"... many editing rooms I walked into had terrible acoustics to begin with. No matter which speaker you place in a bad room, it won’t sound great. Best sound investment I ever did was room treatment."
Bingo! It's shocking how many editors set their speakers up in the worst possible place in bad-sounding rooms. They'll have one speaker set up 8 feet away from them and the other speaker barely peaking out from behind one of the editing displays. The speakers might be sitting on a large table well below ear height, with the reflections off the table and the bass reinforcement plus resonances from that large surface dominating the sound. These editors are not hearing even a remote approximation of the rough mix -- and they don't seem to care. Fix it in the final mix and all that. But I listen to their roughcuts and wonder how the clients can judge anything given how bad the scratch mixes are. (See below.)
As to Genelecs, I've used a few different smallish ones for the last 25 years, and one of my favorite mixing engineers used them as his nearfield monitors. They can sound dark in some rooms, too bright in others, and I think they can get a little harsh very easily (although that obviously depends on the specific model and set up). I would never use them in my home for music listening. However, I like that they make it easy to hear when I've pushed the EQ and compression/limiting on voice tracks too hard. I want voices to be intelligible without being unpleasant, and Genelecs seem to be revealing in that regard. I also check my work with a few different pairs of headphones (nothing super expensive), switching them up daily as I put together a cut. And then the client will play my roughcut on a laptop or iPad speakers. Oh, well.
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