7 لتجنب الأخطاء عند إعداد شاشات ستوديو

Joe Albano on Aug 09, 2015 in Recording & Production 21 comments

Correctly setting up studio monitors is crucial to ensure your audio productions aren't awash with problems. In this enlightening read, Joe Albano discusses 7 things which can be avoided.  

اختيار ووضع مراقبين الاستوديو هو، بطبيعة الحال، واحدة من أهم جوانب تصميم تسجيل جيد / خلط الفضاء. كل قرار اتخذ أثناء عملية التسجيل

هناك الكثير من مناسبة

1. Avoid the Hype

غالبا ما يتم تصميم مكبرات صوت المستهلك لجعل كل شيء لعبت خلالهم يبدو جيدا بقدر الإمكان. ومع ذلك، ليس هذا هو الهدف للمراقبين الاستوديو. الغرض من رصد ليست لتعزيز تجربة صوتية ممتعة على الدوام، ولكن لكشف الحقيقة حول الصوت من تسجيل أو مزيج

صوت العديد من المتحدثين المستهلكين في أغلب الأحيان

لحسن الحظ، معظم المتحدثين تباع كمراقبين استوديو اطلاق النار لمدة (أكثر من المرغوب فيه) ميزان محايد، وقادرة على توفير مرجع المناسبة لاتخاذ القرارات. ولكن أنا لا تزال تأتي أحيانا عبر الأشخاص الذين يتقدمون بأنفسهم

Fig 1 Low-and High-Frequency adjustments on the rear panel of a studio monitor.

الشكل 1 منخفضة وعالية التردد تعديلات على اللوحة الخلفية للشاشة الاستوديو.

ولكن هذه الضوابط وهناك عدم إضافة رطم وهمسة، فإنها

2. Avoid the walls

وقد لاحظت أن معظم الناس أنه عندما يتم وضع مكبر الصوت من أي حجم على الحائط، فإنه

Fig 2 Free-standing placement (L) vs wall-placement (R) of studio monitors.

وضع (L) مقابل جدار التنسيب (R) مراقبين استوديو الشكل 2 قائمة بذاتها.

معظم المراقبين تأتي مع توصية لوضع، وتشمل العديد الاستجابة المنخفضة نهاية قابل للتعديل، لتتناسب مع المتكلمين إلى وضع

Fig 3 Rear-panel speaker controls for different speaker placements.

الشكل 3 الخلفية لوحة التحكم رئيس لمواضع المتحدث مختلفة.

ولكن هذه الضوابط باس فاز

3. Avoid Asymmetry

حتى لو كنت تجنب دعم المراقبين ضد الجدار، والانعكاسات من حدود الغرفة لا تزال تؤثر على الصوت. من الناحية المثالية، كنت

Fig 4 Stereo monitors symmetrically positioned between side walls.

التين 4 مراقبين ستيريو وضع متناظر بين الجدران الجانبية.

بهذه الطريقة، يجب أن يكون أي آثار من انعكاسات مماثلة

4. Avoid poor angles

يمكن لخبط القرارات بالغسل ستيريو المواقع المراقبين إما متقاربة جدا أو متباعدة جدا. مكبرات الصوت التي هي أيضا متباعدة على نطاق واسع قد توفر صورة مجسمة مع وجود ثقب في داخل المتوسطة. يمكن أن يسبب هذا لك باقة الكثير من عناصر المزيج بالقرب من المركز، مما أدى إلى مزيج التي لا توجد الآن

زاوية مثالية لشاشات ستيريو هي ~ 60

Fig 5 Stereo monitors positioned at a 60° angle.

الشكل 5 مراقبين ستيريو المتمركزة على 60

اذا أنت

5. Avoid reflections

كنت دون

في حين قد لا تكون قادرة على تجنب تماما عن مثل هذه الأفكار (كما حاول مع بعض التصاميم الراقية الاستوديو)، يمكنك محاولة التقليل منها. تجنب وضع عناصر تعكس في الأذن ارتفاع / مكبر صوت في الفترات الفاصلة بين المتحدثين والمستمع. كثير من المتكلمين لديهم تشتت أضيق في الطائرة العمودية

Fig 6 (Top) Potentially problematic reflections off the console/desktop; (Bottom) Reflections avoided by proper angling & narrow vertical dispersion.

الشكل 6 (أعلى) الانعكاسات المحتملة للمشاكل تشغيل وحدة التحكم / سطح المكتب. (القاع) تأملات التي تجنبها الصيد السليم

6. Avoid excessive levels

هناك عدد من الأسباب التي تجعل مراقبة الدوام في صوت عال جدا مستوى ليست فكرة جيدة. هناك

كثير من الناس على دراية منحنيات فليتشر-مونسون، التي تصف جانبا من جوانب السمع البشري.

Fig 7 Fletcher-Munson curves show the EQ needed to compensate for the ear’s varying sensitivity to high & low frequencies at different SPLs.

تظهر منحنيات الشكل 7-فليتشر مونسون وEQ اللازمة للتعويض عن الأذن

آذاننا أكثر حساسية للالراقية، وخاصة لهذه الغاية منخفضة عند مستويات الاستماع أعلى

معظم المهندسين ننصح بالعمل / خلط في متوسط ​​مستويات ثابتة من حوالي 83

7. Avoid too much sub

اقتراح واحد أكثر اضافية .. إذا كنت تشعر بأنك بحاجة أكثر نهاية المنخفضة من أصغر (

Fig 8 A properly-calibrated subwoofer doesn’t boost or enhance low-frequency response, but extends it.

الشكل 8 A مضخم صوت معايرتها-دوسن

عند إعداد الفرعي، كلما كان ذلك ممكنا استخدام متر SPL وإشارات الاختبار (طن / الضوضاء) إلى الاتصال الهاتفي أأ المستوى الفرعي الذي يطابق مستوى أدنى الترددات من المتحدثين الرئيسيين (أوكتاف أو اثنين من أعلى)، التأمين حتى ( شقة) رد ممكن على طول الطريق وصولا الى حدود الفرعية

وأن

هل تريد معرفة المزيد عن الصوتيات؟ مشاهدة هذا الفيديو التعليمي ممتاز جو البانو هنا .

Joe Albano

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Joe is a musician, engineer, and producer in NYC. Over the years, as a small studio operator and freelance engineer, he's made recordings of all types from music & album production to v/o & post. He's also taught all aspects of recording and music technology at several NY audio schools, and has been writing articles for Recording magaz... Read More

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Discussion

jimijames
Great article. Thanks!
Aug 09, 2015
Joe A
I'm glad it was helpful! :-)
Aug 09, 2015
Koolmeme
Hey Joe ... great article!

Two questions on point 7 ... background first ... SPL'd my 2.1 setup using a couple different methods/mics and found (not unexpectedly) that the further I went below the sub crossover frequency (120HZ) the greater the "pump" it provided relative to the 5" satellites as I toggled the sub on/off. So I chose to equalize the setup dBs at that crossover point.

Questions:

1) At what frequency should I attempt to "match" the dBs between the sub on/off states?
2) What criteria should be considered when setting a crossover frequency for a 2.1 setup that has a variable crossover setting? Room? Genre? Mixing vs Mastering vs ... etc.

Pre-thanks for your feedback!
Sep 07, 2015
Koolmeme
Oh, and Joe, to clarify, I am using a sub/satellite 2.1 set that splits the signal at the crossover point, i.e., the audio signal goes directly into the sub, the satellite signal is routed via the sub. They receive everything above the point, the sub everything below. Unless the sub is bypassed.
Sep 07, 2015
Joe A
Hi Koolmeme..

Re (1), sounds like your approach—match sub to satellites at the crossover point—is solid.. Ideally, you want the sub to pick up seamlessly from the satellites at a point where the smaller speakers are still more or less flat, just before or just as they start to roll off.. As to what the best crossover frequency will be (2), I'd say if you want the most neutral response (always the goal!), then it'll depend more on the size and low-frequency extension of the satellites than on genre or application.. I'd say 120 Hz is near the top of the range—I prefer around 80 Hz or so, but if the satellites are on the smaller side (
Sep 09, 2015
Joe A
Repost - the first post cut off the end of the text..

Hi Koolmeme..

Re (1), sounds like your approach—match sub to satellites at the crossover point—is solid.. Ideally, you want the sub to pick up seamlessly from the satellites at a point where the smaller speakers are still more or less flat, just before or just as they start to roll off.. As to what the best crossover frequency will be (2), I'd say if you want the most neutral response (always the goal!), then it'll depend more on the size and low-frequency extension of the satellites than on genre or application.. I'd say 120 Hz is near the top of the range—I prefer around 80 Hz or so, but if the satellites are on the smaller side (
Sep 09, 2015
Koolmeme
Thanks for your response. Went back and found these 5" satellites start rolling off at 100Hz. So I moved the crossover just a touch above that, down from the original 120Hz. Then re-matched sub on/off dBs at that level. Seems good for my setup with those satellites. Did a fresh ARC 2 correction and it improved the lower end of the clean signal. Much less correction required.
Sep 14, 2015
Joe A
Great! Sounds like now you've got the sub as well-optimized—as well-matched to the satellites—as possible, for the most neutral response. Hopefully this'll make for an even more trustworthy monitoring environment, at least as far as the low end.. :-)
Sep 16, 2015
Allan
Hi Joe, thank you very much for this article. It's very useful and it really helped me set up my studio speakers. A couple of weeks ago, I bought a set of KRK Rokit 5 monitoring speakers since many review sites (this was what made me decide on it http://studio-speakers.com/bestmonitoringspeakersreview/) said they're the best in their price range and I could only afford cheaper ones. These studio monitors sounded awful at first but after reading this article and following the suggestions it finally sounds better now. However, the bass still sounds a bit too much, do you have any suggestions on how to fix it? Thanks!
Feb 06, 2017
Joe A
Hi Allan -

I think the most likely way a 5" speaker would exhibit too much bass is if it's up against a room boundary (wall, floor, or worst of all, corner). If that's the case, that'd be the first thing I'd try, moving them a couple of feet away from walls and floor. If they were sitting on a resonant object (something hollow, for example) that could also over-emphasize bass. Of course you'll want to check that no tone controls are boosting the low end unintentionally. Any "Loudness" buttons should be off -- those are intended to compensate for quiet listening levels by strongly boosting bass, but they're notorious for overdoing it, and they should never be switched on for normal-level monitoring. And I assume you've checked the monitors with various commercial recordings as well as your own mixes. Hopefully one of these might be a contributing factor to an overly-bassy response, and addressing that will restore a more even balance.

Cheers,
Joe
Feb 07, 2017
daslicht
The triangle is actually less optimal, it should and 'behind' the head not in front of, no ?
Mar 26, 2017
Joe A
Yes, ideally the sweet spot point of the triangle would be at the back of the head -- if the image was an actual floorplan/diagram the little guy would be sitting a little closer (and the angle would be closer to the 60° specified).. :-) Of course, the equilateral triangle and 60° angle is an ideal reference point-- as long as the listening angle is not too much wider or narrower, the stereo image should be fine for mixing.

Cheers,
Joe
Mar 26, 2017
Untouchable_888
Hi. Thanks for writing this great article!
I don't understand the Fig. 6 diagram/image. I don't see how the monitors are positioned differently to do away with those reflections shown in the top portion of the image?

I also like how in your diagrams, there is no computer shown. How great!
Apr 08, 2017
Joe A
Hi.. You're right, you can't tell from the picture.. Many monitors have different dispersion characteristics in the horizontal and vertical planes -- so a particular model might have wide horizontal dispersion to allow for a more inclusive listening area, but narrower vertical dispersion to avoid reflections, as pictured. It's important to be familiar with the speaker's horizontal/vertical dispersion when placing them -- if they're meant to be positioned vertically, and you lay them on the sides (as many people do with console-top monitors), you may unintentionally narrow the listening area, and inadvertently cause more reflections off the console or table surface, as shown in the top picture.

Some monitors -- if they have different horizontal/vertical dispersion patterns -- even provide an option to unscrew the tweeters and rotate them 90°, to allow for either horizontal or vertical positioning with the appropriate dispersion characteristics at the critical higher frequencies.

Cheers,
Joe
Apr 08, 2017
Noobie
i used audio interface to record on fl studio 12.5 but my voice volume so low to hear and the music i cant even heard my music Its my first time to record with Audio Interface and i still dobt know how to solve that problem im the real noobie
Oct 29, 2017
Joe A
It sounds like you need to increase the input volume for your vocal mic. On the interface there should be a knob labelled Trim or Gain next to the mic input you're using. With the channel strip in record-ready mode (red light flashing) turn this up until the meter in that channel maxes out at around -6 dB and then record -- that should be plenty of level for your vocal. In playback the levels for the various channels should be set so that the level in the meter in the Master channel strip also tops out at around -6 to -3 dB (from the top). Then simply crank the listening level on your amp/speakers for a suitable monitoring level.
Oct 30, 2017
Display
This whole 60' angle thing is hogwash. That's what is recommended for ideal rooms - basically an anechoic chamber. Is your studio an anechoic chamber? Yeah, mine neither. The reality is that every space will have it's own unique modes, and you need to *EXPERIMENT* with your speaker placement to get it right. You can't just apply some theoretically ideal angle and get it right. And no, having your speakers too close won't mess with your stereo field... does that happen for you with headphones?
Oct 02, 2018
Joe A
Hmm...

First off, an anechoic chamber is not an "ideal room" -- at least not for listening to or mixing music.. And the 60° angle recommendation is not about room modes, it's about perception of the stereo soundfield.

> You can't just apply some theoretically ideal angle and get it right..

Whatever "get it right" means, the article doesn't suggest that a 60° angle is a panacea for any of the myriad issues that may relate to reflections or room modes -- it's a standard recommendation intended as a general guideline for novice engineers who might be inclined to position the monitors in a less-than-ideal layout that might not work as well for them.

> ..having your speakers too close won't mess with your stereo field...

Again, the article doesn't suggest that closely-placed monitors will "mess with your stereo field" -- it suggests that it could mess with an inexperienced mixer's panning decisions. (Overly-wide positioning *can* affect the perceived stereo image, unless you sit really still while mixing)..

> ..does that happen for you with headphones?

If "that" means affect panning decisions, then yes, it certainly can with inexperienced mixers.

It sounds like you may have your speakers positioned differently than the article recommends (and perhaps are sensitive about perceived criticism of that choice?) -- if that’s the case, and it works for you, then it’s all good. But the standard 60° angle recommendation is still good advice for others.

Cheers,
Joe
Oct 03, 2018
Pjay999
Have a question. I have a home studio with Pressonus front port loaded monitors do I still need to keep off the wall behind the speakers?
Oct 25, 2018
Joe A
Hi Pjay999 -

Regardless of the speaker design or port location, the speakers are still subject to the effects of room modes if mounted up against a wall. If they have a switch on the back to match their low-end response for different placements, the half-space position would theoretically modify the bass response to be more suitable for wall placement, but you should still get more even bass response with such a switch in the full-space mode, and the speakers mounted a couple of feet or so from any room boundaries.

Cheers,
Joe
Oct 26, 2018
ken
how do I hook-up speakers to my existing monitor speakers for a full sound in my (home) studio and what speakers would you recommend I want to hear what my recordings sound like on a consumer-like platform after mixing.

Thanks
Jun 16, 2020

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