# Best studio monitors for you?



## svenlk (Apr 21, 2015)

There are a lot of great deals out there now in the studio monitor world. 
I myself am about to upgrade, and like a lot of people, i still have many questions and concerns about some of these monitors for sale. especially from the lower end brands that have bundle deals.(purchased a bad pair of starter M-audio monitors, Hated them)
so i made this thread so people can kind of share their own personal experiences,(good and bad) with numerous monitors
and hopefully provide some good advice to myself and many others
like,
what monitors work best for you? 
what style of music do you work with mostly?
what monitors are best for handling low end?
do you mix with a sub woofer?

Cheers!
-Sven


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## 7stg (Apr 21, 2015)

I'm using Adam a77x's and used Adam a7x before that. 

I always recommend 6.5-7 inch with a sub which I find gives the broadest frequency response and quality for the dollar. Adam F7 with their subf or the Yamaha hs7 with their hs8s are good budget picks. The 5 inch models lack the low end to hear what is going on in lower frequencies, some barely covering a 6 string guitars low E2 82.407hz with a quick fall off from there. For example, the Yamaha HS5 with a frequency range that is only down to 74Hz -3db VS the Yamaha HS7 to 55Hz -3db and HS8 to 47Hz -3db adding the Yamaha HS8s sub gets the setup to 33Hz.

7 inch models are a better fit when adding a sub. Because they more optimally match the ideal sub crossover point of 60-80Hz where it is nice to have the main monitors be able to extend their -3db point 10-20Hz lower than the sub crossover point for a smooth transition. Bass frequencies above the sub-bass range approximately 60Hz start to become directional, so setting the subs crossover much above the sub-bass range impacts the stereo image. 

Also, adding a sub improves the mids, as it transfers the deep bass frequencies which are more challenging to reproduce to their own speaker allowing the monitor to focus on the mids.

Having the ability to bypass the sub can be beneficial for simulating a system with less bass response and late night mix sessions in apartments with thin walls.


Here are what requirements I set to arrive at the above:
Must work in a typical bedroom.

Uses: Must fulfill all home audio needs: recording, jamming, listening to music including metal, electronic, jazz, folk, and classical ability to cover djent and dubstep low end requirements, watching movies, ect...

Must Cover
ERG
F#1 - 46.249Hz
C#1 - 34.648Hz
ERB
B0 - 30.868Hz
F#0 - 23.125Hz
Keys
A0 - 27.5Hz
Kick Drum
Produces a broad span of frequencies with very high energy between 30 and 80Hz.

Lower end monitors often only give -10db specs. Sometimes -3 db is given in the manual.

A lot of times 6.5-7's will have better midrange detail than 8's, this is a combination of speaker physics and crossover settings.

A sub can reach 20-30hz where an 8 can get to around 35-45hz.

I know 7's will work in a 10x10 room.

Adam, Yahama, and Focal consistently get good reviews.

Bass traps are important especially when adding the sub, see DIY bass traps with owens corning 703 4 inch panels.

For nicer looking tables - Quest for Tone scroll down to Studio Monitors
Budget Options
Monitor _ Response _ $
Adam F7 _ 44Hz - 50kHz _ 399
Adam SubF _ 30Hz - 120Hz _ 399
Yamaha HS8 _ 47Hz - 24kHz -3dB and 38Hz - 30kHz -10db _ 350
Yamaha HS7 _ 55Hz - 24kHz -3db and 43Hz - 30kHz -10db _ 300
Yamaha HS8S sub _ 33Hz - 124Hz -3db and 22Hz - 160Hz -10db _ 450
Focal Alpha 80 _ 35Hz - 22kHz ±3dB _ 549
Focal Alpha 65 _ 40Hz - 22kHz ±3dB _ 399
Equator D8 _ 44Hz - 20kHz ±3dB _ 375
JBL LSR308 _ 37Hz - 24 kHz _ 250
JBL LSR310s sub _ 27Hz - _ 300
KRK Rokit 6 G3 _ 38Hz - 35kHz -10dB _ 200
KRK Rokit 8 G3 _ 35Hz - 35kHz -10dB _ 250
KRK Rokit 10-3 G2 _ 31Hz - 20kHz -10dB _ 499
KRK 10s sub _ 34Hz - 130Hz _ 399
M-Audio BX8 D2 _ 38Hz - 22kHz _ 200
M-Audio BX6 Carbon _ 45Hz - 22kHz _ 200
M-Audio BX8 Carbon _ 38Hz - 22kHz _ 250
M-Audio M3-8 _ 40Hz - 20kHz _ 350
M-Audio BX Sub _ 20Hz - 200Hz -3dB _ 400
Mackie MR6mk3 _ 46Hz - 20kHz _ 200
Mackie MR8mk3 _ 38Hz - 20kHz _ 250
Mackie MR10Smk3 sub _ 35Hz - 180Hz _ 350
PreSonus E8 _ 35Hz - 22kHz _ 250
PreSonus T10 sub _ 20Hz - 200Hz _ 400
Tannoy Reveal 802 _ 42Hz - 43Hz ±3dB _ 280

Nicer Options
Make _ Model _ Frequency Response Low _ Frequency Response High _ Frequency Response Low 2 _ Frequency Response High 2 _ Low Note _ High Note _ $ Each
Adam _ A7X _ 42Hz _ 50kHz _ _ _ F1 _ A#14 _ 749
Adam _ A8X _ 38Hz _ 50kHz _ _ _ D#1 _ A#14 _ 1,099
Adam _ A77X _ 38Hz _ 50kHz _ _ _ D#1 _ A#14 _ 1,199
Adam _ S2X _ 35Hz _ 50kHz _ _ _ D1 _ A#14 _ 2,349
Adam _ S3X-H _ 32Hz _ 50kHz _ _ _ C1 _ A#14 _ 3,750
Adam _ S3X-V _ 32Hz _ 50kHz _ _ _ C1 _ A#14 _ 2,750
Adam _ S4X-V _ 28Hz _ 50kHz _ _ _ A#0 _ A#14 _ 4,500
Adam _ Sub8 _ 28Hz _ 150Hz _ _ _ A#0 _ D3 _ 750
Adam _ S5X-V _ 25Hz _ 50kHz _ _ _ G#0 _ A#14 _ 6,500
Adam _ Sub10Mk2 _ 25Hz _ 150Hz _ _ _ G#0 _ D3 _ 1,300
Adam _ Sub12 _ 22Hz _ 150Hz _ _ _ F#0 _ D3 _ 1,750
Adam _ Sub15 _ 20Hz _ 150Hz _ _ _ E0 _ D3 _ 3,749
APS _ AEON _ 30Hz ±2dB _ 30kHz ±2dB _ _ _ B0 _ C#14 _ 1,150
APS _ TRINITY _ 28Hz ±2dB _ 30kHz ±2dB _ _ _ A#0 _ C#14 _ 
APS _ SUB10 _ 19Hz ±2.5dB _ 90Hz ±2.5dB _ _ _ D#0 _ F2 _ 
APS _ SUB15 _ 12Hz ±3dB _ _ 15Hz ±1.5dB _ 60Hz ±1.5dB _ G-1 _ A#1 _ 5,999
ATC _ SCM25A Pro _ 74Hz ±2dB _ 17kHz ±2dB _ 47Hz -6dB _ 22kHz -6dB _ D#2 _ C10 _ 4,245
ATC _ SCM50A Pro _ 70Hz ±2dB _ 17kHz ±2dB _ 38Hz -6dB _ 22kHz -6dB _ D2 _ C10 _ 7,795
ATC _ SCM100A Pro _ 65Hz ±2dB _ 17kHz ±2dB _ 32Hz -6dB _ 22kHz -6dB _ C2 _ C10 _ 8,795
ATC _ SCM150A Pro _ 60Hz ±2dB _ 17kHz ±2dB _ 25Hz -6dB _ 22kHz -6dB _ B1 _ C10 _ 10,295
ATC _ SCM110A Pro _ 50Hz ±2dB _ 17kHz ±2dB _ 30Hz -6dB _ 22kHz -6dB _ G#1 _ C10 _ 9,495
ATC _ SCM0.1-15 _ 30Hz ±2dB _ 300Hz ±2dB _ 20Hz -6dB _ _ B0 _ D4 _ 8,290
BagEnd _ MM-8 _ 95Hz _ 20kHz ±3dB _ _ _ G2 _ D#10 _ 1,290
BagEnd _ InfraSUB-12 Pro _ 8Hz ±3dB _ 95Hz ±3dB _ _ _ C-1 _ F#2 _ 1,945
BagEnd _ M-6 _ 60Hz ±3dB _ 20kHz ±3dB _ _ _ B1 _ D#10 _ 617
Barefoot _ MicroMain45 _ 40Hz ±3dB _ 45kHz ±3dB _ 53Hz ±1dB _ 40kHz ±1dB _ E1 _ G#14 _ 2,998
Barefoot _ MicroMain35 _ 35Hz ±3dB _ 45kHz ±3dB _ 46Hz ±1dB _ 40kHz ±1dB _ D1 _ G#14 _ 4,138
Barefoot _ MicroMain27 _ 30Hz ±3dB _ 45kHz ±3dB _ 40Hz ±1dB _ 40kHz ±1dB _ B0 _ G#14 _ 5,248
Barefoot _ MiniMain12 _ 20Hz ±3dB _ 50kHz ±3dB _ 28Hz ±1dB _ 40kHz ±1dB _ E0 _ A#14 _ 11,013
Dynaudio _ BM6A MKIII _ 40Hz ±3dB _ 21kHz ±3dB _ _ _ E1 _ D#10 _ 750
Dynaudio _ BM12 MKIII _ 38Hz ±3dB _ 21kHz ±3dB _ _ _ D#1 _ D#10 _ 1230
Dynaudio _ BM9S II sub _ 29Hz ±3dB _ 250Hz ±3dB _ _ _ A#0 _ B3 _ 1,000
Dynaudio _ BM14S II sub _ 18Hz ±3dB _ 250Hz ±3dB _ _ _ D0 _ B3 _ 1,850
Event _ Opal _ 35Hz _ 22kHz _ _ _ D1 _ G#13 _ 1,499
Focal _ CMS 65 _ 45Hz ±3dB _ 28kHz ±3dB _ _ _ F#1 _ G#10 _ 795
Focal _ Solo6 Be _ 40Hz ±3dB _ 40kHz ±3dB _ _ _ E1 _ D#11 _ 1,350
Focal _ Twin6 Be _ 40Hz ±3dB _ 40kHz ±3dB _ _ _ E1 _ D#11 _ 1,850
Focal _ SM9 _ 30Hz ±3dB _ 40kHz ±3dB _ _ _ B0 _ F#14 _ 3,595
Focal _ CMS SUB _ 30Hz ±3dB _ 250Hz ±3dB _ _ _ B0 _ B3 _ 995
Focal _ Sub6 _ 30Hz ±3dB _ 250Hz ±3dB _ _ _ B0 _ B3 _ 1,850
Genelec _ 8040B _ 45Hz -3dB _ 21kHz -3dB _ 48Hz ±2dB _ 20kHz ±2dB _ F#1 _ D#10 _ 1,345
Genelec _ 8351A _ 38Hz ±1.5dB _ 21kHz ±1.5dB _ 32Hz -6dB _ 40kHz -6dB _ D#1 _ E10 _ 4,295
Genelec _ 8050B _ 35Hz -3dB _ 21kHz -3dB _ 38Hz ±1dB _ 20kHz ±1dB _ D1 _ D#10 _ 2,195
Genelec _ 8260B _ 26Hz -3dB _ 40kHz -3dB _ 29Hz ±1dB _ 21kHz ±1dB _ A0 _ F#14 _ 5,935
Genelec _ 7050B 8" sub _ 25Hz ±3dB _ 120Hz ±3dB _ _ _ G#0 _ A#2 _ 1,345
Genelec _ 7060B 10" sub _ 19Hz ±3dB _ 120Hz ±3dB _ _ _ D#0 _ A#2 _ 2,599
Genelec _ 7070B 12" sub _ 19Hz ±3dB _ 120Hz ±3dB _ _ _ D#0 _ A#2 _ 3,499
Neumann _ KH 120A _ 52Hz ±3dB _ 21kHz ±3dB _ 54Hz ±2dB _ 20kHz ±2dB _ A1 _ D#10 _ 750
Neumann _ KH 310A _ 34Hz ±3dB _ 21kHz ±3dB _ 36Hz ±2dB _ 20kHz ±2dB _ C#1 _ D#10 _ 2,250
Neumann _ O 410 _ 30Hz ±3dB _ 24kHz ±3dB _ 32Hz ±2dB _ 20kHz ±2dB _ B0 _ F#10 _ 4,900
Neumann _ KH 420 _ 26Hz ±3dB _ 22kHz ±3dB _ 28Hz ±2dB _ 20kHz ±2dB _ A0 _ G#13 _ 4,900
Neumann _ KH 810 sub _ 18 ±3dB _ _ 19Hz ±2dB _ 300Hz ±2dB _ D0 _ D4 _ 2,700
Neumann _ KH 870 sub _ 18 ±3dB _ _ 19Hz ±2dB _ 300Hz ±2dB _ D0 _ D4 _ 4,120
PMC _ twotwo.6 _ 40Hz _ 25kHz _ _ _ E1 _ F#10 _ 2,500
PMC _ twotwo.8 _ 35Hz _ 25kHz _ _ _ D1 _ F#10 _ 4,000
PMC _ twotwo sub1 _ 22Hz _ 200Hz _ _ _ F#0 _ G3 _ 4,900
PMC _ IB2S-A _ 20Hz _ 25kHz _ _ _ E0 _ F#10 _ 19,500
PSI _ A21-M _ 44Hz ±2dB _ 20kHz ±2dB _ 38Hz -6dB _ 23kHz -6dB _ F#1 _ D#10 _ 2,500
PSI _ A25-M _ 38Hz ±1.5dB _ 20kHz ±1.5dB _ 32Hz -6dB _ 23kHz -6dB _ D#1 _ D#10 _ 4,000
PSI _ Sub A225-M _ 28Hz ±2dB _ 65Hz ±2dB _ 24Hz -6dB _ 100Hz -6dB _ A#0 _ B1 _ 3,199
Quested _ S7R _ 65Hz ±2dB _ 20kHz ±2dB _ _ _ C2 _ D#10 _ 1,425
Quested _ S8R _ 50Hz ±2dB _ 20kHz ±2dB _ _ _ G#1 _ D#10 _ 2,100
Quested _ V3110 _ 30Hz ±2dB _ 20kHz ±2dB _ _ _ B0 _ D#10 _ 5,250
Quested _ SB10R _ 20Hz _ _ _ _ E0 _ _ 3,100


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## illimmigrant (Apr 21, 2015)

I went from KRK rokits 6's to Adam A7x's and I am now looking to treat my room, since I am starting to record vocalists and acoustic instruments on top of mixing.
The difference in sound quality between these monitors was as dramatic as the price difference between the two sets. The stereo image of the Adams is much clearer and the low mids were much improved. The KRK's sounded muffled in comparison and made it much more difficult to judge lower mid and low frequencies.
My room is about 12x14 with 10 foot ceilings. I don't plan on using a sub any time in the near future, but I can say the Adams were totally worth it.


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## Given To Fly (Apr 22, 2015)

svenlk said:


> what monitors work best for you?
> what style of music do you work with mostly?
> what monitors are best for handling low end?
> do you mix with a sub woofer?
> ...



I have not stepped into the high end monitor world yet With that said, I like working with my Equator D5's. The midrange detail is extremely helpful when recording guitars. My room is moderately treated with GIK Acoustic's 244 Bass Traps at the 1st Reflection Points and Tri-Traps in the front corners. (Its a work in progress.) I mainly record classical guitar but my classical guitars have 7 strings and electric guitar is embedding itself in the classical repertoire to the point I'm recording repertoire with 6/7/8 string electrics. The Equator D5's take you to 53Hz and then begin to descend quite steeply but smoothly to bass frequencies below its pay grade.  My subwoofers are a pair of Sennheiser HD600's.  They will clearly reveal the low end and teach you the importance of High Pass Filters. 

The best monitors for handling low end? For trivial knowledge, these are likely candidates: PMC Loudspeakers BB5 XBD - Pair - Vintage King Audio


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## Fretless (Apr 22, 2015)

Honestly I've been using my M-Audio BX8a's for years. I go back and forth between my studio and my vocalist's weekly, where he has a pair of Adam A7X's and a matching sub. I like how they sound, but I always find I hear more with my setup. 

The most important thing is that you know what your monitors can and cannot do. If you learn to compensate properly, you can mix with ipod headphones for what it's worth.


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## col (Apr 22, 2015)

Fretless said:


> The most important thing is that you know what your monitors can and cannot do. If you learn to compensate properly, you can mix with ipod headphones for what it's worth.



This. And this (7:00)


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## 7stg (Apr 22, 2015)

Here's part 2


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## svenlk (Apr 22, 2015)

Lots of great info guys, really appreciate the feedback. Been looking into the Adam a77x's, they are quite the penny but sound amazing :3


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## svenlk (Apr 22, 2015)

col said:


> This. And this (7:00)




great video, this gave me a whole new perspective on EQing


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