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Studio GT Owner’s Manual 10
Background on the Studio GT Active Monitors with Studio
Interface
The Studio GT are near field reference monitors featuring a custom designed, 4-inch
copolymer, low frequency driver and a 25mm silk dome tweeters, employing a ferro-
fluid cooled voice coil and neodymium magnet. The monitors’ crossover has been
carefully designed with high quality components ensuring a linear frequency and
phase response. The Studio GT enclosures are constructed from MDF (Medium Density
Fiberboard) and are finished in scuff resistant, textured vinyl covering. The monitors’
enclosures also include tuned vent ports that provide extended low-end response, and
with a low turbulence design, the low frequency driver can move freely with minimal
effect on the overall impedance. On the front panel, you’ll find two XLR ¼” input
channels with Gain controls, two 3.5mm Headphone output jacks, Headphone and
Speaker Volume controls, Direct Monitoring STEREO/MONO switch, and MIX control. On
the rear of one enclosure, you’ll find Studio GT’s connection panel, which features an
RCA unbalanced input, 3.5mm Aux input, USB “B” style connector and AC power inlet.
Input and output signals are connected to Studio GT’s internal stereo power module,
providing 20 watts per channel through passive crossovers.
Positioning the Studio GT
Near field monitoring has become the choice of many engineers in large and small
studios because it minimizes the effect of room acoustics. This is especially important
in today’s project studios since the budget for room acoustics is often minimal. By
positioning the reference monitors in the near field (close to the listeners), you can
greatly reduce the effects of room acoustics. The most important considerations when
evaluating the effects of room acoustics are reflective surfaces that are around the
monitoring area. These can include flat tabletops, glass mirrors or framed pictures,
large open walls and even the surface of your mixing console. Most reflecting sound
will eventually reach the listening position, but since it is slightly delayed from the
direct source, the result is random cancellation of some frequencies, or comb filtering.
If possible, remove any and all reflective
surfaces from the vicinity of the studio
monitors. You may also want to hang some
acoustic foam on walls that are close to the
monitors. When positioning the monitors,
you’ll want to set up what is commonly
referred to as the “mix triangle.” In this ideal
configuration, the space between the left
and right monitor is equal to the distance
from the listener to each monitor, forming
an equilateral triangle.
Prime Listening Spot
Equal Distance
SETTING UP THE STUDIO GT