Hello! This is my first time posting on this forum! I just finished a build for a personal set of speakers with a woofer and a compression driver with a horn attached which was very fun! I'm moving on to my next project where I would like to build a pair of studio monitors with a relatively flat frequency response, are there any well known drivers (tweeter and woofer) that anyone would recommend which would be a good fit for a reference pair? Thanks!
Purify woofers with be tweeters...
https://hificompass.com/en/projects/2-way-systems/puri-bliss-bewg
https://hificompass.com/en/projects/2-way-systems/puri-bliss-bewg
I've always been puzzled by the term 'studio monitor' which would then have a flatter frequency response than 'ordinary' loudspeakers, as if the designers of those intended it that 'coloured' way on purpose! I'm very happy with my Finals, no odd filtering and no phase tossing in a broad range.
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Studio monitors have several requirements. They must be flat over their expected range, meaning smaller ones don’t go as low Or have a bump in response to fake low bass. They must play at very loud levels without changing character or distorting. They must be very revealing of detail at all levels. They must play loud for days on end without overheating creating compression or blowing up. The can’t hide or emphasize anything.
Hi, have you succeeded? I also intend to design a studio monitor, but don't find references. Almost every reference I find is about designing speakers in general. Have you found any good references on Studio Monitors?
I think its mainly a question of cost and precision - accurate studio monitors have a much higher budget than "ordinary" loudspeakers, and require better QC. Cheaper drivers may have too much manufacturing spread to meet more exacting specifications.
Summarizing: commercial loudspeakers are crap?
A 'smart' manufacturer might sell regular loudspeakers as studio monitors by replacing the iron coil with an air coil plus some cosmetic oil.
With a faking bump???
Actually, for mixing purposes, durante production, the frequency response is suposed to be as flat as possible so the person who is mixing can judge what she is hearing without any additional equalization. Once the track is recorded after mixed, the user can equalize it the way he/she likes when playing the song.
This is the reason we need studio monitors.
For end-user listening, we want a more colorfull song, because listening to it with no equalization is not nice. So speakers manufacturers build the speakers in a way that the bass, for instance, is highlighted. That doesn't mean that the speaker is lower quality, rather it has other purposes than mixing.
This is the reason we need studio monitors.
For end-user listening, we want a more colorfull song, because listening to it with no equalization is not nice. So speakers manufacturers build the speakers in a way that the bass, for instance, is highlighted. That doesn't mean that the speaker is lower quality, rather it has other purposes than mixing.
A studio monitor is just a speaker with a neutral "tuning", all the info about building speakers in general is applicable to monitors as well.
Part of the flat response for optimum mixing and tuning of the recordings will be the cramp and item-stuck studio itself, along with reflections, back-emf's, and smoking and stinking audio techs who suffer from and deny their tinnitus. I doubt (opinion!).
I've listened to a countless number of speakers at audio shows in the last few years and it is exceedingly rare to hear a system that would be good for mixing or mastering.
The speakers must be free of coloration -and- they must have a very good sense of energy (dynamics).
This usually requires a highly efficient speaker (unlike many "audiophile" speakers) driven with a fair amount of power.
Free of coloration... studio monitors are and 'normal' speakers not?
A sense of energy??? Dynamic requires high efficiency, audiophile loudspeakers are not.
A fair amount... what is a fair amount. And why this fair amount (aka 'loud'?) if they are high efficient?
Visiting audio shows as a reference.
What do you hear to distinguish a good from a lesser system?
Do you have an absolute hearing?
What kind of music do you listen to?
I won't start to discuss steep crossovers around 2 kHz, phase shifts and what not.
What do you call monitors? Nearfield, midfield, mains all have different sets of constraints and requirements and all are monitors.
First define your requirements from there you could easily find design which fits ( or be guided through options) and or commercial products that can be retroengineered.
70's are long gone. Such comments should be too.
Never been into a good professional commercial control room (and it's obvious you never been into a recent one neither by your comment about gear...)?
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