I would suggest some 5 or 6 inch monitors. Get some relatively cheap ones that are not hyped in the highs and/or the lows, and not too forward in the mids either. Seeing as you're used to mixing on headphones, going for actual monitors is already a big step up - so you don't have to break the bank!!
I use M-audio BX5s myself, and I am pretty happy with those (though I'm unsure as to how flat they ACTUALLY are; I've heard that for instance the KRK rokkits are hyped, and the Yamaha HS5s are mid-forward. The latter can be a benefit for mixing sometimes, but you'll also want something the guitar sounds GOOD on - which they might do on those, I have no direct experience).
Remember some room treatment as well (and read up on "proper" room treatment - not just egg crates or light foam :-)). DIY with rockwool or rigid fiberglass is the way to go here. That said, you'll definitely get SOME improvement with e.g. the aurelex stuff.
I have KRK RP5's. Deliver great tones with the Kemper. Most, if not all, of the pro profiles (TAF etc) sound awesome on them. They go ridiculously loud as well, but sound great on low volumes too.
A pair of Adam A7X is what I use. Not on the lower end price wise but well worth it to me.
I use the Yamaha HS8's and they are very clear and loud. Not to expensive either
In my studio i use yamaha hs5 and a hsw10 sub to put my feet on and feel the sound.
I also have a pair of prodipe 8 ribbon. but the arent that good at sounding linier...
Well, that depends on how much you turn them up. Stupid answer, but the only right one 
I have a feeling that maybe smaller monitors are more suitable for the lower volumes.
For a speaker to have earned the right to be called 'monitor', it has to have accuracy, transparency and neutrality. In other words, it has to be able to recreate the sound source as closely as possible. There are many speakers in the lower price range that call themselves monitors, but are quite far from being able to do the sound source justice. If you're serious about mixing and want to invest in a tool that you'll be able to use for years to come without the fear of upgrading, then youll be looking at pairs around the £1000 mark, specifically Neumanns KH 120A (the absolute best in that price range). However, a good monitor is only as good as the room you're hearing it in, so add to that room treatment, especially if we're talking a room less than 30m2. Expect to be putting down roughly the same amount for treatment as for speakers. So, I guess it all depends on your ambition. If it's just something you like to play around with every now and again, there are literally hundreds of speakers in the £250-400 bracket that'll do the job. Otherwise I'd advise getting it right first time and save yourself time and money later!
Cheers,
Sam
Well, that depends on how much you turn them up. Stupid answer, but the only right one
I have a feeling that maybe smaller monitors are more suitable for the lower volumes.
Naaa... the most important aspect would be whether they retain their linearity at low volumes.
I can use my active CLRs at any level, they sound very coherent.
Naaa... the most important aspect would be whether they retain their linearity at low volumes.
I can use my active CLRs at any level, they sound very coherent.
Yeah, that's what I meant - thanks for phrasing it better I guess larger monitors are not inherently worse.
For a speaker to have earned the right to be called 'monitor', it has to have accuracy, transparency and neutrality. In other words, it has to be able to recreate the sound source as closely as possible. There are many speakers in the lower price range that call themselves monitors, but are quite far from being able to do the sound source justice. If you're serious about mixing and want to invest in a tool that you'll be able to use for years to come without the fear of upgrading, then youll be looking at pairs around the £1000 mark, specifically Neumanns KH 120A (the absolute best in that price range). However, a good monitor is only as good as the room you're hearing it in, so add to that room treatment, especially if we're talking a room less than 30m2. Expect to be putting down roughly the same amount for treatment as for speakers. So, I guess it all depends on your ambition. If it's just something you like to play around with every now and again, there are literally hundreds of speakers in the £250-400 bracket that'll do the job. Otherwise I'd advise getting it right first time and save yourself time and money later!
Cheers,
Sam
I think those figures may be suitable for a professional facility - as in making money doing it. 1000 pounds is quite an investment!
I live in an apartment and run Adam a7x. Sound great at low volumes. I was particularly worried about complaints before moving but yeah, no probs so far.
I would stay away from KRK's Rockit series, they sound kinda muddy and not really defined. I would choose Focal Alpha 50, JBL LSR 305 or Yamaha HS5.
I think those figures may be suitable for a professional facility - as in making money doing it. 1000 pounds is quite an investment!
True, but that's also why I asked what the ambition was. If it's to make 'release quality' mixes, then you can do yourself a favour by levelling the playing field and starting out by hearing the most accurate and detailed audio information and learning to manipulate that until it's comparable with whatever genre you're creating. If the audio you're hearing is inaccuarate and being veiled and skewed by bad room resonances and reflections then you might as well be painting in the dark; you'll never quite know how it's turned out until you take it in to another room and switch the light on - very time consuming and random.
If the OP is just making music for himself, then none of that matters. If it's sounding good to him in his room, then job done! There are many speakers that'll do that job
Cheese,
Sam
True, but that's also why I asked what the ambition was. If it's to make 'release quality' mixes, then you can do yourself a favour by levelling the playing field and starting out by hearing the most accurate and detailed audio information and learning to manipulate that until it's comparable with whatever genre you're creating. If the audio you're hearing is inaccuarate and being veiled and skewed by bad room resonances and reflections then you might as well be painting in the dark; you'll never quite know how it's turned out until you take it in to another room and switch the light on - very time consuming and random.
If the OP is just making music for himself, then none of that matters. If it's sounding good to him in his room, then job done! There are many speakers that'll do that job
Cheese,
Sam
I don't necessarily disagree - but if the goal is to make release quality mixes of his own or his band's stuff, then he should also consider putting that money toward getting a professional to mix it for him instead (sorry for speaking over your head, OP ;-))
KRK RP8 RoKit G3 from Thoman price 295€ each. Maybe to much for an Apartement, but maybe you need the 100 Watt in other situations. Smaller ones with smaller price are also available. See Kemper at the Namm Trade Fair 2015
I don't necessarily disagree - but if the goal is to make release quality mixes of his own or his band's stuff, then he should also consider putting that money toward getting a professional to mix it for him instead (sorry for speaking over your head, OP ;-))
Definitely! It will save a lot of money and heartache in the short term, but can also be an extremely rewarding experience and help to make you a better songwriter/arranger, when you're having to try to make it all blend and gel yourself
Cheese,
Sam
Naaa... the most important aspect would be whether they retain their linearity at low volumes.
I can use my active CLRs at any level, they sound very coherent.
Same here! 
