Running time 117 minutes Country United States Language English Budget $142 million Box office $519.3 million Ant-Man is a 2015 American based on the characters: and. Produced by and distributed by, it is in the (MCU). The film was directed by, with a screenplay by the writing teams and, and and, and stars Rudd,,,,,,,,,, and. In Ant-Man, Lang must help defend Pym's Ant-Man shrinking technology and plot a heist with worldwide ramifications. Development of Ant-Man began in April 2006, with the hiring of Wright to direct and co-write with Cornish.

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By April 2011, Wright and Cornish had completed three drafts of the script and Wright shot test footage for the film in July 2012. Pre-production began in October 2013 after being put on hold so that Wright could complete.

Casting began in December 2013, with the hiring of Rudd to play Lang. In May 2014, Wright left the project, citing creative differences, though he still received screenplay and story credits with Cornish, as well as an executive producer credit. The following month, Reed was brought in to replace Wright, while McKay was hired to contribute to the script with Rudd. Principal photography took place between August and December 2014 in San Francisco and. Ant-Man held its world premiere in Los Angeles on June 29, 2015, and was released in North America on July 17, 2015, in and. Upon its release, the film grossed more than $519 million worldwide, and received positive reviews from critics, who generally welcomed the film's smaller stakes than preceding MCU installments, as well as its cast, humor, and CGI sequences.

A sequel, titled, is scheduled to be released on July 6, 2018. A former systems engineer at VistaCorp and petty criminal who acquires a suit that allows him to shrink in size but increase in strength. Regarding Rudd's casting, producer Kevin Feige said, 'Look at that origin of the petty crook who comes into contact with a suit and does his best to make good, and then look at someone like Paul Rudd, who can do slightly unsavory things like break into people's houses and still be charming and who you root for and whose redemption you will find satisfaction in.' Director compared Lang to 's character from, saying, 'He's a guy trying to create a new life for himself and find redemption.' To get in shape for the role, Rudd worked with trainers and cut alcohol, fried foods, and carbohydrates out of his diet.

Rudd stated that in preparation for his role, he 'basically didn't eat anything for about a year. I took the approach to training for an action movie. Eliminate anything fun for a year and then you can play a hero.' Rudd signed a multi-film contract with Marvel, with Feige saying it was 'three [films]-plus-plus to appear in other things.' The daughter of Hank Pym and and a senior board member of Pym Technologies, who helps Darren Cross take over the company. Throughout the film, character progression brings Hope closer to becoming a hero.

Lilly described her character as 'capable, strong, and kick-ass', but said that being raised by two superheroes resulted in Hope being 'a pretty screwed up human being. And the clear message sent by my name is that I'm not a big fan of my father and so I took my mother's name.' She added that van Dyne's 'arc in the movie is trying to find a relationship' with Pym. Originally cast by Wright, Lilly was reluctant to take the role after he left the project until she read the revised script and got a chance to meet with Reed. Feige said that van Dyne was the more obvious choice to take up the mantle of Ant-Man, being 'infinitely more capable of actually being a superhero' than Lang, and that the reason she does not is because of Pym's experience with losing her mother, rather than sexism, which Feige felt would not be a problem for Pym in modern times.

Lilly signed a multi-film contract with Marvel. A officer who is engaged to Lang's former wife Maggie.

Cannavale stated that Rudd and McKay convinced him to join the film during the rewriting process before Marvel approached him, saying, 'They sort of pumped [my] part up a bit.I really went on good faith [taking the role] because they're so secretive [at Marvel] about the script. I just trusted them.'

He also added that the process felt like an indie film instead of a large-scale blockbuster, and that he was able to improvise frequently along with the other actors. Was originally cast in the role, before leaving the film because of scheduling conflicts brought on by the filming delay.

A member of Lang's crew. Harris described Dave as Lang's '.

Harris also revealed that he was not permitted to read the entire script, explaining 'You're just handed scenes as the film [went] along, and when you do that, it's like a blank canvas, 'This is what I'm going to do for this scene,' and you can remember previous performances and remain consistent with that. The energy created by the ensemble you have around you, it contributes to the outlook or the final view of what your character has become, and what he meant to the story.'

A former agent,, and physicist who became the original Ant-Man in 1963 after discovering the that make the transformation possible. He later mentors Lang to take over the role. Douglas compared his decision to join a superhero film to his role in saying, 'Sometimes—like [when] they didn't see you for —you've got to shake them up a little bit and have some fun.' Describing Pym, Douglas said, 'He's sort of a Northern California, formal guy. He's lost control of his company. He lives in sort of a time warp.

He was always a bit of a tinkerer. He's got a lab, plus a lot of other stuff, in his basement that we find out about. He's certainly bitter about what happened with his company and deeply scared of what the future might hold—because he himself, after having gotten small so many times, it's difficult. He looks and tries to find a guy that he can work with and has the right characteristics, which is [Scott].' Douglas indicated that he would not be wearing the Ant-Man suit. Additionally, and reprise their roles as and, respectively, from previous MCU media. Slattery stated that his involvement in Ant-Man was 'not that much more' than his participation in Iron Man 2, while Atwell described her appearance as being 'more of a cameo'.

Portrays, the daughter of Lang and Maggie; appears as Dale, the manager of a store; and plays, a former member of S.H.I.E.L.D. Who works for and looks to purchase the Yellowjacket technology., who portrayed Ant-Man in a sketch, appears as a taxi driver. Ant-Man co-creator makes a cameo appearance in the film as a bartender. And make uncredited appearances during the post-credits scene as and, respectively.

Hayley Lovitt makes a nonspeaking cameo as. Provides the voice of a toy rabbit that Scott gives to Cassie. Production [ ] Development [ ] Development of an film began as early as the late 1980s, when Ant-Man co-creator pitched the idea to, ' parent company at the time. However, was developing a film based on a similar concept,, and although Ant-Man went into development, nothing came to fruition.

In 2000, met with Marvel in an attempt to purchase the film rights to Ant-Man. In May of that year, announced a deal with Marvel to coproduce, finance, and distribute a film based on Ant-Man.

In 2003, and his writing partner wrote a treatment for Artisan, with Wright explaining that it revolved around as a burglar 'so he could have gone slightly in the route', though Artisan wanted the film to be 'like a family thing'. However, Wright believed that the treatment was never sent to Marvel.

A year later, the duo pitched the film to ' then head of production,. In April 2006, Marvel Studios hired Wright to direct and co-write Ant-Man with Cornish as part of the company's first slate of independently produced films. Wright would also co-produce the film with his partner.

'The thing I like about Ant-Man is that it's not like a secret power, there's no supernatural element or it's not a genetic thing. There's no gamma rays. It's just like the suit and the gas, so in that sense, it really appealed to me in terms that we could do something high-concept, really visual, cross-genre, sort of an action and special effects bonanza, but funny as well.'

—Screenwriter Edgar Wright At the 2006, Wright said he was intrigued by the story's high concept and character. Wright also stressed that the film would not be a but an action-adventure with some comedic elements and would incorporate both the and Scott Lang incarnations of the character.

Wright said that he was looking to 'do a prologue where you see Pym as Ant-Man in action in the 60s, in sort of mode basically, and then the contemporary, sort of flash-forward, is Scott Lang's story, and how he comes to acquire the suit, how he crosses paths with Hank Pym, and then, in an interesting sort of Machiavellian way, teams up with him.' The next February, Wright said that the project was in 'a holding pattern' while the script was being revised, and that he had been doing research for the film by studying. In March 2008, Wright said that the first draft of the script had been completed and he was working on the second. In February 2010 that Marvel was prepping the film and that he met with Wright for lunch to discuss the character. Wright noted that there was no timetable for the film because Marvel did not consider the character to be one of their bigger, tentpole properties, so 'It's more like me and Kevin Feige saying.' Let's make a good script that works, that's all about a great genre film, and that isn't necessarily relying on anything else'. At the 2010 San Diego Comic-Con International, Wright said that Ant-Man would not fit in the chronology of due to the origin story he had written not working in the MCU.

In January 2011, Wright stated that he had resumed writing the script for the film following the conclusion of the international promotion for, and by April he and Cornish delivered the second draft of Ant-Man to Marvel. At the 2011 San Diego Comic-Con International, Wright revealed a third draft had been handed in.

(L-R) moderator Geoff Boucher, producer and Wright at the 2012 In May 2012, Feige said that the project was 'as close as it's ever been' while Wright teased the film by tweeting a pictogram of Ant-Man. In June, Wright spent just under a week shooting footage for a reel that would be used to test out the potential look and tone of his movie, as well as to decide how convincing Ant-Man's powers look on screen. The test footage was screened to audiences during the Marvel Studios panel at the 2012 San Diego Comic-Con International, with Wright confirming that Ant-Man would be happening. Germain Lussier of felt the footage worked and was 'awesome', as 'it had a totally different vibe from the other Marvel films. It was much more like something you'd recognize from.' Lussier, along with Katy Rich of CinemaBlend, also enjoyed the costume design choice.

That October, Disney scheduled the film for release on November 6, 2015. Feige stated in January 2013 that Ant-Man would be part of Phase Three of the, and indicated in May that the screenplay needed to be modified in order to fit into the universe, as the project had been in development before the first film. Feige also stated that shooting was slated to begin sometime in 2014, and that casting would begin towards the end of 2013. In July 2013, Wright said that he and Cornish had completed the script for the film and that Marvel allowed him to delay its production so that he could complete, as that film's producer was diagnosed with cancer.

In August 2013, after, director of, announced that Hank Pym would not be 's creator, Wright said Ultron was never a part of the story of Ant-Man, explaining that 'just to sort of set up what Ant-Man does is enough for one movie'. Wright described Ant-Man as a film but said it would fit into to the larger continuity of the Marvel Cinematic Universe, explaining, 'I like to make it standalone because I think the premise of it needs time. I want to put the crazy premise of it into a real world, which is why I think Iron Man really works because it's a relatively simple universe; it's relatable. I definitely want to go into finding a streamlined format where you use the origin format to introduce the main character and further adventures can bring other people into it.' Wright also stated that pre-production for Ant-Man would begin in October and filming would begin in 2014. The next month, Disney moved the film's release date up to July 31, 2015.

Pre-production [ ] In October 2013, Wright revealed that he was in Los Angeles to work on Ant-Man by tweeting a photograph from the production of the June 2012 test reel. And were soon being considered for the lead role, though Gordon-Levitt dismissed his consideration as a rumor. Feige stated that Ant-Man would be a ', and that a casting announcement for Hank Pym would come before the end of 2013. The next month, Feige stated that 's Ant-Man would not be featured in the film, while Rudd became the front-runner to play Hank Pym, and casting for the character's girlfriend had begun. Around that time, the filmmakers' intentions to shoot in the United Kingdom were dashed because of a lack of studio space, which Wright believed was due to the plan by to add fifteen studios to their facility, which was rejected in part by the local council in May 2013 because the project was eyeing protected land. By the end of the month, the film was scheduled to be shot in the U.S.

In December 2013, Wright, a fan of the comic book since childhood—owning copies of Tales to Astonish #27 featuring 'The Man in the Ant-Hill' storyline and #47 featuring the first appearance of Scott Lang— stated that the difference between Ant-Man and other films featuring size-changing is 'other shrinking movies are usually about somebody trapped small. This is different in that he can actually change size and he can do that at will, so it becomes more of a power than an impediment.' Wright also talked about the challenge of directing a superhero film, saying, ' Shaun and Hot Fuzz and World's End are all R-rated films. I like the challenge of making a PG-13 film. Because you've got to entertain in a different way.

You don't have the same tools.' By December 19, Rudd was in negotiations to star in the film, and Marvel announced that he had been cast as Ant-Man the next day. In January 2014, Wright posted a screenshot on his blog from the episode ', which features Hank Pym and introduces the Scott Lang character, with the caption 'homework'. Was subsequently cast as Pym, with Rudd confirmed to play Lang.

Was offered an unspecified role in the film, and filming was scheduled to take place at in, while Disney changed the release date once again, moving the film up to July 17, 2015. The next month, entered early talks to portray the female lead, and Wright announced on his blog that, who he worked with on Scott Pilgrim vs. The World and The World's End, would be his. By March, Wright and Cornish turned in a fifth draft of the script, amid alleged disputes on the direction the script was taking. As well, Wright and Cornish wrote a scene intended for the post-credits of Avengers: Age of Ultron that would have acted as a prelude to the film.

Entered negotiations for an undisclosed role in the film, and by April, and were cast in undisclosed roles. 'Ant-Man is interesting because he was one of the original, which I think people forget about.

So, I like that idea in the. I also like that it's this sort of passing of the torch. There's sort of a weird mentor / pupil thing happening between Michael Douglas' character Hank Pym and Scott Lang, which Paul Rudd plays. Hank Pym used to be old Ant-Man and he is trying to find someone to be the new Ant-Man. I think that's sort of a classic Marvel Comics thing and something that we really haven't seen in that universe.' —, director of Ant-Man On May 23, 2014, Marvel and Wright jointly announced that Wright was leaving the project due to 'differences in their vision of the film', and that the studio was closing in on a new director. On the split, Wright said, 'I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie.'

He also added that at one point, Marvel wanted to do a draft of the script without him, which was 'a tough thing to move forward' as Wright has written all of the previous films he directed. Wright continued, 'Suddenly becoming a director-for-hire on it, you’re sort of less emotionally invested and you start to wonder why you’re there, really.'

The majority of Wright's crew also left the project in the wake of his departure. By May 30, had entered negotiations to replace Wright, but pulled out of negotiations the next day. On June 7, Marvel announced that would direct the film, with McKay contributing to the film's script. Other directors that had been under consideration include,,,, and. Later in June, Feige stated the film was still intended to be released on the July 17, 2015 date, with production slated to begin on August 18, 2014. Feige elaborated that 'much of the movie will still be based very much on [Wright and Cornish's] draft and the DNA of what Edgar has created up to this point', with Reed stepping in to direct and McKay reworking only parts of the script. '[Reed] wanted to be sure that he wasn't just inheriting something or following someone else's lead.

Or wasn't inheriting something that the evil studio had watered down to be something bad,' Feige continued. 'He looked at everything, he talked with us, and he said 'Number one, I agree with the direction you're going in. And number two, I can add to it.' ' McKay stated that Rudd helped him rewrite the script, calling Rudd 'great with dialogue', adding 'the two of us holed up in hotel rooms on the east and west coast, and I think it was like six to eight weeks we just ground it out and did a giant rewrite of the script. I was really proud of what we did, I really thought we put some amazing stuff in there and built on an already strong script from Edgar Wright and sort of just enhanced some stuff.'

Rudd elaborated, 'The idea, the trajectory, the goal, and the blueprint of it all, is really Edgar and Joe. It's their story. We changed some scenes, we added new sequences, we changed some characters, we added new characters.

If you took the two scripts and held them up together they'd be very different—but the idea is all theirs.' Reed also offered contributions to the revised script, as did Lilly and Stoll, who contributed ideas to help flesh out their respective characters. Lilly's character received a fuller arc and more action sequences as a result.

One of the important things when joining the film for Reed was emphasizing both Hope and Janet van Dyne more, given the Wasp being 'a crucial part' of the Ant-Man comics. For their efforts, McKay and Rudd were credited as additional writers of the screenplay, with Wright and Cornish credited for the screenplay and story. Wright also held an executive producer credit on the film. By the end of July, Wilson left the film because of scheduling conflicts brought on by the filming delay, and characters being played by Gerald and were cut in McKay's revised script. Also, Reed indicated that in addition to Georgia, filming would take place in San Francisco. The next month, Reed revealed that would appear in the film, and Gabriel Ferrari and Andrew Barrer were hired to make further revisions to the script. Eric Pearson, a member of Marvel Studios' writing program who had written the films, did uncredited work on the film as well, scripting the strip club scene and Stan Lee's cameo.

After reading the revised script, Evangeline Lilly felt that the film was 'pulled' more into the MCU than Wright's version which 'was much more in the Edgar Wright camp of films.' She added that, while Wright's version was 'incredible' and would have been great to film and watch, 'it wouldn't have fit in the Marvel Universe. It would have stuck out like a sore thumb, no matter how good it was.

It just would have taken you away from this cohesive universe they're trying to create. And therefore it ruins the suspended disbelief that they've built.' From and was considered to make an appearance in the film, with concept art created depicting him in his robot body from the comics. Filming [ ] began on August 18, 2014 in San Francisco, under the Bigfoot. Scenes were shot in the neighborhood and. By the end of September 2014, production on Ant-Man moved to Pinewood Atlanta Studios in Fayette County, Georgia, and completed a rewrite of the film.

Filming also took place at the State Archives building in, to double as Pym Technologies, which is located on in the film. In October 2014, was added to the cast, and Feige revealed that Ant-Man would no longer start Phase Three of the Marvel Cinematic Universe and would instead be the final film of Phase Two. When told by 's Germain Lussier that this placement between Avengers: Age of Ultron and made the film feel like an afterthought, Feige replied, It's not [an after thought]. The truth is the phases mean a lot to me and some people but.

Civil War is the start of Phase Three. And Ant-Man is a different kind of culmination of Phase Two because it very much is in the MCU. You meet new characters and you learn about Hank Pym and his lineage with the MCU over the years. But at the same time, it also picks up the thread of Age of Ultron in terms of heroes—major heroes, Avengers—coming from unexpected places. And in that way it connects a lot. Also, Hank Pym's attitude towards Avengers, towards, and kind of the cinematic universe in general, is much more informed after the events of Age of Ultron, and in a certain way, before the events of Civil War. For Yellowjacket sequences, Stoll wore a suit while on set (top), which was replaced by an entirely digital creation built by Double Negative (bottom).

Visual effects for the film were provided by (ILM), Lola VFX,,, and, with by The Third Floor. Double Negative handled the scenes featuring shrunken characters, incorporating the macro photography and performances shot in principal photography with digital models of the characters. Double Negative also worked on Ant-Man's shrinking effect, in coordination with ILM to be used by all vendors, which showed the outline of his body – an element from the comics. Visual effects supervisor Alex Wuttke said, 'It's like a little time echo. As Ant-Man shrinks in almost a stop motion way he would leave behind outlines of the poses he'd been in as he shrinks down. We'd have two CG cameras rendering the action from different points along the timeline with slightly different framings.

One would be the main shot camera, the other would be a utility camera that would provide renders of static poses of Ant-Man at different points along the timeline.' For the flashbacks in 1989, Douglas and Donovan appeared via CGI, alongside Atwell as Carter (aged in makeup and with CGI) and as. To de-age Douglas, Lola VFX used a similar process and technology that was used to make Steve Rogers skinny in and Carter older in as well as footage of Douglas' other films from the late 1980s as reference. Served as Douglas' and an additional reference for Lola, because of his 'striking resemblance of Michael when he was about 40'. For Donovan, he only needed to be de-aged about a decade, so no double was used.

The work on him focused on his eyes, neck, and chin. Atwell wore a wig on set, along with a fine layer of latex makeup to give the skin a more leathery look, with Lola transposing the facial features of an elderly actress onto her face. Method and Luma both worked on creating the various ants seen in the film, with Method creating the several species of ants, to share among the vendors.

Luma also handled many of the scenes at Pym Technologies when Ant-Man attempts to acquire the Yellowjacket. ILM worked on the Falcon fight sequence, having done Falcon visual effects in The Winter Soldier. Using practical suit pieces built by, ILM mixed live-action shots with digital take-overs and fully digital shots to create the sequence. ILM also handled the sequences in the quantum realm, providing an array of microscopic and largely psychedelic imagery for the subatomic shrinking, taking advantage of procedural fractal rendering techniques the studio had utilized on.

Main article: In February 2014, Wright tweeted that would the film. However, Price left soon after Wright's departure from the project in May 2014.

In January 2015,, who worked with Reed on, was hired to replace Price. Describing the film's score, Beck said, 'For Ant-Man, I wanted to write a score in the grand symphonic tradition of my favorite superhero movies, with a sweeping scope and a big, catchy main theme. What makes this score stand out among other Marvel movies, though, is a sneaky sense of fun since it is, after all, not only a superhero movie, but also a heist comedy.' Released the soundtrack digitally on July 17, 2015, and had a physical release on August 7. From the original on July 3, 2015. Retrieved July 3, 2015.

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As long as they have some kind or return policy like a 3- day or 7-day return or something like that, you risk nothing trying them out. If they are unreturnable, I wouldn't buy them anyway. I have a pair of '99 824s that I have been using almost daily since I bought them new going on 9 years ago, and they work great for me. Considering I paid somewhere around $1400 for the pair new, $400/pr looks like a pretty good deal to me, *if* they are in decent condition. It's funny, 824s are a real inkblot test for people. Some people (like me) love 'em, some people hate 'em. Very few seem to be in the middle.

But what it comes down to is where they work in your room OK and you can translate them without breaking too much of a sweat. The first half of that equation is up to your room. The second half is up to the ears you were born with. For me, my ears took to the 824s in my room like a fish to water, and, except for a couple of early tweaks, translation came very easy for me. Other people find them too 'hyped' sounding (amazing, when one looks at the response curves and finds them just as flat overall as anything else in that product range), and blame them for their mixes sounding weak when they take them out into the real world. The only solution and answer is to find out of they'll work for you, and the only way to do that is to try them out at your desk, and the only way to do that is to make sure you have an honorable return policy from your dealer. Agree with everything you say.

A lot of damn articles on these!! Its like their the 'standard' everyone compared too.HR824 vs yes, I'm reading.

I'm attracted to the design and unique electronics. They put a lot under the hood, really interesting design and passive, no port.

I think Mackie may have done what Shure did in Mexico and kept their product in tact through the China work by having them do assembly only. Not many breakdown posts seen and I been readiong for a few hours.(good) I'd heard there was several returns on the recent China stuff, so I'm concerned on that, per a GC salesman. But these demos are US made and don't state Made in China, so thats strange too? How could demo's be around that long?.oh well.no big deal, just gear addiction flaring up.

You can check the manufacture date on those demos pretty easy. There is a manufacture date code printed on the back of the amp on the back of each monitor, right next to the serial number.

Here's how the code supposedly breaks down, per the Mackie forum: n -- Decade M -- Factory Code M8, M1, etc n -- Factory code 2nd digit n -- Year n -- Month 1st digit n -- Month 2nd digit For example, my monitors are coded as 9M1811 which would mean that they were manufactured in Nov, 1998 at wherever factory M1 is located. Which sounds about right, considering I got mine delivered somehwere in the middle of 99. As far as that Chinese/defective line, that is a favorite scare tactic of GC salespeople to steer folks to something where they can make more money. In this case that salesperson was probably an idiot to steer you away because there is probably a manager's spiff (i.e. Cash kickback to the salesperson) on those demos as an incentive to get them off the shelf and the hell out of the store's inventory.

The *real* partial story is that somehwere around 2003, if I got my facts straight, Mackie was bought up bu a company called Loud Technologies. One of the things that happened sometime around that same time was that Mackie moved much of their assembly processes to China.

Look at it this way, if those demos are anything more than a year old and they still work OK, then I wouldn't worry about that hullaballo too much; I'd say if they've already outlived their warranty, that they're probably not defective. I think I would even take NS-10s over them. No need for the 'respect' line, Tom. It's normal and natural for folks to disagree on this part of the equation. See, for my room and my ears, NS-10s are good for paperweights or fireplace kindling and not much else. I can mix with them OK.if I want a headache after 10 minutes and to be in a belltower with a high powered rifle after an hour.

That doesn't make me right and you wrong, or vice versa. It just means that you should not mix with 824s anymore than I housl mix with NS-10s. We also should not wear shoes of the wrong size for our feet. I like KRKs also, but I can tell you that I have heard KRK 8s in a friend's CR that don't sound signfigantly different from the way my 824s sound in mine. Yeah, we can hear a difference, of course. But it's not a great one, an uncomfortable one, an unmanageable one or an untranslatable one. With even morel respect, Tom, I think that any recommendation one way or the other by anybody on any model that is at least on the radar screen is meaningless.

I sold these kind of things things in a showroom for several years, and there is no way to possibly predict what any one person is or is not going to like or be able to translate. I'd have one guy with expereince and respect come in and love the Shatner2000 and hate the Zippy500, followed by a guy with equal expereince and respect who thought just the opposite.

This happened every day. I simply learned to show them how to use the switchboard and leave them alone in the comp room and let them decide for themselves, because whether any 'conventional wisdom' I may have had or personal opinion I may have even had, was a crapshoot as to whether it would wind up serving the customer well or totally steer him wrong. It really is an individual decision based upon ones own ears and sensitivities. Monitors are perhaps unique from any other part of the signal chain (I'm including headphones here) in that regard, because they are the only device in the chain that is actually *making sound* and are the only device that are coupled to one's ears. Look, it's worth a $400 marker to borrow them in an in home demo for a few days.

If they don't work for CC, he can return them and have an excellent education in how these things work in real life. Last edited by SouthSIDE Glen; at 22:19.

I'm probably going to get spanked hard for saying this (and I don't mean in a good way ), but. It seems there are a whole lot of people in this business who hate the 824 them becuase one is 'supposed to' hate them.

If you're really k3wl and in-the-know, it is of course common knowledge that the HR824 is supposed to be the red-headed stepchild of monitors, and looked down upon, even if you have never actually listened to them in person. 'Mackie, why I'm too good for those. And then they tend to recommend something from ADAM or Tannoy or Dynaudio that of course are much better, but also, as they usually don't mention, cost 2-3 times as much. I'm not absolutely sure why the 824 got such a reputation - I can tell you it's not because it's because they actually sound so goddamned awful.

One may not care for their particular flavor of sound, and that's fine, but it's not that they are so freakin' radical from everything else made that they deserve the singled-out reputation they get amongst gear sluts. There are a dozen much worse sounding and harder to translate nearfields out there, including (IMHO) half of the Wharfdale line, M-Audio's BX-series, and of course the infamous NS-10. There are a couple of models of Genlecs that haven't earned their nameplates, IMHO, because they suck compared to their quality brothers and even compared to the 824. Yet it's the 824, almost singularly, that has been the target of ire amongst the gear-o-philes.

I'm not sure, but I think it's partly because it came along 10 years ago as the anti-NS-10; it is so unlike the piece of shit NS-10 in sound that those used to the NS-10 just couldn't relate. And because most of those in that position were old-timers in the business, others tend to just buy into their opinions, and help shore up the myth of the 'awful 824'. Sure, next to the Rocky Mountain response curve of the NS10, the Mackies will sound 'hyped'.

Those who claim to want 'flat' and 'uncolored' response should really look twice at the various response curves for the Mackie and it's nearest competitors. People don't want flat, they want something that sounds like cassette tape without the hiss. They just don't realize it yet. I guess it comes down to what you are looking for in a monitor.

Listening for pleasure versus working in audio production are often two separate functions. NS-10s, while not my choice for listening to music for pleasure, do tend to translate well on other speaker systems. They make bad things sound worse.

They tend to exagerate the upper mids and as a result those that mix on them tend to reduce the more fatiguing frequencies of a mix. They suck for judging bottom end though. OTOH in my opinion Mackies seem to hype bottom and top, but don't represent mids in a way that I feel translate well to the outside world. If I had to choose between listening to NS-10s or Mackies for pleasure, I would likely choose the Mackies over NS-10s though.

The next most important part of your chain after your ears is your monitoring system. If Auratones work for you, use them, if Mackie works use them, just don't make price the overiding priority. Save up for what is going to work best for you.

If what you are hearing is skewing your decisions as an engineer it's wasting your time as well as money. Last edited by masteringhouse; at 06:43.