Powered speakers show audiophiles are confused

It cracks me up when I see a thread and a HT enthusiast is going on about capturing the "directors intent". You have no idea what amount of time, effort and budget were devoted to the blueray vs the theatrical release. I can guarantee it was MUCH less compared to the theatrical mix.

@donavabdear I find your comments interesting about movies/video. We hear tell over in music about the procedures in location sound. I am solely focused on recording studios and I do not find that to be true there. Al Schmidt, one of the better known "good" engineers (Diana Krall for example) had a story floating about him spending an entire day getting a good snare drum sound. Knowing him, I believe it, he was old school (you MOVE THE MICROPHONE you don’t use EQ). Some of the newer guys using plug ins and zero analog gear are different, but most of their work is not audiophile targeted work. George Massenburg is another one, loves analog, very particular about everything in the studio-his recordings are pristine. The guys I know in between, the ones that work a lot and have multiple projects going all the time, work to get "a sound" Chris Issacs sound in Wicked Game, I know him and he would work all day to get a "cool" sound-not necessarily an audiophile one. Killers Hot Fuss was another, I know him well and he used a lot of mid level end gear to get the sound he was looking for. But that’s the point, these guys are looking for a "sound" that is unique.

Brad

spent an en most of the music recording guys I know, fin that

@lonemountain In production sound 90% of all our energy is to accurately record the actors dialog, we would like to use a boom mic like the Sennheiser MKH-50 all the time but when the stupid directors (yes I'm still bitter) shoot wide and tight shots at the same time we can't get a boom mic in and we have to rely on hidden mics or lav mics hidden inside the actors clothing. The boom operator memorizes all the lines and points the mic at each actor as close as possible to the camera frame line without entering into the shot or throwing a shadow on anything in the frame. The mixer blends all the microphones booms and lavs raising each mic when the actor speaks, it's a lot like playing an instrument that is the actors, we try to minimize background and any noise that would interfere with the dialog. 

I called on Coffee Sound in Hollywood for years and it was indeed a whole different world of gear.  

@lonemountain What do you think about the Steinway Lyngdorf Model B  system. They have the same speaker philosophy as we do I think. There are some good short videos on their page.