Studios' Multi-Monitor Setup: Secrets Behind The Scenes

Studios have multiple monitors for a variety of reasons. Firstly, listening to mixes on one set of monitors can be fatiguing, and having an additional set can provide a different frequency response, such as better low-end response or a more realistic overall balance. Multiple monitors also allow for A/B testing of the sound, ensuring that the mix will translate well on different stereo systems. Additionally, near-field and far-field monitor setups offer different listening experiences, with near-field providing more direct sound to the ears, while far-field setups are influenced by the studio's acoustic treatment and tuning. Furthermore, multiple monitors can be used for reference listening, simulating how the mix will sound on different consumer devices or in different environments, such as a car or home theatre system.

To A/B the sound

Step 1: Set Up Your Monitors

• Ensure your monitors are correctly connected to your PC or dock.
• Check for Windows updates to ensure optimal performance.
• Identify each display by selecting "Settings > System > Display > Identify."
• If you have multiple displays, arrange them according to your preference by dragging and dropping in the display settings.

Step 2: Choose the Sound to Focus On

• Pick one sound at a time to work on.
• Choose a sound that is typically mastered by the child's age. For example, the "/b/ sound is usually mastered by age 3, so don't choose this sound to teach a 4-year-old.

Step 3: Teach the Sound in Isolation

• Teach the child to say the sound by itself, not in a word or syllable.
• Use your own mouth as a visual cue. Exaggerate the sound and ensure you're only making that specific sound.
• Use a mirror so the child can watch their mouth and get their lips, tongue, and mouth into the correct position.

Step 4: Use Tactile Cues

• Use touch cues to help the child understand where to position their articulators.
• For sounds that require the child's lips to touch, have them use their fingers to touch their lips first to feel the correct sensation.
• For sounds that require the tongue to touch the roof of the mouth (such as /t/, /d/, /n/), use a tongue depressor to tap the correct spot.

Step 5: Use Other Sounds as a Guide

• This technique is called co-articulation.
• Use a sound that the child can produce correctly to facilitate the production of a similar sound. For example, if they struggle with /s/, use /t/ because the tongue position is the same. Elongate the /t/ sound to make it closer to /s/ (e.g., "t...t...tssss").

Step 6: Practice with Syllables, Words, Phrases, and Sentences

• Once the child can produce the sound in isolation, move on to syllables, words, phrases, and then sentences.
• Speak the sound in nonsense syllables like "ba, bo, boo, bee, bay, bi."
• Progress to words like "ball, bat, elbow, rub, crib."
• Put those words in short phrases like "my ball" or "in the crib."
• Finally, use the sound correctly in sentences like "I see a ball and a crib."

Near field and far field differences

Near-field and far-field monitors are designed for different purposes and listening experiences.

Near-Field Monitors

Near-field monitors are typically used for detailed work on a mix or master. They are placed closer to the listener, usually around 2-4 feet away, and have smaller drivers, commonly between 5 and 8 inches. Their proximity means that the listener receives more direct sound from the monitor, reducing the impact of room acoustics and allowing for more detailed work. This proximity also results in a relatively flat overall sound, which is a better representation of how consumers will hear the mix.

Near-field monitors are ideal for critical mixing, mastering, and editing purposes, as they can help identify minor problems in the mix, such as pops and clicks. They are also more practical for smaller studios due to their compact size and lower cost.

Far-Field Monitors

Far-field monitors, on the other hand, are those massive installations often seen in major studios. They have larger drivers, sometimes more than one, and are mounted on or in the wall, usually near the corners of the room. Due to their size, they are placed further from the listener, typically up to 10 feet or more away.

Far-field monitors take advantage of room acoustics to produce sound. The longer distance from the listener allows lower frequencies with longer wavelengths to develop. This results in a more holistic listening experience, making far-field monitors excellent for checking the overall mix balance. They are also great for impressing clients and engaging a packed room.

However, far-field monitors are much more dependent on the acoustics of the room and require a significant amount of space, making them impractical for most home studios.

In summary, near-field monitors are ideal for smaller studios and detailed mixing work, while far-field monitors are better suited for larger professional studios and providing a more immersive listening experience.

To check the bass and big speakers

When it comes to studio monitors, it is essential to ensure that the bass and low-frequency response are accurately represented. Here are some insights and guidelines to help you set up and utilise multiple monitors effectively for this purpose:

• Near-field and Far-field Monitors: Near-field monitors are placed closer to the listener's ears, resulting in more direct sound. Far-field monitors, on the other hand, are positioned further away and are influenced more significantly by the room's acoustics. Having both types of monitors allows you to evaluate your mix in different listening environments.
• A/B Testing: Multiple monitors enable you to A/B test your mixes, allowing you to identify if there is too much low end or bass response that might not translate well on other stereo systems.
• Consumer Speakers: In addition to studio monitors, it is beneficial to have a set of consumer speakers, such as those found in cars or home stereo systems. This helps you understand how your mix will sound to the average listener.
• Subwoofers: Adding a subwoofer to your setup extends the low-frequency range of your monitors and improves the reproduction of midrange frequencies. This can be beneficial for both standard stereo mixing and surround sound media production.
• Monitor Management Systems: Consider investing in a studio monitor management system, such as the Dangerous Music Monitor ST or the Mackie Big Knob series. These systems make it easy to switch between different sets of monitors and provide high-quality headphone amplifiers for critical listening.
• Speaker Size and Configuration: The size of the woofer in your monitors determines the range and clarity of bass and lower midrange frequencies. Larger woofers can provide more power and bass response but may not be practical for smaller studios due to cost and space constraints.
• Active vs. Passive Monitors: Active monitors, like the KRK Rokit series, have built-in amplifiers and equalizers, allowing you to adjust for frequency imbalances in your room. Passive monitors, while less common, are preferred by some engineers for their reputation for pristine sound.
• Monitor Placement: Ensure that your monitors are placed correctly, with near-field monitors positioned close to the listener's ears and midfield monitors placed further away in larger rooms. This ensures that you are hearing the audio accurately.
• Flat Frequency Response: Studio monitors should have a flat frequency response, meaning all frequencies are played at the same volume level. This accuracy is crucial for making informed mixing decisions.
• Bass Management: Before investing in large cabinets or subwoofers, optimise the placement of your current monitors. Active three-way monitors can often deliver impressive bass response by adjusting their position relative to the front wall of the control room.

To compare mixes on different speakers

Listening to a mix on different systems is crucial in helping you understand how your audio behaves in different environments, which will help you make better mixing decisions.

For example, if you are mixing on headphones, you may believe the stereo image is wider than it really is, and that can impact how someone experiences the audio on speakers later.

Additionally, the room you are in will have a large effect on your mixes. If you are in an untreated room, the sound coming from your speakers can bounce off every wall and object, influencing how you hear the sound and therefore your mixing decisions. This is why professional studios spend so much money on acoustic treatment.

You can also use open-back headphones instead of closed-back headphones to allow sound to leak to each ear.

It is recommended to have two solid sets of monitors that have their strengths in different areas and then use them for each benefit.

To avoid ear fatigue

Secondly, understanding the psychoacoustics of extended critical listening is key. Our brains adapt to our listening environment, so we must be mindful of not pushing high frequencies too much. Additionally, our brains are more attuned to transient energy (short-term bursts of energy) than sustaining energy, so we must ensure we are not neglecting lower frequencies.

Thirdly, designing a healthy workflow is essential. This includes checking your mix at different volumes and using multiple monitors and headphones to switch between, which helps identify any issues with your mix.

Taking breaks is also important to curb mental fatigue. Mixing can be tedious and stressful, so limiting distractions and taking short breaks can help maintain focus and perspective.

Lastly, balancing technical and creative work is beneficial. Alternating between technical and creative tasks can provide a break for your brain, allowing you to stay focused and efficient without burning out.

By following these steps, you can help reduce ear fatigue and improve the quality of your work.

Frequently asked questions