[bias]

I've been a collector (and occasional repairman) of mostly vintage hi-fi playback devices for about as long as I've been working in the profession of recording and mixing.  Always searching for an alternative to the pro-audio market of amps and monitor speakers, I've had various "layman" speakers and preamps come and go through my personal studio.  Usually stick with Bryston amps (mainly for their ruggedness, true-world specs, and 20 year warranty , but swap out preamps every now and then.  Currently in the studio is a Melos SHA-Gold preamp/headphone amplifier, a Mod Squad line drive attenuator, and an Audible Illusions L1 preamp.

My go to smaller speakers for mixing are mid-90s era KRK 6000 monitors with NOS drivers. (I love these speakers so much I have a collection of the Focal kevlar tweeters in a climate controlled closet!) as well as the more modern Amphion One18.  The Amphion happens to be a great example of the audiophile world informing the pro market; they're basically an Amphion 3S in a "pro" matte black dress- along with a striking white waveguide for the tweeter which echoes the infamous Yamaha NS-10 speaker - the original consumer crossover.

Currently looking for a pair of (very) small (read: 4" woofer) for monitoring in the extreme nearfield.  As mixers, it's good to have playback systems that represent what people are ultimately going to listen to this stuff on and it seems like the trend is smaller nowadays....and mono! So sad but true.

[JerryM]

Welcome to AudioCircle, bias. 

[ArthurDent]

Greetings & Welcome to AC bias   

[roscoe65]

I've been a collector (and occasional repairman) of mostly vintage hi-fi playback devices for about as long as I've been working in the profession of recording and mixing.  Always searching for an alternative to the pro-audio market of amps and monitor speakers, I've had various "layman" speakers and preamps come and go through my personal studio.  Usually stick with Bryston amps (mainly for their ruggedness, true-world specs, and 20 year warranty , but swap out preamps every now and then.  Currently in the studio is a Melos SHA-Gold preamp/headphone amplifier, a Mod Squad line drive attenuator, and an Audible Illusions L1 preamp.

My go to smaller speakers for mixing are mid-90s era KRK 6000 monitors with NOS drivers. (I love these speakers so much I have a collection of the Focal kevlar tweeters in a climate controlled closet!) as well as the more modern Amphion One18.  The Amphion happens to be a great example of the audiophile world informing the pro market; they're basically an Amphion 3S in a "pro" matte black dress- along with a striking white waveguide for the tweeter which echoes the infamous Yamaha NS-10 speaker - the original consumer crossover.

Currently looking for a pair of (very) small (read: 4" woofer) for monitoring in the extreme nearfield.  As mixers, it's good to have playback systems that represent what people are ultimately going to listen to this stuff on and it seems like the trend is smaller nowadays....and mono! So sad but true.

Welcome Bias.  Two nearfield choices come to mind:  the Omega Super 3i or Super 3 Desktop, or if you are more adventurous and willing to sling some solder yourself (or pay someone else to) the Seas Presige COaxial. https://www.madisoundspeakerstore.com/coaxial/seas-prestige-l12re/xfc-h1602-5-alum/fabric-coaxial/.  Both will cost good money.  The Omega is $700 and up and the Seas would cost about $500 in parts, so figure a similar price.  Both would be very revealing and suitable for nearfield monitors, though the Seas would be better suited to using higher power solid state and would also be a smaller (like, really small given the amount of bass produced) speaker.

[bias]

Thanks for the welcome guys and Roscoe65 for your single driver recommendations. 

FYI, the very first small popular small speaker used in recording studios was a single driver speaker.  It was made by Auratone and the typical model found in studios in the late 70s through the 80s (but still widely used today) was the 5C.

These things sounded pretty bad (terrible FR, peaky midrange) and they were quickly dubbed horrortones.  The quickness of the single driver, lack of crossover, and midrange emphasis, however, made them popular for checking mixes, especially how they might sound in mono on AM radio.  In fact, Thriller was mixed by Bruce Sweiden primarily on a pair of 5Cs: Nice read here.

[Phil A]

Welcome!

[roscoe65]

I'm familiar with Horrortones.  Fortunately, you'll find Omega Desktops to be completely unlike these.  They are revealing with a slightly tilted up response but are far from ear-bleeding.