User Manual

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MSP7 STUDIO/MSP5 STUDIO/SW10 STUDIO Owner’s Manual
Fine-tuning for Surround (MSP7 STUDIO or MSP5 STUDIO x 5, SW10 STUDIO x 1)
● Set the MSP7 STUDIO or MSP5 STUDIO LEVEL control to about 12 o’clock for nominal input level. If you’re using the
MSP7 STUDIO set the SW10 STUDIO LEVEL control to about 1 o’clock*, and if you’re using the MSP5 STUDIO set it to
about 11 o’clock*. You can then fine-adjust the SW10 STUDIO LEVEL control as required. Another approach would be
to adjust the MSP7 STUDIO/MSP5 STUDIO output level to achieve the desired relative balance with the subwoofer.
* If you’re using the MSP7 STUDIO with a digital mixer, set the SW10 STUDIO LEVEL control to about 12 o’clock. If you’re
using the MSP5 STUDIO with a digital mixer set the SW10 STUDIO LEVEL control to about 10 o’clock.
● Start with the HIGH CUT control set at about 2:30, which corresponds to a HPF frequency of about 100 Hz*. The HIGH
CUT frequency can be adjusted later to achieve the smoothest integration with the MSP7 STUDIO or MSP5 STUDIO
speakers.
* Set to 80 Hz if you’re using a digital mixer.
● If you are using the MSP7 STUDIO set the LOW CUT switch to "100 Hz"*.
* Set to 80 Hz if you’re using a digital mixer.
● For accurate monitoring set the MSP7 STUDIO/MSP5 STUDIO HIGH TRIM switch to "0". This switch can be set to "-1.5
dB" to attenuate the highs slightly if you find the sound too bright.
Maintain a Consistent Monitoring Level
Another difference between listening and monitoring is
that when you’re listening for enjoyment you probably lis-
ten at significantly different levels at different times: from
soft and unobtrusive for background music, right though
room-shaking for involved listening or dancing. This is def-
initely not the case for serious monitoring. The response of
your ears changes so drastically according to level, espe-
cially in the soft to medium-loud region, that is essential to
maintain a consistent monitoring level otherwise you sim-
ply won’t get consistent mixing results. You’ll undoubtedly
need to turn up or down a bit at certain points during the
production process when listening for specific problems or
effects — in fact it is important to listen to your mix at dif-
ferent levels as a final checking process, bringing the levels
down very low to check if any elements of the mix disap-
pear and make sure that the vocal continues to maintain its
balance in the mix at very low levels — but in general you
should stay within a fairly small range.
Just what is the best level to monitor at? Although there
is a "standard" monitoring level specification,* the answer
for most small studios is "whatever is most comfortable for
you." You need to monitor at a level that’s loud enough so
that you don’t miss any soft details, but not so loud that
your ears become fatigued (or your neighbors complain). If
you find yourself turning up the volume after monitoring
for a short while, your ears are probably starting to get
tired and losing sensitivity. This is obviously bad for your
music as well as your ears. So find that "comfort zone" and
prepare to make some great music.
*For you techies, the SMPTE RP 200 standard monitoring level is
83 dB SPL (RMS average) at the listening position, or if you’re
mixing for film you’ll need to know that the standard Dolby
monitoring level for surround is 85 dB SPL.