It’s been said the world over to engineers with mixing chops that far exceed my own “We’ll just fix it in the mix.”

That’s not only a poor idea, but it’s unlikely it will ever be accomplished.

However, if the control room monitoring environment isn’t accurate, that really isn’t going to happen!

According to Bob Katz, the monitor system permits hearing inner details in the music that otherwise might cause problems for the end listener. (Bob Katz, Mastering Audio: The Art and The Science, Oxford: Focal Press 2002)

In other words, your monitors should be a transparent and critical window through which you can asses your mix.

Whether you’re setting up a basement project studio for the very first time or upgrading your room in the hopes of one day becoming the next Bob Ludwig, ensuring an accurate and critical listening environment is crucial. I’m here to help.

First we’ll take a look at important considerations when selecting a new monitoring system, and then we’ll walk through some of the currently available options for near-field monitors.

Where To Start?
OK, so, you know you need a pair of monitors, but where to begin?

The first important step is assessing your needs:
—What style (or styles) of music do you work with?
—What do you dislike about your current monitors?
—Is space a factor, or can you go big?
—Active or Passive? Preference?
—What is your budget?

These are all important factors in beginning to shop for monitors. Focusing a moment on size as the other criteria are fairly personal, I’m going to assume that you’re in the market for near-field monitors unless you also have a room large enough for a fairly serious large frame console.

If you happen to be that lucky, well, we’ll be getting to far-fields in a few months. Until then, happy mixing!

Anyway, you may be wondering: what exactly are near-field monitors?

Simply put, the term near-field refers to the placement of small to medium sized loudspeakers within the critical distance. (David Miles Huber, Modern Recording Techniques Fifth Edition, Oxford: Focal Press 1997)

Some feel that the term near-field is misleading and prefer close-field. No matter what term you use, it’s going to refer to a pair of “bookshelf” style speakers which can range in size from 6 inches to 10 inches. (Roey Izhaki, Mixing Audio: Concepts Practices and Tools, Oxford: Focal Press 2008)

OK, Now What?
Well, certain aspects of picking new monitors are, as I said before, very personal and can only be determined after some careful listening at another local studio or music retailer.

For instance, while monitors need to be transparent, if you mix Hip Hop you may still have different monitor preferences than an engineer who mixes predominantly Classical music.

Similarly, only you can know if there was something irksome about your last monitoring environment.

However, while certain aspects of picking monitors are very personal, other aspects are less so. For instance, active or passive?

Personally, I tend to prefer passive loudspeakers, as they remove the potentially noisy amplifier electronics from the monitor enclosure.

On the other hand, using passive loudspeakers does mean that I’m saddled with buying both speakers and an amplifier, which can often be too complex a setup for a first time buyer.

Your decision of active vs. passive could, on the other hand, be decided for you by the manufacturer should you pick an active or passive only monitor.

Can I Pick A Pair Already?
Absolutely! I’ve compiled for you a list of just some of my favorites, ranging in price from the ridiculously affordable to the amazingly expensive.

What do they all have in common? Every single option offers pristine audio quality and accuracy that is sure to provide you a transparent and critical window through which you can asses your mix.

So, what are you waiting for? Get picking! (Take Kyle’s Gallery Tour of a wide range of recent near-field studio monitors.)

One Final Thought
Also be sure to talk with friends and colleagues, listen to as many different monitors as possible, and in the end remember that if the prospective monitors are showcasing flaws in your mix, that’s OK.

After all, isn’t that what you’re buying them to do?

Kyle P. Snyder is an audio engineer with innumerable credits in the public and private sector, and he also recently created the Technologist blog here on ProSoundWeb.