We talked about some features of the monitoring strip above. Now I will refer to the location.
Position:
nearfield monitors tend to use quite attached (each other). At least the woofers, so that fit well together and give me more serious.
nearfields If I use 2-woofers, separate them so that the distance between the woofer and a woofer on the other is the same as between the woofers of the same monitor.
If I'm at about 90 cm of them not strongly inclined toward my ears and rather leave rights (both in the same plane). That favors the coupling of the woofers.
The little separation, I'm bit stereo, which I "force" to be a little more extreme with my pannings.
The height of the monitors has to do with the model. Usually in the 2-way, the acoustic center is somewhere between the woofer and tweeter. In the three-way, generally coincides with the media. That point (the acoustic center) should be at ear level, or directed toward him.
The location within the room is also important because the monitor interacts with it. Here are the two major bands:
a) The acute. They behave like light rays are reflected by hard surfaces and flat control. Their study can be assessed visually with the aid of a mirror. For example, if we sit in the mix position and walk by a mirror reflective surfaces relevant (console, ceiling, side walls) should not look at the tweeter monitor through it, because that implies that the tweeter is "seeing" our ear by two different paths (the direct and reflected by the surface). Solutions to this problem is the repositioning of the monitor, or the deflection reflective panels (one panel is positioned to divert the discussion to another place) or the extreme absorption panels also.
For the console or control surface, no choice but to raise the monitor or run backwards, as the inches necessary for us to stop seeing them.
b) Serious:
is a complicated issue because it is less intuitive to see (unlike the treble).
Consider the ideal position would be stamped on the front wall. That way we would avoid the destructive interaction of all the sound bounces occur when the speaker is a few inches of the wall.
The problem (apart from the frequency response of the monitor) is that the bass is "quite large" (their wavelengths are of the magnitude of the room where they are or much more) and their interaction with it becomes much more complicated.
The reflections of these low frequencies are everywhere (front wall, ceiling, floor, bottom, side) and the result of "as heard" in the mix position is dependent on the location of the monitor for each these surfaces.
On one side is the constructive and destructive interference (cancellations and reinforcements by subtraction and addition of phases) and on the other side is the activation
nodal points in the room. The nodal points are locations within a room, in which the excitation of a resonance mode, results in a growth of about 6 dB. Ideally, the monitors should be placed in more neutral venues where industry will be placed. Already knowing
that this "little matter" of the response function of the position, what we want is a monitor that sounds different from the other, thus, the axial symmetry (ie, monitors at the same distance central axis Room) is an indisputable requirement.
is clear that we are limited by physical space available in the control, the inclination of the console and the dimensions of control, in which I also I have a privileged position in respect of the modes (another chapter!), So finally ends made a commitment of all these items to determine the optimum position. Find
ESA position taking into account all these factors as crucial, is the real challenge of designing a study monitoring.
The next I'll talk about the best recording I did so far. An album that even came not from an Argentine group (202) I imagine, is going to have to talk in many respects.
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