Anyone here using flush mounted nearfields?

Discussion in 'Microphones (live or studio)' started by sound_forward, Feb 26, 2006.

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  1. According to genelec, flush mounting monitors is the best way of monitoring, also with small speakers.

    As I am about to construct my new project studio, I was thinking about flush mounting my nearfields (genelec 1030a) in front wall.

    I would like to know if anyone here is actually getting good results with properly flush mounted nearfields in smaller control rooms?

    When I say properly, I mean that monitors are properly decoupled from monitor wall, monitor wall is stiff and heavy (non-resonant), the cavity behind is damped with rockwool, room is properly treated (dead rear) and the most important, that speakers are designed for soffit mounting (they have shelving filters for implementing half-space).

    I know that soffit mounting has bad reputation, probably because it is often not done properly and also because soffit mounted speakers are usually big mains.

    But, considering the great quality which you can find today with nearfield monitors (I think this is probabaly the reason why more mixing is done on nearfields than mains) it looks like soffit mounting them would be a big plus, especially in small control rooms?

    By the way, I'm not looking for the HYPE goal with soffit mounting, I am just looking for best possible monitoring conditions, with great translation quality. Impressing the clients in my studio is not the goal if they go home and realise that mix sounds like $*^t on their home stereo...

  2. RemyRAD

    RemyRAD Member

    Sep 26, 2005
    I think you're missing the point here? I love soffit mounted speakers. They are huge and beautiful sounding but they don't exactly relate to most real-world listing experiences. Near field monitors became popular because once you mixed on the big soffit mounted studio speakers, your mixes never related to the "average stereo" sound. So sure, flush mounting a near field may give you a better monitoring experience but again how will that relate to the average listening experience? In my control rooms, I have anywhere from 2 to 3 different pairs of monitor speakers that I switch between during mixing, not including the brakes taken to jump into all our vehicles to listen to our stuff there.

    Why not get yourself a decent pair of midfield monitors to soffit mount and leave your near fields, as just that? That would ultimately make more sense but we wouldn't want that hear.

    Is it behind door number one?
    Door number two?
    Or door number three?
    You win! It's me!
    Ms. Remy Ann David
  3. Midfields are to big for my control room. And, by the way, I have never worked with midfields with good results (genelec 1032a). I usually get good results either with freestanding 1030a or with flush mounted 1037c (not in my studio :( ).

    I was just thinking if flush mounting 1030a will give me that extra something in translation quality or not?

    It would be cool to have all those benefits of flush mounting (no diffraction, no back wall effect, more volume...) but if it does not translate to outside world, then no soffits for me.

  • AT5047

    The New AT5047 Premier Studio Microphone Purity Transformed

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