MM’s. The overall sound of the MMP’s feels more “controlled”. Plus they are ARC powered and after the ARC calibration it’s like night and day of course and you can’t do that with the MM’s. ARC changes everything and I consider that upgrade to be extremely significant.
@@JakobHaq thanks, that’s why I’ve bought the ARC Studio, to use it with the MMs, next to a pair of older Truths, and I’m on the fence for a pair of used but very mint Adam Audio A8Xs (or the MTM mk2, which are also on my shortlist…).
I wonder if they fixed the high pitch noise issue that their original Micro Monitors all have. I returned mine and I remember back then reading other people having the same issue
Haven’t tested as I don’t use subwoofer in my studio anymore. However the Micro Monitor pros has a switchable high-pass filter. The 80Hz mode is for using them together with woofer.
In the manual it says "Do not stand or sit next to the microphone while the analysis are running", but do I leave my chair where it is during the measuring or do I move it?
Yes. The MMPs are larger and even thought both MMs and MMPs have the same power output on paper, the MMPs still sound a bit more controlled. Then there’s more filter calibration to be done on the back of the MMPs compared to the MMs. On top of that there’s ARC and at that point It’s no longer fair to compare the two. The ARC system changes everything. For me It would be a harder sell to upgrade without it.
@@JakobHaq But for that much money you can already buy a Yamaha HS5, which is cheaper than the MMP. Don't you think it's stupid to pay twice as much as plain MM for these upgrades?
Nice review, thanks. I don't understand one thing - if I choose some voice profile is it immediately saved to the monitors so can I use this profile without running X-Monitor app?
Yes, every change in x-monitor gets stored in the speaker. After changes have been made you shut the software down and the settings stay. Even after turning the speakers off and on, the last setup you did with x-monitor loads.
Nah. Ported monitors are trash for mixing. They may sound more pleasing to listen to, but introduce too many inaccuracies to be good for creating balanced mixes without having to mentally or otherwise calibrate them over time. Closed back monitors like NS10s or the CLA clones are far better for creating mixes that translate without fancy software or having to learn your monitors. If you just need something expensive to impress clients then ok, but then the iLouds aren't that either.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Links!
▼
▼
▼
❤ CONNECT WITH ME
PATREON ► www.patreon.com/jakobhaq
PAYPAL DONATE ► www.paypal.me/jakobhaq
INSTAGRAM ► instagram.com/jakob_haq/
DISCORD ► discord.gg/JTmQHAG
🔥 MY PRESET PACK STORE
(My Patreons can download these packs without extra charge over at Patreon)
MAIN PAGE ► jakobhaq.gumroad.com/
TARDIGRAIN "VOID THEORY" ► jakobhaq.gumroad.com/l/tardigrain-voidtheory
🎵 MY MUSIC
DISCOGRAPHY ► hyperfollow.com/jakobhaq
🎛 HARDWARE LINKS
MICRO MONITOR PRO ► www.ikmultimedia.com/products/iloudmmpro/?pkey=iloud-mm-pro-black-pair
MTM ► www.ikmultimedia.com/products/iloudmtm/?pkey=iloud-mtm-mk2-black-pair
ARC STUDIO ► www.ikmultimedia.com/products/arcstudio/?pkey=arc-studio
⏰ TIME STAMPS
0:00 ARC is life!
2:23 Micro Monitor Pro
5:45 ARC & X-MON
8:25 Calibration
11:04 Calibration Run
15:11 Final Thoughts
Nicely done and informative. Thanks...
Good vid. Again Jacob.
Thanks a lot.
Was playing around with the thought of buying a pair …..
Thanks for watching! 👊
Thank you son for a very detailed review as always and I enjoyed watching.🙏🙏🙏🙏💓💓💓💓
Thank you for watching!
@@JakobHaq 💓💓💓
These monitors do seem like a nice product, with a very distinctive functionality that gives a lot more flexibility than most of the other products that are out there. While it's a major help to have an even frequency response in terms of the volume that makes it to the listener's position for a given sine wave tone, in my opinion that's half of the equation. The other half is the length of the reverberation tails of audio content in a typical rectangular listening environment and the extent of phase cancellation or volume doubling effects that accompanies that, depending precisely on where the listener positions their head. If there is a precise location (think in 3 dimensions) in a room where there is near complete phase cancellation for a given frequency, no amount of volume offset per frequency band processing is going to be able to take care of these issues at a fundamental level, simply because of physics.
My strategy for dealing with this so far is to be aware of the problematic frequencies and to account for them with my mixing decisions, despite the fact that I have significant acoustic treatment & bass traps in my apartment studio. At some point I literally sat at my listening position playing sine wave tones one by one while slightly modifying my listening position (while still remaining in the listening "sweet spot" zone) and I documented every frequency/note that I thought was worthy of mention, whether there was a significant degree of volume doubling effect, or phase cancellation. This stuff REALLY matters in the low frequencies but I chose to document this up to about 2000Hz. Whenever I make music and I'm considering heavy handed mixing decisions, I have the presence of mind of looking at the relevant track volume dB meter, and I audition adjacent notes for the problematic instrument to be able to differentiate between whether or not the source content is itself too loud or too quiet (think about the impact that modulating a low-pass filter with key tracking - or not - can have on a synth bass sound volume over a span of notes) or if I'm being led to think that there is a problem with the source whereas the perceived issue is simply due to the uneven frequency response of my listening environment. I will also systematically double check with my headphones in these situations and in the overwhelming majority of cases I will refrain from making an adjustment. Going one step above that is to anchor my entire music projects around root notes which I know don't have phase cancellation issues at my listening position.
@@Silent_StillnessI thoroughly enjoyed reading this. Thank you for sharing! 💛💛💛
Nice tips and overview of the calibration process 👌🏻 As I do have a setup with (also) the old Micros and the ARC Studio overhere, I was hoping for a audio comparison. How ‘big’ is the step up? There’s so little information from IK Multimedia on the differences in sound with these new Pros (or new MTMs), other than some technical specs.
So I’ve been using the MTM’s mostly for over three years. One thing that stood out was that the MMP’s are less powerful and also “tamer” in the bottom end compared to the MTMs. This is not surprising considering the size and effect of the MMPs (literally like half MTM). I know, this doesen’t really tell you much but my take is; the MTM’s are definitely a big step up from the MMP’s and I must say that the MMP’s are a big step up from the original MM’s. The overall sound of the MMP’s feels more “controlled”. Plus they are ARC powered and after the ARC calibration it’s like night and day of course and you can’t do that with the MM’s. ARC changes everything and I consider that upgrade to be extremely significant.
@@JakobHaq thanks, that’s why I’ve bought the ARC Studio, to use it with the MMs, next to a pair of older Truths, and I’m on the fence for a pair of used but very mint Adam Audio A8Xs (or the MTM mk2, which are also on my shortlist…).
@@maikvanrossum Honestly, if you’re running a pair of MMs together with the ARC studio I feel you’re good! 👍
I wonder if they fixed the high pitch noise issue that their original Micro Monitors all have. I returned mine and I remember back then reading other people having the same issue
They handled that issue all those years ago. I haven’t had that happen with the MTMs or MMPs. 👍
I'm too afraid to approach (or ask about) your sound system Mr With A K. (edit) 9:23 ... Retro gaming, I approve, old games best games!
😂 ❤️
Will you check out the aiaiai stuff at some point?
Need to know how they work/sound with subwoofer !?
Haven’t tested as I don’t use subwoofer in my studio anymore. However the Micro Monitor pros has a switchable high-pass filter. The 80Hz mode is for using them together with woofer.
Now I'm curious which pro audio headphones you didn't like.
What do I need to do to download X-Monitors? Do I need to register MMP in IK product manager?
In the manual it says "Do not stand or sit next to the microphone while the analysis are running", but do I leave my chair where it is during the measuring or do I move it?
I don’t know for sure, but I moved mine, even though the back thingy is pretty low.
You have been using the original Micro Monitor for a long time. Is it worth spending more money for the Pro model?
Yes. The MMPs are larger and even thought both MMs and MMPs have the same power output on paper, the MMPs still sound a bit more controlled. Then there’s more filter calibration to be done on the back of the MMPs compared to the MMs. On top of that there’s ARC and at that point It’s no longer fair to compare the two. The ARC system changes everything. For me It would be a harder sell to upgrade without it.
@@JakobHaq But for that much money you can already buy a Yamaha HS5, which is cheaper than the MMP. Don't you think it's stupid to pay twice as much as plain MM for these upgrades?
Finally a size comparison 😅…they are bigger as I thought
Add roughly 2cm (0.78”) to every measurement of the original tiny Micro Monitors and you get the size of the new Micro Monitor Pros.
Nice review, thanks. I don't understand one thing - if I choose some voice profile is it immediately saved to the monitors so can I use this profile without running X-Monitor app?
Yes, every change in x-monitor gets stored in the speaker. After changes have been made you shut the software down and the settings stay. Even after turning the speakers off and on, the last setup you did with x-monitor loads.
@@JakobHaq Good news, thank you!
Am I the first person to spot the cow?
Nah. Ported monitors are trash for mixing. They may sound more pleasing to listen to, but introduce too many inaccuracies to be good for creating balanced mixes without having to mentally or otherwise calibrate them over time. Closed back monitors like NS10s or the CLA clones are far better for creating mixes that translate without fancy software or having to learn your monitors. If you just need something expensive to impress clients then ok, but then the iLouds aren't that either.