will I be missing anything by using 5" monitors?

The Co-Axials worked from a POV of direction - but there was a mis match in the Freq response to my ears. Lots of bass, lots of top and a whole bit missing in the middle. Almost as if the cross over point of the two drivers wernt matched correctly leading to a mid scoop.

As you say though - horses for courses.
 
The way your room, speakers and possible sub is positioned in the room is crucial as well. I tried putting the sub in the corner as I heard that it doesn't matter where it is in the room. Not true at all. I got many weird resonances in the room and I think there was a phase issue that the phase controls on the sub couldn't rescue. Remember to create that perfect triangle between you and the two main monitors. Same distance from your head to the monitor and between the monitors sideways. Very important stuff.

at the price point there not a pro, or even semi pro level really so Im not surprised.
I don't mean to stir up things but price doesn't determine what's pro. Pros using certain gear determines what's pro. F.ex. an SM57 is one of the cheapest mics you can get and it's still one of the most common mics used by professionals. Yamaha NS10s are another cheap industry standard and the HS series is the modern version of them with more low end which obviously makes them sound completely different but works in a similar way as a monitor either way. That being said we're living in a time where cheap Chinese products can easily compete with all those manufacturers that were "the best bang for buck" 10 years ago like Adam, KRK, Genelec etc. Just take a look at companies like Behringer. 10 years ago it was known as the cheapest gear you could buy. Now they create some of the most reliable gear like f.ex. the X32 which is being used by almost every gigging band these days.
 
And to add. I'm going to say this for the third and last time. Yes the HS7s produce sound all the way down to 40hz. All I said was that I don't think they are neutral below 200hz which is why I don't trust them for mixing below 200hz. I believe this is the case with many other monitors as well.

I'll be doing a test while writing here so I know I'm saying the right numbers.

-Around 40hz is where the HS7s stop making sound.

-Around 120hz-140hz is where they make just as much sound as f.ex. 500hz but...

-From 140hz to 185hz there's a very noticable scoop in volume and that's a very important punch frequency area for snare, guitar and vocals.

-Around 185hz is where I get the volume back to where it was around 120hz-140hz and after that I have a very even sound level all the way up to where I need it.

With my sub on I can get pretty even volume through-out the frequencies all the way down to 50hz. I definitely start hearing it getting lower around 40hz.

That's just me saying how it is. :)
 
I don't mean to stir up things but price doesn't determine what's pro. Pros using certain gear determines what's pro. F.ex. an SM57 is one of the cheapest mics you can get and it's still one of the most common mics used by professionals. Yamaha NS10s are another cheap industry standard and the HS series is the modern version of them with more low end which obviously makes them sound completely different but works in a similar way as a monitor either way. That being said we're living in a time where cheap Chinese products can easily compete with all those manufacturers that were "the best bang for buck" 10 years ago like Adam, KRK, Genelec etc. Just take a look at companies like Behringer. 10 years ago it was known as the cheapest gear you could buy. Now they create some of the most reliable gear like f.ex. the X32 which is being used by almost every gigging band these days.

When I talk about pro level, Im talking about the physical components and build quality above anything else. As an Electronic Engineer thats how judge things. There is professional level, and consumer level - its not price dependant. SM57s are pro level mics, and there are a LOT of mics a LOT cheaper if you buy consumer level junk.
 
You can train your ears to know what a mix should sound like on a system that is not flat and in rooms that are not flat response.

And remember what it *should* sound like is not the same for every person.

For me, I have to have a goal for a mix. I am trying to achieve something with the track. My mix decisions are in support of that goal.

In the case of the monitors and mix room, I want to be able to make mix decisions I can trust.

It is mostly about training your ears. A novice still needs practice ear training even if you are lucky enough to start mixing in a great tuned space. That is why you see ads in print magazines about top engineers mixing a hit record on inexpensive monitors. They have trained themselves to hear what they need.
 
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