Learning all the nuances of music production and getting into the business itself takes a lot of effort. You will need skills, but also specialized tools if you want to get your projects done properly. Of all the studio gear found in an average studio, chances are that studio monitors are in the top three in terms of importance.
Table Of Contents
|Image||Studio Monitors / Rating||Summary||Check Price|
|+ -|| Adam Audio A5X |
Total of 4.83/5
Impressive trebles that reach frequencies higher than almost any other monitor available.
|+ -|| PreSonus Sceptre S6 |
Total of 4.83/5
Stellar performance in a highly compact package made possible by coax design.
|+ -|| Focal Alpha 65 |
Total of 4.87/5
Flat response and professional grade performance packed in a pretty compact chassis.
|+ -|| ADAM Audio F5 |
Total of 4.80/5
Awesome monitor speakers that borrow plenty of solutions from their flagship cousins.
|+ -|| JBL LSR308 |
Total of 4.57/5
Featuring advanced waveguide design that allows for a pretty flexible sweet spot.
|+ -|| PreSonus Eris E8 |
Total of 4.73/5
Truly great set of transducers packed into an already proven cabinet design.
|+ -|| JBL LSR305 |
Total of 4.63/5
The go-to choice for those who need optimized performance on a budget.
|+ -|| KRK RP5G3-NA |
Total of 4.33/5
The latest iteration of a very successful set of budget monitor speakers.
|+ -|| PreSonus Eris E4.5 |
Total of 4.20/5
Offering more real estate in terms of drivers and plenty of headroom.
|+ -|| Tascam VL-S3 |
Total of 4.03/5
Probably the best balanced and best performing choices in the budget segment.
ADAM Audio’s A5X series of monitors have created quite a commotion when they first hit the market. To start things off, ADAM Audio isn’t a brand that releases ’affordable’ monitors every other day. We put those quotation marks there because these aren’t really that affordable, which should tell you at which level ADAM Audio usually operates. A5X brings some of their best solutions, including the X-ART hybrid ribbon tweeter that is capable of reaching as high as 50kHz. Low frequencies are handled by a 5.5“ carbon/rohacell/glass fiber driver with enough power to make these sound much larger than they are. Overall, A5X packs some 100 Watts RMS of bi-amped power, making more than capable for most applications.
Made popular by their Eris family of monitors, PreSonus has shown the world that they are capable of much more. Sceptre S6 is a design created to conserve space but still deliver a massive sound. The most interesting thing about these speakers is the driver configuration. These are coaxial in nature, with a horn loaded tweeter sitting comfortably inside the low-frequency driver. PreSonus has chosen to go with a front firing slotted reflex port, thus simplifying the bass handling in smaller studios. Sceptre S6 is also a bi-amped design where each driver is fed 90 Watts of power, reaching the peak max SPL of 109 dB at 1 meter. Needless to say, Sceptre S6 packs one very mean punch.
The story behind Focal’s entry to the affordable market is similar to that of ADAM Audio. Their approach was a little different, though. Focal had decided to focus all of their efforts into building a speaker that sounds and performs as one would expect from such a big brand. That also meant cutting some corners along the way. However, whatever corners they have cut, they’ve managed to fool even the more conservative producers. With an unusual configuration that includes a 1“ aluminum inverted dome tweeter, 6.5“ poly glass cone woofer, 105 Watts of bi-amped power and more than plenty of headroom, Focal Alpha 65 sound way bigger than they actually are. Needless to say, frequency response delivered is extremely flat.
Another ADAM Audio design that really deserves attention goes under the name of F5. This speaker is a truly affordable solution from ADAM Audio, which has shown just what kind of integrity this brand represents. They went on and used most of their high-end features, including the now famous X-ART tweeter technology. The really awesome thing about the F5 is how well it works in smaller studios. Its compact size, 5“ woofer cone, and 50 Watts RMS will get you some 106 dB of max SPL you can actually enjoy. That also means that you get enough headroom from such a small speaker cabinet. ADAM Audio F5 is about as balanced as it gets if you’re on the budget.
If there is one name you could always turn to, it’s JBL. Their LSR series of studio monitors have created something of a cult following on the market. JBL pretty much created a perfect formula for a no-nonsense set of monitors that simply work. The LSR308 packs a large 8“ woofer cone, paired with a 1“ soft dome tweeter. Max power output is set at 112 Watts per cabinet, which is delivered by a bi-amped configuration. Thanks to JBL’s proven waveguide design, LSR308 offers a rather wide sweet spot. You can move considerably off-axis and retain the same sound quality. Overall, LSR308 has always been considered as the best bang for the buck monitor that packs an 8“ LF driver.
While PreSonus may not be nearly as big of a name as some other brands when it comes to speakers, their monitors have answered almost all of the needs of the budget segment. Eris E8 is the largest in the series of what have become go-to monitors. What we are looking at here is a 1.25“ dome tweeter sitting over a massive 8“ cone. On top of that, PreSonus went with a large slotted front firingport, which definitely helps out with speaker positioning. In terms of power, there is plenty to go around. You got 75 Watts on the LF line and 65 Watts on the tweeter resulting in some 105 dB of peak SPL at 1 meter.
Just like its larger cousin we have already mentioned, LSR305 has enjoyed a lot of success. It’s arguable that this speaker is the most popular among the entire lineup due to its balanced price. JBL packed a 5“ LF driver and a 1“ tweeter that also features that advanced waveguide technology. Again, the sweet spot is wide and forgiving, while the response is comfortably flat. What makes LSR305 even more attractive is their compact size. These monitors are the perfect choice for smaller studios where space is a hot commodity. In terms of power, we have 82 Watts being pushed by a bi-amped configuration. With 108 dB Max SPL at 1 meter, you just know that there’s plenty of headroom.
Rokit series of monitors from KRK is another famous lineup that has been around for quite some time. The one we’re looking at today is actually the third generation of these speakers. All of the memorable details are still here, including the yellow driver cones. However, with this latest evolution, KRK has reshaped the cabinets and added a bit more punch to the performance. Transducers available are the 1“ tweeter and a 5“ LF driver, both of which are powered by a dedicated amp. Max output is limited to 50 Watts per cabinet, which is enough to reach 106 dB of Max Peak SPL with enough comfort. Additionally, KRK has included their room acoustic controls which definitely increase Rokit’s appeal.
It’s arguable that Eris E4.5 is one of the few monitors that dominate the lower end of the affordable segment. Easy to use and compact, Eris E4.5 have a lot to offer. You are looking at a great balance of power, performance and controls packed into a simple 2-way configuration. Each cabinet is capable of delivering 25 Watts, which is enough to reach 100 dB peak SPL at 1 meter. Being a single amplifier setup, we’re happy to report that the built in crossover works flawlessly. They’re impressively flat for the price, and the fact that they come with room acoustic controls only adds to their already huge appeal. Eris E4.5 is the sweet spot for this family.
Last but not least we have a little-known model that has proven to be quite a success. Tascam’s VL-S3 is simple, extremely compact but also powerful. These two-way monitors feature a .5“ tweeter sitting comfortably above a 3“low-frequency driver. In terms of output, a pair of Tascam VL-S3 will get you some 28 Watts of power. While this means you’ll be tight in the volume department, those 28 Watts are plenty enough to take care of a smaller studio. The best thing is the price which is honestly extremely hard to beat. Sure, VL-S3 are bare bones monitors that not many people have heard of, but they will get you the necessary performance to get started.
You can click on any of the links below to check out the detailed article about each price range.
A studio monitor might look like your average bookshelf speaker, however, their purpose is completely different. When making music, one of the issues that producers have been encountering for decades is making their music sound good on every system out there. That means achieving same or similar results on a home Hi-Fi system, car stereo, and average headphones. Why is this an issue? It all comes down to speaker bias and how they were set up from the factory.
For example, some speakers and headphones are really bass heavy. Manufacturers usually like to loosen up the low end because it gives the sound girth, all while masking deficiencies in other portions of the frequency range. Then we have high-end systems where each speaker contains several drivers, each tasked with handling a specific band of the frequency range. Creating a piece of music that will sound good on both is not as easy as it seems.
This is where studio monitors come in. You can look at them as a testing rig. Your average set of decent studio monitors won’t have any bias. On the contrary, these speakers will be as neutral as possible. That transparency of sound is what allows the producers to mix music and know exactly how it will sound on a variety of different setups. However, there are more benefits to using monitors instead of regular speakers. With more transparency, you will be able to notice small details in your mix that need correction.
Transparency has become somewhat of an abstract term by now. It gets tossed around without much explanation. An easy way to explain transparency is to use a simple graph. Your vertical axis is going to be measured in decibels (in other words, volume), while the horizontal axis will represent the frequency range. To your left will be the lowest frequency that speaker can reproduce, while the right side is the highest. These types of graphs are made by placing a microphone next to the speaker and recording the output. It’s more or less standard procedure for determining the performance of monitor speakers.
If we take a standard set of bookshelf speakers a perform this test, chances are you’ll see a positive curve in the lower frequencies, which then dips as it reaches mids, and maybe spikes again in high trebles. This tells you which frequencies are louder, and which ones are not pushed as hard.
With studio monitors, all you want to see is a flat line from the lowest possible frequency to the highest one. That type of flat output is considered transparent as every portion of the frequency range is represented equally. In practice, having the entire frequency range reproduced at same or near same volume, allows you to notice even the smallest flaws in the mix. This could be instruments which are too loud or too quiet and similar. Next thing that’s worth looking into is power.
Many people associate power measured in Watts with volume. However, power impacts so many other things, which are far more important. Before we get to that, let’s take a look at how the power is supplied to the speakers. There are two types of studio monitors out there. We have active and passive units. Active monitors are the ones that have a built in amplifier, meaning that they require no external amplification. Passive monitors are the complete opposite. In order to run those, you will have to get a stand-alone amp.
Active monitors are more or less the norm. If we look deeper into this type of speaker, we will find that there are monitors with one amp per cabinet, as well as those with two or three amps. Generally speaking, cheaper models will only have a single amp to push both transducers. Once you start moving into more high-end stuff, you will see dedicated amplifiers for each transducer. Having a pair of dedicated amps gets you more transparency and definition as each amp only has to drive a single transducer.
Let’s get back to power. If you have a small, home studio, 20 Watts of power will get you more than enough volume. However, going with a more powerful set of monitors is beneficial even though you don’t need any more volume. What that extra wattage gives is headroom. In other words, how far you can push the speaker before it starts distorting.
One of the most overlooked aspects of working with speakers, especially studiomonitors, is proper positioning. Unlike standard bookshelf speakers, studio monitors are majority near field. All this means is that they produce best results when the user is a meter or two away from the speaker. The further out you go, less definition you’ll get.
Positioning the speakers is not that complicated if you follow a set of few simple rules. First and foremost, you want the speakers to be level with your head and aimed at you. Imagine that a laser beam is shooting from the center of those drivers. You want the beam from each cabinet to be pointed at your head.
Next step is to have the speakers and your head from an equidistant triangle. This will allow the sound waves from each speaker to reach you without conflict. Forming that triangle is extremely important. If you set the speakers too wide, you will get skewed sound. Same goes if you place them too close to each other.
Another thing to keep in mind when positioning the speakers is the distance from the walls. Most studio monitors feature bass reflex ports, which are either on the back panel or the front side of the speaker. The issue with bass frequencies is that they propagate in all directions. With rear firing bass ports, having them close to the wall results in all those low frequencies bouncing back at you. Having at least 2 feet of distance between reflex ports and the wall is highly recommended.
This is a big one. Every room, no matter what size or shape it is, will affect the performance of your speakers. This is mainly due to the nature of sound waves and how they propagate through space. Every wave has a length, with higher frequencies being shorter and lower frequencies being longer. High frequencies are usually not an issue since even the smallest studio will be longer/wider than the length of those waves. However, as you start going down in frequency, you will reach a point where the wave is the same length as your room. This, in turn, creates a standing wave. The issue with standing waves is that they impact the performance, volume, and nature of the speaker’s output.
If your room is a cube with equally long walls on all sides, you will get double the standing waves. This is why most studios are cuboid in design. Dealing with standing waves is something you will have to do no matter what. The best way to start is to place your monitors along the longest wall you have and leave at least three or more feet between the back of the speakers and the wall. Up next come the room acoustic settings which most monitor speakers offer. These will either cut or boost lower and higher frequencies, thus allowing you to tune the speaker to the size and shape of your room. Just keep in mind that room acoustic settings can help, but not solve the problem.
Now that we know what monitors are, what they do and how they work, let’s talk a bit about selecting the right set for you. No matter how you go around doing this, you will have to account for a number of factors. This segment is going to be dedicated to helping you figure out which segment of studio monitors will suit you the best.
Every single producer out there, no matter their experience or skill level, is limited by budget. Figuring out how much money to spend on a set of monitors is one of those decisions that might trouble you for a while. There is a single piece of advice that is given to anyone looking to get any type of audio equipment, and that is to get the best your money can buy.
The main issue with that line of reasoning is whether or not you can utilize the full potential of those speakers. On top of that, maybe there are other things that money could be spent on instead. If you are just starting out, getting anything from a $100 pair of monitors to a $500 one is going to be a good decision. Those who are truly new to the game shouldn’t beat themselves over not getting the latest and greatest hardware. Allow yourself to learn on something that won’t ruin your bank account. You can always upgrade later.
Drawing some conclusions from our earlier discussion, finding the right size of speakers is imperative if you want to get the best bang for your buck. Don’t fall into the common trap of going for the largest possible set you can get if your studio space isn’t able to support it.
Smaller drivers will give you sharp and defined sound in confined spaces. Finding out which size of speakers will work best for you is part guesswork, part science. However, you can’t really go wrong with opting for a smaller set for a smaller studio.
Many producers easily get lost in brands and their reputation. Sure, we’d all like to have a set of high-end ATCs or Focals, but that doesn’t mean you won’t be able to get a good enough performance out of something that costs a fraction of the price. On a side note, more and more manufacturers are slowly expanding their lineup to include some more affordable models. This bridges the gap between the exclusive professional gear and something that an enthusiast could enjoy in the comfort of their home studio.
Someone who has never heard a set of monitors being used might come to a conclusion that their brand new speakers simply don’t sound right. You’d be surprised how many beginners RMA their monitors, only to be told that there is nothing wrong with the speakers.
Here’s the thing, by being so transparent and neutral, proper studio monitors often times come across as bland. That is exactly what they are supposed to sound like. You won’t get that thumping bass, nor those screaming highs. Getting used to the sound of studio monitors is something that definitely takes time. However, the moment you finish your first mix and play that same file on your regular stereo, you will realize what it is all about.
This is a great question and one that pops up frequently. The short answer is no. Headphones can’t replace a proper set of studio monitors, nor do they need to. Headphones are an awesome tool that is fairly important for mixing, but having that spatial propagation of sound simply cannot be replaced. Even with open back headphones that have great definition and an awesome sound stage, you still won’t achieve same results.
It is generally recommended to mix music on monitors first and then go over the mix one more time on the headphones. That goes even for monitoring headphones. Next question that usually follows is what to do if you just can’t have the music blasting out the speakers for whatever reason? Whether your studio lacks proper sonic insulation, or you don’t want to expose your loved ones to your mixing process. The answer here is to go with monitors but at very low volume.
This actually brings certain benefits to the mixing process. Back when monitoring speakers still weren’t completely a thing, producers would often turn whatever speakers they had to their lowest audible volume. Doing so brings everything down to a relatively flat level because the transducers are not being fed enough power.
Speakers vs headphones is a wrong way of looking at things. It’s not either or, but rather using both where it is appropriate. With that said, monitor speakers are a must-have piece of gear.
The most affordable segment of the market is hardest one to shop in. That is just a fact. You will often see aspiring producers starting to wonder whether they should just save up for something better. Here’s the thing, having any kind of studio monitors is way better than not having anything at all. Even the cheapest pair of monitors will fare much better than a great set of bookshelf speakers.
You would be surprised just how cheap you can get a decent beginner set. For more info on that, check out our guide for affordable studio monitors. We’ve found some pretty awesome models that are absolutely worth looking into.
Studio monitors are an essential part of any recording studio, both professional and enthusiast. If you’ve stuck with us this far, you have probably figured out that there is a lot more to monitoring than it meets the eye. We wrote this guide in hope to answer most if not all of the frequently asked questions, and to introduce you to studio monitors which have really shown to be great in practice. Whether you are on a tight budget, or you are looking for something a bit higher on the ladder, you really can’t go wrong with models we have mentioned above.