Studio Monitor

It is probably the product category where the biggest differences in quality can be found, ranging from the poorest to the best, as there is no ideal design in the same way as with digital converters, for example. While a pair of hi-fi speakers may seem like a cheap alternative, they are designed to deliver an impressive rather than an honest interpretation of the signal, and they also don’t handle a mono hi-hat* at full volume very well!

A hi-hat (hihat, high-hat, etc.) is a combination of two cymbals and a pedal, all mounted on a metal stand. It is part of the standard drum kit used by drummers in many music genres, such as rock, pop, jazz, and blues.

In this guide, we will outline the basic principles of studio monitors and take a closer look at their most common features and the differences between various designs.

In this Online Guide, our primary focus is on "near-field monitors," as they are commonly used for monitoring audio during recording and studio mixing. To understand what sets near-field monitors apart from standard speaker boxes, let's explore some key terms first:

Monitor

The term "monitor" is derived from Latin and it means "to observe." As previously mentioned, the primary function of a studio monitor is to observe and accurately reproduce the sound of a recording and the subsequent processing.

Near-field

Each room, whether it's a control room, a recording space, or any other room, possesses unique acoustics that result from sound reflections. The acoustics can be influenced by walls, furniture, and the conditions of the surfaces in the room. Thus, acoustics in an untreated or acoustically unoptimized room can introduce unpredictable variables into the recording process, variables that should ideally be eliminated. However, since air's acoustic properties are consistent across different spaces, you should aim to locate a spot where reflections aren't audible. The point at which the direct sound and sound reflected by the room's surfaces have equal levels is referred to as the "critical distance" or "hall radius."

Inside the hall radius, you mainly hear direct sound, while outside it, reflected sound dominates. The actual size of this hall radius depends on the acoustics of the room and the directional characteristics of your speakers. In smaller rooms with intense sound reflections, the hall radius tends to be smaller. Additionally, the hall radius varies depending on the frequency being played because speakers don't treat all frequencies the same. They focus more on projecting high frequencies, but low frequencies tend to disperse in all directions.



Consequently, the hall radius is more extensive for high-pitched sounds compared to lower frequencies. To extend the hall radius, you can enhance room acoustics by using absorbers and diffusers. Absorbers help reduce sound reflections, making their influence less prominent. On the other hand, diffusers scatter the remaining reflections in terms of space, time, and phase, which further reduces the effect of any remaining reverberations on the speaker playback.

The term "near-field monitor" is a bit misleading, as it has little to do with physical proximity. In fact, "near-field" and "far-field" are concepts related to the sound field produced by a speaker, and they're independent of room acoustics. These terms originate from technical acoustics, and while they are relevant in the field, they might not be the primary concern for sound engineers. A more precise description for these speakers would be "free-field" or "direct-field monitors" since they work best when sound directly radiates from the speakers and not influenced by room acoustics. However, the terminology of "near-field monitor" has prevailed over the years, so we will stick with the term "near-field monitor."

The concept behind near-field monitors is to position the listening area as close as possible to the direct sound field, essentially within the hall radius. This minimizes the impact of room acoustics on the sound. In the high- and mid-frequency ranges, this approach works quite well, as discussed earlier. However, in the low-frequency range, the hall radius in typical rooms is relatively small due to the omnidirectional nature of bass sound. This makes it almost impossible to have a listening area within the hall radius for bass frequencies. As a result, room influences, like resonances, become more pronounced, especially if the room hasn't been acoustically treated for bass frequencies. Due to the close listening position, near-field monitors are typically compact in size. They are often designed as bass-reflex speakers with woofers ranging from 4.5" to 8". Because of their small cabinet volume and woofer size, near-field monitors have limited bass reproduction compared to larger main monitors. In most cases, the frequency range of 8" monitors with bass reflex ports is sufficient for typical applications.

In terms of construction and design, near-field monitors differ little from hi-fi loudspeakers. The distinction lies more in the intended sonic performance. Hi-fi speakers are primarily crafted to deliver an aesthetically pleasing listening experience, often characterized by gentle highs and robust bass, ideal for music enjoyment. In the studio, a different sonic philosophy is required. The emphasis isn't on creating beautiful sound but rather on faithfully reproducing audio during recording and mixing. Sound engineers must accurately assess the quality of recorded and mixed signals. The goal is for the sound to be unaltered and truthful.

Studio monitors are designed for sonic neutrality, striving for transparency in audio reproduction. Transparency ensures that the sound signal remains unchanged throughout playback, much like a clear glass window, in contrast to ornamental glass that distorts the view, losing details and retaining only the outlines. Transparency in audio means unaltered sound reproduction.

Today, near-field monitors are predominantly active, with passive speakers becoming increasingly rare. But what sets these two apart?

Passive speakers don't come with built-in amplification; they rely on an external amplifier to function. In a passive speaker system, the crossover, responsible for dividing the audio signal between the tweeter and woofer, is positioned within the signal path just before reaching the drivers. The crossover must be engineered to manage the high signal currents delivered by the external amplifier, which can make its design complex and relatively costly. Even though it primarily comprises coils and capacitors, designing an effective crossover without compromising sound quality is no small feat. This complexity of the crossover contributes to the preference for active (self-amplified) monitors in many modern audio setups.

Active speakers are designed differently. In an active speaker setup, the crossover is positioned before the power amplifier stage, which means it's exposed to significantly lower signal powers. This placement allows the crossover to be built using active amplifier components that are now more affordable. Active filters for crossovers can better manage phase issues at the crossover frequency. In active speakers, each driver has its dedicated power amplifier. This setup enables the manufacturer to optimize the crossover, power amplifier, and drivers to work in harmony. In contrast, when dealing with passive speakers, at least the amplifier remains an unknown variable for the manufacturer. The use of active components in this design generally reduces costs and enables manufacturers to create higher-quality speakers.

Dispersion Angle

Near-field monitors need to have a very wide dispersion angle because you sit close to them. The frequency response should remain consistent in all directions. You have a relatively broad working area as a sound engineer, from leaning over the mixing console to comfortably leaning back in your chair. Near-field monitors are typically placed directly behind the meter-bridge. It's essential that the sound characteristics of these speakers don't change significantly within this entire area.

Impulse Response

High-quality amplifiers and speakers are characterized by their ability to reproduce impulses accurately and exhibit minimal resonance. However, no speaker can perfectly reproduce a needle-like impulse without some distortion. The diaphragm and voice coil have some inherent mass and springiness, which introduce a degree of post-vibration. The extent of this effect and the type of resonance shown by the speaker significantly impact the sound quality. Various strategies, such as aligning the bass speaker within the enclosure for precise timing, are used by loudspeaker manufacturers to manage this effect. The most significant challenge arises in the crossover frequencies between the bass and tweeter. As these frequencies always fall within the audible range, the crossovers must consist of filters with steep slopes, typically around 24dB/octave. In the world of near-field monitors, two-way speakers are prevalent since they only require a single crossover frequency. An added benefit is that two-way speakers can be combined with subwoofers for reproducing very deep bass (often used in surround sound systems).

Distortion/THD (Total Harmonic Distortion)

Low distortion is an essential quality for speakers. Distortions are usually more noticeable in the bass frequencies than in the mid and high ones. Speaker diagrams often depict various harmonic levels, such as the second and third harmonics, in addition to other non-harmonic noise (THD & Noise). Harmonic distortions generate overtones that aren't originally in the audio mix, which is often heard in overdriven guitar sounds. Recordings of soft, closed-lid piano music or solo trombone pieces can reveal these harmonic distortions.



Design

When it comes to studio monitor design, avoiding sharp edges where sound can diffract is crucial. That's why many speaker enclosures feature rounded edges. Tweeters, in particular, are often placed within a funnel-like structure in the enclosure, which helps direct sound waves around them while maintaining a wide dispersion angle. In terms of aesthetics, it's usually not recommended to use fabric coverings for studio monitors.

The perfect studio monitor would have an infinitely extended front side, essentially embedded in the wall to prevent acoustic anomalies (those who have heard an unenclosed speaker know what I'm talking about). Nevertheless, this design is typically reserved for professional studios equipped with large diffused-field monitors capable of producing frequencies below 60Hz with minimal distortion.

Near-field monitors are free-standing and can be fine-tuned with additional subwoofers. The issue with small near-field monitors, however, is bass reproduction. Because it's emitted both forwards and backwards, this can result to audible reflections. Placing speakers on shelves might lead to resonance problems, which in turn could cause booming.

The direct sound, which travels in a straight line from the central axis of the speaker, should hit the sound engineer's ear directly. This is best achieved by placing the speakers on suitable stands or mounting them on the wall or ceiling. Placing them on a table, shelf, or similar surfaces is not recommended for optimal monitoring.

To optimize near-field monitor sound, it's important to position speakers in a way that minimizes early reflections. You should also ensure that the mixing console's surface doesn't act as a reflective surface.This can happen if the speakers are placed on the meter-bridge. The speakers should be positioned correctly, behind the meter bridge, at the right height so that the direct sound reaches the ear unhindered. The meter bridge then shades the sound that would otherwise be reflected by the console.

During setup, it's important to make sure that the distances between speakers and walls or other sound-reflecting surfaces are equal (denoted as value "a" on the picture below). Speakers should either be placed as far away from the walls as possible or very close to the wall (around 10 cm of wall distance for speakers with rear bass reflex). In the first scenario, it's presumed that wall reflections lose some of their impact due to the extended path they travel to reach the listening position, which can mitigate their negative effects. However, this approach can lead to frequency drops, especially in the low frequencies, which require more efforts to effectively absorb. This is a drawback of this placement method.

The second approach assumes that placing the speakers close to the wall causes more significant frequency drops, particularly in the low frequencies, but these issues shift to higher frequency ranges, making them easier to dampen with standard absorbers. However, close-to-wall placement often leads to a bass boost of up to 6 dB (up to 18 dB in room corners). This, in turn, is a drawback of this setup method. Many active speakers now incorporate room correction EQ to counteract this effect.

The choice between these placement options will often be influenced by the available space. If you have enough room to try both, experimentation is the best way to determine which position yields better results for your specific setup.

Speakers should be at least 1 meter, but preferably 0.5 meters, away from the wall. If this distance is not maintained, especially in room corners, it results in a bass boost that can distort the sound image. Consequently, mixes can sound thin and lack foundation on other systems. The distance between the speaker and listener should be between 0.7 meters and 2.0 meters. Longer distances require the use of more expensive mid-field (2 to 3 meters) or far-field (3 to 5 meters) monitors.

Speakers should be rotated at the same angle toward the listener so that the center of the tweeter's dispersion and the back of the listener's head form an equilateral triangle (the so-called listening triangle).

Subwoofers have evolved into a crucial element, particularly in surround sound configurations. In movie soundtracks, bass even gets its dedicated channel. Over time, 2.1 systems, which consist of two small mid/high-range speakers and a subwoofer, have become increasingly common in computer and hi-fi speakers. This design allows the stereo speakers to remain compact while the bass discreetly emanates from a subwoofer tucked away in a corner. This approach not only reduces costs but also enhances the aesthetic design of these systems. However, there are drawbacks, primarily the need for a clean separation of the frequency range, which isn't always well-executed in cheaper systems.

It's not surprising to find subwoofers integrated into studio monitors, as they take charge of the low frequencies while allowing the near-field monitors to focus on the rest of the frequency spectrum. However, the necessity of a subwoofer largely depends on the music genre. In a typical rock production, a subwoofer might not be needed (and could even be counterproductive), depending on the monitor size. But for bass-heavy music styles, a subwoofer can be indispensable.

If you're considering a subwoofer, it's advisable to stick with products from the same manufacturer to ensure compatibility. Always regard monitors and subwoofers as a unified system, ensuring that the subwoofer's crossovers align with the monitors' frequency spectrum. For those who prefer not to rely on the built-in crossover in the subwoofer, an active crossover can be used instead.

Subwoofers, just like the main monitors, need to be positioned optimally. Usually, subwoofers are placed on the floor and should avoid corners or being too close to walls. The distance from the listener should not be too far either. Additionally, the type of flooring in the room can influence the subwoofer's sound. During setup, it's essential to compare the sound to your familiar monitors repeatedly to find the best placement. If you're using a 2.1 monitoring system, it's a good idea to keep your old reference monitors for comparison. This way, you can ensure that your recordings won't lack bass when played on other devices.

See all the subwoofers here

One thing is for sure: the safest way to damage your hearing is to expose yourself to high volumes regularly! But what qualifies as high monitoring levels? And what monitors perform well at lower or moderate volumes? Here's a piece of studio wisdom: all music mixes that sound good on a good quality, transparent monitor at low to moderate listening levels will also sound good on the most powerful club sound system.

Bottom line: if you primarily listen at lower to moderate volumes, you not only protect your hearing but also maintain your ability to critically assess your productions. Listening loudly impairs judgment! It can make it challenging to discern whether an instrument is in tune, if a singer is hitting the right notes, or if a sound is clean or distorted.

Occasionally, listening loudly can also be useful. For instance, it can help assess and fine-tune the frequency distribution of individual instruments, make detailed adjustments to effects like reverb or flanger during a mixdown, or evaluate the balance between direct sounds and reverb. When evaluating the rhythmic performance of a musician, listening a bit louder can also prove to be quite useful. By the way, the human ear perceives volume differently depending on the frequency range. Volume perception is much more sensitive in the mid-frequency range around 1kHz. These differences in perception are more pronounced at lower volumes. In the hi-fi domain, a loudness control is used to adjust frequencies to match the ear's perception. However, in the studio, no frequency-correcting circuits are used for objective sound evaluation. Famous sound engineer Bruce Swedien (known for his work with Michael Jackson) recommends listening at around 83 dB because at this level, the ear's perception is most consistent.

Reverberation

The reverberation generated by reflection of sound within a room allows our hearing to gain an impression of the size and specific characters of the room. Reverberation is typically divided into two stages, the early reflections and the more diffuse reverberation proper. The time and volume relations of the early reflections indicate the distance from the source of sound, whilethe reverberation supplies the spatial impression. In pop and rock music production, sound is recorded as "dry" as possible (in an acoustically treated studio), and reverb is added during audio mixing. This makes it much easier to compose a harmonious whole from many different tracks.

See the Room Acoustics Buying Guide here

Bi-Amping / Tri-Amping

This is an amplification method using multiple amplifiers connected to a speaker cabinet in such a way that individual amps drive individual speakers - this means that the crossover is placed before the amplifier stage rather than after. Active speakers use this system by default, but passive speakers can be driven with multiple external amps and active crossovers in this manner, and this is the method typically used with larger monitoring setups. Bi-amping describes a 2-way system, tri-amping a 3-way and so on.

Cutoff Frequency

Speakers that feature a high pass filter or low pass filter will usually either have a pre-determined cutoff frequency, or have a choice of two or three user-defined selections. These filters are used to adjust the speaker’s frequency range to suit different room acoustics, or to raise the low-end cutoff when used with a subwoofer in a 2.1 or surround-sound setup.

Power Rating

This is the measurement which people often get a bit over-excited by and is also the figure which is most frequently misinterpreted. The power rating alone doesn’t tell you how loud your speakers will go - other specifications such as the sensitivity and impedance of a speaker all make a difference to the actual volume that it can achieve, not to mention how liberal the manufacturer is with their specifications! The power rating is measured in Watts and can be described as ‘RMS’, ‘program’ or ‘peak power’. As mentioned in the text above, it is now most common to match the RMS rating of an amplifier with the program rating of a speaker. Peak power can have so many different meanings that it is best avoided altogether.

SPL

The term SPL is an abbreviation of ‘Sound Pressure Level’, and as with power rating it is a measurement that can be confusing as it is commonly presented in several different ways. The basic measurement involves playing a sine wave through the monitor with an SPL meter positioned at a set distance - usually one metre. As all manufacturers measure this specification differently though in terms of how long the measurement is taken over, at what frequency and at what level of acceptable distortion, it is very difficult to use this figure for accurate comparison. There currently being no industry standard, manufacturers often use this vagueness to their advantage, calculating impressive ‘on spec sheet’ results, with some even providing purely theoretical figures based on the speaker’s design characteristics.

Frequency Response

Frequency response is a measurement of the range of frequencies a speaker can reproduce. Although there are a multitude of theories concerning the range of human hearing, it is most commonly defined as ranging from 20Hz to 20,000Hz (20kHz). Most modern speakers extend up to 20kHz at the top end, but smaller enclosures can find it difficult to reproduce lower frequencies, with many ‘cutting off’ at around 60Hz. These frequencies are particularly important to producers of some genres of music, dance in particular, and anyone involved in mastering should have speakers capable of reproducing these frequencies. Those with smaller monitors may want to supplement the low frequency response of their near-fields with a separate subwoofer.

As with all specifications, the devil is in the detail, and it’s important to compare like with like. The most common definition of the upper and lower limits of frequency response are the points where it starts to drop by 3dB or more – figures without a definition of the ‘cutoff’ point are meaningless!

What is dynamic range?

The range, usually expressed in dB, between the softest and loudest sound a device can handle. The usable range of the sound is found where there is a nominal level and inherent noise. If a signal source fluctuates too much in its 'loudness' it is referred to as having a high dynamic range. The human voice for instance has a high dynamic range, every word in a sentence can have a different volume.

Compressors make sure that these volume differences are 'compressed', reducing the dynamic range and bringing the volume to uniform level. The human ear can tolerate a maximum dynamic range of about 130 dB before reaching the pain threshold. Analog tape recorders achieve a dynamic range of 60 to 80 dB (without Dolby or dbx). Digital systems can achieve over 100 dB of dynamic range.

See the Compression Buying Guide here

What is direct sound?

The amount of sound that directly reaches the listener or microphone (as opposed to the sounds that are disturbed or reflected). For clear voice recordings, direct sound is particularly important.

What is dynamic bandwidth?

The dynamic bandwidth of an audio system, shown in decibels, represents the difference between the minimum and maximum output volumes achievable without distortion. The larger the bandwidth the more faithful the sound repoduction will be. As for a single instrument, it is the bandwidth from the loudest to the quietest sound of the instrument.

What are electro acoustics?

This term refers to the conversion of sound into electrical vibrations and vice versa. They term came in to existence with the invention of the electron tube (about 1930) for amplification and generation of vibrations. Despite increasing digitization, microphones, amplifiers and loudspeakers remain the basic elements of electro acoustics.

What is the power-amp?

It is the last link in the audio chain before the speakers. Most of the non-controllable amps deliver the required signal to the speakers after it has been brought to the appropriate level by a pre-amp in the form of a mixer. These days power-amps are being built into the speakers themselves which has the advantage of ensuring they are optimized for one another. In hi-fi systems the stereo power-amp is usually housed in the central unit, while high end public address systems have separate power amplifiers, which is advantageous because of the enormous heat created and possible transformer interference.

What is an equalizer?

A special filter where the frequency band is, for the most part, freely adjustable. A graphic equalizer allows you to adjust specific frequencies based on presets built into the EQ but doing so affects the other frequencies as well. In contrast, a parametric EQ allow you to adjust aspects of each invidual frequency as well as allowing you to choose which one exactly you are adjusting.

What is a filter?

A way to cahnge the frequency response in order to produce the desired sound. A low pass filter lets the lows pass, a high pass lets the highs pass, and a band pass grabs frequency band from the middle and cuts off the highs and lows. Passive filters can only dampen frequencies (which causes other frequencies to come through stronger) while active filters can usually amplify them as well. One of the most well known active filters is the equalizer which is mainly used in sound processing. An important aspect of a filter is the cut off frequency, this determines at which frequency the filter will being taking effect.

What is a frequency?

It is the term for the number of full oscillations (= oscillation periods) in one second. The frequency of a tone is responsible for the pitch (perceived by the human ear) and the unit used to measure them is a Hertz (Hz). Doubling the frequency results in an octave increase in tone, for example if a = 440 Hz then a'= 880 Hz and a'' = 1760 Hz, etc. Most people can hear sounds in the range between 30 Hz and 16 kH. When AC voltage in a loudspeaker is converted into air pressure fluctuations, it becomes an audible sound.

What is the ideal acoustic range?

Human hearing has the ability to perceive frequencies between 20Hz and 20Hz. However this is only possible for a small group of young people. In part due to the damage caused by everyday noise levels as well as (voluntary) damage caused by things like listening to music too loud, which can lead to a rapid decrease in hearing. In addition, the ability to perceive the higher frequencies simply decreases as we get older.

What are tweeters?

They are a type of speaker specially designed to produce higher frequencies. Tweeters can be found in a variety of designs and badwidths in combination with normal speakers or as separate satellite boxes.

What is impulse response?

For speakers: It refers to the ability to reproduce short signal peaks. Since this depends on the design of the membrane and is adversely affected by their inertia, a good impulse response gives at least a clue about the playback quality of the speaker.

How do speakers work?

They are constructed to convert electrical waves into acoustic/sound waves. The electrical waves contact the speaker via a magnet and the alternating polarity of the magnet causes a membrane to oscillate, which then causes the surrounding air to resonate. These resonations are in turn what causes audible sound to come from the speaker. Speakers can only play a certain frequency range and are separated into bass, midrange and tweeter speakers.

What is the limiter?

A sort of automatic volume control: When the input signal is to high the limiter adjusts the gain automatically to the required level. A limiter prevents accidental overloading of subsequent devices but can cause some annoying side effects like hissing or ticking. A limiter has the same parameters as a compressor but allows much higher ratio settings of 10:1 to 20:1.

What is the ''mixdown''?

If all tracks are recorded and ready for playback then they can be combined in the ''mix''. Each track has its own EQ, volume, and effects settings.

What are nearfield monitors?

They are studio monitors which are designed to produce, through their sound radiation, the correct frequency response at a 1-2 meter distance. Theoretically this mitigates the need for proper room acoustics.

What is phase-shift?

The time difference between two oscillations or their zero crossings is referred to as phase shift. This allows positive and negative half-waves to meet. Since these can cancel each other out, it can lead to level losses and, in extreme cases, the signals cancel out entirely. You should always pay attention to your mixes and make sure they play well in mono, as this is where the effects of the shift will come through most. So always reset the mixer to mono after shifting and listen to your sound.

What are vibrations or oscillations?

Air movements emanating from sounding bodies which are perceived as sounds.

What is a low-pass filter?

It causes all tones over an appointed frequency, the cut-off frequency, to be filtered out. Allowing only the low tones to come through.

What are subwoofers?

Speakers which are specially designed for the conversion of low frequency audio signals. Subwoofers are produced in different styles and bandwidths in loud speaker combinations or as separate subwoofer boxes.

Mastering

After the completion of a ‘mix’ (see mixdown) all the compositions need to be made ready for production (e.g. made into CD’s or released as digital albums). This is the point where the volume levels of the individual tracks are normalized, the cleanness of the phase correlation (mono compatibility) of the entire recording is checked and, where possible, optimized by adjusting the sound behavior and dynamics of the individual pieces. The order of the tracks, the pauses between them, and their ID’s are finalized, essentially putting the final touches on the album or composition as a whole.

See the Mastering Buying Guide here

Mastering can also refer to the editing of a mix on an individual track without relation to other tracks. The sound characteristics are assessed again and small changes may be made. But it is no longer possible to process individual sounds as in the mix at this stage, rather individual frequency bands can be edited with equalizers and multiband compressors.

What is pre-production?

Pre-production refers to a first simple (demo) production of a song, which is usually also used as a guideline in the actual production. In some cases, the individual elements of the pre-production track are used as a base for individual (basic) tracks in the final production. Usually the intent is that they will be replaced by the final takes, if however the pre-production goes well enough, or has a unique character, it may be that parts of it are used in the finished production as well.

Audio Transparency

When it comes to studio monitor speakers, the ultimate goal is always crystal-clear sound reproduction. However, not all monitor speakers achieve this goal with the same level of quality. Very often, this depends on price. You can't expect a €200 speaker to match the transparency of a €2,000 model. That said, even when working within a budget, never compromise on sound transparency.

Transparency should remain high on your priority list when choosing a monitor. It ensures that your mixes translate correctly to other playback systems, preserving accuracy and detail in the sound.

Listening Tests

Measuring a speaker's transparency by just staring at the technical specs is a bit like trying to see the whole iceberg from the tip. The ultimate decision comes from putting on those tunes and giving it a listen. Your ears should have the final say! The flashiest speaker doesn't always make the cut. In hi-fi, it's all about that "wow" factor, but for studio monitors, the focus is on how the speaker reproduces well-known music or instruments. Pick tracks and instruments you know inside and out. If you tinkle the ivories, grab some top-notch piano recordings. Your favorite tunes and artists are your secret weapons for sussing out a speaker's real deal.

Space Requirements

You've got to consider the practical stuff too. Even if you've got a top-tier speaker, it won't shine if you can't place it just right. Space is the name of the game. If your setup only allows for speakers 70 to 80 cm apart, those hefty 8" woofers might not fit the bill. In that case, you might need to make peace with a bit less bass and go for 5" or 6" models. They can snuggle up closer and still rock the sound.

Budget

When it comes to setting up your home studio from the ground up, don't cut corners on your monitor speakers. It's a common trap - people go big on a top-notch large-diaphragm microphone but leave peanuts for their studio monitors. But here's the thing, your room's acoustics and your choice of speakers pack a bigger punch in the sound quality department than your mic. It's about the whole chain, folks! So, if you've got a budget to stick to, split it wisely between a solid microphone and a trusty speaker. Don't go all-in on one and give the cold shoulder to the other. Balance is the key!

Genre-Specific Selection

Your musical style can also sway your decision. Transparency is golden, but different music genres often ask for different things from your speakers. For example, if you're whipping up electronic beats for club bangers, you'd want speakers that can pump out the bass. Classical tunes might demand rich stereo imagery and exquisite detail. So, factor in your musical flavor and what your work hinges on.

Personal Taste

Though neutrality should be your primary goal, your personal taste will have a say. We all have our unique ear quirks. What's crystal clear to one might be ear-piercing to another! It's a matter of personal flavor. But don't be lured by a speaker that goes for spectacle over honesty. Your ear knows the truth!

The perfect studio monitor is the one that just clicks with you. As you delve into mixing, you'll build a relationship with a specific model, get to know its quirks. It's good to heed the wisdom of the pros on how to set them up and use them. But, above all, your monitors should be your sonic soulmates!

See all products Active & Passive Monitors, Subwoofers, Monitor Controllers, Monitor Speaker Floor Stands, Anti-Vibration Monitor Stands

As with most audio equipment, studio monitors are only as good as the weakest link in the signal chain. Therefore, spending thousands of euros on a pair of passive monitors only to connect them to a cheap amplifier would be pointless. It’s also important to carefully choose your speaker stands and cables. Use high-quality cables, as thin “bell wire” cables have high resistance and will cause significant signal degradation between the amplifier and the speakers. Similarly, sturdy speaker stands will optimize the bass response of your monitors and provide the best possible performance.

Always remember that it’s a good idea to give your ears time to adjust to new monitors. It will take some time to get used to them, especially if you're accustomed to using hi-fi speakers, which may sound smoother compared to your new monitors, which might initially seem harsher.

Thank you for taking the time to read this Buying Guide—we hope you found it comprehensive and informative. If you need any assistance in choosing the right pair of studio monitor speakers, one of our expert consultants will be happy to discuss your needs and offer guidance. Our consultants are knowledgeable, friendly, and just as passionate about music as you are. Get in touch with us, and don’t hesitate to call if you encounter any issues during the setup process.



AthensProAudio Team ©