6
Setting up the StudioDock 3i and 4i
Background on the StudioDock 3i and 4i Active USB Monitors
The StudioDock 3i and 4i are near field reference monitors featuring a custom
designed, 3 or 4-inch copolymer, low frequency driver and a 25mm silk dome tweeters,
employing a Ferro fluid cooled voice coil and neodymium magnet. Lactated on the
top of both the StudioDock 3i and 4i’s right side speaker is an integrated iPod dock
supporting most iPod models for playback charging and sync. The monitor’s crossover
has been carefully designed with high quality components insuring a linear frequency
and phase response. The StudioDock 3i and 4i enclosures are constructed from MDF
(Medium Density Fiberboard) and are finished in scuff resistant, textured vinyl covering.
The monitor’s enclosure also includes a 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 one enclosure,
you’ll find StudioDock 3i and 4i’s connection panel, which features an RCA unbalanced
input, USB “B” style connector and AC power inlet. On the front panel, you’ll find the
Volume control, along with a 3.5mm Headphone output jack and a 3.5mm Aux input.
Both inputs are connected to StudioDock 3i and 4i’s internal stereo power module
providing 15 watts per channel on the 3i and 20 watts per channel on the 4i through
passive crossovers.
Positioning the StudioDock 3i and 4i
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 close to nothing.
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. Mostly 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 “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. (Figure 1.)
