This is a very broad category in which you might put from a JBL GO tiny Bluetooth speaker to an active shelf-top speaker. The lower the quality, the more frequencies might be boosted because if something can trick your ears into thinking something sounds good it is volume. When something is loud, more air is moving and you get a positive feeling. These speakers boost many frequencies and are not so consistent making music fun but fake. These are state of the art equipment that responds to what an audiophile would buy but for a larger audience.
They are usually divided into three different frequencies represented by a sub-woofer or woofer in the lows, a driver or woofer for the mids and a tweeter for the highs. They can handle the full spectrum of frequencies and hence can allow for an immersive experience. On the other hand, they are not good as studio monitors because they are made for the audience, for them to have fun and hence add a particular EQ curve depending on the manufacturer.
Whether in the studio or in a live situation, monitor speakers are designed to be boring. In fact, my daughter, a four-year-old with curly hair and freckles tells me she hates to play her songs in my state of the art studio rig because it sounds boring. She would much rather use the home theater in our living room for fun and karaoke.
Monitors are made to listen to a work in progress instead of a finished product. This provides certain advantages:. The most noticeable frequency is the lows. You might think you have is a great, tight, and focused, round kick drum working on a pair of regular speakers boosting lows and when you go to the next pair, the kick drum is gone or small and pathetic. This means that studio monitors sound flat and boring but are designed for you to work with them for hours.
These have been an amazing purchase and suit my studio size perfectly. Check them out here on Amazon. You might have heard this term a lot when searching for monitors. In case you are still wondering what it means may I remind you that you came to the right place? If you have ever seen a graphic equalizer, you might know that they represent mostly the frequency spectrum that the human ear can capture roughly 20 Hz to 20 kHz and allow the user to boost or cut any given band.
Most music consumers therefore prefer speakers that seem to enhance their listening experience. Many hi-fi speakers accomplish this by boosting the bottom end and top end. Musicians, producers, and engineers want something different. They need to hear the plain truth.
They want speakers that add no extra sugar and hide no imperfections. If there are wrong notes, extraneous noises, or imperfect sounds, you want to address those issues before anyone else may notice. So you need speakers that give you quite a bit more detail than usual hi-fi speakers. At the mixing stage, you need to hear if the balance is perfect. There is a fine line between loud and too loud, between powerful drums and the drums overpowering the vocals.
Therefore, studio monitors have an incredibly precise audio quality that can show any kind of distortion and background noise. Frequency response is how fast the speaker responds to the frequency to produce a signal with no distortion to offer a natural sound wave. The frequency response for a studio monitor should be as flat as possible to get accurate sound quality. Conversely, regular speakers attribute a frequency sound that varies from 2db and above, which can change how the output is influenced by the input.
The frequency response has a lot to do with the bandwidth, which measures how long it takes for one complete cycle to pass through. Since studio monitors have a flat frequency response, it means that the output signal is close to the input signal.
Regular speakers add distorted noise to the sound quality, which affects the audio output across all devices. For instance, if you have played a song on your headset and then switched to your car stereo, you may have noticed it sounds different. The total harmonic threshold attributes to either high or low numbers in the amount of distortion from added circuit noise.
A loudspeaker enclosure is a cabinet often box-shaped which holds speaker drivers and associated electronic hardware such as crossover circuits and power amplifiers. Speaker Cabinets range in design from simple to complex. If the sound guy only turns things up like the performer asks, there will be a point where the PA is completely worthless because the monitors are actually that loud.
It can also be difficult to mix the house when the mics have so much "background noise" from the monitors, not to mention that annoying and embarrassing feedback squeal. Instead, a good sound guy will also listen to the monitors himself, to determine what the performers might be hearing too much of, and turn that down. In-ear monitors are nice too.
They keep the stage dead quiet except for the performers' own, direct sound. But the sound guy should still listen to them, one at a time, through the console's headphones, so that he can turn things down as before and avoid breaking the performers' ears. Monitor speakers are speakers that play the plain sound without distortion through the frequency range.
They are designed to allow you to hear exactly the electronic sound. So the only special thing about a 'monitor' loudspeaker is that it has a flat and uniform frequency response throughout the range. As an aside, this flat frequency response comes usually at the expense of efficiency. But to make a monitor loudspeaker it typically requires a great sacrifice in volume; monitors need more power in to deliver the same volume of perceived loudness.
They tend to need to sacrifice efficiency in the design, in order to be capable of achieving the 'flat frequency response'. So a speaker with colour isn't a studio monitor but if a tone deaf person were to describe a loudspeaker of significant colour as being flat in frequency response and it were an expensive speaker then it could be determined to be an expensive studio monitor that is flat.
My summary is akin to wine tasting professionals who when given blindfolded taste tests these proclaimed wine tasting pros cannot distinguish between an aged Italian or French vintage or a bottle of three buck chuck from your local grape grower.
So taste, like sound, is in the pallet or oto of the beholder and how they can spin a raconteurs description of their experience. Sign up to join this community. The best answers are voted up and rise to the top. Stack Overflow for Teams — Collaborate and share knowledge with a private group.
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