How does anyone switch speakers?

I feel like "knowing the speakers" is in some way better than new speakers. But on the other hand, I've gone through a lot of various studio monitors. Currently, I'm on LYD48's. After the switch, I still had trouble with mix translations. Then I got Sonarworks. I can finally mix and be confident that what I'm hearing is what is actually there. No matter what speaker you choose, I think it's super important to sweep the room and find out what the issues are. From there, you can use an EQ or something like Sonarworks to smooth out the room modes in the mix position. Had I known about room modes (and believed it) years ago, I could have saved a lot in studio monitors.

Lots of pencil marks!, I start with marks of the default position of what I have already. These are the most important marks because I want to be able to back to this setup at any time. With near fields I’m always going to try to find compromised positions for both my reference and the interlopers, I need to both judge and learn them and switching back and forth let’s me get an idea of what’s what. Again pencil marks because I’m going to be moving things around trying to find positions that work. The RTA on my phone and IPad are essential tools in both setting levels and giving me graphical proof of any frequency response issues and confirming polarity. My little Coleman 3 way switcher is a godsend. Correction software and subs can be frustrating because of the time to reset as I switch back and forth. I haven’t found a solution for the software but for the subs I have, for less than a $100 you can find a used BSS 9088iis with this and windows 7 or laptop with RS232. You have a fully configurable 8x8 digital crossover and matrix, that will let you program at least 12 pre sets of EQ, crossover’s with most common filter types and can be asymmetrical, hi and low pass, delay some freq specific phase correction graphic EQ parametric EQ’s both before and after the crossover point.
They have no pre programmed order of the various DSP functions
It’s a matrix where you place the procccesing blocks where you want them. You control parameters and switching of programs from the host computer. The conversion is very bland but there are AES I/O boards out there they just go for $250 ea. I use them all the time for budget installations and have one in use right now for exactly what I described above, oh they also have a built in tone and pink noise generator.
I have their newer more powerful brother the London Blu 80 in the live racks.

Don’t overthink it, just do, but pick the new monitors for a reason.

break in the new monitors,

Then, I’d take a current mix and a/b it between the old and new and just think about the differences you hear and why, this will help you calibrate between the two sets of monitors

If you also use cans, this can help as a sonic perspective point not affected by the room,from which to also consider the sonic differences between the monitors .

I've been through this a few times and each time I actually found it pretty fun. In the first studio I worked in, the boss and I were into making money and upgrading things. We went from Alesis Monitor One's (which I did like and wonder how they compare today) to Mackie HR824. We had little crappy speakers, and there was a period of JBL 3-ways (4322 I think) that were a little big for the space, but still useful. We added NS10s at some point as well. When I bought the boss out and set up my current room I had the HR834 and NS10s. After a while, I sold the NS10 because they weren't helping. A few years later, I did a comparison between. Truth Audio TA-1P and NHT M-00 that you can read HERE.  Again after many years of use I got to the set of custom 3-way triamped dipole monitors.

Each time it was after a long period of using something, and developing as an engineer that I would notice something that wasn't being provided, or was lacking in whatever system I was on.  They I'd investigate and try to figure out the next step. 

Then, once something was put in place (including placing monitors I owned into a new space) I just spent time listening.  I noticed how different music that I knew well sounded.  I listened for things I knew were coming and see how the new monitors handled it. I though about things maybe I didn't pick up in recording that I was now hearing because of the change in monitors.

And then I got to work. 

On the first mix I did on the custom set, I sent it to Scott at Old Coloey Mastering, who does most of my work.  I told him I had new monitors and asked for any feedback that he had, the good, the bad and the ugly.  The first sentence of his return email was "Yeah, you're gonna want to keep those."

I'm about a year into having them, and they have less of a "WOW" factor because I hear them all the time, but I am happy with the upgrade. 

I had NO idea that's what you meant . . .

I guess my answer to that question is:

You got used to 'X' in the past, now you just have to get used to 'Y' in the present. Trial by fire, or just jump in the water . . . whichever analogy suits you better. Just do it.

I think the best way to find out if speakers work for you in your room is to just mix on them. Just mix with confidence, and then check on your old monitors/car/headphones/usual spots. If the mixes translate well, then you'll do good work on them. and if its a mess, maybe listen back to your mix on the new monitors and see if you just missed something obvious.

when i switched from ADAMs to JBLs ~10 years ago (currently on LSR6328Ps), i tried a lot of monitors. the first time i listened to one of my own mixes on the JBLs it pretty much sealed the deal for me. All the things I didn't like about my mixes were quite apparent on the JBLs, and my work improved almost immediately. I don't think i'd take the time to learn something i didn't connect with right away.

Of course their is the whole reason for the CLA/ NS10’s, they don’t!

Why it is the sound of wild life screaming in pain as their poor ears bleed😁

For anyone interested, my guy is working on a pair of dipole 3-ways that are a little larger than the ones I have. He's trying to get them into some more professional studio people using them. He suggest them to be tri-amped and DSP-controlled.

How does that work? The Sweetwater thing. Are you an influencer? (Not trying to start a beef, I’m legit curious).

Nice!