Samson 3i Setting up the StudioDock 3i and 4i

Setting up the StudioDock 3i and 4i

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.

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.)

Prime Listening Spot

Equal Distance

Figure 1.

ENGLISH