Studio monitors are loudspeakers specifically designed for professional audio production applications, such as recording studios, filmmaking, television studios, radio studios and project or home studios, where accurate audio reproduction is crucial. Among audio engineers, the term monitor implies that the speaker is designed to produce relatively flat (linear) phase and frequency responses. In other words, it exhibits minimal emphasis or de-emphasis of particular frequencies, the loudspeaker gives an accurate reproduction of the tonal qualities of the source audio (“uncolored” or “transparent” are synonyms), and there will be no relative phase shift of particular frequencies—meaning no distortion in sound-stage perspective for stereo recordings. In general, studio monitors use a sealed box design, without a bass reflex port or passive radiator speaker to improve the low-frequency response. Bass reflex ports or passive radiators are not used because they affect the response and sound. Source: Wikipedia
Now that we got the basics out of the way, here’s the actual, real-life experience most professionals already know: you could make great music on 20$ speakers if you know their sound inside-out and how the music translates to other speakers (example: Sebastian Leger). There’s no substitute for working in an environment you know, and this topic transcends to DAW and other gear you use as well. You can (and will) make BAD sounding music on any new monitors, no matter the cost, until you get to know them really well. Some you just won’t like – and that’s subjective and fine! – so in the end you should not expect your first pair to be the last one you’ll ever buy. The general consensus though is that some speakers are better for some music styles than others.
*while Leger and Cut Copy compose and produce on those speakers, they pay mix and master engineers to make their songs market ready.
Don’t be afraid of the small size. You won’t get deep sub-bass with the F5s but everything else will be pristinely represented and balanced. If the 52Hz – 50kHz frequency response confuses you, know that your dog will enjoy the full spectrum that these babies can output. Seriously now, the 50khz is a their way of saying there won’t be any problems up to 20khz, no aliasing or funny business. The X-Art tweeter is a masterpiece, I’ve worked non-stop on it for hours without any year fatigue which is a fantastic trait on it’s own! Ask any KRK owner how much they can last until they need a break!
Yamaha has a long history with studio monitors. The NS10 model became a kind of studio standard when they appeared in the ’80s, everyone saying how horrible they sound. Turns out if you can make your track sound good on these, any better speaker will sound even better. There’s a love – hate relationship with the NS10 that’s dividing the sound community. I’m in the hate category. You wouldn’t color grade a photo or movie on a 20 year old 10″x10″ CRT Monitor, would you? But that’s just me, let’s get back to the HS8s.
The HS8 have nothing in commong with the NS10. They’re modern, balanced and with an impressive tight bottom end. Slightly bigger than the F5s (8 inches cone instead of 5) – this translates to deeper bass, Yamaha stating 38hz down. I’d say expect around 45ish, but that’s still pretty good. The increased size also comes with more volume, so if your room is bigger these will help. One major gripe everyone complains about with them is that they’re not magnetically shielded. Any router, phone or other electromagnetic interference will be picked up by them across 60cm (2 feet) or so.
Aaand we’re back to Adams. I could have went for a higher budget, high end monitor (like the Focal 6 Be but we’re still into “Starter Kit Territory”.
The Adam A7x brings all the great features of the smaller F5 but improves on them further. 42hz – 50Khz frequency range + two front ports means they go a lot deeper, even not needing a subwoofer for small rooms. They work very well for electronic music but acoustic too, they’re very detailed specially in the mid-high range. Their direct alternatives are the Dynaudio’s BM6As and Focal’s CMS 65s are a bit duller sounding on casual listening and the Dynaudio BM6A in particular are only usable for electronic music.
If you don’t have the budget for even the small F5s – DON’T GET MONITORS. In my experience there’s nothing cheaper than those that can even come close to be called “monitors” and not “hi-fi speakers”. Get headphones instead – not for all-time, just for a limited period until you’re back up on your feet and can afford the monitors. Headphones have come a long way and they’re at least a medium for producers to check their mixes unto, if not even work entire tracks on them. I’m not going into the features, pros and cons too deeply with these. You should try them and see which you prefer before committing to any of these models.
Cheapest: Audio-Technica M40x are the entry level. Go for M50x if you can stretch that far
Middle: Sennheiser Hd 25 are great for producing and fantastic for dj-ing! They isolate outside noise reaaaally well.
Best: The Beyerdynamic DT770 are the least fatiguing, best all-around headphones that are now found in basicly every respected studio. Full-bottom end and detailed all around.
Stay tuned, next time we’re looking at microphones!