JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.
* Required Fields
exclamation-circle
Stock up on studio essentials before your next session. Explore top selling gear from the best brands.
Checkout using your account
This form is protected by reCAPTCHA - the Google Privacy Policy and Terms of Service apply.
Checkout as a new customer
Creating an account has many benefits:
From the first specialized loudspeakers designed for full-range sound reproduction to the latest and greatest active monitors with DSP and automatic calibration, the humble studio monitor has undergone many evolutions over the decades. While the core technology of loudspeakers has always been based on magnets moving air, studio monitors are specifically engineered to deliver the clearest, most accurate sound possible.
In pursuit of reference-quality sound, loudspeaker manufacturers have been locked in a constant arms race for more than a century to develop ever more advanced products to meet the demands of modern studios. This healthy competition in the market has spawned a golden age where professional-quality monitoring is more accessible than ever, and great mixes can be made even in a home studio. This is the story of how we got here.
Before studio monitors existed as a distinct category, engineers strove to improve the frequency range, volume, and dispersion characteristics of loudspeakers for public address, radio, and cinema applications. Over the first half of the 20th century, early innovations like compression horns, coaxial drivers, and ported cabinets led up to the first class of speakers designed specifically for studio monitoring.
Oliver Lodge patents the first moving-coil loudspeaker
While Ernst Siemens had theorized the moving-coil transducer in 1874, British physicist Oliver Lodge built the first functional experimental loudspeaker using the principle. Lodge’s design featured a voice coil suspended in a magnetic field, a critical advancement that would later define modern dynamic speakers.
Magnavox introduces the first practical moving-coil loudspeaker
Building on Lodge’s design, engineers Peter L. Jensen and Edwin Pridham developed the first viable loudspeaker, which featured a moving-coil transducer amplified by an acoustic horn. They called their product “Magnavox” (Latin for “great voice”) and founded the Magnavox Company in 1917.
General Electric patents an improved dynamic speaker design
G.E. engineers Chester W. Rice and Edward W. Kellogg improved upon earlier loudspeaker designs by replacing the horn with a paper cone attached to the driver and mounting the whole thing in a cabinet with a flat front baffle. This design improved dynamic range and frequency response characteristics while reducing sound coloration from resonance and distortion, forming the basis for most studio monitors we use today.
Western Electric introduces the first 3-way loudspeaker system
Western Electric’s “Wide Range” cinema sound systems were the first to feature dedicated drivers for the low, midrange, and high frequencies, providing true full-range sound and improved frequency response compared to two-way speakers. Featuring four 18-inch woofers, two 15-foot midrange horns, and two bugle-shaped tweeters, the system was too massive for studio use, but nevertheless inspired later three-way monitor designs.
Altec Lansing introduces the first commercial loudspeaker with coaxial drivers
The Altec Lansing 604 Duplex was the first commercial loudspeaker design to feature a coaxial driver arrangement. By mounting a high-frequency compression horn in the center of a larger low-frequency woofer, the 604 Duplex provided point-source sound with a more linear phase response than previous designs, making it an early favorite of recording and broadcast studios.
Tannoy introduces the Dual Concentric 15 coaxial loudspeaker
The Tannoy Dual Concentric 15 looks like one giant woofer in a big wooden box, but it’s actually a two-way coaxial system with the high-frequency compression driver cleverly hidden behind the dome in the center of the speaker cone. Like the Altec Lansing 604, it featured bass porting to extend the low-end response and onboard EQ to fine-tune the tonal balance, making it another early entry into the emerging class of studio monitors.
As recording technology developed at a rapid pace throughout the 1950s, ‘60s, and ‘70s, loudspeakers started to become more and more specialized for studio monitoring. Improved driver technology, sophisticated crossovers, and increased headroom provided the linear frequency response and low distortion required to make mixes that translated accurately to consumer speakers. This era also saw the first active studio monitors emerge, although they would not replace passive designs until much later.
Lansing Sound becomes JBL
James B. Lansing split from Altec Lansing in 1946 to form Lansing Sound, but it wasn’t until 1955 that he officially rebranded the company under the JBL moniker, creating one of the most legendary studio monitor brands in history.
Altec Lansing disappoints studios with the 605A
Intended to be a more affordable successor to the popular 604 Duplex, The Altec Lansing 605A was actually just a slightly upgraded version of the budget 605 loudspeaker. With less robust drivers and electronics than the beloved 604, the 605A sacrificed low-end extension, high-end clarity, and overall output sensitivity, leading many studios to abandon Altec Lansing and switch to JBL.
JBL debuts its first studio monitor, the C100
After initially focusing on loudspeaker drivers, JBL officially entered the studio monitor market with the JBL C100 (originally known as the C50SM). Filling the gap left by Altec Lansing’s fading glory, JBL monitors quickly became a mainstay of studios across the United States.
Klein & Hummel introduce the first active studio monitor
Before 1967, studios exclusively used passive monitors with dedicated amplifiers. The Klein & Hummel OY was the first studio monitor with built-in amplification, a revolutionary innovation that was more than a little ahead of its time. The K&H OY was a tri-amplified monitor with an active crossover, onboard EQ, system protection, and a power supply, all built into the cabinet.
Tannoy introduces Gold Series monitors
Tannoy’s Gold Series monitors improved upon the famous Dual Concentric design, adding various upgrades including 12-inch and 15-inch woofer options, 8Ω and 15Ω variants, and multiple cabinet styles. According to Tannoy’s official history, Abbey Road Studios replaced the old Altecs in Studio 2 with Tannoy Monitor Golds in Lancaster cabinets, which were used during the recording of The Dark Side of the Moon.
Allen Sides begins building Ocean Way custom monitors
Long before Ocean Way Audio existed as a real company, engineer Allen Sides was building custom boutique monitors out of a garage on Ocean Way in Santa Monica, California. Initially built for in-house use at Sides’ own studios (including Ocean Way Recording, United Western Recorders, and Ocean Way Nashville), Ocean Way monitors generated such a buzz that Sides eventually began taking commissions from high-end studios.
JBL introduces the first four-way studio monitors
The JBL 4343 and 4350 far-field studio monitors were the first to feature a four-way crossover system and dedicated drivers for each frequency band. Featuring dual large-format woofers, dedicated mid- and high-midrange drivers, and a horn-loaded ultra-high-frequency tweeter, the 4340 and 4350 offered class-leading frequency range, accuracy, and output for their time.
Auratone introduces the 5C Super Sound Cube reference monitor
Featuring a single 4.5-inch driver in a sealed cabinet, the Auratone 5C was the first studio monitor designed specifically to simulate the sound of consumer speakers. Meant to be used as a reference alongside full-sized monitors, the Super Sound Cube allowed engineers to check how their mixes translated to smaller speakers with limited frequency response. In 2022, Auratone released a modern version of the 5C, including an active version.
Yamaha introduces the NS-10M passive bookshelf speaker
The legendary NS-10M was originally marketed as a bookshelf speaker for consumer hi-fi systems, but it quickly found use in the studio, thanks in part to mixing engineer Bob Clearmountain. With its poor low-frequency output and unflattering midrange bump, the NS-10 revealed mix flaws that higher-quality monitors didn’t, leading many engineers to believe that a mix that sounded good on NS-10s would sound good on any other speaker. The closest thing available today is the Avantone CLA-10.
Genelec is founded and introduces its first active studio monitor
Founded in 1978 to supply loudspeakers for the Finnish Broadcasting Corporation, Genelec Oy made its debut with the S30: a compact, three-way active monitor with a ribbon tweeter and ported cabinet available in horizontal and vertical configurations. The Genelec S30’s impressive sound quality, precision engineering, and small footprint helped spur the beginning of the transition from passive far-field monitors to active near-field monitors.
Prior to the 1980s, most studios still relied on large passive monitors, usually mounted in the wall behind the console to cover the entire control room. But thanks to the popularity of the Auratone Super Sound Cube and Yamaha NS-10M, more studios—especially home studios—began to use nearfield monitors. Around the same time, miniaturized solid-state amplification made active monitors more compact, affordable, and powerful than ever.
Westlake Audio introduces BBSM Series monitors
Although active monitors were becoming increasingly popular, high-end studios continued to trust passive monitors such as the Westlake BBSM (Big Box Studio Monitors) Series. Designed for high-SPL, far-field monitoring in large studios, the BBSM-15 offered tight, punchy, reference-quality sound with excellent headroom and an ultra-wide “sweet spot” thanks to its semicircular horn-loaded tweeter. Later models such as the BBSM-10, -12, -6F, and -4 offered similar high-end sound in smaller enclosures.
ATC introduces SCM25A three-way active monitor
While it wasn’t the first three-way active monitor on the market, the ATC SCM25A came along at a time when studios were finally starting to take active monitors seriously. Delivering extremely accurate sound, extended low-end response, and reliable performance in a remarkably compact footprint, the SCM25A set a new standard for professional nearfield monitors and is still in production today (as the SCM25A Pro).
PMC introduces the first studio monitors based on transmission-line loading
PMC (which stands for Professional Monitor Company) was founded in 1990 by ex-BBC engineers Peter Thomas and Adrien Loader. The company’s first product, the PMC BB5-A, was based around a modern take on the old concept of transmission-line bass loading. PMC’s Advanced Transmission Line (ATL) technology used precision-tuned damping foams, resonance-absorption chambers, and special anti-turbulence porting to achieve greater low-end extension than previously possible in a (relatively) compact enclosure.
Dynaudio introduces the BM6A, a benchmark active near-field monitor
The Dynaudio BM6A is a classic not because it introduced any radical new technologies or design concepts, but because it perfected the two-way, active near-field design in almost every way. With its artisanal Danish engineering and construction, high-performance MOSFET amplifiers, linear-phase crossover, and transparent full-range sound, the BM6A became a favorite among European studios and is still sold today.
Mackie introduces its first studio monitor, the HR824
As more and more home and project studios began to pop up, the Mackie HR824 offered an affordable option for studio-quality monitoring. An 8.75-inch woofer and passive bass radiator gave the HR824 impressive low-end extension and SPL handling for its price range, while onboard room compensation EQ made it easier to achieve a neutral response in less-than-ideal acoustical environments. Still sold today as the HR824 MkII, this budget powerhouse helped establish Mackie as a go-to brand for home studios.
KRK introduces Rokit active monitors
Along with Mackie, KRK was one of the first brands to design studio monitors specifically for the home and project studio market. With a trapezoidal cabinet and dual triangular bass ports, the original KRK Rokit looked nothing like the modern incarnations, but it nonetheless became a hit and spawned one of the most popular lines of budget studio monitors.
Genelec introduces the first digital studio monitor
While consumer speakers with digital converters had already been available for a while, many studios still didn’t trust the sound quality over good old analog—that is, until Genelec came out with its first digital studio monitor. The Genelec 2029A was a desktop-friendly 5-inch monitor with an S/PDIF input and a converter capable of sample rates between 25 - 55 kHz at 16 or 24 bits.
By the year 2000, active monitors had almost completely replaced passives in most studios, and Digital Signal Processing (DSP) technology began to present new possibilities. Combined with industry changes like the home recording revolution and the introduction of Dolby Atmos, the market gradually shifted toward smaller, more accurate monitors with advanced features like automatic calibration and audio networking. New players such as Neumann, Kali Audio, and IK Multimedia also began to enter the space, bringing a wealth of options to the market and creating a new golden age of studio monitors.
Focal Professional introduces SM6 Series monitors
Hi-Fi brand Focal established its Professional division in 2002 to focus on studio monitors, leading to the development of the Focal SM6 line, including the Solo6 Be in 2003 and the Trio6 Be in 2015.
ADAM Audio introduces Accelerated Ribbon Technology (ART) monitors
Ribbon tweeters were a rare feature until ADAM Audio introduced the S1A with Accelerated Ribbon Technology (ART). ADAM’s proprietary pleated‐diaphragm ribbon tweeters provided enhanced transient detail with the minor tradeoff of uneven horizontal and vertical dispersion, and the company has since developed improved X-ART and S-ART tweeters.
Genelec introduces Smart Active Monitors (SAM) with DSP
Genelec’s revolutionary Smart Active Monitors were one of the first to leverage built-in Digital Signal Processing (DSP). SHARC DSP chips, combined with Genelec Loudspeaker Manager software, provided advanced features like automatic room calibration and remote control. The SAM ecosystem made it easier than ever for studios to achieve reference-quality sound, and the product line continues to this day with dozens of SAM models available.
Barefoot Sound introduces MicroMain27 with Dual-Force Technology subwoofers
The MicroMain27’s sealed cabinet design, dual opposing subwoofers, and a DSP-based crossover were revolutionary, bringing a whole new level of low-end extension and SPL for its size and price point.
Allen Sides formally incorporates Ocean Way Monitors
After decades of building custom monitor systems for his own studios, Allen Sides formally created Ocean Way Monitors to bring his products to a larger market. The company was later rebranded in 2012, becoming the Ocean Way Audio we know today.
Neumann enters the studio monitor market with the KH 120 A
Famous mainly for its microphones, Neumann purchased Klein + Hummel (makers of the very first active monitors) in 2005. This acquisition culminated in the first Neumann-branded studio monitor, the compact KH 120 A. Combining Klein + Hummel’s experience in loudspeaker design with Neumann’s precision engineering, the KH 120 A quickly became a hit with recording, post-production, and broadcast studios, and the KH line continues to this day (including the KH 120 II).
Dolby Atmos makes its debut, influencing the studio monitor market
Disney’s Brave was the first film to be mixed in Dolby Atmos, the object-based spatial audio format that brought a paradigm shift to post-production audio. In the following decade, Dolby Atmos became the standard format for big-budget films and saw gradual adoption as a music format, resulting in increased demand for smaller, lighter monitors with full-range sound and features like point-source imaging and network capability.
Genelec debuts “The Ones” coaxial point-source monitors
The Genelec 8351A was an innovative studio monitor that combined coaxial mid- and high-frequency drivers with Acoustically Concealed Woofer technology and a floating front baffle/waveguide engineered to produce phase-accurate, point-source sound across the entire frequency spectrum. This product kicked off “The Ones” range, which continues to be a popular option for surround and immersive mixing.
Kii Audio introduces THREE monitors with cardioid dispersion technology
Kii Audio was founded in 2009, but it took six years to develop the Kii THREE. This compact hi-fi speaker/studio monitor uses four bass drivers to create cardioid dispersion across the frequency range—a feat only possible with Kii Audio’s proprietary DSP and Kii CONTROL software.
IK Multimedia introduces iLoud Micro Monitors
A relative newcomer to the studio monitor scene, IK Multimedia made a splash with the iLoud Micro Monitor, an extremely compact desktop monitor that wowed professionals and consumers with surprisingly deep and accurate sound from a 3-inch woofer. This product would later inspire the award-winning iLoud MTM, which became a top choice for Dolby Atmos studios due to its combination of performance, automatic calibration, and ease of overhead mounting at a low cost.
Kali Audio is founded and releases first studio monitors
Founded by former employees of JBL Professional, Kali Audio leveraged deep industry experience and engineering know-how to produce studio monitors with top-tier specs at a price within reach for smaller studios and bedroom producers. Kali Audio’s first products were the Lone Pine LP-6 and LP-8.
Focal introduces updated ST6 Series studio monitors
At NAMM 2022, Focal introduced the brand’s new ST6 line of studio monitors, including the Solo6 Be, Twin6 Be, and Trio6. The new ST6 Series features innovative beryllium tweeters for extended high-frequency response, alongside Focal’s signature W-cone woofers made from two layers of woven glass fiber surrounding a foam core.
Ex Machina Soundworks introduces TITAN monitors for Dolby Atmos
Founded in 2018, Ex Machina Soundworks had already shaken up the studio monitor market with the innovative Pulsar and Ganymede models, but it was the TITAN system that really broke the mold. One of the first studio monitor products designed from the ground up for Dolby Atmos studios, TITAN consists of ultra-compact passive coaxial speakers sold in sets of four with a specialized DSP-driven amplifier.
Focal introduces Utopia Main large-format active monitors
While active monitors continue to get smaller and more advanced, Focal went in the opposite direction with its Utopia Main Series. Designed for soffit mounting in far-field monitoring applications, the Utopia Main 212 and 112 may be based on an old-school format, but their development was made possible by modern technologies, including advanced 3D modeling, spatial acoustic measurement, and an innovative Class-H external amplifier.
Learn more about studio monitors on our blog:
