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A room that is heavily dampened would typically require a high frequency boost. Likewise, reducing the high
frequencies can alter a reverberant room.
Placing the monitor close to a rear wall, sidewall, or a corner will reinforce the low frequencies. Generally
speaking, if you move them two to three feet away from walls and corners, you'll hear less low frequency
interaction (excluding any interaction with the mixing console).
Positioning Your Monitors
Positioning your monitors correctly in the studio is critical to their performance. Typically, they should be placed
so that that the listening position is fully "covered" with all monitors resting on the same horizontal plane. A great
way to test a monitor for its imaging capability is to play back a CD or DVD recorded acoustically in stereo (or
one recorded in surround sound if you have a surround sound set-up). We recommend acoustic music because
it represents the spectrum of sound.) You can adjust the angle of each monitor by listening for dead spots.
Keep in mind, changing the angle or position of a monitor will change the sound.
2-CHANNEL SET-UP
Close-Field Configuration
In a control room situation, the monitors are often times placed on the meter bridge
or in a close-field listening position. Initial placement starts by measuring out a
simple equilateral triangle (all three sides equal in length) with the apex at the centre
of the listening position (as shown in Figure)
as an "overlay" for the stereo installation. In this configuration, the Left and Right
monitors are each placed at a 60º angle Equidistant from the listening position.
Mid-Field Configuration
This configuration is basically the same as the Close-Field set-up. It is normally
used with larger monitors or when the monitors are too large or heavy for the meter
bridge. This set-up has the potential For a larger sweet spot and better spatial
imaging. Make sure that the height of the woofer is above height of the console.
Once the monitors have been placed. You need to adjust the SYSTEM GAIN pots (see page 2) for each monitor
so that all channels have exactly the same SPL output at the listening position. This can be done simply by
listening to each channel one at a time and adjusting for relative levels we recommend using an SPL meter and
filtered noise (pink noise) to test each channel independently. Simply take a reading from each monitor,and then
adjust all the monitors to match your lowest SPL reading. Your system levels should now be balanced for multi-
channel surround.
The most significant thing to remember is that each room presents its own set of acoustic variables. You’ll want
to experiment a bit to arrive at the best possible sound for your room.
IMPORTANT NOTE: Your 170.341/344/347 Powered Monitor was originally packaged in a specially designed
carton and included special packing materials. Please save these items they should be used when transporting
your monitors.
