Just a few comments…
Originally Posted by dannut
your home and a studio are probably two very different acoustic environments. ……. Why not make your home environment acoustically as close to the studio first, correctly calibrate everything, then worry about the speakers?
The design of any room or studio necessarily incorporates the interaction of the speakers and the room.
You do not simply ‘design a room’ and plop some speakers, regardless of what label one might attach to them, or of their actual power response/spatial dispersion characteristics, into the space.
The analysis and treatment of the room necessarily involves the interaction of the specific speakers and the environment.
Originally Posted by Wayne A. Pflughaupt
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Studio monitors are designed for near-field
use (read “up close and personal”)
The problem here to which I am referring is in the reference to “studio monitors” as if they imply a particular universal response. The term, unfortunately, has no real definition outside of its colloquial use.
I dare say that Kinoshita, KRK, Novo, DynAudio and NHT monitors are not simply ‘interchangeable’ without variance in the response.
Wayne’s suggestion that by simply swapping speakers that you will not necessarily obtain the response you desire or expect simply by virtue of having gone and found a speaker that has “studio monitor” attached to it is well founded.
So, while we have seemingly found fault with the original notion, on the other hand, this is not to necessarily denigrate such speakers either.
The larger point to understand is the speaker–room interaction is a holistic endeavor. Neither the speaker nor room operate independently of the other.
And a failure to approach the system in an integrated manner – whatever speakers you choose, is a recipe for sub-optimal behavior.
One bit of data that would be wise to evaluate is valid polar/power response measurements. Such plots can provide a good indication as the the degree of boundary interaction that you can anticipate in your space and how the total energy is distributed.
The advantage of dealing with some of the professional market products is that such measurements are often (but unfortunately, still not necessarily) available. Take that as a red flag.... Having access to such information makes conducting preliminary ‘napkin’ analysis and anticipating some of the treatment complexity much easier.
So, in response to your original proposal, proper
speaker selection may result in a better listening experience. but please do not simply buy speakers based on the attachment of some amorphous term such as "studio monitor" on a box. There is a bit more to understanding the design and behavior than the term. But that said, I would not eliminate product aimed at the 'professional' market from consideration! Just expand your POV a bit further to include not only the specs of the speaker, but how that speaker (based upon Valid specs) can be expected to contribute to the speaker-room interaction. Having a grasp of this, and followed up with good speaker and room measurements, one can achieve a superior listening experience.
And while you are on the subject of speaker selection, another requirement for surround mixing in the studio is that ALL of the "main" speakers be identical
Quoting from The Recording Academy's Producers & Engineers Wing
Recommendations For Surround Sound Production
regarding "professional mix environments":
"All main speakers should be identical, of the same brand and model. Only full range direct radiator speakers should be used; satellite and dipole speakers have no place in the professional mixing environment (see section 3-2). Mid-field monitoring is usually preferred for surround mixing. (Unlike nearfield monitors, mid-field monitors are designed to be used free-standing and not placed on top of a console meter bridge.) In the interest of uniform frequency response, all main speakers should be placed on speaker stands; the front speakers should not be placed on top of the console meter bridge. The use of movable speaker stands can be helpful if the rear speakers are to be shifted or angled differently from project to project because of genre-specific considerations...(see section 3.3.1)."
I will seriously suggest that one would be wise to learn from the studios and to comply with this format requirement in the ‘home’ as well.