Given the high demand for information on educational and practical topics we are receiving these days, we have updated this chapter for those of you who are most confused about monitoring. How to buy and which ones? Things to consider when choosing.
The studio monitor market is busier every day. Busy in terms of activity, because the number of “producers” of all kinds, levels of knowledge and categories has grown exponentially, in direct proportion to the growth of the small and mid-sized studios that have been springing up. That includes home studios, or those that started out as an "experiment" and have become "homemade" but fairly professional tools today.
Nowadays, practically anyone understands that they absolutely need a pair of near-field monitors for recording and mixing work in their studio. Obviously, professionals have known this for a long time. But everyone who has seen the light when it comes to setting up a studio at home or in a rehearsal space, thanks to computer developments or workstations, has not always been so clear that monitors are an absolutely essential piece of the puzzle.
Of course, as you work on mixing and run into difficulties and results, you become more aware of exactly what you need from a pair of monitors. You understand why they help you, or the reason behind serious mixing mistakes caused by poor monitoring.
In parallel with all this, manufacturers are aware of this trend, of the fierce competition and of the number of new customers looking for the product. As a result, the offering has grown and we can find a multitude of products at very different prices and with very different features.
What criteria should we consider?
Expert users need more specific information than amateurs. Likewise, the range of monitors for each group is completely different in price, quality, results and a long list of other factors. Nevertheless, today we intend to put together some pages that will be useful for the different users of near-field monitors.
On the one hand, we will refresh the concepts involved in searching and choosing. Those of you who don't know can use these concepts as a reference. For the experienced, reading this will surely make you reflect on and organize your own criteria. Finally, we will show a table summarizing different alternatives across their ranges and quality levels.
Transparency and clarity
This is, in our view, the essential criterion. Our primary goal is to find a pair of monitors that shows the reality of the recording; we don't need it to always sound “pretty.” On the contrary, we need it to show us, in stark reality, what is ugly, what is wrong. That way we can clearly detect imperfections and prevent mix errors from being hidden in a “muddle.” In fact, they shouldn't exaggerate anything, just be faithful, clear and transparent. We need to hear perfectly what has been recorded.
Balance
Most people who work professionally in production appreciate a balance between the clarity and transparency we mentioned and a certain liveliness, intent and character. In other words, the requirement that they show reality does not necessarily mean we have to work uncomfortably. So it wouldn't hurt for the pair to allow us to work well, accurately and with some liveliness.
Build and sturdiness
Although a monitor will surely be well looked after in a studio and won't be subjected to the harsh conditions of live work, we should (always) look for solid, well-assembled, well-built units. We spend many hours working, and a signal peak may slip through, or a power outage may send a pop to the cones... in short, a thousand circumstances that make it necessary for the product to be as solid and sturdy as possible. This toughness will let us work with more peace of mind, and the monitors will last longer, however well we take care of them.
Versatility
It is common to find studios with several pairs of monitors in their ranks. There are several reasons for this. On the one hand, some monitors excel in certain areas, that is, some are better suited for recording, others for mixing... On the other hand, having more than one pair gives us extra references for how our work will sound. Today, trying to stick to our budget, we need a pair of monitors capable of performing well in every area: recording, mixing, mastering, listening to CDs, etc. Why not? By searching hard we can find a pair that excels at every task.
Pleasant, stress-free listening
This parameter is very relative and confusing. I don't mean “pretty” listening; I mean listening that doesn't wear you out. Keep in mind that you will spend many hours recording, listening, raising, lowering or EQing. If the sound is harsh, your ears will end up exhausted, and you will even lose perception as the hours go by. So we recommend that you look for gear that is comfortable in this respect.
Standard reference
Unless you have a very clear and specific field of work, it is advisable for your monitors to give you a reference that is not at either extreme. It is clear that our mix will sound very different in the end, depending on the system the consumer listens to it on. It won't sound the same on the system of a dance music fan who is crazy about the American sound as on a car stereo with huge woofers, or on the superb system of a jazz enthusiast who likes sound without boomy lows.
Therefore, and considering how wide the range of possibilities is, your pair of monitors should give you a standard, middle-of-the-road reference so you can stand behind your mix in any later listening situation.
Other criteria and conditions for listening tests before buying
We could add a few more parameters, such as stereo image quality, presence, low-end control/clarity and, in short, a series of other qualities that should be considered when choosing monitors. In any case, all of these impressions will jump out at you, especially if you always do your listening tests with the same songs. For example, choose three types of songs with different characteristics and frequency ranges: a quiet song with acoustic instruments, vocals, etc.; a hard-hitting, fat song (funk or dance, for example); and a powerful guitar-driven song. Then play all three songs under equal conditions through every pair you test and write down your observations. You will notice the differences between them quite clearly. Make sure the monitors are well placed, and of course placed equally. If the store where you test them has some very low, others very high (I mean height relative to your ears), some pushed into a corner against the wall, others in the middle, and so on, the references you take will be useless, because each pair will be colored differently by its position.
Monitors at all sorts of prices. Why?
As we anticipated in the introduction, the appearance of thousands of home or semi-pro studios has made room for countless products. Beginners can't spend €6,000 on a pair of monitors, although they probably wouldn't notice all the differences compared with cheaper ones either. An average user with a bit more experience, however, will think that “ultra-low-end” monitors are of no use and will need something a little more “refined.” A professional will know perfectly well what they need and will therefore be very discerning in their search, setting their sights on the high end, from which, on the other hand, they will get a better return on their money.
Basic tiers of reference monitors
While noting that generalizations are impossible and not very accurate, and that every model and manufacturer has its own peculiarities, we could establish the following groups:
| A. BASIC MONITORS UNDER €100 or €250. These are usually basic monitors, generally conceived as an attractive, eye-catching product that dazzles the beginner. They seem a sensible choice for those starting out, since when learning to use gear and building your systems it is best to go step by step, understanding what you buy and why, and waiting until you are fully aware of when you need better ones, that is, when you are able to clearly identify the differences. If you have a big budget, which is unusual, you can skip this step, although most beginners go through it. Although some models in this category confuse more than they help when mixing, they are a significant step up from any shoddy or unsuitable listening system you used before. That said, look for the best ones in this category and don't be fooled by a pair that sounds fat to mislead you; remember they have to sound “dead honest,” as a good friend of mine would say. | ||
| B. BASIC MID-RANGE MONITORS BETWEEN €251 and €500. The truth is that this small increase in investment doesn't amount to a lot of money, but it does mean a qualitative leap in the quality of the monitors. Although it is impossible to generalize rigidly, since each manufacturer and model has its own peculiarities, this second tier of products usually features adjustment controls. The goal: to adapt the sound to the monitor's position or to the room where we place it. | ||
| C. MID/MID-RANGE MONITORS BETWEEN €501 and €1,000. Here we start to find products offering a good balance of clarity, accuracy and punch. Pleasant, quality sound that begins to show greater precision. | ||
| D. HIGH-END MONITORS BETWEEN €1,001 and €2,500. We are now dealing with products of excellent quality. Accuracy, clarity, transparency, good stereo image, presence, sturdy and balanced. The differences between brands become increasingly subtle. You have to start fine-tuning your ear to detect the nuances of each one. | ||
| E. MONITORS OVER €2,500, HIGH-END/LUXURY. From here on we find gear of excellent quality and with technical qualities that only true experts can enjoy. Although even the roughest, most hardened ear can appreciate the perfection of the sound of this type of monitor, only highly qualified professionals will detect and be able to justify these high costs. Whoever can afford them is lucky. |
Bear in mind that this classification is a rough attempt to group the different tiers of the market. Obviously there will be exceptions, that is, monitors at one price that could fit the next quality description, or vice versa. We can also find substantially more expensive monitors, even over €6,000 each, but I think these are beyond the reach of most average users and many professionals. In short, take these indications as general rather than specific references.
