Your speakers are wrong

[@stuartcoyle1626]

Here in Australia we mount all our speakers upside down, so that the sound comes out with the correct phase in the UK. :P

[@cdl0]

LOL! Best comment. 🙂

[@editingsecrets]

In Australia, if you spin a record backwards, an evil message pops out with an American accent

[@archiemacdonald553]

dam Aussies lol ❤

[@C90C60C30]

😆😆😆

[@not2logic]

Dont mess with the speakers, stand on your head when mixing or mastering.

[@naibafabdulkobor4301]

You are totally right regarding vertical or horizontal orientation. Simple as that. Period.

[@horrortackleharry]

3:17 Reminds me of the famous Quincy Jones anecdote: in the 'Thriller' sessions, he always brought a nasty, cheap mono transistor radio-type speaker into the studio for playback. "It's got to sound good on that- that's how the majority of people will be listening to this".

[@msingh1932]

I love the way the Master splits the hairs. Cocking his head to one side to discern the difference in the frequencies. And he has this amazing assistant, who is always there to fill in the gaps! I wish I could afford an assistant like that...

[@nicksmith4507]

I still use my father's KEF Cantors from 1975. He used them high up horizontally, I use them in a small room now vertically. The KEF logo on the front rotates to match the orientation 😊

[@AudioMasterclass]

A rotating logo - what will they think of next? DM

[@VintageGearMan]

@@AudioMasterclass HA! Priceless

[@PapaNicksMusic]

I’ve recently come across your videos (and subscribed!), and I am heartened by your willingness and ability to examine the fine details of sound reproduction while still reminding us that all of this-ALL of this-is subjective. If I mount my studio monitors in the attic pointing down through air vents into my studio because I like the way it sounds, that is good enough. If I like the way it sounds, it’s good. If I don’t, it’s bad. Far too many people throw around the word “objectively” in these discussions. You don’t, and I love that.

[@AudioMasterclass]

Your comment reminds me of years ago when I saw someone's reasonably decent speakers placed tightly into the corners of their room. All wrong in theory as they excite more standing waves. Except it sounded really good, the main point being that you could be anywhere in the room and it sounded good, rather than just one 'sweet spot' listening position. I wouldn't say this is good for monitoring, but for enjoying music it's an option. DM

[@theonl1128]

Good for you! 😊 You are completely right. It's all very personal.

[@stratocat9999]

Cheers for this from a retired mastering engineer! I had my NS10M's in this orientation on my personal desktop for years, and got nothing but grief from my contemporaries. About a year ago, I relocated my home studio to a larger room, and relegated my Yamahas to monitors stands off the desktop and in the customary horizontal position. Having them further apart has improved imaging, but this has to do with the fact they are slightly farther apart, not the orientation. Yamaha is correct. It does not matter a whit or a tiddle if they are vertical or horizontal. Just keep them off of a flat surface in either case. I also added a 1 octave step graphic EQ that allowed me to give them a nice 'HiFi' or loudness curve. In close proximity as designed, with this addition, reveals the little units are capable of surprising bass response, and there is no need to cover the tweeters in toilet paper. 😁 A simple flip of the switch allows me to go from flat to sweet. This has also pretty much eliminated the need for multiple monitor pairs. My primary use for these speakers in my personal studio is for archiving my analog library and restoring or remastering much of the same for 96 khz 24 bit wave. And the occasional multitracking for myself of 'backing tracks', something I have done since the 80's in order to perform 'live' without a band. I retired in 2018 after my company closed it's media division as far as in-house production and mastering after 22 years with them. All's well as ends better, as I am having far more fun being retired and working on my own projects! Cheers again!

[@VintageGearMan]

Wonderful super cool comment! So nice you can make those bad boys all that! It took me a bit to get used to the Yamaha monitors but once I did all worked out nicely. I am glad you are able to just have fun now. Nice.

[@stratocat9999]

@@VintageGearMan Cheers! It has always been a passion of mine, going back to my very young audiophile days, before I had a full grasp of mastering. The NS10M's have been my fave for quite some time. Before that it was JBL 4311's. My reasoning for remastering my analog material is to maximize what is already there a bit. This was why they used to put EQ controls on HiFi amps. Not all recordings are created equal. My latest project was to archive my small but eclectic collection of 45's. I started buying singles at age 8 in 1962. All have survived better than anticipated, but I was able to restore many I thought to be lost causes. About 500 records in all. I am digging into to my inherited stacks of 45's now, and moving onto my 78's as well. I'm using a Technics SP15 with Audio Technica ATP-12T tonearm (vastly underrated arm!) I have about 10 carts in rotation with various stylus options. I have done some conservation work in conjunction with the Cal State University system and the Smithsonian, so I may have picked up a thing or two. 😉 I just turned 70, can still hear north of 15 khz and have no desire to take on any revenue work. 😁

[@HomeTheatre101]

I honestly enjoy watching your videos and listening to your take.

[@TheMicrophoneChannel]

I always mount NS-10s the way they are mounted in this video. The bass response should be slightly better when mounted vertically as well as the phase coherence between the woofer and tweeter, as already stated. Combine all that with keeping the tweeters on the outside and the sound will image better across the stereo spectrum. Now, all of this is probably more or less subtle, but I personally like to have things set up as correct as possible.

[@carlosoliveira-rc2xt]

It's tweeters to the inside and the speaker has no bass but if it did, vertical or horizontal wouldn't matter.

[@rabarebra]

It depends on your height position of your ears. Your ears should be somewhere between the LF and the HF. If turning the speakers upside down fits this height, do so.

[@TheMicrophoneChannel]

​@@carlosoliveira-rc2xt No. It's tweeters out. And it doesn't reproduce sub frequencies but it does reproduce bass, especially when using a high quality, relatively powerful amplifier. Even Auratones can sound remarkably full, for what they are, with a good amp. And if I can find the detailed write up on the NS10s, explaining why they have a slightly more full response when mounted vertically, and why it's more beneficial to have the tweeters out, I'll link it.

[@carlosoliveira-rc2xt]

@@TheMicrophoneChannel As I have stated, the speakers have no appreciable bass, no one but perhaps you denies this. What the speaker has is an exaggerated mid which can easily be manipulated by close proximity to any large surface. As for imaging, preferences aside, speakers always image better with tweeters in and it's common knowledge in the audiophile community. As I also stated, IF the speaker had bass orientation wouldn't matter. What you are talking about is mid/ crossover/ tweeter dispersion which is greater greater in most vertically oriented speakers so yes there will be a difference in orientation which is why we don't orient vertically designed speakers in a horizontal position. I hope this clears up my statement and position on the matter.

[@user-lw9py]

near all that have a NS 10) have a NS 10 as additional speaker to check or a mixcube to hear how it sound on a low quality system. but they have a linear studio monitor as main mixing speaker. audiophile i think nonsense, hearing work adaptive. you need compare . when hear longer a dull sound (reduce high freq with eq) it sound after some time brighter and nice. when switch then to original sound, it seem original sound is much brighter .you only need correct your speakers with EQ that left and right channel sound simular. this is most important for good stereo sound image

[@ONESNZER0S]

LOL Paul McCartney, how lucky to have your audience think of Paul when you talk and what a wonderful job of recording the Beatles did for the music industry. keep up the good work!

[@legtrax2021]

Ideally, the tweeters should be at ear level for your listening position. Pick the most suitable mount orientation and angle using isolation to create triangle between ears and tweeters. That should get you close to the studio's listening position ie the track will sound closest to how it was intended.

[@DonnieRiddimReggae]

I like the way you communicate sir.

[@Mitsch76]

For many years I used a pair of Canton Quinto510 Loudspeakers....and they did the job very well. Combined with my AKG K240 Studio headphones I think I was pretty good prepared to mix and record audio. I used my monitors so long and so intensive that I imediately identified any mistake in mix or recording. I knew exactly what I should be hearing. Since 3 years I changed to a pair of Yamaha HS 7 studio monitors and still I don't feel as secure and confident as I did on my (very old) Cantons. I guess it has to be some more years of matching my ears to the new monitors..... To conclude: I think you just need to KNOW WHAT YOU HEAR. And be able to make the right decisions from that knowledge. Great video, as always! Thank you very much!

[@carlsitler9071]

I loved listening to my mom's albums in the '70s and she had a wide ranging taste in music. She had Led Zepplin next to Arlow Guthrie... Nate King Cole... Johnny Cash... Fifth Dimension... Donavan, etc. She had an all in one consul (speakers, turn table, 8-track, radio).

[@djtbs1]

You are just... awesome. Enjoy your content for it's analytical side, humor, and education points. Your video where you show the DAW noise floor doesn't exist was excellent as well.

[@DenisPerron]

My speakers are also installed horizontally. And I also used a pink noise to adjust my system using a Real time analyzer and a graphic equalizer to correct the deficiencies in my system as well as the acoustics of my room. It makes a big difference. My amplifier is an Electrocompaniet from the 80s.

[@mariokrizan1400]

👌👌 As it is, if you listen to the final mix well on an NS10, it will turn out well everywhere, especially if the product is for radio or television stations. Years ago, almost all the studios where I have recorded had these speakers and they were placed both horizontally and vertically. Many studios had another couple of boxes to listen to after the product was finished. Greetings.

[@AudioMasterclass]

This is a commonly-held opinion. It's a shame they are no longer made.

[@valleywoodstudio7345]

I have an old pair of AR18's that are really useful for checking - kind of the precursor to NS10s as portable Hifi for mixing. I mostly work on my Genelec 1030a but they are a little 'veiled' in the upper mid at the crossover point even though excellent for me everywhere else. The AR show me that area perfectly - not to mention have a tight bass. Thanks for re-emphasising the phase aspect - I find speakers on their side super wide and weird, but thats me.

[@annode]

The first component HiFi system I heard was with a pair of AR-1 in 1969. My neighbor had the system and I was 14 yrs old. He played the best music on them too. Sgt Peppers, Simon and Garfunkel - Bookends, Are You Experienced. Those speakers sounded so good to me then. :)

[@TWEAKER01]

Time alignment (tweeters & woofers to your ears) is a HUGE factor to hearing detail objectively, as you alluded to towards the end. And the more drivers in a speaker cabinet, the more difficult that can be. We're subconsciously actually more sensitive to phase response than to pitch.

[@ottonormalverbrauch3794]

We are sensitive to phase differences left and right for evolutuonary reasons ( where does the lion come from?), vertically not so much as it will only result in a slightly different frequency response.

[@owlcavedreams]

In addition to the "mids microscope" aspect of NS10s, I always understood the the main reason for having them is that virtually every pro studio on earth has them, and they thus serve as a reliable reference point for engineers who know them well. Great for mixing vocals. I wouldn't use them exclusively (I also have Genelecs), but mine have magic dust on them...I got them from the Townhouse studios (via funky junk) with a Quad 520f. Be Well.

[@AudioMasterclass]

We all know that the magic dust effect isn't real. But sometimes it feels real. DM

[@rabarebra]

Genelec's tweeters are harsh metal-dome. But if you love them and care for them, good for you. You will know them.

[@uhuhno6441]

As always, thank you for the free information!

[@rodericogarcia]

Having worked myself with a couple of NS10, I wouldn´t overlook the problem with frequency response as if it was a minor issue. Those dips and bumps in the highs may become a challenge when looking for a tonal balance. It´s not only a question of having the mix sounding "good" in the yamahas, it´s also about mixin while you are aware of which frequencies are boosted by this response, and which are atennuated. A complete mess of perception, in my opinion. I never got to feel comfortable with these. I have enjoyed some of the latest Genelec models, and my final choice for mixing has been Neumann KH120 + Kh750dsp- Measuring my mixing room and getting an "almost flat" response, at least in terms of tonal balance perception, adding an extended bass response down to 16Hz, finally got me having my mixes translate in many other places with much less struggle. The Neumanns offer a rather boring sound when you use them simply for listening to other music, but are surprisingly revealing in showing hidden details in records I had listened to a thousand times. The kind of tool that helps you to take decisions and achieve your goal sooner, and more confident.

[@keithneal5369]

Very well explained article. I'm still using 30 year old tannoy 609 mk2s , dial concentric speakers and I dont think that it would make any difference to the sound whichever way they were orientated as long ss the center of the driver Is about head height. Lots of studios used tannoys for this reason. Easy to set up and consistent in quality.

[@AudioMasterclass]

Yes, there's something about those Tannoys. The proper ones of course. DM

[@keithneal5369]

@@AudioMasterclass I do realise that there is a huge difference between studio monitors and domestic speakers from the same manufacturer. I also understand the shape and size of the room your system is in has a huge effect on the sound. Our rooms here in the UK are generally a lot smaller than those in the USA. . This does influence the choices I have regarding loudspeakers I can accommodate. And my rooms are larger than the average.

[@bertsmorenburg1709]

I use my (upright) NS10s (hooked up to an old Alesis amp) for two reasons: in mono for balancing (theyre ruthless when balance is wrong or when wide sounds are not in phase), and to check if my bass is still there on smaller speakers (if not, I usually add a bit of distortion to bass in parallel to bring it up on smaller speakersets). Double checking on NS10's has saved me numerous times

[@drewwilson1477]

Nothing better than listening to a true subject matter expert debunking folklore from the unwashed masses. Please keep it up. The truth needs to see the light of day. Cheers

[@thePunkRockMix]

I have it placed the same as you did - since 15 years - never got a problem :)

[@scottwolf8633]

Never noticed the resemblance to Paul until you mentioned it, but damn, don't know how I didn't observe it. BTW, I employ the 1st iteration of B&G's dipole, push-pull, planar magnetic, RD-57 built by Dave Graebener at Speakerlab, before B&G Corp was formed. It features a 54 inch long by 2 inch wide, diaphragm, 4 turn voice coil for Frequencies above 200Hz. Could never imagine them not vertical.

[@peters7949]

I remember when the NS10M first appeared mid 1980s, as I recall their biggest selling point was that an NS10 sounded like an NS10 in almost every studio they were used in. This was the era of the freelance sound/mix engineer, who could be working in almost any studio from day to day. Other popular near field speakers seemed to interact with the room more thus sounded subtly different in different studios. The NS10 did not sound as accurate as other speakers but the sound was consistent so he/she had a known reference. The original NS10M had an acoustic material speaker ‘grill’, but engineers always took it off. The result was the speaker was very slightly bright, which lead to people putting a sheet of tissue paper over the tweeter. This lead to a discussions of how many sheets, what brand etc. It sounds mad but it happened! I remember one of the Lord-Alge brothers (sorry can’t remember which one) who said the NS10 only “sounded right” when it was so loud it was “farting” ie the bass driver hitting the end stop. Needless to say the bass drivers needed replacing very often when he was mixing. But his mixes sounded great so who am I to judge.

[@MobiusMinded]

They used to replace the NS10 woofers every single day at A&M (Now Henson) studios. There was an aftermarket here in LA for less financially blessed studios, for cheaper than new NS10 woofers.

[@peters7949]

@@MobiusMinded we did mot replace them every day, but we had a big stock of spare drivers & swapped out when tired, the engineer/producer requested or when they inevitably died.

[@MobiusMinded]

@@peters7949 ahh… I was at The Village at the time and this was the rumor. We swapped the out all the time too. Let’s not forget the “Fuse vs Non Fused” tweeter debate.

[@peters7949]

@@MobiusMinded I don’t recall the tweeter fuse debate, perhaps it was more of a USA issue. We did have Urei 813A main monitors in 3 of our studios; they had, what looked like light bulbs, in series with the drivers. They were actually Barretter resistors en.m.wikipedia.org/wiki/Barretter. These glowed if the speakers were driven too hard, increasing their resistance & thus protecting the driver. They also served as a warning that they were too loud. These would blow from time to time & were much easier to replace than a driver. I recall a small JBL speaker in the 90s that had a similar device inside, that when driven too hard you could see, though the bass port, illuminating the inside of the speaker.

[@sonic2000gr]

Also vertical orientation helps keeping the tweeter more or less at the same height as your ear, which is important for high frequencies (which are directional). So it would help with clarity and stereo imaging. And nice speakers BTW :D

[@AudioMasterclass]

This is key. Monitors must be the right height or it doesn't matter how good they are. DM

[@AnthonySigouin]

Exactly!

[@carlosoliveira-rc2xt]

Nonsense!

[@carlosoliveira-rc2xt]

Of course with speakers so horrible orientation couldn't possibly make them sound any worse.

[@editingsecrets]

@@carlosoliveira-rc2xt He's just trying to be less disoriented by their dizzying response curve

[@radiovalkyrierecords5102]

My NS-10s have the labeling rightways up when they're vertical, but I use them horizontally. No worries.

[@alanperry1846]

Good for you ,it is amazing how all these people are experts and don't have their own speaker companies.

[@blainemunro7520]

I agree fully! The room dictates everything! Cheers

[@Sonnell]

I am glad you got the path changes right. Since there are 2 drivers not one, your movement will change the length of the sound has to travel, and since you rarely move up and down but a lot side to side, a vertical orientation is better (as with 99% of speakers) Though your best bet is to place the speakers fruther away, if you can, and such problems get a lot less prominent.

[@AudioMasterclass]

Thank you for your comment, which I appreciate. Regarding placing the monitors further away, this would contradict their use as nearfield monitors. Even so, the best distance will depend largely on the room. DM

[@rabarebra]

Further away, no. They should be in a 30 degree axis with a joint just behind your back head. Then that axis hits your ears. The height is crucial, so flip them upside down if you want, horizontal or vertical, just make sure you got that axis right and tweeter and woofer right in the sweet-spot of each your ear (ear in the middle between woofer and tweeter).

[@mikesaunders4694]

Paul M and Eric Idle……didn’t notice until you said it now I can’t get that image out of my head…..very funny!

[@editingsecrets]

We've never seen all three of them in the same room, have we? We couldn't even trust a photo of them together at Abbey Road, he could have had his AI assistant stitch their pictures together.

[@witzendoz]

My ns10’s are early versions and have the writing the other way, so when they are upright the writing is the correct way up.

[@kampfire]

NS10's are the most critical speakers in my experience and was pleasantly surprised to hear him say what I learned 20+ years ago: If you can make your mix sound good on NS10's, then your mix will sound good on anything. This is why you'll notice most major recording studios had a pair of NS10's in them...

[@pauldavies6037]

it creates a "standard " sound but not the best available

[@rabarebra]

"If you can make your mix sound good on NS10's, then your mix will sound good on anything" This is a myth created just because they were kind of standard in studios. It is the skills of the person that matters, not the speakers. Room and environment is the most critical, then the skills....

[@ShabbyBroom]

@@rabarebra Hi, you seem to be misunderstanding my remark. NS10's are not just popular, they are critical in the sense that instead of pumping your mix through large JBLs, portable boom boxes, and running outside to your car to check your mix, if you get NS10's to sound good (obviously using your skills/ear because it's not easy), there's not much need to check the other monitors.

[@rabarebra]

@@ShabbyBroom I am not a newbie but a engineer. Where did I mention any use of large speakers only? NS10's are not critical to use. There are a bunch of speakers on the market you can use along with larger speakers to check your mixes. Cheers from a Mastering engineer whom like to be anonymous.

[@VintageGearMan]

Industry standard forever! However, I have a pair EV's that never let me down. Anything I threw at them sounded great on any gear. That blew me away to. I even had a seasoned engineer listen to them and he was very impressed also.

[@Tijgerhaai_MTB]

I used to work at a local radio station. For that I once had a workshop making jingles at the NOB. working in the studios of the public broadcaster. Equipment that makes you salivate as a local radio station technician. Made super cool jingles, you know how those things sound. But the tip of the NOB technician was that you can make a very nice final mix on this equipment. But if you can't follow it on a transistor radio, it makes no sense. So a speaker from an old cheap radio was literally connected to the mono bus. "If it sounds good on that, and can be followed, it's good"

[@MariJu1ce]

absolutely love ns10s, with a good amp like a bryston they sound much better than people say. I have actually not heard a speaker that I like the transient response as much as these, ns10s feel fast and tight and i really like the papery sound. I feel the papery sound is so much more natural than for example dynaudios or Atc with different material for the cone. I also much prefer the sound of a closed enclosure to ported speakers. Also the lack of sub helps me focus on the midrange in the mix. Ns10s just work for me, but may not work for other people tough, there is definitely a learning curve also. There is also something with 2-way speakers that i find sound less plastic/phasy than 3-way speakers. They may not sound flattering to clients, but they help me make much better mixes than I did with other speakers. The only thing that matters in the end is how the mix sounds outside the studio ofc.

[@AudioMasterclass]

We're speaking the same language. DM

[@EgoShredder]

Totally agree and especialy about 3-way designs.

[@MobiusMinded]

Try a pair of ProAcs

[@MariJu1ce]

@@MobiusMinded arent proacs ported? They look interesting tho, maybe they work for me. They certainly work for serban :)

[@MobiusMinded]

@@MariJu1ce I didn’t know that about Serban, though he’s mixed a few things I’ve done. Rick Rubin would always bring in a pair. Of course you want a really good amp. Bryston 4b, or equivalent.

[@zer0tzer0]

That has always been said of NS 10s. The speaker so lackluster that if it sounds good on them it'll sound better on anything else. I don't think they were even Studio Monitors originally. It's just that so many engineers and producers were using them as near fields that Yamaha jumped on the Band Wagon and started putting that on the front. The HS series are flatter, though not much better. But eventually White Coned Yamahas were ubiquitous in studios. So much so, that if they weren't in your studio, people questioned whether it was Pro, so of course I have them. And they look so cool. But, of course, I have to hear my mixes on a Jambox and in the car, headphones, etc... to really know what's going on. It was ever thus. Cassettes for the ride home.

[@EgoShredder]

I agree with all the points you made, which matches my own experience. Like you I like mine stiff and errect....the monitors that is. If anyone wishes to get horizontal that is their private business!

[@jagmarc]

Before I lost my hearing upper register the monitor's tweeters always had to be square-on perpendicular & equidistant. Vertical has advantage I find better viewing through controlroom window

[@jagmarc]

Oh and a pair of substitution closedbox tinny little speakers are great for hearing how it translates

[@Weissman111]

Had my Tannoy 605 Mk 1s for nealry 30 years and they still sound great.

[@1622steve]

I've turned speakers backwards! In the musical instrument business, you're producing, not reproducing. My instruments were organs and carillons. Both sounds have a large indirect component. "Speakers forward" often gave too much direct sound. It certainly puzzled a lot of customers, but they couldn't argue with the sound.

[@AudioMasterclass]

It's a useful technique in theatre too. And of course the French horn fires to the rear. DM

[@1622steve]

@@AudioMasterclass I used to play the French horn.

[@demondik]

It might be strange but I got some Monsoon metal highs, pretty good mids and the subwoofer is even pretty good too! I got this for $4.99 at a garage sale! One of the channels connections was hosed but it only took about 2 mins to get the pins straight and I plugged it in! I thought I must be nuts but it sounds good! LOL I've got some good monitors and headphones but I still use these Monsson's for anything media on my PC!

[@Jesse615]

I think it was none other than Bob Clearmountain who started using the NS-10s (and porting them around with him).

[@JaviBello]

I've ben using my original 1978 Yamaha NS10s as main monitor for maybe 10 years now. I used them on 4 or 5 places since I bought them, and half of the time I've used them vertical, as they're supposed to be. The other half of the time(and right now) I'm using them horizontally. Never been able to hear a difference in response or performance. In other monitors I had with horns, the difference was obvious instantly when you flip them. People saying that the orientation is wrong, clearly doesn't know what they're talking about, and of course never used their ears(or had a pair of NS10s hahaha)

[@teckelteckels2730]

Nice video. I have the same speakers. I used to have them horizontal but have recently been experimenting with them in vertical position while I'm in the process of moving my studio round. People always comment that I've got them set up wrong but as you point out - They can be used both ways. I've found out the expensive way that it's important to drive these with a decent amp with plenty of power. Replacement drivers aren't cheap, or even easy to find.

[@AudioMasterclass]

With great power comes great responsibility. With little power comes clipping and blown tweeters. DM

[@naibafabdulkobor4301]

@@AudioMasterclass Brillant! And so true. 😁

[@fredfox3851]

@@AudioMasterclass OOH! I may have just found my epitaph. : )

[@klinkske]

The first version was tweeters up. They just changed the print. It s the same speaker. But now it s ‘studio’ - it s just a trick to,sell them

[@allanmoorhead9492]

@@AudioMasterclass I thought that the "over-driven amplifier blowing tweeters" thing was a myth, though I've seen it stated many times in various books on loudspeaker design and home audio. If it's true, shouldn't Metallica's "Death Magnetic" album be blowing tweeters? Ordinary guitar distortion effects are produced by clipping the waveform, yet I never hear about loud guitar music blowing tweeters. I've read about tests which found that the harmonics produced by clipping aren't powerful enough to blow tweeters. The logical thing to do is to buy an amplifier which is powerful enough that you don't need to set the volume near maximum for whatever your listening conditions and preferences are, and buy speakers with a power rating that can handle the maximum power from that amplifier.

[@emiel333]

Great video. About monitors that have waveguides for the tweeters, many companies design their monitors to turn the tweeter 90 degrees so you can use them horizontally instead of vertically (ADAM Audio for example, not all models!!) without compromising the sound dispersion. About near field monitors in general, they are for monitoring at close proximity (1 meter or less). A small benefit of this concept is that the room acoustics are less noticeable because the sound only has to travel a distance of 1 meter at maximum to reach your ears. I don’t say that room isolation and treatment is unnecessary, it will benefit the sound for the better. It’s a sort of hack for people that don’t have a proper treated studio environment/room.

[@vassmarc1]

We used to tape some tissue paper over the tweeters , they are very bright and fatiguing sounding speakers and are supposed to represent the average hifi speaker on the home . That was back in the late 80s early nineties. Horrid speakers , pretty much every studio had them . Thnx Eric McCartney 🙏🏼⭐️🥁

[@donaldbundy3499]

I prefer reference monitors to be positioned or mounted vertically like yours. That puts the time alignment at the speaker's crossover point to be more in alignment. No I do not raise my wiring off the floor.

[@Daves2024]

If it sounds good on the Yamaha, music will sound good on any speaker because the Yamaha NS 10’s have a reverse fletcher munson curve. Not my idea, Eric Alexander from Tekton speakers said that. And that makes sense.

[@ramblinginmeath4950]

My trusty Lintons do a mighty fine job - pushed by the Leak Stereo 130.. and its my personal taste .. greetings from Ireland

[@AudioMasterclass]

Wharfedale Lintons. One wonders vintage or heritage. DM

[@EgoShredder]

My dad worked at the Rank Wharfedale factory in Idle, Bradford in the early to mid 1970s. At home back then we had a LEAK 2000 amp with Wharfedale Denton 2XP (1971 - 1973) speakers. Lovely sound although not audiophile.

[@ramblinginmeath4950]

@@AudioMasterclass I have the Heritage ..

[@AudioMasterclass]

@@ramblinginmeath4950 Very sensible. But there's be a hi-fi fiend out there somewhere who thinks you're not getting the authentic experience. DM

[@voiceofjeff]

I really enjoyed your commentary, and I agree with you. I have developed the notion that I want my speakers to sound the same way the orchestra sounds if I was sitting in front of the orchestra live. I don't want enhanced lo or high end, I don't want any coloration. I just want the speakers to be flat and pure and give the same sound that I'd hear if I was sitting directly in front of the performers. Is that wrong? There are discussions about having the tweeters farthest in toward center, and the woofers toward the outside... but I'm not sure I have an opinion about that. Nor do I have an opinion about vertical or horizontal positioning. I just want my monitors (I use Yamaha HS5 monitors) to sound clean and accurate. I do voice over from a home studio, and I want my narrations to be crisp and clear, but not overdone. I think having accurate speakers is a big part of that.

[@AudioMasterclass]

Tweeters-in or tweeters-out has arguments either way. A future video perhaps.

[@lyntedrockley7295]

Al good points, especially about Eric and Paul. But why did Yamaha make these with a left and right orientation? Why is the tweeter offset anyway. If both units were on a central axis to the box it wouldn't matter which was left or right. Two identical speakers would be made symmetrical by turning one upside down.

[@AudioMasterclass]

My guess regarding the tweeter offset, and it is just a guess, is that if the speakers are placed horizontally the tweeter will be higher. Bear in mind that the purpose of placing them horizontally professionally is so as not to obscure the main monitors. Having done this, it makes sense for the pair to be symmetric. DM

[@PorchBass]

You do consider lobing in the crossover regionand yes diagonal would fix that offset in theory! Also edge diffraction will be different I suspect vertical mount gives a more consistent dispersion through the treble. Fascinating stuff. No wrong really all speakers are terrible with square waves anyway

[@naturalverities]

"...really all speakers are terrible with square waves anyway..." True, however, some are less terrible than others. And I believe the difference is audible.

[@PorchBass]

@@naturalverities definitely! Isn't it like the Platonic solids - the perfect square wave only exists in our minds!?!

[@soundssimple1]

NS10 in whatever flavour with or without the tweeter covered with tissue paper, if good enough for Bob Clearmountain then should be good enough for the rest of us as a reference. Great video as always.

[@AudioGuyBrian]

I have a unique situation where my speakers are sitting directly on a tile floor upside down with the super tweeters and tweeters in my 4-way Sansui speakers are only inches from the floor. I had to do this because I have a 150" pulldown theater screen and it blocks the speakers except for the bottom 8" which is unobstructed. So they still sound good during movies as the fronts, I have compensated for the strange layout with my 30 band EQ's so I get great sound even with screen down.

[@RudeRecording]

I've always preferred coaxial monitors for nearfield use. Though I'm sure you are aware of the 5x rule of nearfield placement where the speakers should be at least 5 x the distance between the woofer center and the tweeter center from the ear, I've always been very distracted by the "halo effect" where even if the tweeter is at ear level and aimed at the ear [where it should always be] the highs always seem to originate over the speaker and out of the stage area. As a small aside, I notice that you do not use a tweeter covering on your NS 10 speakers. I do imagine that the tweeters have been improved in the last few decades. Back in the 80's the debate was always whether 1 ply or 2 ply TP was better for reducing the strident highs. Also I believe that Bob Clearmountian started the trend of using NS 10's in the studio. As he opined that "It was a portable bookshelf speaker that I had a response I was familiar with." It caught on and EVERY studio had to have a pair.

[@carlosoliveira-rc2xt]

And that started the ball rolling of garbage sound quality being disguised as music.

[@RudeRecording]

@@carlosoliveira-rc2xt I doubt that NS 10's are responsible for that, more likely that now the technology allows everyone to do it. When it was expensive to make a record, it tended to limit what got released. Motown, used a 6x9" car speaker in an Olson enclosure to reference mixes they knew would be first heard in a car on AM radio. The other reason for NS 10's was the that they were widely used home bookshelf speakers at the time and represented a typical bookshelf speaker frequency response.

[@carlosoliveira-rc2xt]

@@RudeRecording The frequency response even of the later NS 10 was atrocious. Massive peak about 1700Hz which exaggerated presence and a resonance at about 2kHz and another about 3kHz. Many people over the years have tried to assign benefit to it's frequencies response with some calling it extremely flat but that's pure nonsense. It was a cheap speaker worthy of the curb on garbage day. At some point it became fashionable and a sign of a professional if a pair were in the studio. I absolutely attribute the plethora of garbage from the mid 80s to the late 90s to hacks using these speakers as primary monitors. It wasn't just the speaker to blame but the mindset of the engineer to use such a speaker. I believe it's the same reasoning the uninitiated believed Bose to be high-end.

[@RudeRecording]

@@carlosoliveira-rc2xt I won't argue the poor response of the NS 10's but I worked big studios in the 80's and I also worked in broadcast engineering for over 3 decades. There were also Auratones that were used as reference. Many big studios back in the 80's used UREI 813's or similar, usually calibrated with a 1/3 octave equalizer and calibrated with an RTA. I don't know of any studio that used the NS 10's as a primary reference. Transportability of product was always the goal. We have much better reference monitors and better acoustic treatments now but they don't make anything sound better after being converted to low bitrate mp3's or passed through over aggressive radio processing or loudness war mastering. None of that is the fault of NS 10's.

[@MichelLinschoten]

​​​@@carlosoliveira-rc2xt dude I agree with you , the more I see on this channel the more I cringe at some of the stuff he says. The Yamaha isn't even that good , also accuracy ?? Abbey road studio uses Bowers ! Never ever used a yammie to do their mastering on. And that's pretty much mekka status if it comes down to studio recording! Also the tweeter offset ?! They did that back in the day to keep baffle diffraction at a minimal, and out the sound field (sound stage) Overrated ASF those speakers But clearly there are fanboys here that don't shy away from giving them some mythical status, Tons of better out there, especially to master on Some here would do well reading something about a guy named Ken kreisel.

[@NisGaarde]

"Always look on the bright side of yesterday"

[@aagevaksdal]

Excellent choice! Whish I had a pair. Can you do a piece on studio monitor calibration? And has it any transferable value to a hi-fi consumer?

[@analogkid4557]

My monitors are flat within 4 db from 18 hz to well beyond 20khz ( tweeters go to 45k) in my room, but if I want to hear just the midrange, I put a highpass and lowpass on my mix to see how it sounds.

[@Bluelagoonstudios]

You stated it right, they are reference speakers, I have different types on my desk, even small pc speakers. Because the music that you master must sound "great" on smaller devices too, and if I want to test the material wonderful, then I go to my car, that's also a reference. With the years you learn these techniques.

[@jnn6201]

Wasn't it Phil Spector who always played the final mix through a cheap 3-inch speaker, to make sure the song worked on the speaker most people would first hear it on (the car or a handheld transistor radio)? Or am I mixing him up with some other producer from that era?

[@wojciechczupta]

ATC studio monitors have two places to mount high freq driver, so that it remains above mid range regardless of vertical or horizontal placement. I guess they may sound different to some extent or maybe it is to keep left and right drivers more separated from each other in near field?

[@AudioMasterclass]

If the midrange and tweeter are mounted horizontally then small side to side movements of the head will affect the sound. If vertically, then up and down movements. For most purposes I believe vertical is best, although there's no real solution other than dual concentric. DM

[@ahareally]

I guess this clears up my confusion about a setup I recently saw in a video (by Andrew Masters) of Tim Pierce's home studio, where he has his Adam Audio S3a monitors placed vertically. Besides the manual mentioning they are supposed to be placed horizontally due to the position of the "woofer-midrange units" - I assume - it's not THAT big of a deal (at least how he uses them). Great channel - superb content! Cheers :)

[@AudioMasterclass]

I don't know of any speakers that look more intentionally horizontal but if there was any reason to mount them vertically I'd certainly give it a try. DM

[@OrangeMicMusic]

Another brilliant video :) Misunderstanding tends to breed misinformation, which is often disseminated by well-meaning amateurs: those whose knowledge of a subject is sketchy are always prey to the intuitively plausible but utterly wrong explanation for one phenomenon or another. You can place it however you want. Why? Because NS10 began its life as a domestic hi-fi speaker in '78, but it was relatively poorly received and quickly faded towards obscurity. Later on, in the mid '80's after few mixing engineers used it, Yamaha decided to re-brand it 'NS10M Studio'. That's it. Nothing "magic". Use it, do mixes and be happy🙂

[@DWHarper62]

As long as the tweeters are at ear level, you can mount them any which way... Using them vertically, as you said, allows the listener to move horizontally and not have any phase/freq. response problems. Since we normally don't move our heads up and down when listening but do normally move a little left or right, you will get the most accurate response using them vertically... Just don't stand up... LOL... I have Kali Audio LP-6 monitors which are becoming the budget standard and very accurate for the money...

[@Vor-tech-studios]

Someone one bought a bass guitar from a Music shop and was really impressed. So i went to the music shop and mentioned that someone I knew had bought a bass guitar from them and it was great and they were happy, And the shop assistant chirped up and was clearly proud to hear about a happy customer, then I said I was confused, I didnt realize there was such a thing as a bass guitar that didnt sound good..... The speakers a fine, Our heads are all wrong....

[@Carl-bd1rf]

I love how people think your system should sound and be set up, not!!! The only person my system needs to make happy is me.

[@mrboat580]

I listen to my old budget JBL monitors vertical. They even made it to where you could twist the JBL logo 90 degrees in which to accommodate this. I have 9 pairs of speakers that I use in rotation, or set up in multiple systems in my home at times, all of which are wrong. Been listening near field for 50+ years by now, starting with the suitcase Victrola arranged on the floor when I was a lad, with 45s scattered allover the rug. That close-up listening habit followed me throughout life, even when the equipment became much larger.

[@AudioMasterclass]

I certainly like the detail I hear when listening close-to. DM

[@imnickleonard]

Nice looking speakers. I don’t give a bollox about optimal sound, if they look pretty and the sound is good. Good enough.

[@AudioMasterclass]

They're so nice looking people seem to want to poke the dust caps. You'll rarely see one that isn't dented. DM

[@Grimwriggler]

I have this issue with quad els 57s , they have to be positioned high way more those little legs they came with. mine are now placed on wooden bar stools . i have found that unconventional placing and positioning of speakers often yields dramatic improvements. your room your speakers, your ears so experiment

[@headfirstonly]

My Focals havs passive radiators on the side, so I'm stuck with vertical. But you've got me wondering whether there's money to be made in making bespoke angled stands for the Yamahas to put the tweeter directly above the main driver...

[@c128stuff]

Yes, revealing speakers which make you hear all the problems are the thing for monitoring.

[@Theupgradeguy]

I JUST got through telling a friend about your channel and how you could have been separated at birth from either Paul McCartney or Eric Idle. LOL! Love your channel. Very informative.

[@vladdyvansavage8760]

fascinating stuff, been using Yamaha HS5 vertically for couple of years and they're clean and detailed sounding but very fatiguing to listen to so got Pioneer Andy James bookshelf speakers and tried mixing on them with varying results still gotta check my song mixes often on open headphones like DT990, Shp9500 and on the ole Iphone, and since i'm in Oz we do things upside down here, and break the audio recording rules.

[@Dr_Beat]

Because its not a NS10

[@MrSlipstreem]

Everyone's speakers are wrong, and so are the rooms they're listening to them in. I chose the relatively cheap way out by just positioning the speakers correctly then letting Audyssey MultEQ XT on a Denon AVR iron out the lumps. Is it perfect? Absolutely not! Is it a massive improvement? Absolutely yes!

[@JAFOpty]

I like turning my bookshelf upside down... I love the look.

[@sallopiccolo7336]

I have the same speakers as you and I love them.

[@Chris-St-DE]

I have one horizontally and one vertically. Sounds good.

[@Not123Or]

Your speakers are spot on. I've compared many speakers, the ones i've kept are NS-10M STUDIO. Make sure to not get non-STUDIO, i really dislike those.

[@annode]

I always thought about the combing effect of large boards with the monitors sat on top, but what can you do really. You'll never see a large reflective surface in front of the mastering engineer will you? In my home studio I don't have a reflective surface in front of me for that reason. I also use an old set of Mackie HR824 monitors because I think I get the best of both worlds, flatness and a Hi-Fi like power when I want it. But they get a bad rap too.

[@AudioMasterclass]

It has been said that the surface of the console is a corrective factor in the sound of the NS-10M. I might investigate in future but for the moment I'd have thought that equalizing the signal to the speaker would be a better solution. DM

[@annode]

@@AudioMasterclass A combing filtering effect between the two sound paths of board top monitors to the ears is just a fact. You might have to isolate upper mid to high end freqs and then move about a bit to really hear it, but it's there. Reflections are everywhere. Once I heard a wavering sound in my audio that I just couldn't isolate where it came from. It would come and go from day to day. Then I noticed it was coming from the spinning ceiling fan blades 15 feet above me where I sat. The sound from my near field mons were reflecting off the blades and back to my ears creating a wavering modulation in the audio. You wouldn't have believed it but it was distinct. :)

[@kevinharrison2169]

Good evening Mr Mellor. I am blessed with a pair of stacked Quad ESLs (aka ESL 57s.) A friend once told me that the bass response on these was totally crap. I know these speakers have their limitations, but the frequency response from the lower mid-range to the mid high range on these speakers is phenomenal. And that is what I want to hear. Thumping bass has its place, but not in my lounge. I have suspended wooden floors, and pressed steel ceilings and this is definitely not an "audiofoolery good room." But I don't care, because I am hearing the music the way I prefer it. The vocal reproduction is quite incredible albeit female, male, choral pieces et al. Listening to classical music is quite sublime on these speakers, as well as jazz, blues, folk and so on. The lovely deep bass and trilling highs of a pipe organ I will go and listen to in a cathedral, church, auditorium or similar location. Plus, and this is the most important point, I do not have "golden ears" anymore - I have been blighted with permanent tinnitus since 2001. However, I still enjoy my music - from LPs (many of the older ones are not available in a digital format,) CDs and SACDs. I have not had the opportunity to move to high quality streaming. In closing - I really enjoy the way you cut to the chase and call the BS exactly what it is. I do have some slightly more expensive speaker cables in my system than just normal types, but that is because of the change between my Bedini amp and the speakers. The Quads do present a rather different load (capacitive) than normal speakers do, but my cables are no more than studio level Mogami 3082 co-axial which are roughly $5 per metre, and I have a total of 2 x 4m per channel. People will say this is unnecasary but I will refer them to this article (sound-au.com/cablewhitepaper.htm) that explains the reasons for using this cable with the ESLs. Thank you for always interesting topics. All the best from a chilly South Africa. My speakers are wonderful. Wrong for most but good for me.

[@AudioMasterclass]

I used to yearn to have stacked Quads but of course I couldn't afford them. Now I could, but I realise how much space is needed to get them to sound at their best. I guess I'll have to stick with my B&Ws. DM

[@kevinharrison2169]

@@AudioMasterclass Indeed space is needed, and my lounge is fortunately just large enough for them. I used the word "blessed" because my best audio/music friend gave me these in 1997 at the then giveaway price of £630.

[@bear-headstudios1212]

I have Yamaha NS a380a and love them

[@Pete731]

What about using a subwoofer as part of a studio monitor setup? Or is that the subject of another video 🙂

[@AudioMasterclass]

It would have to be a different video. My quick comment though is that very few people listen using a subwoofer, so you'd be mixing on a system that's very different to how people will hear your work. Another thought that occurs quickly is that the NS-10M is closed box, which makes it very fast to respond. I don't think I'd want to add a reflex subwoofer, but I'd have to think more on that. DM

[@MacinMindSoftware]

I personally think that is good. I include a subwoofer to make sure I don't miss removing rumble among other reasons since my work is with restoration.

[@PorchBass]

Subs win for quality control and big system translation.

[@gabrielgodwin9953]

I too use a subwoofer in my setup. It's somewhat tricky to get setup just right. You don't want there to be any significant overlap of the low frequency response, so you will probably need a subwoofer with an adjustable crossover point. (There are, of course, other ways to handle that) That said, I find it incredibly useful. I have it setup with its own gain control separate from the mains. That way, if I really need to dive into issues in the 100hz and below area, I can turn the mains down or off and really pay attention to what is going on down there. This is great for really dialing in the kick/bass relationship. It's also useful for getting a quick look at what your mix/master is going to sound like when played by one of those people that are excessive "bass junkies".

[@RAILWAY_FILMS]

I got a question : do you think you can make equally good mixes on the regular Yamaha HS 8 ??? I mean it is my opinion that the HS8 speakers are just as good but because there is a large "cult following" the NS-10's will never go away. but are they really better for mixing than the HS8 -- if so, how much better?? I actually like that you place yours vertical. I wish I had a pair.

[@editingsecrets]

As other commenters mentioned, one pro who checked with multiple speakers remarked they were popular home speakers useful for a comparison, some said oh he's got a point, then others jumped on the trend of "the one right way to do it" without thinking for themselves about the reasons.

[@Dr_Beat]

Totally 2 different horses...NS10 lovers don't want subs because of focus on the most important frequenties the *Mids* subs are horror in almost every room. Boomy muddy sound extraction from the wonderfull mids. Try to listen with a good ear and than you know 👍

[@Ab20222]

I enjoy your videos very much. What’s your opinion about coaxial drivers?

[@AudioMasterclass]

Possibly it might raise a flurry but I might say they should all be this way. But a proper HF driver not a whizzer cone. DM

[@Ab20222]

@@AudioMasterclass Have you ever built one? Would you like to make a video about it comparing with your other builds?

[@soberhippie]

0:04 Yeah, right. Pull the other one

[@UCS0608]

I agree with the fact that you should have speakers that you can use to hear if your mix sounds ok on "any" speaker, but I absolutely want to have a real good set of speakers to check the soundbalance of the mix. So, not too much low, mids or highs etc. However, the levels (with a little focussing on vocals) I usually decide on speakers like this, on a rather low volume, because almost every mix sounds good on high volume... 😏 But I really think there are good alternatives for the, imho, way too expensive (occasion) Yamaha's. I used to have them, but sold them a long time ago, for a good price. Nowadays I use a set of Adam ANF10s and they are more than ok and you can find them used for a nice price. I still have two mid 70s Auratones somewhereShould start using them again. 😄 Btw, I love your videos! 👍

[@celam1244]

This was great!

[@last1059]

Would be interested to know your opinion of coaxial loudspeakers, e.g. the Tannoy VX series in the light of your comments on tweeter v. woofer alignment. I'd have thought it a no-brainer in favor of coaxial but there must be some drawback other than greater manufacturing cost.

[@AudioMasterclass]

I don't know why they're not more of a thing. It's important to remember that there should be two drivers, not just a passive 'whizzer cone' in the centre which may offer some benefit but is not the same as a true dual concentric. DM

[@last1059]

@@AudioMasterclass Yes, I'm talking about true dual concentrics although I have seen some speakers which carry a tweeter on a bridge mounted in front of and aligned with the cone's coil which may offer some advantages.

[@Wilmer778]

Hi, great video! :D I'm here because tomorrow, my brother's gonna drop off some Yamaha NS-144 speakers. Have you ever heard of them and if so, are they somewhat comparable to the NS-10 speakers/monitors? Just curious! I hope I've made the right decision anyway. I've always worked with KRK Rokit 5's and even though they're extremely accurate panning-wise (I just have to touch my paanning knob and I can hear the sound shift a little bit in the stereo field), they've always sounded really dull to me. I wanna be able to hear some upper frequencies, so again: I hope the NS-144's are worth it. I can barely find any any info on them. :)

[@AudioMasterclass]

I haven’t heard the 144s. The Rokit 5 however is excellent considering the size, price, and reflex design. Let us know how you get on with the 144.

[@fernandofonseca3354]

In how many levels are transmission line speakers so wrong? I'd love to hear your 2p on that subject. Cheers!

[@ONESNZER0S]

Nice Job mate!!

[@petertimp5416]

Haha…don’t forget baffle reflection for the tweeter.😊

[@martyjewell5683]

I always thought that Yamaha's NS speaker series was well reviewed and considered very good sound. As Yamaha receivers in the 1970's/80's had a "clinical" (dry?) sound I guess they wanted similar results in their speakers. Personally, I agree with Yamaha and prefer amps with that sound. I've found my Hitachi SR-804 (1979) has that sound. Clinical or accurate and very desirable to me. At least thru my Ohm model L and H loudspeakers.

[@timmy707707]

NS 10s were originally designed as an inexpensive bookshelf speaker. I bought a pair in 1979 for the backyard...I think I paid $125 for them if that. I was just starting to experiment with recording and had a set of Auratone C5 sound cubes given to me by my uncle who was an engineer at a local radio station....still have them. The Yamahas sounded like crud so they stayed out in the yard until their demise. Sometime around 1984 I was in Wally Heider's in SF and on the desk was a pair of them....I was shocked. We did our tracks and then I asked the engineer about them and he gave me the lowdown. Now my kid is an engineer...he has a pair....they still sound lackluster to me. But hey that's just me I guess.....

[@miks564]

...from a particular bass sensitive listener, bass is part of the details and you're missing part of them. 😊 (my main system doesn't have a subwoofer, just to discard the boom boom box listener you might believe I could be). ...and the good thing about it, is that we, teenagers from times long gone, can still hear and feel them at our age. 😊 But I'm pulling your leg. I appreciate your videos and although I dislike hearing music from 'in your face' sound kits, I'm perfectly ok with those who prefer it.

[@allanmoorhead9492]

If speakers have their own "flattering" or "pleasant" sound, they aren't accurately reproducing the original signal. Shouldn't studio monitor speakers be accurate? Also, if you adjust a mix to sound good on poor speakers, isn't that compensating in a way which will actually sound bad on accurate speakers?

[@AudioMasterclass]

This is my opinion. Although the frequency response of the NS-10M Studio isn't great, the sound is very detailed. For myself, I prefer a detailed sound and for that I'm prepared to tolerate the frequency response. Of course, one should also listen on other speakers, high-quality headphones, and checking on earbuds is also good seeing is that is how many people consume their audio. DM

[@esthers4861]

I have a question for you Audio Master: can you talk about which speakers maybe suitable to keep hackers from controlling your speakers without your authorization? Please! Thank you

[@AudioMasterclass]

AFAIK it isn't possible to hack a normal passive loudspeaker, nor an active loudspeaker with an internal amplifier and no computing capability. But if one thing is certain, hackers will try. DM