Sonic State Studio / Speakers / YAMAHA NS10M STUDIO

Average rating: 7.9/10 out of 10

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Legin a hobbyist user from USA writes:
OK the guy from UK got it right on, NS10's are not a good sounding speaker. They were designed by Yamaha as a medium quality Hi Fi speaker, it was a total accident that they got used as a studio monitor. Who keeps saying Yamaha did this/ said that? it was pure fluke, it took 'em 10 years before they knew what was going on! (and then tweaked them a bit and added the 'M') Do some googling and find out the real history (it's actually quite ironic and funny). the smiley face disco curve e.q. was used to make these things sound o.k (and a good amp)and that was a sound everyone fell in love with during the 70' and 80's...hit after hit. Also, producers would throw a pair in the back of their cars so they always had the same yardstick to go by wherever they found themselves (until all the studios started to buy them).

posted Tuesday, 17-Feb-09 at 1:5
Hector a Professional user from UK/Philippines writes:
Absolutely and definitely the NS for nearfield monitoring. Why do we still use it? Because it extremely reveals our short comings in our mixes.It takes no prisoners and a lot of engineers hate that. If you work hard in your mix then it will translate beautifully on these speakers. But if you are lazy, then it will effectively reveal with no mercy all the fundamental compromises inherent to your mixed music. It is a love or hate relationship. It does not sound like the others but it does the job of what it is suppose to do, to give us good sounding mixes that translate to a broad spectrum of speakers and thats what counts.

Rating: 9 out of 10 posted Wednesday, 24-Dec-08 at 13:20
Marcelo Anez a Professional user from United States writes:
I've mixed on NS10m's for almost a decade now. For a while I switched to Genelec 1031A, but after a few months I went back to NS10s when I realized we were doing much less trips to the car to check out the mix. With the NS10s, the norm was one trip to the car to check things out, and the mix was done. With the Genelecs we kept coming back to the studio 'cause we would hear things in the car that we didn't like. So that thing about "if it sounds great on NS10, it sounds great anywhere", has been proven true in my personal experience. And the myth about the tissue on the tweeter comes from the original vertical NS-10's (no "M" in the model#). Those had a crossover that made the tweeter harsher sounding. When the horizontal model came out, the NS-10M, Yamaha upgraded the crossover and made the speaker smoother sounding, ending the need for the silly 'tissue' technique. One more thing is the amp. The amp makes a big difference. Even though the tradition was to amp them with Haflers in most pro studios, I think they sound the best with Bryston amps. I have mine with a 2B LP Pro. I just love how they sound.

posted Sunday, 26-Oct-08 at 23:37
RAY HELDORE a Professional user from usa writes:
it's a simple matter. they were made just to get the most flatest response.and yamaha achived what they set out to do,that is creat a monitor that would respond most accurately to your mixing platform, wether it be analog or digital. simple equation what you put into it.is what you are going to get back. shi* for shi# and good for good! get your mix right first then complain!!!!!!!

posted Sunday, 14-Sep-08 at 21:50
David Etheridge a Professional user from U.K. writes:
Let's get real here -this is as fine a case of 'emperor's new clothes' as anything else in the industry. These monitors are crap, no less. They don't reproduce the bottom end (dance producers love them 'cos they bave to turn up the bass end to nuclear levels), the stereo imaging is rubbish, they've got a nasty upper midrange that destroys your concentration (who theh hell can mix properly when you're knackered?), and , bottom line, they're unreliable. Yamaha in the U.K. got so fed up with reparing them that they made the drivers available as spare parts: you blow 'em ujp, you repair them. And don't believe the official line that they were discontinued to 'preserve the reputation' -I'll bet that it was simply becoming a pain in the arse in the servicign department and no longer financially viable, plus the probable fact that other manufacturers were producing better and more relaaible competitors. Bob Clearmountain (for it was he) has got a lot to answer for in claiming that these were the monitors he mixed on, as it made a lot of people temporarily lose their sanity and work with inadequate, nasty sounding rubbish that was supposed to be 'industry standard' (if that's the case, the industry is a basket case). The oft qquoted maaxim 'if it sounds good on NS10s, it'll sound good on anything' is total bollocks. NOTHING sounds good on NS10s, and you shouldn't have to take a lowest common denominator approach to mixing. After all, if the stars record with $3 million worth of top flight studio gear, they're not responsible for the fact that thee listener is playing the CD on a crap system, or even an mp3 player! What price progress, when the end user is ignorant and just wants everything louder? So get real, use your ears properly, stop damaging them and yourself, and get some bloody decent monitors. The only thing NS10s are good for is in the fact that they burn rather well. 'Nuff said and rant over.

posted Tuesday, 26-Feb-08 at 9:27
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