the top end was still clear and articulate with a slight noticeable reduction of presence and air . I ended up with the HF turned down to -1dB to remove a bit of the highend focus that seems to nicely balance the system for my room .
This “ LF ” Shelving control adjusts the level of low frequencies below 150Hz to ± 3dB . Although the monitor range only extends to 40Hz , there will be lower sub frequencies information caused by certain room corners and surfaces . The hi-pass filter lets you choose between FR ( full range ) 45 , 60 , and 90 . I found FR to be great in my room but did find 45 to tighten things up very slightly and was an option that I liked using .
The LMF EQ knob activates or deactivates a volume correction at a central frequency of 160Hz for a Q factor of 1 . Focal recommends you set the switch to -1 , -2 , or -3dB if the loudspeakers are positioned on a table , console strip , or any other support that generates reflections . I have a Neve Genesys console but I don ’ t place the monitors on the meter bridge . I use Sound Anchor stands with ISO Acoustics isolation pucks to minimize reflections and increase the speakers ’ accuracy , but I do notice that having other speakers on the meter bridge diminished their imaging accuracy . Also , I ’ m certain that the console creates its own acoustic anomalies in the stereo field . I found that when I turned down the mids , the frequency was tucked back very slightly in a pleasing way . Since I spend so much time on mid-range material in a mix , I opted to leave it flat . But again , I did attenuate the mids a few times when mixing to see what impact it would have on the balance of the overall frequency ranges . It did give the sound a more “ hi-fi ” vibe , which I did like quite a bit . I also have a monitor centred on the meter bridge of the console for the Neve Genesys EQ , recall , and automation , which does have an impact on reflections and , when removed , tightened up the imaging and midrange from the speakers . With so many factors in studio setups and placement , having these simple yet highly effective adjustment controls can really make an impact on your ability to accurately hear what you ’ re mixing .
An additional interesting feature on the ST6 monitors is an “ Automatic Standby ” mode , which essentially mutes the speakers after 15 minutes of no signal passing through them . Once signal resumes , the speakers gradually increase volume back to your original monitoring level . Aside from acting as a volume check when resuming work , it also decreases the power consumption to less than 0.5W , which is great for those that keep their monitors turned on when not in use ( i . e . me ). This feature can be turned on or off from a switch . Also , of note is an “ Input Sensitivity Switch ” that can either be set for + 4dBu for professional audio equipment or -10dBv for sources providing a lower level .
Construction / Technical Details & Notes
The Twin6 and Solo6 drivers feature Focal ’ s inverted dome Beryllium tweeter with an M-shaped protective grille , redesigned with IAL ( Infinite Acoustic Load ) technology that has a chamber behind that reduces resonance below the crossover of 2.5kHz . It also has 7dB more dynamic range than the previous model with lower distortion . Focal states that this translates to more air , articulation , and natural sound . ( I didn ’ t notice any frequency fatigue from the top end even though it ’ s very detailed and prominent . I view these speakers as very accurate working tools that happen to be great to listen to , which is essentially what I want in a set of monitors )
The ST6 ’ s drivers feature Focal ’ s “ W ” composite cone , described with its characteristics of lightness and rigidity to control the signal transmission speed of the material . The modulation of the structural foam ’ s thickness provides very precise control of the cone ’ s dampening quality , creating a sound that is transparent with very low distortion and excellent phase response . The system also features Focal ’ s TMD ( Tuned Mass Damper ) technology that reduces distortion in the 1khz - 3kHz range by 50 %, as well as a high-pass filter and a 160Hz filter for reflections from consoles .
I found that the Twin6 ’ s had a very fast and detailed midrange with no phase smearing or bumps in the mids , which I ’ ve heard was noticeable in the first-gen Twin6s . The low end was tight and focused and felt like they went very low , giving me the critical information that I needed when mixing sub bass synths and information under 60Hz . I will continue to experiment with the crossover for reflections as well . This feature somewhat sent me down the “ rabbit hole ” of reflections and the impact that smear and surfaces have on what I ’ m hearing .
In terms of looks , I really like the design and aesthetics of the Twin6s . Their size is perfect for a near field monitor that has enough volume and soundstage to impress clients when playing back mixes or when tracking .
Conclusion
The Twin6 ST6 was my first experience with the Focal brand . Although I ’ ve heard many great things about their monitors , I had not used them until this review . My verdict is they are great . My first priority for monitors is to have accurate working tools that help me achieve awesome-sounding mixes ; however , I also want to like the tonality of my speakers . I found that I really enjoyed mixing on the Twin6 ST6s . They made me work hard to finish mixes because they so accurately reveal frequency information , yet don ’ t give me listening fatigue . The HF was an area that took the most getting used to for me and I really felt like the speakers were taunting me to get things under control . They made me really push to achieve great results that translated beautifully on regular speakers and headphones .
I believe the ST6 line offers incredible features and price value to engineers of all levels . Focal have really addressed the need for more features included with pro audio monitors . Many mixing engineers work at home ( myself included ), doing their best to accommodate for less than perfect room acoustics . The Twin6 ST6s gave me quick and effective ways to shape the sound for my room and hear my mixes in different ways with features like Focus Mode and switching which driver delivers the mid-range . They are awesome speakers from a classy brand that is obviously in this for the love of sound . I highly recommend them .
Clifton David Broadbridge is a Canadian engineer , producer , and musician now living in Crossville , TN where he has a recording studio and is the president and part owner of John Cruz Custom Guitars . He has written nearly 30 songs for Sir George Martin ’ s Grandmaster Music Library ( Extreme Music ) and has many songs featured in film and Television , including Netflix ’ s limited series The Serpent . For more information , go to
www . cliftondavidbroadbridge . com .
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