definition: near-, mid-, farfield monitors

Posted: Wed Jul 26, 2006 4:29 pm

Hello there,

I have to write an essay about mastering. For this reason, I'm looking for an answer to these questions:

1.How are near-, mid- and farfield defined, related to studio monitors? Or can't there be given any definition at all?

2. Where are the differences between these monitors? (between near- and other fields, the difference is quite clear, but between mid- and farfield?)

I'm looking forward for your answers...

Ciao,
Gang

Posted: Wed Jul 26, 2006 6:12 pm

Let me begin by saying, it's fairly obvious about the differences from the titles.

Generally, when we use our nearfield monitors, they are more of a mix reference, rather than an overall audio quality reference. If your mix sounds good on the little monitors, chances are, it will relate really well to just about any kind of smaller consumer system.

Your midfield monitors, are frequently at least a few feet in front of your console. They are much more generally like your average home stereo speakers. One of my favorites has always been the venerable JBL 4310/4311/4312 and the 4411/4412 series of passive midfield monitors. I particularly like mine powered from an old vintage Crown DC 300 A.

Your farfield monitors are frequently the largest ones that are built into the wall soffit's and may be 8 to 10 feet away. They are mostly used when you need to carefully evaluate sounds, since they can frequently play quite loudly, have extended frequency response and power handling characteristics and are therefore able to reveal much more background trash and nuances that smaller speakers just cannot reveal. Mixing on the big monitors is always fun and spectacular sounding but frequently, those mixes won't exactly translate well to smaller mediocre consumer systems and so there are your reasons and uses for the different types of monitors used in most professional and comprehensive control rooms.

You neglected to ask about "carfield" monitors? You know, when we have done our mix, we all run out to our cars to see how it sounds so there is yet a 4th reference that we frequently also want to know about.

I've never put much credence though in my motorcycle helmet KOSS headphones, since it's hard to tell what you're listening to at 60 mph......

WOW! That was a Near Mid encounter!
Ms. Remy Ann David

Posted: Wed Jul 26, 2006 6:18 pm

RemyRAD wrote:

Let me begin by saying, it's fairly obvious about the differences from the titles.

Generally, when we use our nearfield monitors, they are more of a mix reference, rather than an overall audio quality reference. If your mix sounds good on the little monitors, chances are, it will relate really well to just about any kind of smaller consumer system.

Your midfield monitors, are frequently at least a few feet in front of your console. They are much more generally like your average home stereo speakers. One of my favorites has always been the venerable JBL 4310/4311/4312 and the 4411/4412 series of passive midfield monitors. I particularly like mine powered from an old vintage Crown DC 300 A.

Your farfield monitors are frequently the largest ones that are built into the wall soffit's and may be 8 to 10 feet away. They are mostly used when you need to carefully evaluate sounds, since they can frequently play quite loudly, have extended frequency response and power handling characteristics and are therefore able to reveal much more background trash and nuances that smaller speakers just cannot reveal. Mixing on the big monitors is always fun and spectacular sounding but frequently, those mixes won't exactly translate well to smaller mediocre consumer systems and so there are your reasons and uses for the different types of monitors used in most professional and comprehensive control rooms.

You neglected to ask about "carfield" monitors? You know, when we have done our mix, we all run out to our cars to see how it sounds so there is yet a 4th reference that we frequently also want to know about.

I've never put much credence though in my motorcycle helmet KOSS headphones, since it's hard to tell what you're listening to at 60 mph......

WOW! That was a Near Mid encounter!
Ms. Remy Ann David

Excellent answer, and excellent new hairdo and avatar pic.

Posted: Thu Jul 27, 2006 2:35 am

Thx for the quick answer.

Things got a bit more clear for me.

Let's see what I'll write... Smile

Ciao,
Gang

Posted: Tue Aug 01, 2006 7:55 pm

Remey,
I have a pair of vintage JBL 4312's in tip top shape. Do you think I would benefit by adding these to my monitor setup?
I have a pair of Gen 1031a's near field, a Pair of NS 10 near fields and a pair of Auratones on the near field bridge.
Would it serve me to mount the 4312's midfield for another perspective or is all this over kill?
The control room is 19x32 so I have plenty of room.

Is this to much? It would look great having all these monitors for fun sake.

What do you think?
Larry

Posted: Thu Aug 03, 2006 11:32 am

It seems you already have a lovely set of monitors you're currently working with but they are all near Field monitors. I really think you would benefit from the 4312's provided you power them from a decent amplifier and not just any old piece of junk. I would recommend a minimum of 150 W per channel for those. They are certainly one of the most popular rock and roll monitor speakers ever produced.

In our studio years ago we discovered quite a difference in the way those speakers sounded depending on what amplifier is powering them. We originally powered them from a Macintosh 2100. They sounded quite nice but when we connected a Crown DC 300A, the bass suddenly got tighter, there was more definition and everything sounded much more punchy. It was a dramatic difference. So running them in the midfield I think will be just the ticket? Plus, my mixes have always seemed to translate well to other speakers when I mixed on those. I've never been able to mix on NS10's but I have used the Auratone's as a boom box reference. The Genelec's are quite nice but I've had problems with those as I find them false sounding, at least in my ear. I know that many of George Massenburg's work were mixed on JBL L100's which were a consumer version of the 4311 but the only thing that was consumer about them was the beautiful walnut cabinet and their beautiful blue or orange foam grills. The original studio versions were gray painted boxes with a black polyester grill. In more recent years, they began using a slightly different titanium tweeter, between what they deemed their professional version versus their consumer version and so those replaceable diaphragms do have to be replaced, with the correct version as they do not interchange even though they look virtually identical. And so I would assume, that you have the 4312 "C" version? They were the last production run of that series of monitors and everybody at JBL will tell you that they are " consumer" versions but they are virtually identical to the previous professional availability, they just want you to purchase the new "LSR" series since they consider that professional as opposed to the previous monitors which were once professional now considered consumer. Go figure? Unfortunately I believe they are no longer providing support or replacement parts for those older monitors last I heard? And so I'm quite happy, that I have 4 pairs. So that if necessary I can begin a sacrificial process of repairs so that others may live!

Punchy over my JBL's!
Ms. Remy Ann David

Posted: Wed Aug 09, 2006 3:15 pm

hey Remy you seems to have good experience in this field i find your answers very intresting... well my question is i have a problem in loud listning with Genelecs 1030A it does'nt take much load as soon as the low end gets hot it reduces or you could say choke the sound by itself.... though its a good pair of near field monitors..... now i m planning to buy JBL LSR series monitors probably 4328... wht is your opinion about them.... and wht would you recommend that under 1000$ wht would be the best monitors or may be not the best but better which could bare a louder signal...and does'nt choke....wht about Alesis M1 Active Mk2....
i also have Wharfedale Diamond 8.2....your reviews about these monitors

Posted: Wed Aug 09, 2006 6:13 pm

Shezan,
I've used 1031a's for along time and really don't understand what you mean by" Choked sound"

If anything the Geny's are to bright instead of the other way around.
Are you sure your dip switch settings are all correct?
Sounds like somethings not right.

When you say loud how loud are you talking about?

Anything over about 95 to 100 db is going to be so loud you can't hear anything anyway.

How are your acoustics in your room?

Just interested in your comment about choked sound, never heard this about Genelec's before.
Larry

Posted: Thu Aug 10, 2006 9:52 am

I think if you are trying to accomplish rap and hip-hop recordings, one will never be happy with a small near field monitoring system. It sounds to me you are already pushing the Genelec's further than their capabilities? I have no experience with the Wharfedale's which are not exactly studio monitors but have always been nice home speakers that are filled with sand, in pursuit of greater mass.

So, yes, a decent pair of JBL LSR monitors may be just the ticket for you, either passive or active. JBL's have been used in studios for many years and you have the ability to truly crank them without fear. That is the reason why they have been so popular for control room use, they're loud and can take a beating without flabbing out.

Diehard JBL fan
Ms. Remy Ann David

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