The BEST Studio Monitors I've EVER Tested!! 

Sure

Kali audio all day

get an actual job!

@@levondarratt787 You first.

Only if you give me the Yamahas🤣🤣🤝🏽

Lmfao stole the words out my head before I could even finish processing that statement

😂 Same here bro I’m even more sad. I have KRK ROKIT 5 G4😂

😄 stop the fomo!

🤣🤣🤣

Classic lol 😆

I agree. As a musician I worked in a lot of different studio's with different budgets. Some were the more upgraded "home studio's", where other were in million dollar studio's, with even better speakers, so you can't compare it budget wise (also technician wise, but that is another story). If you can pay it, no problem. Bust mostly it are people with a limited budget who want to make decent (home studio) recordings with limited budget. They have to find out which works best for them, although it are better sounding speakers. But if the input is crap the output will be crap too, even with better speakers, So I would spend some more on mics if i'm on a budget (if you need them), but that's my opinion. You can always upgrade to better gear.

HS8's do get the job done in the end. They also rudely introduced standing waves to many bedroom producers.

@@BeeDotEee standing waves are not dependent on the speaker, they are dependent on the room only

@@grandpixel Have you ever noticed standing waves in any shaped room from your phone's speaker?

@@BeeDotEee standing waves are dependent on the dimensions of the room and the frequency being played. This is typically bass frequencies, although in something like a 3 ft square shower, it can be in the mid frequencies. Yes if you stand in the shower and play the right frequency with your phone you will hear standing waves.

sorry to disappoint you, but this is not even close to be comparable to a 3-way speaker... 🥴

I mean, yes, it's a 3-way system, but the crossover frequencies are vastly different. You're not gonna cross over a subwoofer at 800 Hz for example

I dont even know how your comment got some likes...clearly there are many people here that dont know anything about speakers and frequency ... a sub is a sub ...you cant just make a sub driver be your woofer and a woofer be your midrange driver...what you said is wrong. you get studio monitors to have flattest sound possible

@@Akalipt0s I mean, if you get a sub to deal with the lowest two octaves 25-50Hz, and then 50-100Hz which the woofer would normally still take care of , the midrange will be displayed more neutrally as there's not as much low frequency content to blur it. But of course, it's still not the same.

@@hannes1734 well, not really. In the range of maximum loudness of the speaker you are "right". If you are feeding it with normal loudness levels not really.

Yo, if your doing home listening, dont get monitors, get hi-fi speakers. Monitors have a couple of features that make them extremely well suited to audio production but poor choices for loungerooms. The big one is that monitors are near field. That means they are tuned specifically to focus the balance of bass mid and high aproximately 4 feet in front of them, that is where you would be listening if you where doing a mix down. But outside the "flame" area those frequencies start falling out of phase and start sounding muddy and just not good. Secondly they are built for accuracy, not listening pleasure. Music when released tends to be Mastered, which specifically 'tunes' the frequency range to sound best on consumer speakers where (to quote the late great frank zappa) "teenagers turn every knob up to 10". If you listen to these on completely accurate speakers you will not get the audio as intended by the mastering engineer, you'll get something off. In the music production process the "accurate" mix is whats listened to on the monitors, but once this is done its sent to the mastering engineer who remixes the EQ to sound optimal on hi-fi speakers. This is *especially* noticable on Vinyl where the mastering applies the "RIAA" curve, an EQing system designed to avoid damaging the needle of the record, which in turn is given an inverse-curve EQing by the pre-amp in the vinyl player. After all this, the end result is intended to be an EQ and compression regime designed to be listened to on conventional HI-FI speakers. Theres a reason why the NS10s which where released in the 1970s as home listening speakers but quickly became famous as sounding "Bad" are now considered the ultimate audio production speakers. Yamaha had clumsily built near-field speakers for home listening without considering that almost nobody listens to music in the near-field except audio engineers. My recomendation is to buy high end hi-fi speakers, not monitors, if you want to hear that music the way the artist and the mix engineer intended.

​@shayneoneill1506 That's why I got "midfield monitors", which have none of the tradeoffs you claimed. If what you claim is true that a "mastering engineer" manipulates the sound to something else, which is supposed to sound better on "hifi speakers", which hifi speaker is he tuning the sound to? What exactly are the mixing engineer's intentions, here? As you are well aware, "hifi" speakers have sound that is all over the map. This makes the guessing game as to which speakers to buy even that much more difficult. All the more reason to choose a neutral speaker. I say, "when in doubt, choose accuracy", because you can then EQ and room-compensate the sound to whatever you want, and many studio monitors have room compensation software built-in. If you are arguing against "choose accuracy", then please explain to me, and all of us, as to why there is no debate or discussion around "sweet sounding microphones" or "choosing the microphone that sounds the best"? Why isn't there a "vacuum tube mic" that would really, really gives you that warm-as-diarrhea tube amp sound? I'll answer your question: no one wants to color the sound coming from the musicians - microphones are all about transducing the sound as accurately as possible. The same goes for speakers - they are merely transducers. I'm glad I'm no longer "chasing my tail" on an "audiophile journey" to seek out that magic "compatibility" between electronics and speakers - it is already taken care of for me. You can go and keep promoting the whole vintage mentality and keep the economy stimulated, but powered monitors, and especially studio monitors, are the wave of the future. There's no messing around. And frankly, many of us have other hobbies and really don't have time for playing games on some "journey".

@@shayneoneill1506 Mixing a song is blending the tracks together mastering is balancing the sonic elements of the song this has nothing to do with how it will sound on the listeners speakers. BTW i have a degree in music theory and am a music producer, singer and songwriter.

@@shayneoneill1506 Adam's a little different, they sound more HiFi-ish, less beamy, less sharp. I'd also like to dispute the notion that monitors are "completely accurate", they tend to be more tuned to be revealing of common mishaps, to the detriment of many other traits.

Agreed, what this video really shows is how good the Yamaha HS8 is for the price

I currently have the Adam Ah8’s monitors and I’ve owned the Yamaha Hs8’s. The Yamaha’s DON’T COME CLOSE to the Adams. The Yamaha’s mask CRITICAL detail in the mid range and severely lags in the lowend. You’ll definitely want a subwoofer with Yamaha’s. Not so with the Adams. The lowend on the Adams is tight and punchy. You’ll definitely hear and feel the gust of air coming from the ports at around 40 hertz. A sub isn’t needed with the Adams. The Yamaha’s are not that accurate… probably around 70%. The Adams are around 97% accurate. The Yamaha’s have a hiss without any audio playing. The Adams are dead silent without any audio playing. The Adams don’t distort at high volume. The Yamaha’s will distort at high volume. The Adams have a better stereo image, clarity, and overall depth. The Adams sound expensive and could easily compete with $5k a pair monitors. The Yamaha’s sound like a pair monitors $700 monitors. The biggest reason you couldn’t hear the difference in this video is most likely because you were listening through Yamaha monitors. The Yamaha Hs8’s are ok. The Adams Ah8’s are exceptional for the price.

Yamahas sound great for about 5 minutes and then you want to walk away… same with those older klipshe and jbls = barf!! I went with the t5v’s and a small sub from kali audio… smooth sound and absolutely stunning for movies!

Meh, those monitors are far enough from eachother to cause problems from the low bass extension, they’re also catching a lot of reflections from the back wall even with the acoustic treatment in spot, the tables the instruments are in are bouncing off the waves, so unless this was a midfield/farfield setup I’d say it’s pointless. If those speakers make much audible noise while on, they’re probably not suitable for nearfields as much as midfields and might respond better at higher volumes too. These cam record/mic recorded comparisons really never make justice to the actual experience of a good setup, where you know where you should be sitting, the farfield setups usually are more like a hifi system that’s meant to fill up every corner with even sound so that you don’t have to worry where you’re sitting to listen as much. But assuming that was all fixed, you should just get a super flat speaker that runs well at your desirable working volume, get as close as possible to them while also letting them sit symmetrically like a triangle with your listening position, and lifted from where it might cause early reflections, and make sure the low end extension covers just enough for the genre you might be going for. You might need a deeper extension for house/techno, and you might not need it at all for jazz/rock genres, it depends on your scope and what elements you need to mix in your music. When things get out of scope, things might fall apart, you might need more physical space to control a bigger console, or the problem might arise from something entirely different, like a whim of creating music without an appealing tonal balance, like bloc party after the first succesful album, they moved sideways to try adding electronic music to rock and failed, and did full circle to classic rock at a time when nobody wanted that sound anymore. Just bring the music you want to replicate to a medium you want others to enjoy listening to. Do enough live demos of monitors until you find the one that feels more neutral to your work environment and that aligns with what you like listening to, including whether or not your focus is on the midrange or on the sub bass, I think you’re better off with a good >400hz response if you’re making music for hifi, and focus on clarity, while you might also be better off pairing up a sub for more general purpose music these days and get a solid low end response for music that people might end up hearing from a marshall woburn III at best. Sound systems are analogous to music, in the sense that some people love to play the same song to a better sound system as much as others love to play other songs to the same familiar sound systems to enjoy, while the studio nerds love listening to sweeps and noise and callibrating just so they can get a more accurate reproduction of things as they are even if it doesn’t sound more exciting to anyone else outside the studio.

Correct, but he thinks it will make him look more like a professional engineer, 😅😂😭🤣🤣😆😁😄

@@nondelusional 😂🤣

What a great combo of monitors + sub you have!! Thanks for watching and subscribing 🙏🏻

how do the a7v compare to the metas?

@@zxSwifty I've owned the original LS50, the wireless LS50 and the Metas. Best way I can describe them is muffled sounding compared to the A7V.

Better than LS50s? Now I really need to hear the Adams. I find the LS50s so detailed and technical. My Focal monitors don’t even compare to them.

For the A7 V you need the sub10 recommended by adam

Tiny but powerful and crisp all the way🔥

Thanks so much for watching!! 🙏🏻

It's the best software I ever bought

I heard one mixing pro engineer actually blames acoustic correction software for something it is doing wrong... can't remember what exactly

@@i.shadrin probably phase shift on bass. that's why it's got an on and off button

Sonarworks is great but only if u are 100% in the box, analog outboard gear can struggle with Sonarworks due to wiring and signal chain!

Before you start using it it is is definitely worth having a listen to what Streaky or Rick Rubin have to say about it. I personally would not rush out to buy it.

ah i just want to know why you gave up on your studio aha axD

Have the A7 too, bevore i had the KRK Rokit 6. I love the Adam, the best Monitor. Its a dream! :-)

For the price of $1,500.00 you can get 10 times much more.

Mids? They're literally a mid scooped hellhole

A7V or A8H is more worth it

Was thinking the same Thing 😅😅😂😂

having Tinnitus from years of using the Yamaha's I can confirm this is no joke.

Tbh I got the ADAMs Tv7 cause I heard the ear fatigue was crazy glad I did

More accurate.

They don't.

I've been using them for three years and paired them with the recommended Sub10 MK2 after a few months. It's a whole different world! If you use them for producing electronic bass-driven genres you'll finally understand your mixes. Make sure though you calibrate the subs volume to the right level and try to treat your room for bass resonances. If they are too strong the sub will just help your feeling, but not your ability to judge the mix in the low end.

Ive been using the AX series (5s and 7s) since they came out. I dont rely on the Adam's for getting a final mix. They sound great though.

@@datapusher- What's your choice then? Genelec The Ones series? :-D I'm interested

Try the Kali In-5's or In-8's, they sound amazing and they are a lot cheaper than the Adams. 😎

Me too...

Yamaha time here lol…Me too! Every time I mix my vocal in it I literally never go wrong…what I hear is what it translates outside the studio..

Either way you're hearing only your speakers and the mic used for recording, not the HS8s, not the A8Hs. If you want to hear the difference, you gotta listen to the actual speakers. And there's far more than just the linearity of the frequency response (or the DSP) that sets the A8Hs apart from the Yamahas. There's so unbelievably much more details and depth of the soundstage from these upper mid class speakers than you will ever get from an entry level speaker like the HS8. They are not even superb in the mids. When you're looking for a cheap second pair of speakers just for judging the vocals in a mix I'd much more get the HS7.

I was hell bent on getting new monitors for months, watching reviews etc. Eventually, I stumbled on a random video from Dankpods and he mentioned SoundID Reference and I started digging. I got the pack for both monitors and speakers and oh my god. The app crashes a bit, and sometimes it disconnects itself, but besides that I absolutely love it. I have a pair of Presonus E5s and was always adamant on the way they sounded, because they didn't really feel truthful. It's great that you're saying this because in that regard I might as well just save my money for the time being and keep using Sonarwork's software

Yeah, they're in two completely different categories. The only logic I can think of is since the Yamaha HS have become so ubiquitous among social media producer/musicians, they kind of serve as a control. But for someone actually in the market for the ADAM A8H, you would not be looking at Yamaha HS monitors and vice versa.

No wonder, thought they were a sister company like eve

You should also check out Neumann KH310 if you want to change

I can imagine they sound great 💪🏻

LOL! I shuddered when he touched the tweeters!

Tell me you don’t work in a studio by not telling me

@@tomsefton491 Do you really need a 1400 dollar speaker to have a good music? That tells me, you don't know what you are doing.

Agreed!! I might use the ADAM's and a pair of HS5's for referencing 💪