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Monitors / Monitoring

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    Q. Is there any advantage to using two subwoofers?

    I've heard of having a subwoofer in your studio in combination with your monitors to reproduce the extra-low frequencies, but why would anyone use two?

    Sound Advice May 2005
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    Q. Can I get a more accurate bass sound using a subwoofer?

    What are your opinions on having a subwoofer in the studio? I recently demoed the Blue Sky Media Desk 2.1 system and I was very impressed by its quality and its price...

    Sound Advice Nov 2004
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    Q. What kind of stands are best for mounting monitors?

    Is it best to use table-top stands, floor stands or wall brackets to mount my speakers? I have Mackie HR624s, which are not ported, so does it matter if they're positioned close to the wall? SOS Forum Post

    Sound Advice Oct 2004
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    Q. Do I really need some 'grot box' speakers?

    I understand the benefit of having 'limited-range' monitors alongside full-range monitors so that you can hear what your mixes will sound like on small domestic hi-fi systems. But what advantage is there in buying these monitors for £250, when a cheap pair of hi-fi speakers can cost as little as £30?

    Sound Advice Jun 2004
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    Q. What's the difference between ported and un-ported monitors?

    I'd like to know more about the difference between monitor designs that feature ports and those that do not. How do they differ in terms of sound and performance?

    Sound Advice Jun 2004
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    Q. Where should I put my monitors?

    How much distance should there be between my monitors and should they face straight forward or be angled toward the listener? Also, as my monitors will be placed against a wall, should some acoustic foam be placed directly behind or between them?

    Sound Advice May 2004
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    Q. Where should I put my subwoofer?

    I want to add a subwoofer to my monitoring system, but how do I work out where to place it in the room?

    Sound Advice Apr 2004
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    Q. What kind of headphones are right for me?

    I'm considering the purchase of two sets of headphones: the AKG K240DF (flat response) for mixing, and the K271 (coloured response) for musicians to wear when monitoring their own signal, giving them the best sound for inspiration and encouragement. Would these models be suitable for these applications?

    Sound Advice Apr 2004
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    Q. Why does my track seem slower when I listen on headphones?

    I produce electronic dance music. Much of the time I work with headphones on, to help me focus on detailed sounds in repetitive loops. However, I often notice that when I switch to listening on speakers (to check the actual mix and so on) the track seems a bit faster. What could be the cause?

    Sound Advice Feb 2004
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    Q. What's the difference between active and passive monitors?

    What do the specifications 'active' and 'passive' denote for monitors? Does 'powered' mean the same as 'active'?

    Sound Advice Dec 2003
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    Q. What's the best way to fix a pushed-in tweeter cone?

    The dome of the tweeter on one of my M-Audio Studiophile BX5 monitors has somehow got pushed inwards. Does this cause permanent damage? If it's advisable, how should I go about pulling it back out?

    Sound Advice Dec 2003
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    Q & A December 2012

    Your Technical Questions Answered

    Can you advise on the powering and positioning of Behringer's Truth monitors? How can I control proximity effect? Why do speaker stands have spikes? Will Steinberg's Virtual Guitarist run on my PC? Will replacing my carpet with laminate affect the acoustics? Can you recommend a second-hand sampler with a floppy drive? How can I get broadcast masters to sound louder?

    Sound Advice Dec 2002
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    Monitors Demystified: Part 2

    Frequency Response Secrets

    What do the manufacturer's frequency response figures tell you about your studio monitors? Less than you might think, as Phil Ward discovers...

    Sound Advice Nov 2000
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    Monitors Demystified: Part 1

    Compromise & Approximation

    Monitor speakers affect nearly all the descisions we make when recording and mixing — yet most of us know very little about how they are designed, and why they sound the way they do. In the first of a new series, Phil Ward explains what goes into the design of typical passive nearfields, and the effects they can have on what we record.

    Sound Advice Oct 2000

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