Setting up your PX-T G2 Active Studio Monitor System
Background on the PX-T G2 Active Studio Monitor system
The PX-T G2 is a near filed studio monitor featuring a custom design
with 5.5", 6.5" or 8" copolymer. low frequency driver and a 1" silk tweeter
employing a ferrofluid-cooled voice coil and neodymium magnet. The
monitor's crossover has been carefully designed with high quality
components insuring a linear frequency and phase response. The
PX-T G2 enclosure is constructed from MDF. It has designed with tuned
vent port that provides 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 rear of the of the enclosure you'll
find a variety of input connectors including XLR, 1/4" TRS balanced input
and RCA unbalanced input. These inputs are connected to PX-T G2
internal Bi-Amp power module providing power to each PX-T G2
monitor speaker. You will also find the pre-amp controls, including Volume
knob, used to adjust the overall level of the internal power amplifier, as
well as the innovative Hi, Midrange and Low presence control. These
controls allow the mix engineer to contour the Hi, Midrange and Low
response of the monitor from a traditional hi-fi sound to flat and then
through two levels of aggressive Hi, Midrange, Low response. The
PX-T G2 has been designed to provide flat, accurate monitoring, and at
the same time, to provide an adjustable response curve so that the sound
of other popular nearfield monitors can be easily emulated.
Positioning the PX-T G2 monitor
Near field monitoring has become choice of
many engineers in large and small studios
because it minimizes the effect of room
acoustics. By positioning the reference
monitors in the near field (close to the
listener), 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, framed pictures, large open walls and even the surface of your
mixing console. All 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. 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 "mixing 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 (as figure 1 shown).
Equal
Distance
Figure 1
6
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