Why Yamaha NS10's SOUND HORRIBLE?!?

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[@greedokenobi3855]

The legend.....NS10’s sound like shoeboxes BUT when it sounds good on them it sounds good anywhere.

[@lacedj51]

The ns10 became a standard because when Larger studios in the 80s made a shift towards adding nearfields Yamaha was wise enough to foresee the market and gave many major studio free pairs. So they started appearing in most music magazine pictures of studios. It was an early example of successful product placement. I was an trainee engineer in the 80s and the studio I worked at was on the promo list when it happened.

[@dennislaplant4572]

I mix on NS-10's at a very "LOW" volume in mono. Once I get the EQing & mix right, I reference on my Tannoy's 15" dual concentric's & the mix always sounds terrific. Lower volume lets you mix longer as well. Give it a try. i'm sure they will make a huge difference in your mixing & mastering. Thanks to Bob Clearmountian, for the introduction. From an old 60's rocker !

[@CayenneTravels]

I've found 3 specific places where the ns10m's are great: 1 getting the right amount of balanced thump to a bass drum; 2 getting the snare to sit well; and 3 hearing reverbs more clearly than will apear to the final user on consumer equipment.

[@skatterpro]

"properly mixed music.. which sadly isn't in the charts right now" Few words that have been spoken have rung so true..

[@mjklein]

I attribute most of my hearing loss to the NS-10 in conjunction with the Aphex aural exciter type B. And about 300 mixes of course.

[@AboveEmAllProduction]

damn i almost feel my tinnitus getting louder from reading that

[@horowizard]

The Aphex Aural Exciter was never my cup of tea. That said, I knew someone who compared it to Listerine. You hate it but use it twice a day.

[@MrJohanmessi]

MJ Klein thanks for the advice

[@MrJohanmessi]

MJ Klein and what about the auratones, they do ear fatigue ?

[@WiiNV]

@@AboveEmAllProduction L😂L

[@ChristianIce]

Best monitors in history. I got mine more than 20 years ago, that's what I'm using to listen to this video. If music sounds bad on the NS10s, it's not the speaker's fault ;)

[@eqh1593]

HAHHAhahahaha ok buddy ;)

[@billB101]

I mixed for years on NS10's with a combination of other monitors. It's the reference constancy you get with the NS10 i.e. music mixed well on NS10's tends to sound great on other systems, especially club systems, which is why the majority of 90's UK dance music producers used them. There's an art to using them though, things like if the woofer starts to blat ( or fart as some people say ) at a certain volume your bass is too high in the mix. They're also great for vocal and instrument placement, especially guitars against vocals. NS10's never sounded good though ( which is what a lot of people don't seem to get ) they're just a great reference for getting the frequencies sitting in the correct place in your mix. It's a grot box really. I'll also add that the people who tend to hate on them probably either haven't actually done that much mixing with them or haven't been schooled in how to use them properly. The hate is completely unwarranted, their track record is second to non for a small nearfield. More hits have been mixed on this speaker than any other out there, that's a fact. I mean, I no longer use Ns10's mainly because the tweeters are now hard to come by ( and you do blow tweeters with this monitor ) I now mainly use ADAM A7X's but I still favour the grot box combined with another monitor for referencing mixes. My grot box of choice is now the Behritone C50A ( for mids ) and the tiny £10 X-mini to gauge how mixes will sound coming out of say a laptop or smartphone.

[@wishusknight3009]

I found much the same. They highlight and exaggerate any flaws and nuances in the mid bass to lower vocals. I found my mixes started to have much better definition and tightness there. Though I didn't like how much body i would tend to pull out of that whole range, and at times would end up with a somewhat cold and thin mix. And that became part of learning how to use them properly. I use mine in combination with redone Koss m105 powered MTM's and Hiel AMT 1's. With testing on about 15 other systems... And things keep getting better.

[@ChristianIce]

NS10s sound as good as the mix is. The point of a monitor is not to give you a "good sound", as you said, but it's to give people opportunity to do a "good mix". That said, I use them for everything, I also watch TV on my NS10s, and if are used to their color (which is none) you enojy their sound too :)

[@skatterpro]

Now, I don't strive for 'hits', nor do I have enough experience to be of any authority here. But in my opinion the NS10's are great for their purposes, but I do think there are better options out there today. Not everyone is as sensitive, but I find my mixes get dull through later (somewhat similarly voiced) monitors by Yamaha because of their brightness. I'm sure I could adapt with enough time in front of them, but that's where my only actual problem with them arise. NS10's (and to a lesser extent HS-7's or HS-8's) simply are too sharp for me to be able to *work* with. The ear fatigue is so overwhelming that I need to reset so often I have a problem keeping efficient. You can achieve similar accuracy without the emphasized high mids today. And yes ChristianIce, *all* monitors, *all* speaker cones colour sound. Some more than others, but they all do. NS10's are exceptionally neutral, but nothing is truly neutral.

[@Weirdbloke1]

@@skatterpro Absolutely agree, all speakers sound different. Wouldn't say the NS10's were exceptionally neutral though, but why would you work with something you can't stand listening to?! I found a pair of LS3/5A's that I'm enjoying using very much. Bit hot around 140-150 but still great.

[@mjklein]

I'll never forget the study that proved the toilet paper tweeter attenuation trick caused comb filtering and was ruining mixes. I used them along with my EAW MS-50 monitors. Great combination.

[@undefeatedmc]

I actually took drivers from an old NS10 pair and made proper calculated boxes for them not those weird rectangles they come in. I took reference from the HS8s cabinet design and the overall quality got impressively better and detailed. Improved the low end as well, which I was not expecting I thought it would make them worse overall.

[@TonyPelosi-music]

About 10 years ago a friend oh mine gave me a pair of those NS10, and initially my ears felt the same as yours. But after a while, those speakers became my daily work horse. I appreciate you gave them (as I) a second hearing chance - and also your honesty in stating your opinions and/or conclusions. One thing I may add is that over those 10 years, I've changed 3 times my pre/power gear and 5 times moved to new studios. In all those occasions the NS10 were able to give me a comfortable 'family' instant reference as I become used to a new sound environment.

[@ilikemyrealname]

tony pelosi I can relate. I got mine about 8 years ago as payment for a mix. At first I was mostly confused by the sound but I kept with them and over time I got used to them. Now they’re huge part of my mixes.

[@wafflestoast5228]

What amps have you used with them?

[@dennislaplant4572]

Absolutely, totally agree with you Tony. NS-10m's have always been my go to. Once someone learns how to use them correctly, & get use to them, they'll never switch to another ! Perfect

[@ilikemyrealname]

waffles toast I’m sure you’re asking OP, but personally I paired mine with the Drawmer MPA 90.

[@dchristo10]

We used NS-10s and a single auratone to check mono. This was back in the 80s. Some things can't really be improved.

[@theguythatdoesthatonething2133]

I got $20k Pmc’s and I always reference through my NS 10’s

[@jasonmare33]

thats cool!

[@horowizard]

Minus 10 points for not mentioning Bob Clearmountain.

[@musicbyDJCela]

I once met him and he apologized for starting the trend lol

[@beeisbad]

Holy shit!! Did you say Bob Clearmountain? Lol. I actually worked with him as a teenager here in NYC at Power Station Studios doing background vocals on a Bob Dylan record. Wow... Bob fucking Clearmountain... smh. A legend bro!

[@chinesedrugpolice4139]

horowizard 10 points for you

[@kylethenile6946]

I've followed the discussion about the characteristics of the NS10's. Now that I'm about to buy some monitors for mixing at home I tested some speakers at the music store. All about the same price range and 5". The HS5 won the race. Yes, they are lacking LF and are maybe not the best choice for listening to heavy metal or other music with strong subs. But the clarity in the mid and high range was x times stronger than with all other models. It was like seeing the instruments right in front of you, not hidden behind the speakers. That's why I'm gonna buy them. Though everything is a matter of taste, too. But now I can imagine why NS10's are so legendary.

[@peterheinen6110]

Great video! They're really hard to find nowadays, though. Yamaha now has a similar series of active monitors; the HS series. With that white cone, too. The reason why they are so popular is because the're awesome in the midrange, where most of music audio happens to be on a small frequency range: from 800 Hz to 6 kHz

[@alexeybelan3787]

The HS series is another speaker, the NS-10s sound much worse (I'm one of those who consider them pure garbage to ears). The HS series has that modern "Hi-Finess" and (texture wise) sound like most of the modern speakers, the NS on the other hand have this horrible, distinctive sound

[@Emanero]

i want to know more about your philips mfb modified, did you modified the terrible tweeters? which tweeters did you put instead of the originals? great videos by the way!

[@SonicologyRecords]

Nice! video WSS, nothing like the crack of an acoustic snare on NS10's ❤️ Just be sure to fuse them because they're easy to blow. Using a (1.5) amp fast blow fuse works for me.

[@ScareDe2]

They actually don't sound horrible, at all. You have to use them in similar room acoustic found in studios where they were used to mix the most important records in history. Basically, laying on a foamed surface, close to a reflective angled window (a mirror can do), a mixing console in front of you (or a set of keyboards can also do) and I would also add a medium size object in between them. I have an horizontal pair of studio NS10 in front of me and they sound super good.

[@DaftFader]

Another big reason I've been reliably informed is to do with their closed box design, and how this effects their timing response, making them really punchy and tight sounding (like you noticed).

[@Masteracci]

They are excellent to listen to the mid range and resonant frequencies. They are like a pair of reference ears for mids. Nosy and boxy sounds on vocals and kicks really jump out on these speakers.

[@DrBharatSinghSambyal]

Why you get such less views..... You are one of the best out there, doing your thing... Hope you get more views. Thank you for your time

[@luancav]

He's my favorite KZbinr on this type of content. I feel like he's my secret weapon haha. I don't share enough because I don't have so much network on this business.

[@MentalMinorityMusic]

@@luancav Same here, his vids should get way more attention!

[@pipelineaudio]

@ElAlexxis Yup, too much hype, WAY too much fluff to content. The content he does do is GREAT, but can be found hype free

[@johnwitsenburg470]

Agree recently became a super fan :) really great / honoust / indepth content!

[@trog69]

Spot on about how engineers brought their own gear into studios in the '80s. I'd heard about some of them bringing the ADS L710s or L810s for their exceptional near-field sound. I tried a pair of L810s on this desktop as a test, and they're still up here six months later. Best-sounding speakers I've ever listened to, much less had on this desktop. Had to use pads to keep the bass from traveling through this heavy desk, but other than that, wondrous sound.

[@BlackenedNL]

Love the NS10's! Started using them for the first time a couple months ago in my studio and love referencing on them

[@StudioMarban]

Try the 'NS-10M Studio' models... they're 60w-RMS not 25w-RMS and they have a more balanced LF/HF crossover which takes away a TON of that fatigue, or look into tweeter mods for (non-studio) NS10M models - I work on both

[@marvenmema]

There is a reason NS-10's were so successful. It's not their frequency response. It's how relatively "quick" they are (an aspect in monitoring systems measured with waterfall graphs), allowing to better hear transients and where they sit in the mix. You can "learn" the frequency response (frequency domain) of a monitoring system and compensate for it in your head when mixing, but you can't "learn" its time domain nor compensate for it if it's rubbish. This is the primary secret behind NS-10's and why they make mixing easier despite their funny mid-range-centric frequency response. Notice how many monitor makers sell "flat" frequency responses but hardly show any waterfall graphs or talk about why that's important in judging mixing monitors. Not that I'd recommend buying NS-10's these days of course (because there are some great monitors from serious providers that do address this) but just saying. :-)

[@GrampassoFilms]

Interesting... what do you suggest?

[@ricksalt6860]

A producer forced me to get NS-10's about 9 years ago . I now always start a mix with NS-10's . They always make me notice harshness around 1.6K and they have good lower mids for mixing vocals . When I feel somewhat finished a mix I then use the Genelec 8040A's and usually tweak a bit of 360-460HZ down a hair . Through all of this I'm checking the mix with Audio Technica ATH-M70x headphones . I can't say which is more irritating those NS-10's or those Audio Technica headphones .

[@andresacosta8598]

How does billboard chart music sound on your mixcubes?

[@mrmugabi1498]

I remember when Waves had them on sale 1/2 off

[@bornyhitch1975]

this girl is crazy.

[@yvngd88]

i click on this because i thought it was a girl hahahahaha

[@epc2965]

you need glasses thats dutch bloke

[@onesong2001]

@@yvngd88 Looks like he had a lucky escape.

[@MichelLinschoten]

That "girl" knows more about audio than you ever will. Making her more man than you i am sure.

[@adrianconsta1139]

Your joke and your sense of humour is at a 0 level. This guy is more smart than you'll be in your 60s. Commenting someone's look this way shows a lot about your lack of intelligence. Grow up, man.

[@assshakerstudios549]

I know this is old but for anyone researching NS10s make sure you get the NS10ms, the ones that sit on their side! The reason is the tweeters are different, the NS10ms(studio version) have less ear fatiguing tweeters in them, which is super important! Also the amp you drive your NS10ms is just as important, and you will see after researching that Bryston amps pop up as the go to amp for driving NS10ms. Which is great... but a used pair of NS10ms will run you about $500-600$ or so but the Bryston 4b(or variant of) is about 1400$! Well that's a lot of money. Hafler is another name that works great for the NS10ms for about a 10th of the price (used) and is what I use. Whatever way you go make sure to get the ones that lay on their side though(NS10ms-s stands for studio version), HUGE NIGHT AND DAY DIFFERENCE!

[@davidgriffin79]

It's the damping that stops the cone moving not the stiffness. Classic spring-damper theory: mx'' +cx' + kx = 0, i.e. (force due to acceleration + force due to damping on motion + force due to stiffnes = 0). Without cx' the cone would vibrate forever; in the real world that would never happen since c will be comprised of many differing parameter including the desired damping factor.

[@StudioMarban]

All true.. And the spider and the surround are also very stiff on these monitors (I own both NS10M and NS10M Studio pairs)

[@markderv]

I love my NS10s. I think you may find that their excellent time response is due to their sealed cabinet design as much as the cone material: a rare format in today's near-field market. BTW still trying to find your review on your midfield monitors. Link please? Cheers.

[@davidkrystal9783]

Your mix cubes are based on auratones. You’re supposed to use one to see what your mix would sound like on a mono tv speaker. Ns10s are flat. And in a well tuned room they are the perfect reference monitor. Like you said they are in every professional studio. Not because they hurt your ears. But because they are accurate.

[@robchokehold]

So if you're intrigued about the NS-10 model, here's a lot of background trivia leading to a valuable hint that could save you money. Firstly, let's fix the terminology. There is no one "NS-10" model. The name "NS-10" can be used as a collective term for the series, sure, but there is no one model that uses the plain NS-10 label for their name. All the models had some sort of suffix after the number. The late 70s model, i.e. the original in the NS-10 series, was called NS-10M, the "M" probably added for "monitor". All the later models had some addition to the name, like "NS-10M Studio" or "NS-10M Pro" or "NS-10M X", and they usually brought some sort of "innovation" to the series. Different orientation, different speaker, different tweeters, and more. The NS-10M Studio was the only in the NS-10 series (known to me) that was meant to be placed horizontally (i.e. lie flat), all the other models, including the first NS-10M, were meant to be placed vertically (i.e. stand upright). The first NS-10M originally introduced mirrored tweeters to the NS-10 series, i.e. the concept of having the little high-end speaker at the top on opposite sides on each box. The first NS-10M model is also the weakest of them all, it only has a Watt rating of 25W RMS and 50W peak, while all the later models with extended names can do 60W RMS and 120W peak. So now... when I write the NS-10M was the original in the series, I mean it exactly that way. It kicked off the NS-10 series brand. Nothing more. What I don't mean by that statement is that the NS-10M were an original concept. They weren't. Before the NS-10 series was started, Yamaha already had a set of similarly named rather high-end "prosumer" HiFi speakers. The NS-1000 and NS-100 series were around for ages before anyone even thought of the NS-10M, and they are still coveted (read: expensive) today. Both the NS-1000 and NS-100 series were 3-way speakers though, meaning that they had 3 chassis built in: low range woofer, high range tweeter, and an additional mid range speaker. (The NS-10 series only has woofer and tweeter, it's a 2-way speaker.) Visually, both NS-1000 and NS-100 series look suspiciously similar to the NS-10 series, just with a few more bells and whistles on them. You can see their relation clearly, although they are quite different if you look at them a little closer. Now, apart from those two big ones, there was also "the runt of the litter" of the NS-1000/100 series. That cousin with the weird name that nobody talks about. Tadaa, drum roll, enter the NS-615. An upright 2-way Hi-Fi speaker similar to the NS-1000 and NS-100 series coloured, excitingly, in wood brown. Yaaa... wn. If you wish, you can search for the badly scanned documentation and catalogue material for both series, NS-10 and NS-615, just like I did. Or you can just believe me, a total stranger to you, on the Internet, in the KZbin comment section, when I tell you that you'll find a 100% match. Well, that is 100% if you forget about the colour and the mirrored tweeters. The NS-615 box had the exact same dimensions (HxWxD of 38.2 x 21.5 x 19.9 cm) and overall weight (6 kg) as the NS-10M later had. Both the NS-615 and the first NS-10M model use identical part numbers for their woofers (JA-1801) and their tweeters (JA-0518), so they also shared the same Wattage (25/50W), impedance (8Ω), frequency response (60-20k Hz), etc. (FWIW, the later NS-10 series models all used different chassis to allow for higher Wattage, starting with the NS-10M Studio that just had an "A" added to the end of its part number.) So spec-wise, the NS-615 and NS-10M models are absolutely identical - except for the colour and the (non-) mirrored tweeters. How thoughtful of Yamaha then to introduce the NS-615B at some point, a model identical to the plain NS-615 in every way, but with the added "B" suffix. The "B" here simply stands for "black", the colour that contrasted so well with the white speakers and would later make the NS-10 series so easily and distinctively recognizable. Notice that word "later". The last NS-615B speaker was built around 1975, just a few years before the first NS-10M model surfaced in 1978. Coincidence you think? :) So there you have it. If you don't want to pay ridiculous money for an "original" NS-10 series speaker, just get the NS-615 or NS-615B. They are THE SAME SPEAKER, identical in every way. Well, okay, with the exception of not having mirrored tweeters. But apart from that. Now don't come at me all "tweeter position matters"... no it f*cking doesn't. It just looks symmetrical and tidy. Because Hi-Fi music buffs at home (for which the NS-1000/100/615 were made) care about how the music sounds, not so much about how the speaker chassis are arranged. But us audio engineers, we're a bunch of spiteful OCD-ridden pedants, so speakers with non-mirrored tweeters wouldn't fly. Well, they would fly, but only out of the window. So smart move about those tweeters, Yamaha, smart move. :) To rub it in: I just picked up a pair of NS-615 in superb condition for peanuts. Zero bids except mine. Somehow ironic, that everybody wants to have the "original" NS-10M, but nobody seems to want the ACTUAL original, that was then renamed NS-10M later. Well, now you know it. If you can't (or don't want to) afford "enn ess tens", then just join the six-fifteen gang and laugh at those broke hipsters. ;)

[@onreel6327]

Nice informations, always wondering what was the deal with them. Would you recomend them as a logical choice if you can have only one pair of speaker for some reason in a home studio (limited space/budget)? they seem to be only for checking not for surgical mix ( but good headphones can deliver this anyway so it could be a viable solution)

[@rockymountainrocker5630]

I agree. NS10's are brutally honest. Great to have as an alternate pair of 'mix checkers' as you say. Cheers.

[@scoobydoo936]

It’s absurd how expensive a pair of NS 10 in good condition have become on the second hand market.

[@moonflow5133]

You could be the son of Steven Wilson. Good video :)

[@jjrusy7438]

cone flex=distortion. the surround, cone mass and loading determine the resonant frequency, not the cone stiffness which ideally would be perfectly rigid to minimize flex and distortion

[@aorcloud3199]

Well look here, the Dutch mini-me of Steven Wilson !!

[@davidcache6802]

ns-10m studio are my favorites, its like having car speakers in your studio.. pretty dope

[@donnythompson408]

Presumably, you’ve had a chance to turn out final mixes using your mix cubes… So you would have an indication of how well they translate, no? I had the Yamaha NS 10’s above my console for many years throughout the 80s and 90s; it’s not that I liked them very much, because I thought that they were very fatiguing, especially when clients wanted me to mix at hotter levels of 85 DB and above... The main reason I had them, was that in those days, if you owned a commercial recording facility, you were “expected” to have them (thanks a lot, Bob Clearmountain, LOL); it didn’t matter what other monitors you had, because there were many great sounding monitors ( mostly passives in those days) that translated mixes incredibly well, that were nowhere near as fatiguing as the Yamaha’s. Unless the client specifically asked that I mix through the Yamaha’s for the entire session, I would normally mix through JBL‘s, or Urei Big Red‘s, and then PERIODICALLY check the mix through the Yamaha‘s for very short intervals of it me. That said, thousands of hit records have been mixed through the Yamaha‘s over the years; I just could never take their harsh sonic characteristic for very long, and I never thought that other commercial recordings sounded very good through them, either. IMHO.

[@wheelr69]

One day you will realize, everything is subjective, your ears are like your finger prints, completely different from everybody else. They are used for reverb, balancing low end, kick drum, etc. And like every speaker, you learn your speaker and get use to what you use!!! You need to age, then you will understand mixing and life for that matter

[@cremersalex]

Maybe there's a correlation between all Billboard music sounding bad and every studio mixing on NS-10s?

[@LeoGarciaMusic]

Toto's "A thousand years". A masterpiece!

[@Johan-fw8re]

Brilliant video :) I didn’t know that about the NS10. I have a confession to make, I’ve finally started to like my HS50 because I’ve finally started to nail my mixes.

[@Zener_Diode]

now that you've heard the NS10s you need to get a set of the new Avantone CLA10 and see if they stack up to the O.G.

[@ricksalt6860]

I always start my mixes with NS10s . They're very accurate in the low mid vocal range and when you subdue 1200 - 1800HZ in your mix, they're not too bad to work with . Biggest thing is when you mix with ( example ) Genelec with subwoofer everything is cozy and fine with the bottom end making everything enjoyable . Click on NS10s and you'll notice pitch problems and rhythm discrepancies you didn't notice when the low end was impressing you on the Genelecs .

[@vinnyg2223]

So much misinformation. Akira nakamura the designer of the speaker has already corrected this weird rumor, it was designed to be a studio monitor. Also, the ns10 is good because it’s a closed design, no ports, fast transient response, and if paired with a good amp they sound fantastic. All these internet rumors are weird.

[@drampadreg1386]

When I was looking for my first monitors I checked out the NS-10's and then the Tannoy PBM 6.5's, the Tannoys gave me a better mix every time when I would take it around to listen to on various systems, car stereos etc. And every time I saw NS-10's in any studio small or large they had with out exception napkins over the tweeters! At any rate, get some Barefoot Footprint monitors and you have a wonderful monitor with subs included and the flattest frequency in it's class bar none, and you also get the dsp x-over with the "classic" setting which emulates the character of the NS-10's so you feel at home if you are used to them. It also has flat, cube and stereo settings so you wouldn't need the Avalon's plus you can hear how your mix translates to stereo speakers all with a twist of the knob on the x-over. Worth a look since you don't have that huge deck. Use iso pucks as well, your deck won't properly decouple your speakers and the difference is less smear in the bottom end and less phase and cabinet anomaly effects. Not all that cheap but a bargain as they are very good quality and replace 3 sets of monitors and one stereo speaker pair all in one.

[@hoborec]

What model of the NS10 are you trying? I have NS10m in studio b and NS10m Studio at studio a, and they are very different.

[@ilikemyrealname]

HoboRec I was wondering the same

[@HollerAtcherBoi]

Interesting! Care to elaborate on the differences you notice? I have a pair of NS-10m myself

[@Lofi-Dreamscapes-Radio]

have a horizontal and vertical model they re different

[@StudioMarban]

The NS-10M Studio's have a tweeter foam surround, horizontal logo and woofer and a 60W RMS - 120W Peak capability. The NS-10M's featured in this video are the (non studio version) which have the Vertical orientation logo and woofer, and a 25W-50W capability and no foam surround inside the tweeter cage. I've owned both. Many NS-10M (non studio) owners using them in studios place tissue across the tweeter to soften the HF a small amount, (which was later addressed in the NS-10M Studio Monitors Crossover)

[@cali_cal]

this is the reason you never listen to these yters 100%

[@jessedinoia8836]

They were the only speaker at the time that were phase correct between the mid & tweeter. This gives you a very accurate midrange, where most of the music is. Phase will color a sound more than anything else. The cone had low resonance. The tweeter is crap sounding. They have no bottom end. Didn't matter in the day, there wasn't much content with much bottom end. As far as tone goes, most music consumers were listening through similar sounding speakers. Beyond this, they were familiar to the Engineer in that he could trust them because he or she had a reference. There are far better monitors available now days that are far better suited to modern music production. The reason club music sounds good mixed through these is because they sound like shit & you have to fight to get a good mix. This involves tightening up the low mids & taming the high mids where dance music can give you fatigue, and where these speakers definitely do not excel. As I said before, it has a crap tweater, perfect. But, by no means should be the only speaker you mix with.

[@tiltedlab]

Do you really need two mix cubes? I thought one would suffice...mixing in mono

[@nebstaism]

I love them and I love the auratone 5c for mixing they both really tell the truth ... But I think I prefer my 5c's a little more but only just a little

[@jorgepeterbarton]

If you know equal loudness contours (smile face EQ that makes things sound 'loud' its what our ears hear in frequency difference between loud/soft) , the NS10 is basically the opposite of one (grumpy face?) , so that you may compensate and thus sounds louder. They were built for bookcases though and the amount of bass resonance in that environment.

[@fredwa1225]

Hey there, just thought I would mention that Avantone is making brand new NS-10's. They are Avantone Pro CLA10. You can also buy the woof's and tweets from them and build your own boxes. The crossover schematics are on the internet or Experiment with your own. Hope that was helpful.

[@ElLocoBedoya]

Yep. They're nowhere near the sound of the ns10m studio

[@djclass005]

NS 10's look cool aswell! :-) have you ever heard the Kii Three? I'm curious what you would think of those! greetz

[@raffyzoo2130]

It has a +5 dB boost in the midrange at around 2 kHz

[@terrytees]

I thinks it's the fact that modern chart music is far more aware of competition in respect of volume. It's a market place and we all want to be heard over everyone else. Maybe the music your listening to was mixed for a smart phone speaker/laptop speaker.

[@YoungBlaze]

what is the name of the Off yellow speakers? i had those but never used them

[@barnabasszabolcs8708]

great video, man, what is the type name/brand of your mixing cube?

[@markielinhart]

I have NS144 speakers which WERE made as studio monitors with HF attenuators at the same time as NS10s. Due to the success of the 10s they were only made for a year or so. I think they have same cones...

[@TheGurner1]

This is great, digging your channel! I have tried a Mixcube, but as my old ears have the treble turned down anyway found it a touch dull perhaps? I now have a OneConcept kitchen radio in that place. Mainly I use KH-120A's which are fine in my tiny room, however I was thinking of getting a pair of Yamaha MS-5's which have something of the NS10 vibe about them, for another comparison. As the KH-120's are pretty full range another option I'm trying is to set up an NS10 eq template?

[@timocarliermusic]

Do you always use your Avantone speakers in stereo? I have just one for mono checking mixes.

[@Scotlanz]

Me too. Pretty good in my humble opinion.

[@Madrrrrrrrrrrr]

The ns10’s have a peak in the mid range. So were guitars and vocals meet. The peak shows you how those 2 fit together. Big studio’s that understand use them for that. Not for mixing a whole track. And yes today’s tracks are super aggressive in the mids. That’s why they hurt your ears. Big studio’s use big mains mostly while mixing on high and low volumes. That’s why old michael Jackson sound great on them. That’s why all the semi home studio’s using the ns10’s only translate shitty.

[@cali_cal]

so what is good for todays standards?

[@dennislaplant4572]

Depends on the engineer !!! Quincy Jones used them on Michael's stuff.

[@amdenis]

Many of the top studios would not have them anywhere near their primary or secondary mixing or mastering chain. They translated to a limited subset of home systems to some degree (books have been written on how they failed and succeeded on this), but poorly to most cars.

[@Andyw1228]

Are you only mixing or also mastering? A studio nearfield monitor is no speaker, it is an audio measuring instrument which is like a magnifier for the ears. For mastering the normal thing is to have a set of all kinds of speakers and headphones to have representatives of the normal consumer. Plus, you have to optimize acoustically you hearing room. You don’t have to measure your speakers, you have to measure your room and compensate for modes and reflections., but I am sure you know that.

[@santishorts]

That's incorrect. For mastering the standard is to have a single pair of "full range" speakers, which can go from 20hz to 20kHz as accurately as possible. Look at pictures of professional mastering studios, and 9 out of 10 will feature a single large pair of speakers. Also, if you are mixing you can't really do mastering because mastering is all about a second opinion and you can't be objective about something that you have mixed.

[@JohnChaplin]

interestingly NS10s and Mixcubes are both non-ported. Check their waterfall graphs very consistent across all frequencies/time. Ported speakers have longer "prongs" in the bass

[@karmikmike2878]

i like your video .......... what you say about the NS-10's is quite accurate indeed ......... just curious, though ..... with your accent, where are you from ....?

[@AutoclaveBeats]

Thank you for sharing your thoughts on the NS 10s....Between the NS 10s and the Auratone Speakers, which would you recommend if you had to Pick Just one as your seconf monitors

[@GuyXVIII]

The NS-10's bring out the 100-300 hz and 1000-2000hz. Those areas are problematic because many important instruments (Vocals, snares, guitars) occupy them. Not smoothing out the highs or boosting lows for you to enjoy, they give more harsh and honest representation of that is going on. also IMO not having much bass lets the cone move to the mids more accurately. Would pair them with a sub though, because that roll-off is very hard to work with.

[@BigLesbowski]

funny similar thing - the Celestion speakers from the Marshall guitars cabs were originally taken from the home radio receivers of 1950's

[@212days]

Well.... for years I had heard the internet hype of the NS 10's and considering the price to buy a pair thought that they must be some quite cool sounding speakers. So in the back of my mind I had always wished that I had a pair but never quite felt like spending 4 or 5 hundred dollars to buy a pair off of Ebay. One day I was at my local thrift shop and there was a pair for sale in there with a price tag of $7 on each speaker! Needless to say I shelled out $14 and left the store with a pair of NS 10's! I was stoked. But I have to say that that was my high point of being stoked on those speakers. After hooking them up to a receiver I was a bit surprised to discover that there was no "wow" factor going on with the sound of these speakers. I hooked them up to a few different receivers and listened to a bunch of different stuff... I just didn't find them to be any better sounding then maybe some average speakers such as Advent tower speakers or something basic like that. I TRIED to like them, I wanted to... I just could never get away from the "HO HUM" feeling that I had about the sound of those speakers. Nothing special. So I put them on Craigslist for $300 and sold them about 2 days after I put the ad on there.

[@AykutBilir]

I realized that subtitle detected your english as dutch :) Thanks for the video!

[@atticprojectstudio9082]

I have the NS40's sense 1988 and the first impression of them was horrible sound. But working with them slowly turned me around. They are very flat throw and the mid and hi frequencies really stand up. But when you get your recordings to sound good on them, they will sound good everywhere else. Industry favorite for a long time for a reason !!!

[@prettymonstageo2977]

Hiya, which model of NS-10's were you using here? NS-10M Pro? NS-10M Studio? Thanks!

[@chent]

Awesome point. There where monitors like that in the studio I worked in before, and I miss their honesty. So many go for the KRK theese days, and I think they aren't that stiff, and they colour the sound a bit. Could you say anything about the tweeters? Are there any kind of filtering in them?

[@greedokenobi3855]

I like them as an extra pair of ears/monitors but not as my main ones. They are nice to A/B on but imo they should be the B’s not the A’s.

[@dennislaplant4572]

Making them your A's will make your stuff sound great anywhere !

[@AlmaRockeraOficial]

Because they are studio speakers not so hyped?

[@28rwags]

Everyone I ever talked to said if they sound good on a NS10 they will sound good in anything right?

[@eqh1593]

they´re not supposed to sound "GOOD" .. they are supposed to sound ACCURATE

[@RecTec77]

@@eqh1593 He talks about the sound of mixes played with the NS10, not about the sound of the NS10. The answer to his question is yes.

[@carlosfernandoramirezsanto4417]

What do you think of focal alpha 65? Would love to see a review on that.

[@GregSimon]

Good choice for the opening track. TOTO track mixed by George Massenburg at Skywalker.

[@CartubeCoIl]

As one who knows nothing about sound engineering, that was a great review/history lesson. Thanks!

[@TobyEllis]

Bob Clearmountain made these popular as a secondary reference and then they took off. Before that it was always JBL4311s which are much better sounding. Sold my NS10s many years ago and still use my 4311s on my stereo for that authentic 70s rock sound.

[@ashleywhiteman2684]

I am running a pair of mordaunt short carnival 3, giving me a great range to create texture on. I have boss am5 and hs 80for reference

[@dereverberatedambient5010]

Those are also not the studio versions of the NS10, the studio version is less piercing and sit horizontally.

[@thimovijfschaft3271]

The reason why they translate so well is because they are very midrange based. They, don't have anything below 100hz and not above 10k. If that part sound good, it will sound good on all speakers. The most common studiospeakers I see in studio's are the yellow cone ones. I'm curious how good those are

[@keionneblack]

KRK Rokits. I own the KRK5 gen3model. The low end is my only. Issue below 150hz. The cones are “pose” in design so bass resonates ALOT. Not ideal for a small mixing room.

[@keionneblack]

“ loose “

[@dnashofficial]

1000 years..... AMAZING TOTO song and album. i'm SO glad this music has survived the generations.

[@rune288]

Hi what are you using to power the ns 10's? i'm looking at getting a pair but trying to find a suitable amp is a nightmare. can't seem to get a straight answer anywhere

[@heisswax]

How do you like the mixcubes? Did you by chance compare them to the new auratones?

[@EnigmaState]

I have a pair of Studiospares SN10 monitors which are a replica of the NS10 but they do exactly what they're supposed to do. They sound awful the resonance from the paper cones is next to none and if you want to hear bass on them don't even think about it 😂. However they do a great job in highlighting your mix where it needs some work.

[@youreingoodhands]

So I need a second set of speakers in my studio to avoid or at least reduce the car test method... should I go with the Cubes or the NS-10's?

[@RecTec77]

I don't think the car test can be simply replaced by using NS10s.

[@maxc.1478]

You know maybe those older records sound great because they were actually mixed on NS10's at the time? So that music probably translates well on NS10's now also.

[@edjackson4389]

Use them in a 2.1 setup with a sub 10" or 12" doing the heavy lifting, and they no longer sound harsh.

[@PrinceWesterburg]

Thank you, a professional who doesn't worship NS10s! :D

[@chinnarciso]

Someone sold ns10s in my city a year ago. He sold it for around 180 dollars. I should have bought it :/

[@scoredeluxe9154]

have you tried Amphions ? One 15 or One 18 ... like ur stuff... cheers !

[@remiandrepedersen868]

I like your tests on cheap stuff too, because sooner I heard which speakers with amplifier equipment I personally liked to listen to, but then there were some so-called audio experts who explained that this is the wrong sound and by that for that reason, I've spent more money on a Hi-End equipment than what a new car costs and feel that maybe there's a waste of money for my part!

[@XX-121]

you might wanna give some JBL LSR-300 series a shot. they translate really nice without hurting your ears! also def use them with and without a sub. I use to have M-Audio BX8's before my house got broken into (they took my whole studio). The BX8's sound awesome and are really LOUD but they don't translate as well to other poor quality systems. I have a pair LSR-305's and will always keep them around to reference my mixes on.

[@moano3271]

First video i have seen where someone actually talks about ns10 vs mixcubes. I have been looking for that for such a long time. Fun fact..if you did not know allready..Avantone is also making a NS10 clone speaker now.