Monitor Studio is a speaker speaker within a range designed specifically for professional audio production applications, such as recording studios, filmmaking, television studios, radio studios and projects or home studios, where very accurate audio reproduction important. Among audio engineers, the term monitor implies that the speaker is designed to produce a relatively flat (linear) phase and frequency response. In other words, it denotes minimal emphasis or de-emphasizing a certain frequency, the loudspeaker provides an accurate reproduction of the tonal quality of the audio source ("uncolored" or "transparent" is a synonym), and there will be no relative phase shift of a certain frequency - meaning no distortion in the sound-stage perspective for stereo recording.
Beyond the stereo sound stage requirements, the linear phase response helps the impulse response stay true to the source without facing "fouling". References not eligible for monitors often refer to the near-field (compact or close-field) design. It is a small enough speaker to sit on a table or stand near the listener, so most of the sounds heard listeners come directly from the speaker, rather than bouncing off the walls and ceilings (and thus picking up the colors and echoes from the room). Speaker speakers may include more than one type of driver (eg, Tweeter and woofer) or, to monitor low frequency sounds, such as a bass drum, a single driver subwoofer cabinet can be used.
In addition, studio monitors are made in a physically stronger way than the home hi-fi loudspeakers; while hi-fi home loudspeakers often just have to reproduce compressed commercial recordings, studio monitors have to cope with the high volume and sudden bursts of noise that may occur in the studio while playing back a mixture that is not compacted.
Video Studio monitor
Usage
The broadcasting and recording organization employs audio engineers who use loudspeakers to assess the aesthetic benefits of the program and to adjust the balance by mixing and mastering the audio to achieve the desired end result. Loudspeakers are also required at various points in the chain to allow engineers to ensure that the program is free of technical defects, such as sound distortion or background noise.
Engineers can mix the programming that will sound fun on the broadest range of playback systems used by regular listeners (ie high-end audio, low-quality radio in clock radio and "boom box", in club PA systems, in car stereos or a home stereo). While some broadcasters like the BBC generally believe in using the "highest performance practicable high performance" monitor, some audio engineers argue that monitoring should be done with a mediocre quality technical loudspeaker to be representative of the end-user of ordinary systems likely to listen with; or that some technical defects are only real with high-quality reproduction equipment and are therefore negligible. However, as a public broadcaster dealing with lots of live broadcast material, the BBC criteria for studio monitors is that they should be "as free as possible from avoidable defects". It is said that the real-life low-grade sound system is so different that it is impossible to compensate for the characteristics of each type of system available; technical errors should not be clear even for a small part of the listener while remaining undetected by the operations staff. It further argues that, due to technical advances in the science of sound transmission, studio equipment derived from the program must have a higher performance standard than the equipment used in reproducing it, since the former has a longer life.
In fact, most professional audio production studios have multiple sets of monitors that include various playback systems in the market. This may include examples of large and expensive speakers that can be used in cinemas, hi-fi speakers, car speakers, portable music systems, PC speakers, and consumer-grade headphones.
Amplification: Studio Monitor may be "active" (including one or more internal power amplifiers), or passive (this requires an external power amplifier). The active model is usually bi-amplified, meaning that the input sound signal is divided into two parts by active crossover for low and high frequency components. Both parts are amplified using separate low and high frequency amplifiers, and then the low frequency part is transferred to the woofer and the high frequency part is switched to the tweeter or horn. Bi-amplification is done so that overall net sound reproduction can be obtained, because the signal is easier to process before power amplification. Consumer loudspeakers may or may not have these design goals.
Maps Studio monitor
History
1920 and 1930s
In the early years of the recording industry in the 1920s and 1930s, studio monitors were used primarily to check for noise interference and clear technical issues rather than making an artistic evaluation of performance and recording. Musicians are recorded instantly and producers rate performance on this basis, relying on simple, proven microphone techniques that have proven to be sufficiently captured; playback through the monitor is only used to check that no obvious technical deficiency has damaged the original recording.
As a result, the initial monitor tends to be the basic loudspeaker cabinet. The state-of-the-art loudspeaker era is a large horned horn system mostly used in cinemas. The high-end loudspeaker design grew out of the demands of the film industry and most of the early loudspeaker pioneers worked in Los Angeles where they tried to solve the cinema sound problem. The stereophonic sound is still in its early stages, pioneered in England by an engineer working for EMI. Designing a monitor for a recording studio is not a top priority.
1940s and 1950s
The first high-quality loudspeaker developed explicitly as a studio monitor was Altec Lansing Duplex 604 in 1944. This innovative driver is historically considered to have grown from the work of James Bullough Lansing who previously supplied drivers for Shearer Horn in 1936., a speaker who quickly became industry standards in the form of motion pictures. He also designed the smaller Icon and is widely used at the time as a motion picture studio monitor. The 604 is a relatively compact coaxial design and within a few years became the industry standard in the United States, the position was maintained in various incarnations (604 through eleven model-changes) over the next 25 years. It was common in US studios throughout the 1950s and 60s and remained in production continuously until 1998.
In the UK, Tannoy introduced his own coaxial design, Dual Concentric, and this assumes the same reference role in Europe as the Altec 604 held in the US. The British Broadcasting Corporation researchers evaluated as many speakers as possible around 1948, but found that commercial loudspeaker makers offered little to meet their requirements. The BBC needs speakers who work well with program material in a real professional and domestic setting environment, and not only meet technical measurements such as frequency response, distortion, monitors in the anechoic chamber. Above all, the BBC requires supervisors to voice balance, be neutral, and have no color. Monitor usage in this industry is very conservative, with almost monopoly dependence on industry "standards", apart from the sonic failures of this aging design. Altec 604 has a very bad frequency response but almost all US studios continue to use it because almost every producer and engineer knows his voice intimately and is practiced to listen to his sonic limitations.
Recording through unfamiliar monitors, no matter how technically sophisticated, is dangerous because engineers unfamiliar with their sonic signatures can make poor production decisions and financially can not afford more time to production staff to get used to monitors new. The result, pretty well every US studio has a set of 604 and every European studio, Tannoy Dual Concentric or two. However, in 1959, at the height of industrial dominance, Altec made the mistake of replacing the 604 with Duplex 605A, a design widely considered to be lower than its predecessor. There are reactions from several record companies and studios and this allows competitors Altec, JBL (the company originally started by 604 designer James B. Lansing), to get into the monitor market.
Capitol Records replaced their Altec with the JBL D50 Monitor and a few years later their British affiliate, EMI, also moved to JBL's. Although Altec reintroduced 604 as the "E" version of Super Duplex in response to criticism, they now have big industry rivals to deal with. During the next decade most of the development of studio monitor design came from JBL.
As a public announcer in the UK, the BBC has a decisive role in defining industry standards. Its famous research department invested considerable resources in determining studio monitors that fit their different broadcasting needs, and also created their own models from the first principle. A 1958 research paper identified the purpose of sound, in a monaural system:
It is assumed that the ideal that will be directed at the design of the sound reproduction system is realism, ie that the listener should be able to imagine himself in the presence of the original sound source. Of course, there is scope for legitimate experiments in reproducing signal processing in an attempt to improve nature, however, realism, or as close to the approach as possible, should be regarded as a normal condition. and the avoidable departure from this country, while justified on occasion, should not be allowed to become a permanent feature of the system.
In designing the loudspeaker, the BBC sets out a compromise that must be set between size, weight and cost considerations. The two-way design is preferred because of the simpler crossover network, but is subject to the limitations of the speaker driver technology at the time - there are several high frequency units available at the time functioning down to 1.5 kHz, meaning that the Woofer must operate in a way which can be predicted up to about 2kHz. The BBC developed a two-way studio monitor in 1959, LS5/1, using the Celestion 58mm tweeter and 380mm Goodmans bass unit, but continued to have problems with the consistency of the bass unit. The successful test of a 305mm bass cone made with new thermoplastics leads to the development and deployment of LS5/5 and LS5/6 monitors that occupy only 60% of its predecessor volume.
Because recordings are becoming less "live" and multi-tracking and overdubbing become the norm, studio monitors are becoming much more important to the recording process. When there is no genuine performance beyond what is on the tape, the monitor becomes a touchstone of all technical and production decisions. As a result, accuracy and transparency became important and conservatism evident in retention of 604 as a standard for over twenty years began to pave the way for new technological developments. Nonetheless, 604 continues to be widely used - mainly because many engineers and producers are so familiar with their sonic signatures that they are reluctant to change.
1960s and 1970s
In a BBC white paper published in January 1963, the authors explored two-channel stereophoni, saying it was disadvantaged compared to the multi-channel stereophone available in cinemas in "the full effect intended only for observers. " lies within a forbidden area in front of a loudspeaker. "The authors express objections about dispersion and directionality in the 2-channel system, noting that" face-to-face listening settings "can not provide acceptable presentations for centrally located observers in domestic settings. The paper concludes:
However, the achievement of the appropriate direction characteristics within the aesthetic and economic limits applicable to home appliances will require much greater research effort than any radio company or industry so far capable of serving on the subject.
To complement its larger two-way monitor for studio use, the BBC developed a small speaker for close-range monitoring of the frequency range from 400 Hz to about 20 kHz for outside broadcast monitoring. The main obstacle is the space and situation where using headphones is not satisfactory, as in the mobile broadcasting van. Based on scaling tests conducted in 1968, and detailed audio work on LS5/8 - the massive "Level I" Monitor was used at the time - and with direct sources, the BBC Research Department developed LS3/5, which became the famous LS3/5A used from 1975 to 1990s and beyond by the BBC and audiophile alike.
In the late 1960s, JBL introduced two monitors that helped secure their industry advantage. The 4320 is a direct competitor to the Altec 604 but a more accurate and powerful speaker and is rapidly making breakthroughs against industry standards. However, it is a more compact 4310 that revolutionizes monitoring by introducing the idea of ​​close monitoring or "nearfield". (The field of sound that is very close to the sound source is called the "near field." With "very close" means in the field of dominated sound directly, rather than reflected. The near field speaker is a compact studio monitor designed to listen at close range (3 to 5 feet (0.9 to 1.5 m)), so, in theory, the acoustic effects of a bad room are greatly reduced.)
4310 is small enough to be placed on the recording console and is heard from a much closer range than a traditional wall mounted (or "soffit") monitor. As a result, studio-acoustic problems are minimized. The smaller studio found the 4310 ideal and the monitor and its successor, 4311, became studio fixtures throughout the 1970s. Ironically, the 4310 has been designed to mimic idiosyncrasies from Altec 604 but in smaller packages to meet current technical needs.
The 4311 is very popular with professionals who JBL introduced the domestic version for the growing home-audio market. The speaker, JBL L-100, (or "Century") was a great success and became the best-selling hi-fi speaker ever in a few years. In 1975, JBL took over Altec as the preferred monitor for most of the studios. Large studios continue to use large wall-mounted designs capable of producing exceptional SPL and bass numbers.
This trend peaked with The Who using a dozen JBL 4350 monitors, each capable of 125dB and containing two fifteen inch woofers and a twelve-inch mid-bass driver. Most studios also use simpler monitoring devices to check how recording will be heard through car speakers and inexpensive home systems. The favorite "grot-box" monitor used in this way is Auratone 5C, a single raw driver device that provides a reasonable facsimile of a distinctive lo-fi sound.
However, the reaction to a giant monitor is imminent. With the advent of punk, new waves, indie, and lo-fi, reactions to high-tech recordings and large corporate-style studios arranged in and do-it-yourself recording methods became a trend. Smaller, cheaper recording studios, requiring smaller, cheaper monitors and Yamaha NS-10, a design that was introduced in 1978 ironically for the home audio market, became the monitor of choice for many studios in the 1980s. Although the quality of his voice has been frequently ridiculed, even by those who monitor through it, the NS-10 continues to be used to this day and many more successful recordings have been produced with his help over the past twenty-five years compared to other monitors..
1980s-1990s
By the mid-1980s, monitors near the field had become permanent fixtures. Larger studios still have large monitors installed soffit but the producers and engineers spend most of their time working near the fields. The common large monitor at the time was the Eastlake/Westlake monitor with twin 15 "bass units, wooden midrange horns and horn-loaded tweeters.UREI 813 is also popular, based on the ageless Altec 604 with Passive Time-Align passive crossover network developed by Ed Long, including delay circuits to align the acoustic centers of low and high-frequency components.The Fostex "Laboratory Series" monitors are used in some high-end studios, but with the increasing cost of manufacture, they are becoming the rare JBL that once dominantly fell gradually to be unpleasant.
One of the most striking trends is the growth of soft-dome monitors. It is operated without horn-loaded drivers. Horns, while having an advantage in response and temporary efficiency, tend to be difficult to hear in the long term. Lack of high-end dome midrange & amp; tweeters make them easy to work with all day (and night). The typical soft-dome system is made by Roger Quested, ATC, Neil Grant and PMC and is actively driven by active crossover shelves and amplifiers. Other monitor designers and studios such as Tom Hidley, Phil Newall and Sam Toyoshima continued research into the speaker/space interface and led developments in room design, trapping, absorption and diffusion to create a consistent and neutral monitoring environment.
2000s
The main trend of post-NS-10 is the almost universal reception of a powerful monitor where the speaker enclosure contains a propulsion amplifier. Passive monitors require outboard power amplifiers to move them as well as speaker cables to connect them. Powerful monitors, by contrast, are a relatively more convenient and efficient single unit, which in addition, market participants claim a number of technical advantages. The interface between loudspeakers and loudspeakers can be optimized, possibly offering greater control and precision, and advancements in amplifier design have significantly reduced the size and weight of electronics. The result is that passive monitors are becoming much more common than electric monitors in project and home studios.
In the 2000s, there was a tendency to focus on "translation". Engineers tend to choose fewer monitors for their accuracy than their ability to "translate" - to make good sounding tapes on various playback systems, from stock car radios and standard boom boxes to esoteric audiophile systems. As suggested by mixed engineer Chris Lord-Alge:
- Ninety-five percent of people listen to music in their cars or in cheap house stereos; 5 percent may have a better system; and maybe 1 percent has a $ 20,000 stereo. So if that does not sound good on something small, what's the point? You can mix in front of the large, beautiful, original, $ 10,000 monitor you need. But no one else has this monitor, so you're more likely to end up with a translation problem. "
But it is not certain only aid translation tools. Some producers argue that accuracy is still the best guarantee. If the producer or audio engineer listens to the recorded song and mixes the tracks using a "flattering" monitor speaker, he may miss the subtle issues in sound quality or recording that will be presented by a more appropriate monitor. Other manufacturers feel that monitors should emulate audio speakers and home cars, as this is what most consumers listen to music. Still more believing that the monitor should be endlessly unattractive, so the producers and engineers have to work hard to make the recording sound good.
Comparison with hi-fi speakers
No speakers, monitors or hi-fi sound systems, regardless of design principle or cost, have a completely flat frequency response; all speakers color the sound up to a certain level. Speaker speakers are assumed to be as free as possible from staining. Although there is no strong difference between consumer speakers and studio monitors, manufacturers are increasingly different in their marketing materials. Generally, studio monitors are physically strong, to cope with high volume and physical taps that may occur in the studio, and are used for listening at shorter distances (eg, near the field) than hi-fi speakers, though nothing deters them from being used in home-sized environments. In a leading recording magazine, Sound on Sound, the number of self-reinforced studio monitor reviews significantly outweighs the number of passive monitor reviews over the past two decades that show that studio monitors are self-dominated. reinforced, though not so exclusive. Hi-fi speakers usually require external amplification.
Monitors are used by almost all professional manufacturers and audio engineers. The advantage of studio monitors is that production is better translated to other sound systems. In the 1970s, the domestic equivalent of JBL 4311, L-100, was used in a large number of homes, while Yamaha NS-10 served both domestically and professionally during the 1980s. While not being a "commercial product" at the beginning, BBC licensed the production of the LS3/5A monitor, which is used internally. It was commercially successful in its twenty-one-year life, from 1975 to about 1998. These very small BBC speakers have assembled "enthusiastic, focused, and faithful followers," according to Paul Seydor in The Absolute Sound Estimated sales are different, but generally in 100,000 pairs of rough.
Professional audio companies such as Genelec, Neumann (formerly Klein Hummel), Quested, and M & amp; K sells almost exclusively to recording studios and record manufacturers, consisting of major players in the professional monitor market. Most consumer audio manufacturers limit themselves to supplying speakers for home hi-fi systems. Companies that straddle both worlds, such as Tannoy, ADAM, PMC, Focal/JM Labs, surrounTec, Dynaudio, and JBL, tend to distinguish monitors and their hi-fi lines clearly.
See also
- Loudspeaker Acoustics
- List of loudspeaker manufacturers
- Digital space correction
- Acoustic space
References
Source of the article : Wikipedia
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