Mastering engineer and president/founder of Peerless Mastering, JeffLipton (pictured) recently installed SLS Loudspeakers’ S1065 inhis Newtonville, Mass. facility.
“The decisions I make while listening on the SLS monitorstranslate incredibly well outside of the room, whether the record isplayed on an inexpensive boom box, in a car or on a home stereosystem,” Lipton explained. “They also enable me to work a lotfaster since I can hear exactly what needs to be changed right away andI can trust what I’m hearing.”
An important feature of the SLS monitors, according to Lipton, istheir ribbon driver-based design, which eliminates artifacts that cancause ear fatigue. “I can go an 18-hour day, monitoring between 78 and82 dBs, feeling just as sharp at the end of the day as when Istarted.”
According to mastering facility designer and president ofAlactronics, Bob Alach, who provided and installed the speakers atPeerless Mastering, “I choose SLS for mastering facilities becausethere’s a huge difference between their monitors and just abouteverything else in the world due to the ribbons. The high-power ribbondrivers are just an entirely different technology; they don’tsound like any other speaker. You don’t get a lot of artifactsusing SLS like you can with regular metal-dome tweeters or horndrivers. They help you hear more of what is really recorded.”
Currently, Lipton is using the monitors to work on a Wishing TreeRecords compilation album called The Amos House III featuringWilco, the Aluminum Group and the Skating Club. Lipton’s other recentprojects include the Dropkick Murphys, the Pernice Brothers, theMagnetic Fields, Big Star, Leadbelly, Lightnin’ Hopkins, Woody Guthrie,Atom, Neil Carswell, Jack Drag, The Moles, Richard Davis and the DeadMilkmen.