One thing that is frequently overlooked by most recording studio owners – from the smallest home studio to the largest multi-room setup – is how the monitors are positioned. This can make a huge difference to frequency balance and stereo field, and while it should be the first thing to tackle before you start listening in earnest, it’s usually left for later when something doesn’t sound right. Here are a few things to experiment with that will lead you to the exact right location for your room. Don’t be surprised to find that those speakers that you didn’t think sounded great before suddenly come to life.
A. Check the distance between the monitors.
If the monitors are too close together, the stereo field will be smeared without clear spatial definition. If the monitors are too far apart, the focal point or “sweet spot” will be too far behind you and you will hear either the left or the right side, but not both together. A general rule of thumb is that the speakers should be as far apart as the distance from the listening position. That is, if you are 4 feet away from the monitors, start by moving them 4 feet away. You can adjust them in or out from there.
b.check tThe angle of the monitors.
Incorrect tilt will once again cause the stereo field to smear, which ultimately means you’ll hear a blur from the instrument. The correct angle is strictly determined by taste, as some mixers prefer the monitors to be angled directly into their mix position, while others prefer the focal point (the point where the sound from the tweeters converges) between three and twelve inches. behind them to remove some of the “hype” from the speakers (if they have it).
against check hwhere are the monitors mounted.
Monitors that are mounted directly on top of a console meter bridge or on a computer desk without any decoupling are subject to comb filter effects, especially on the low end. That is, the sound travels through the console or desktop, then through the floor, and reaches your ears before the direct sound from the monitors through the air (because it is a denser material and travels faster), causing the cancellation of phase. This can be more or less severe depending on whether the speakers are mounted directly to the metal meter bridge or to the desk, or mounted to carpet or similar material covering the metal meter bridge (very popular). The best way to uncouple the monitors is to use the same method used to mount the primary monitors on the soffit. Place the near fields in a 1/2 or 3/4″ open cell piece of neoprene (soft rubber) and decoupling will no longer be an issue.
D. Check tThe position of the tweeters.
Most mixers prefer the tweeters in a two-way or three-way system to be on the outside, thus widening the stereo field. Occasionally, inward-firing tweeters work, but usually result in smearing in the stereo image. Experiment with both though, because you never know.
E. Check thimself desktop or console.
The angle of the desk or console, the type of materials used for panels, knobs, keyboards, and switches, the type of paint, and the size and composition of the armrest all make a difference to the sound due to reflections that cause phase cancellation. If the sound from the near fields on the desk top or meter bridge is unacceptable, try moving them towards you with extenders or placing them on stands behind the desk or console (don’t forget to undock them).
A near-field monitor can sometimes get an unwarranted bad rap due to any of the above issues. It takes a bit of experimentation before you can tell that a particular monitor isn’t working for you. You’ll be amazed at what a difference an inch can sometimes make.