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Quote:I am contemplating myself buying two ev etx-18sp but i have noticed a problem, if i want to use those subs with other tops like the rcf hd32-a witch don't have built in dsp you are pretty screwed, because the etx-18sp doesn't have x'over on the outputs for the top's they'r just link's of the unaltered input signal. So you need to buy another piece of gear like a drive rack or somme kind of cross over to be able to run the tops accordingly. Is it just me who think this is a drawback?no because you should have a drive rock with setup to get more out of it.

Quote:I am contemplating myself buying two ev etx-18sp but i have noticed a problem, if i want to use those subs with other tops like the rcf hd32-a witch don't have built in dsp you are pretty screwed, because the etx-18sp doesn't have x'over on the outputs for the top's they'r just link's of the unaltered input signal. So you need to buy another piece of gear like a drive rack or somme kind of cross over to be able to run the tops accordingly. Is it just me who think this is a drawback?no because you should have a drive rock with setup to get more out of itWhy? Should i use a drive rack? Only to cut the low's from the tops?

This seems a little bit redundant:-/Almost all powered subs have Xover outputs look at RCF for example, it seems to me that the 'best' sub with the 'best' amp with the 'best' integrated dsp should have this integrated, this is a no brainer.EV is kind of forcing you to go all the way and use their sub with their top:-/, RCF doesn't do that. I'm leaning more at purchasing subs from them now.If you would use lets say 2xETX-15P & 2xETX-18SP witch have both integrated DSP in the amps would you still use a drive rack? And if the answer is yes, why? Quote:I am contemplating myself buying two ev etx-18sp but i have noticed a problem, if i want to use those subs with other tops like the rcf hd32-a witch don't have built in dsp you are pretty screwed, because the etx-18sp doesn't have x'over on the outputs for the top's they'r just link's of the unaltered input signal.

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So you need to buy another piece of gear like a drive rack or somme kind of cross over to be able to run the tops accordingly. Is it just me who think this is a drawback?no because you should have a drive rock with setup to get more out of itWhy? Should i use a drive rack? Only to cut the low's from the tops?

This seems a little bit redundant:-/Almost all powered subs have Xover outputs look at RCF for example, it seems to me that the 'best' sub with the 'best' amp with the 'best' integrated dsp should have this integrated, this is a no brainer.EV is kind of forcing you to go all the way and use their sub with their top:-/, RCF doesn't do that. I'm leaning more at purchasing subs from them now.If you would use lets say 2xETX-15P & 2xETX-18SP witch have both integrated DSP in the amps would you still use a drive rack? And if the answer is yes, why?The Drive Rock Have A 20 band EQ Compressor And a Feedback Detection Just A Peace Of Mind That Your Setup Is Safe The Drive Rock Makes A Big Difference For Your Setup. I have been using the JBL PRX 612 and 618xlf for the past couple of years (this series was replaced by the 700 series) I haven't had any issues and the system sounds great with my DDJ-SX.

The system is very clear and the bottom end packs a huge punch. I had a drive rack that I used for my non-powered system and decided to use it for my powered system for sound management. I tried using the drive rack cross over and limiting functions but the speakers sounded better to me without the drive rack doing the crossover.

I mainly use the drive rack for fine tuning the various eq parameters as viewing the levels for sound clipping since I can't always see the back of the speakersIMO the 'best and loudest' is up to the ears of the operator. I like clear, loud undistorted sound!! I have the Paraline system for proms/other large eventsSystem consists of Flying 3 x PSA1 over ground stacked 2 x PSA2S per side.I will be adding another PSA2s per side soon. I would add another top per side but my outriggers don't go high enough to justify 4 per side.The good: Sounds incredible at high output. No external processing needed.

With two people you can set up almost 15000 watts in 10 minutes.The bad: needs lots of electrical power and will pop circuits if you fail to find a good power source/s.The flyware on the PSA1 tops could have been designed better and is a little cumbersome at first. QSC KLA and RCF HDL20 have a far superior rigging system.Overall the Paralines are fantastic for the money but in my opn would be better suited for a permanent installation.BTW-I played to 1600 this past NYE using this system and two qsc k12 front fills and two k12 monitors. Quote:I have the Paraline system for proms/other large eventsSystem consists of Flying 3 x PSA1 over ground stacked 2 x PSA2S per side.I will be adding another PSA2s per side soon. I would add another top per side but my outriggers don't go high enough to justify 4 per side.The good: Sounds incredible at high output.

No external processing needed. With two people you can set up almost 15000 watts in 10 minutes.The bad: needs lots of electrical power and will pop circuits if you fail to find a good power source/s.The flyware on the PSA1 tops could have been designed better and is a little cumbersome at first. QSC KLA and RCF HDL20 have a far superior rigging system.Overall the Paralines are fantastic for the money but in my opn would be better suited for a permanent installation.BTW-I played to 1600 this past NYE using this system and two qsc k12 front fills and two k12 monitors.any pictures? I personally would love to hear the EV ETX 15's poled on a 18' ETX sub next to a Yorkville parasource 15's poled on Yorkville parasource 18'sub. Both are solid brands with a warm sound, high output for active speakers, and have multiband limiting, and DSP.

However EV ETX has a more comprehensive phase corrected DSP LCD panel on the back. Both seem like a great choice for a mobile DJ who is looking to upgrade and not lug amps, but have a clean sounding portable solution at a reasonable price point with big sound for up to medium sized venues. Has anyone heard this combo side by side or heard both and can comment on the sound or feature differences they prefer between this two PA systems? Quote:I am contemplating myself buying two ev etx-18sp but i have noticed a problem, if i want to use those subs with other tops like the rcf hd32-a witch don't have built in dsp you are pretty screwed, because the etx-18sp doesn't have x'over on the outputs for the top's they'r just link's of the unaltered input signal. So you need to buy another piece of gear like a drive rack or somme kind of cross over to be able to run the tops accordingly.

Is it just me who think this is a drawback?I emailed electrovoice about this. I wanted to know if the subs have general high pass outputs along with the high pass dsp settings to work with their top boxes, and they advised that they do.

They said that the high pass out can be set to 80hz or 100hz. Quote:I am contemplating myself buying two ev etx-18sp but i have noticed a problem, if i want to use those subs with other tops like the rcf hd32-a witch don't have built in dsp you are pretty screwed, because the etx-18sp doesn't have x'over on the outputs for the top's they'r just link's of the unaltered input signal. So you need to buy another piece of gear like a drive rack or somme kind of cross over to be able to run the tops accordingly. Is it just me who think this is a drawback?I emailed electrovoice about this. I wanted to know if the subs have general high pass outputs along with the high pass dsp settings to work with their top boxes, and they advised that they do. They said that the high pass out can be set to 80hz or 100hz. Quote:I am contemplating myself buying two ev etx-18sp but i have noticed a problem, if i want to use those subs with other tops like the rcf hd32-a witch don't have built in dsp you are pretty screwed, because the etx-18sp doesn't have x'over on the outputs for the top's they'r just link's of the unaltered input signal.

So you need to buy another piece of gear like a drive rack or somme kind of cross over to be able to run the tops accordingly. Is it just me who think this is a drawback?I emailed electrovoice about this. I wanted to know if the subs have general high pass outputs along with the high pass dsp settings to work with their top boxes, and they advised that they do. They said that the high pass out can be set to 80hz or 100hz.I'm not sure this is correct. The user manual specifically states that 'the DSP control settings DO NOT affect MIX OUTPUT'.

You can adjust a low pass to help compliment other tops and options are 80, 100,120, and 150 hz but your top would still need a high pass on it. I don't see anywhere in this guide mention of a high pass on the output. Yeah I suppose that FBT and even the RCF 8003 are a bit too expensive.What's left is the EV ELX118P right? It's like 800 dollars and I found couple of opinions that it clips fairly easily which is not good.Also QSC KW181.

Hmm.1400 dollars and seems the best alternative (better then the ELX possibly? And on par with RCF 8003).I wasn't aware about the Alto Black 18s until I saw this post and Dj Jahfari's suggestion/mention of it.

I am really intrigued about it.Where I live is not that expensive at around 800 dollars so at ELX118P level. What excites me is that (although not many things I can find about it online) some people say it's a 'freak of nature' not a sub (for example - that's what people say on amazon reviews). Well, its frequency response (and not the lame 'range') at -3dB is extremely low 29Hz so it must go really down, which I like - I like really deep bass (like a thunderstorm in the distance). Also it has bluetooth availability which is like.really handy and no other subs have it. I suppose that the lowest frequency response that the sub can produce is very important when comparing subs?

(+max continuous SPL - preferably measure and not calculated)It also has no fan but is cooled by convection only (I am 99% sure about it) which is good when I will also use the sub at home at low volumes (the fan always brings some noise in). It's an Alto so a brand not that pro as QSC, EV, FBT and RCF but frankly.I don't care about it much. I care how it thumps everyone with mega bass.Alto Black 18s also has stereo ins which is a great plus (Mitus and EV for example have mono ins which is not good I suppose?). It also has 1250W RMS so really powerful (with most subs here having 1000W RMS).I haven't heard any of the subs unfo. I don't care how sub looks like (pretty/ugly) and how heavy it is (well, 100lbs max I suppose).What do you guys think??many thanks. Hey AsuMany thanks for your reply - this is much appreciated. Anyone else can have a say please?

Especially Dj Jahfari in respect of Alto Black 18?!I fully understand that QSC is a considerably better brand then Alto. The warranty conditions are surely better + reliability of QSC product will very possibly be better then Alto's. Also the resale values will be better with QSC. All agreed.Yeah, specs mean shit these days. Competition is so strong and so watchful that products are similar as one company won't allow other to stand out too much. And also, let's be honest, sound in general (not only with subwoofers of course) is a subjective thing and therefore all speakers should be A/B tested in the same condition before decision is made really!Thanks for your ideas on fan/fanless designs.

You are right. When using sub at high volumes and in hot conditions/sun (and I will as I am in hot Spain) the fan could make a difference as it could protect the amp more from completely switching off due to thermal protection kicking in. I have 8 of the QSC KW181s.

I have never been disappointed.And I had the 18' powered subs form the HPR series before these.Resale value is the best I've seen in three decades.Best warranty out there but one thing. Make sure you register them within 90 days of purchase to get the 6 year. No need to buy reseller warranties.

If you miss you pay. Only time I've needed to repair the subs is when some one dropped them hard enough to shift the speaker magnets. Thats not knocking them over thats a three foot drop at least like off the back of a truck gate. Quote:Mackie SRM1850From a professional DJ's prospective, None of the aforementioned subs and/or brands are considered 'respectable' as a mid levels dj sub.Now if you are from a 3rd world country or one which charges significantly more than U.S. Prices or you have financial limitations.Only then should these particular brands be mentioned as potential entry level options. Quote:Mackie SRM1850From a professional DJ's prospective, None of the aforementioned subs and/or brands are considered 'respectable' as a mid levels dj sub.Now if you are from a 3rd world country or one which charges significantly more than U.S.

Prices or you have financial limitations.Only then should these particular brands be mentioned as potential entry level options. If that is not the case then it might be wise to disregard these brands.P what's your problem with the SRM1850? I would have thought that Mackie was a step up in quality compared to the other 2.

Quote:my dream setup have to buy a van just to carry these very niiiice Sharodi have a better one for youorAs an 8005-AS owner, I can attest to its loudness and awesomeness. I live in a city that contains over 80 beaches and as such the vast majority of my gigs are done not only outdoors, but directly facing noisy beach fronts, yet I've had no problems doing gigs set for 250 people with just one 8005. They sound great, too.The only complaint I have with the 8005 is with its anchoring - they're actually not as heavy as they look and given enough time they'll literally vibrate themselves out of position and across a room if placed on a smooth, tiled surface.I had to wedge doorstops on it to keep it still, lol.There are a few subs which I've not heard from certain other high end brands, though, such as the Danley TH118 and JTR Orbit Shifter. I suspect those would be even louder if the spec sheet is anything to go. But apart from those, the 8005-AS sounds better than any sub I've heard.

Quote:I use two Yorkville LS801PBs and they are insane! One of the best DJing purchases I have made.there is nothing better in that $1,100 price point than the ls801, but the dxs18 is a nice alternative while being a bit easier to manage by one personIts time for some company to come out with a single 18' yorkville 801 killer at the same price or lower & same size or smaller.you don't think this is it? I believe they are in the same price rangejust not a one man sub, the york & yamaha can be carried by one person. Quote:Cerwin Vega used to be the speaker every dj wanted but probably could not afford back in the 80s, now it's become the cheaper option you buy when you can't afford the major brands. Times have changed.Used the Cerwin Vega P-1800SX Powered sub in deep mode(Vega Boost) all night in a fairly sized room.for sure i thought i needed two subs but only had the hatch for the weekend and can only fit one with everything else.the base was deep and could be felt in the whole room.i walked to all corners. 14 tables with 10 pple each and a good size dance floor in the middle at the odyssey event center here in Los Angeles.I'm tempted to buy another since they're cheap,deep and loud,deeper than a KW181 for sure.i've had this sub for 3 yrs now. Yeah like i said, little place to comment.

Best bet with speakers is to always check them out yourself where poss.Bunch of guys trying to compare speakers having never listened to them serves little purpose.As far as build quality of the speaker i purchased, i simply dont know how i could break it. Ive bumped that mofo constantly and its still the same exp as new.Alto have a couple of lines also, from what i know the black stuff is the good shit and the ts stuff is entry level mackie thumpish.I have got a bit of extra coin atm so will prob grab one of the black 18s soon as i find one if it sounds good and do a review for you guys.Peace yo. Quote:I haven't been on here for a long time. My bad for the late reply Alto Blks are great Speakers that i myself own and i will say hands down they are Beast mode. Looks, Weight and Power output can't be beat also thy Have bluetooth along with a App to more customize your sound color. Take my two cents as I am also a Audio Engineer.

Side note, its crazy when other music pro's step to my system and starts to rub them as they PURRRR. Lol126db peak is definitely not doing Beast Mode.But he is a audio engineer.

Quote:lol, you guys don't get your panties in a bunch. I am simply trying to help someone that ask i a question. We @RoaringLionz have our fare share of diff setups for the Band and studio, as for The Dj sound system we run Alto Blks Pros and they bang. If you have another opinion and experience then respect and Jah guidance.Alto's are not a trusted brand which is why they are so cheap. You get what you pay for.

Their warranty is terrible as well. While they may work they are not quality speakers. Quote:I haven't been on here for a long time. My bad for the late reply Alto Blks are great Speakers that i myself own and i will say hands down they are Beast mode. Looks, Weight and Power output can't be beat also thy Have bluetooth along with a App to more customize your sound color. Take my two cents as I am also a Audio Engineer.

Side note, its crazy when other music pro's step to my system and starts to rub them as they PURRRR. Lol126db peak is definitely not doing Beast Mode.But he is a audio engineer.Well at least we know who to call to record our next rap demo.lol. Quote:I haven't been on here for a long time.

My bad for the late reply Alto Blks are great Speakers that i myself own and i will say hands down they are Beast mode. Looks, Weight and Power output can't be beat also thy Have bluetooth along with a App to more customize your sound color. Take my two cents as I am also a Audio Engineer. Side note, its crazy when other music pro's step to my system and starts to rub them as they PURRRR. LolCool ass story bro. What does your whole system that guys like to rub up on consist of?

Quote:I haven't been on here for a long time. My bad for the late reply Alto Blks are great Speakers that i myself own and i will say hands down they are Beast mode. Looks, Weight and Power output can't be beat also thy Have bluetooth along with a App to more customize your sound color. Take my two cents as I am also a Audio Engineer. Side note, its crazy when other music pro's step to my system and starts to rub them as they PURRRR. LolCool ass story bro. What does your whole system that guys like to rub up on consist of?Pictures or it didn't happen.lol.

I have the QSC KW181's at the moment and I have been very impressed with their performance considering their weight, size and price.I've recently heard the new RCF8003as mkII's and I have to say they sound fantastic. I've not done a side by side comparison but I wouldn't be at all surprised to find they go louder and deeper than my QSC's.I'm hoping to borrow some 8003AS mkII's soon and compare them with the KW181's. They are over 6kg heavier and a little bigger than the KW181's so may be a deal breaker for me as I will be moving these around by myself! Quote:What is the smallest subwoofer that you've seen that works in smaller spaces. Not size but brand make & modelI use 2 15' Epsilon EPS15 Class D 1000watt Compact Powered Subwoofers. They weigh about 70lbs each and Surprisingly Out Perform Mackie, Behringer, and Go Toe to Toe with my Alto Pro Black 18' Class D 2400 watt Powered Subwoofer. As for Anybody Inquiring about the Quality and Performance of either of these 2 Brands.

They Both have Out Performed.Out Lasted Previous Brands such as JBL, Peavey and B52. Has Anyone TRIED or OWN those Powered Subwoofers you see on FB? BASSBOSS Powered Subwoofers? Quote:BASSBOSS Powered Subwoofers?BassBoss is the truth.their 18' and 21 DJ sub are beasts if you can afford them $2945+.You usually need one for the average 200-300 people event.DJ21S & SSP118 are beasts meant for mobile DJs.Their specs make sense too when you factor in the driver size, specs, box size, amp Rms + Peak numbers.I got my eye on the 21.they have financing too if you don't wanna drop the cash in a lump sum.only problem is weight @ 125 to 138 lbs if you ride solo but there are solutions for that. Quote:I used the cvx18s and I blew it cause I cranked it too hard just not enough power for me, but the CV 10' are sweetI know the type of DJ you are if you can blow a powered sub that can keep up with prx715 which get fairly loud. #PlayingintheredallNight.I've used it cranked to the max and at 2 O'clock.didn't blow mine.but I watch my levels.distortion is what kills speakers.bro it was funny.

The night I blew my sub the sub was in front of me and it was pumping loud then I started seeing smoke surrounding my dj table then I thought to myself wow smoke I didn't bring a smoke machine then 3 secs later I realized the sub box was on fire on the insidelmao that was so funny, luckily I took back and it was the last month of the warranty so it was fixed but I sold it to someone else. Quote:well shit - I just picked up a CVX 18S.Hope you just got a lemon and it's not a widespread problem.Really like the sound quality and depth but I'm going to be running it exclusively with a driverack just for extra protection.

Haven't had a chance to really push it yet as the only gig I used it with was a wedding of 100 and I wasn't even coming close to limiting the box.honestly its a beast of a sub but you gotta watch the red light so u can back off the sound I thought the processor will cut the sound out if it gets too loud before it actually blows up, mind you the sub is a bit of old technology now, that's why I rock the Behringer 2400watt 18' subs they pump hard and it hasn't blown up on me.yet lol I like my music with a lot of bass and loud.

Share.Click here to!We should clarify immediately that if you are reading this post, then you're looking for studio monitors and not speakers.People still trying to find their footing in this topic will use all kinds of phrases when talking about it, such as 'monitor speakers'and 'studio speakers,' but this is just a matter of nomenclature and the reason we all hate industry-specific jargon.The correct term is monitors and you'll understand why mometarily.Your typical speakers on your desk at work, in your car, in the boombox in the garage. These all are cheap in cost and are designed to pleasing for two reasons:. To compensate for their small woofer size. To compensate for horrible acoustic environmentsThat's what consumer speakers and headphones try to accomplish and they do this by screwing with the carefully balanced recording, mixing, and mastering jobs done by the professionals for whatever music or movies you're enjoying.

But is it really better? And what do studio monitors do different that fixes the issue?

Let's see:Before we get into our recommendations, I want to take a quick couple of minutes to explain the situation to those who might need a little clarification. Even the veterans might learn something!We need to talk about exactly what professional monitors are, how they differ from consumer speakers, why they are desired and how to use them, and point you to some other resources that will help you get the most out of your new tools. Let's waste no time. What are Studio Monitors?Studio monitors are carefully crafted speakers intended to be used by audio professionals. Regular speakers don't cut it because they all impart their own specific quality to the audio they are pumping out.Monitors, on the other hand, have a very precise goal, which is to recreate the audio signal being fed to them as accurately and as transparently as possible. How Are Monitors Different From 'Regular' Speakers?When you see or use the word 'monitors,' it is meant to imply accuracy. Speakers don't really imply anything but can be considered as those meant to instill a pleasing quality to the audio to compensate for certain problems that are difficult to overcome.It all boils down to this.

The first problem is that 99% of people listen to music in weird-shaped boxes called rooms, cars, cubicles, etc. That is exactly the worst place to be seated if you intend to listen to music and hear every subtle detail.

The sound bounces off of all of the walls, interferes with itself, and what you end up hearing is a deformed monstrosity of what was ever intended by the pro's. To sum it up, the main problem is the.The second problem is that it costs a lot of money to research and develop woofers of all sizes that respond accurately to a signal. Most companies go most of the way, but not all of the way because you get diminishing returns for increased expenditures of time and money.

Speaker companies also know it doesn't matter because you'll be listening in crappy headphones or in a box-based room.The third and final problem is that to compensate for the woofer size and acoustic problems, most consumer speaker companies, whether in speakers or headphones, will employ a ' design into their woofers.This is meant to help compensate for crappy listening environments by boosting the bass and high-end to give a sense of power and clarity where there really isn't one. It works and people love it. I love it.However, if you try to produce music or mix a game or film soundtrack on regular speakers, you'll make these problems even worse!This next section explains how this issue compounds upon itself and why most amateur recording work absolutely comes out sounding like. The work of an amateur. Why You Want Monitors for Your StudioCheck this out.

Let's say you're mixing a song on regular speakers in your home studio. These speakers are pumping out too much bass and too much high-end. And then your room is causing the mid frequencies to sound even more quiet.

So you do the best you can and create the world's most perfect mix.Except it's only perfect for those speakers in that room. You pass that mix to your friends who all have different rooms with different speakers. Your buddy who loves bass is going to think your mix is anemic because you actually included too little bass to compensate for your speakers adding too much bass that were compensating for your room making the bass sound muddy! And that's how this problem stacks up and gets worse and worse. Everybody will hear a different result. So what's the solution?The solution is to use studio monitors. Instead of some whacky EQ response regular speakers are built with, monitors are designed to add absolutely nothing to the sound.

There's no extra bass, no extra treble, nothing.Now, you're probably thinking, 'If I mix perfectly on monitors, won't my friends still hear it on weird speakers in horrible acoustic environments?' Yes, you are absolutely right. But what you've done is minimize the possible range of weirdness. By passing out the most neutral, well-balanced mix possible to friends, radio stations, and internet downloads, you reduce the range of how bad their speakers and earphones can screw it up from a scale of -100 to +100 down to -15 to +15.The goal is to bring all of your listeners to a more unified and correct experience possible, and this is only possible with studio monitors.Your first move is to buy some monitors with a flat frequency response.

That's what 'transparent and accurate' means. If you take care of that you'll be miles ahead of your competitors who haven't. But there's a few more things you need to explore to get the most out of these monitors. Other Considerations to Complement Your MonitorsLets bounce through the five things you need to know about to really let your monitors shine. Then we'll look at my personal recommendations and studio monitor reviews. Monitor Isolation PadsYour monitors were measured in a nearly perfect room with a perfect set-up. You'll want to replicate that as much as possible.

The first place to start is to decouple your monitors from your desk or their speaker stands. The reason is that by transmitting vibrations to and from the speaker cabinet, you begin to affect the frequency response.The cheapest way to get this done is to invest in what are called isolation pads. They are essentially specially engineered pieces of foam that rest between your monitors and their stands. Any vibrations lose their kinetic energy in the foam and get converted to heat. Here's a popular option for you to consider,.

You can turn them forward or backwards to tilt them down or up, respectively, or use the additional foam block to have them sit flat. These are 4 inch wide, so you'll either want to get two sets if you have big monitors or look at their 8.75 inch wide models,.Another method of decoupling is by installing isolation feet.

I like these for no other reason that they look cooler than a block of foam. They also provide the benefit of reducing the points of contact to a very low surface area, which will permit less vibrations to pass. The points of contact are made with rubber which like the foam above will absorb the vibrations. Here are my favorite isolation feet: the. You can also add their cones, called, which reduce the contact surface area even further to an incredibly small amount. The Vibrapod Isolators (left) & the Vibrapod Cones (right).

We've talked about these at length if you're interested in a deeper dive into the topic.Acoustic TreatmentRemember how one of the problems for listeners is a bad acoustic environment where sound is bouncing around everywhere? That's a problem for you too. The solution is acoustic treatment. This will make a huge difference not only in your mixes but also in your recordings. It stops the sound from bouncing around and balances out the frequency response of your room too. Not having acoustic treatment is why amateur recordings sound muddy and blurry.

It's not the microphones or anything else. Check out this article so you'll know all about the next set of upgrades you need to consider:.Studio HeadphonesAcoustic treatment can be costly and a lot of us can't poke a ton of holes in our walls. The cheapest and most convenient fix for this is to get a pair of the best studio headphones you can manage at the time. What this does is act as a second reference point for your mixes that dodges your acoustic environment altogether. Even though I have a great mix room fully decked out in acoustic treatment, I still check my mixes in my headphones. It's a great way to zone in on details like sibilance, reverb levels, etc.

Learn more about choosing a great set of cans with our buying guide:.SubwoofersA subwoofer is a special monitor designed to reduce the bass load off of your smaller stereo woofers. It can handle it much more accurately with its increased size and power supply. Subs should be your last addition to your set-up.

There's no point in having one if you don't have acoustic treatment. But when you're ready, it can really help clarify and stabilize the bass region in the stereo imaging field. When you add some acoustic treatment to your room, you'll easily take care of the mid and high end frequencies, but it takes a lot more to finally tame the bass due to the low wavelengths. So only once you're ready to seriously tackle the issue should you consider a solid subwoofer. When you're finally ready to add a subwoofer into your mix, learn all you need to know with our writeup:Setting Up The Mix PositionThere is a right and wrong way to do this.

Luckily we've written a full article on the topic already that you can read that has full instructions. The summary is that you want the monitors and your head to create an equilateral triangle in a certain spot in your room. If they aren't centered you'll get a whacky stereo image. If they are too close to a wall or in a corner you'll screw up their bass response.

It's not complicated, but you'll definitely want to explore this article:.And now we get to the fun part!Studio Monitor ReviewsHere's how I'm playing this. These are the absolute best in the realm of professional recording studios while still being accessible to home studios. Each of these companies will offer models with larger woofers that reach into astronomical prices but very few people are looking for those, so I'm going to show you their 'normal' models.Here are the parameters I had to create or we'd be here all day:. We're keeping it near-field, meaning they aren't soffit mounted but situated close to you. The smallest allowable woofer size is 5 inches. Below that is too small. The largest woofer size listed is 8 inches.

Above that is too much power for most rooms. They are active monitors, meaning you don't need any external amplifier to use them.

We're capping the price around $1,500 a pair, but also feature pairs below $350 or so.This will take care of everybody from home studios on a budget to professionals with full on mixing boards. Studios aiming higher than this already know what they're looking for, so they are on their own!Note: Each image and text link leads to Amazon.com where you can read additional user reviews, find specific technical detail listings, and make your purchase.Please Remember: Most retailers sell their monitors one at a time. You will need two! Below, all of the links will lead to the pages for single monitors. You can change the quantity to 2. If the ones you like seem to be sold out, you can check the right sidebar of the page to find other sellers and also check to see if there's another page on Amazon where they are sold in pairs. Buying monitors is quirky like that but easily done.As always, we're listing these cheapest to most expensive and noting which is the Ledger Note favorite.

Best Cheap Studio MonitorsWhen it comes to home studio work and needing to get by on a budget there's a lot of options out there, but the problem is that while they are marketed as studio monitors they are really no more than glorified studio speakers in a fancy shell. At this low-end, if you're serious about getting the most quality out of your set-up while saving cash, avoid M-Audio and Behringer, etc. Even some high-end companies are pumping out turds down here, like the Genelecs that can't reach sub-bass frequencies. Who's going to couple 3-inch woofers with a sub?These are the two options you can trust to actually bring you professional audio at affordable prices: KRK Rokit 5 & 8I'm listing two versions of the KRK Rokit's.

The only difference is in the woofer size. The have five inch woofers while the have eight inch woofers.Here's where they differ along with any other model that offers various woofer sizes. The main difference is that the 8's will be able to reach deeper into the bass frequencies than the 5's will. For instance, the 8's can hit 35 Hz while the 5's only hit 45 Hz. The 8's will reach lower at a lower volume, while the 5's definitely would benefit from a subwoofer. They also will be more sensitive with more powerful drivers, meaning their overall frequency response will be a more flat and transparent.On the surface these look fantastic.

The yellow woofers are an interesting choice that really makes them stand out amongst others. Even the 1-inch tweeter looks cool. It can reach up to 35kHz, which is far above the human range of hearing, but what it means is that they push the maximum that high so the normal range is under full control.You get three options for outputs, which are XLR, 1/4 inch TRS, and RCA for you entertainment center buyers.

Also on the back is a high frequency equalization adjustment and a low frequency option as well. These are better left untouched if you aren't sure what you're doing. Otherwise it's for compensating for peaks and nulls in your room you measured, but even then it's not remotely accurate enough to fix anything with precision. Leave these at zero!These come with an incredible plus-or-minus 2 decibel variation on the frequency response. That means you'll only have 2 dB boost or dip anywhere along the line which is noticeable only to the most critical listener.

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This is just about as flat as you can expect from a cheap or expensive pair of monitors, which is why they make the list! There's also KRK subwoofers designed to match these visually if you dig that kind of thing. Yamaha HS5 & HS8Now, the are reaching a little beyond what I'd call entry-level, but I might as well mention them along with their little brother the. Again, the difference is the woofer size. The HS8's feature an eight inch woofer while the HS5's measure in at five inches.The HS5's, limited by their size, reach down to 54 Hz and the HS8's can hit 38 Hz. Both are low enough for most types of music and you'll definitely be referencing your mixes on other systems.

Around 20-30 Hz you don't even really hear bass so much as feel it, like at the movie theater. You'll EQ most of that out. The HS8's are the real deal.

This is a good time to mention that there's actually a subwoofer (on the same Amazon page) designed to match these if you need to work at that depth of bass. It pushes you on down to 22 Hz, right at the limit of human hearing.These also feature a 1-inch tweeter to give you crystalline high frequencies. I actually bought my brother a set of the HS8's a few years back so I've been able to spend a lot of time with these. They can be faithfully endorsed as your best budget option, without a doubt, with the HS5's competing against the Rokit's above. It boils down to the look at that point. Do you like the white woofers or yellow woofers?The HS5's and HS8's can be fed a signal through a mono TS cable or an XLR.

They both feature a high frequency switch to add or remove 2 dB and the ability to remove 2 or 4 dB's from the bass. Again, you should do neither! Get some acoustic treatment going!For those that care, you can even get these in a full-on white enclosure versus the standard black with white woofer. But heads up, the subwoofer is only available in black. Best Mid-Range Studio MonitorsThese are where you want to be if you can manage it. They are in the price range and quality for professional and home studios without getting into the sizes and prices meant for gigantic rooms with far-field stands or soffits.

Let me show you my favorites first, which I currently use and don't intend on changing that ever. Adam A7X & A5XWhen I scored these, they weren't the X models yet, which makes me sad because they definitely improved them in terms of frequency range and bass-region power, which is fantastic when you're working without a subwoofer.The are the gold standard for near-field monitoring, in my opinion. Not much is competing with them in this price range.

The entire AX series is insane. They are paying attention to every detail.

For instance, they even chamfered the upper corners around the tweeters to reduce any edge diffraction that can cause phase issues in other purely box-shaped monitors.Speaking of the tweeter. This is why I ended up giving these a shot and why I'm never letting them go. Adam developed their custom X-ART tweeter as a folded ribbon instead of a woofer. It's beyond me how they pulled it off but the clarity in the high-end frequencies on mine are unbelievable. Cymbals, chimes, hi-hats.

It sounds like what you'd imagine a crystal made of stars and magic would sound like.Let's talk frequency response. Both reach up to 50 kHz (the human hearing limit is 24 kHz). Reach down to 50 Hz while the A7X's can hit 42 Hz. The bass response is great too.

Most monitors will say, 'Oh, we can reach 35 Hz.' But what they don't tell you is that it's 20 dB quieter than everything else. Not with the Adam's. They maintain their volume down there. If you want, you can couple them with their subwoofers to hit 18-25 Hz and even give more power to your low's and mid's since the crossover frequency is set to 2.5 kHz. Like all others, there are tons of EQ knobs on the back you shouldn't mess with but can if you want (like for home theaters).The bass is a great reason to grab these for your studio.

Even the mid's are smoother than most, but I'd have to say that the true strength of these is the high-end clarity. It can't even be described beyond my attempt above.

Hearing is believing. These are lifetime purchases. You'll never want or need another. You can't make beautiful music if you can't hear it clearly. Mackie HR824 & HR624I'd be a liar if I said there wasn't another set of monitors as good as the Adam's in this range. I just have my preferences, but you may like these more.

Mackie also paid close attention to details and achieved their goals in unique ways.Notice the baffles around the tweeter and woofer. They are both either counter-sunk or popped out a bit to avoid reflections off of it's own enclosure. You also will notice there's no big ports or slots along the bottom to help the bass resonate, because they sorted that out with a custom passive radiator on the back of the cones.Both feature a 1-inch tweeter but differ in woofer sizes. Feature an eight inch woofer while are four inches. The four inch option reaches down to 49 Hz while the eight inch option hits 37 Hz. Both 'only' reach up to 20 kHz, but realistically that's up there in 'sparkle' territory where not much goes on.

You'll be being careful up there with high shelf EQ's anyways. These boast an extremely flat response in their ranges with only 1.5 dB of variance! So it's a trade off there really, one that is worth it.As always there are bass roll offs and high frequency EQ options on the back.

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You can couple these with their Mackie subwoofer counterparts with a 1900 Hz, 24 dB per octave crossover too. There's no doubt that these and the Adam's are the two best options. Pick a flavor. You won't go wrong either way. Honorable MentionsThere are a couple others that my studio friends and others online speak highly of, but I keep them to the side because I don't have any personal experience with them. I haven't even demo'd them. I won't say much more other than share the pictures and let you explore.

People seem to really like these as well, one in the lower price range and one in the mid-range.On the left you'll find. On the right,.These are both said to be forward in the high end frequencies, revealing in the mids, and enough tangibility in the bass area to get real work done. ConclusionChoosing monitors should be done carefully with serious consideration.

But it's impossible to do that with a million options out there. Luckily, the music industry has come together to unanimously agree upon the above.

I've added my own experience to them and even pointed out my top favorite that I still use today. If you narrow your search to these, you will be pleased while still exercising personal preferences. They aren't just among, but are the best studio monitors.