Hi.

I was never impressed by the NS10m but in a brief moment of weakness I
bought a pair of them used almost a year ago. I put them on top of my
Alesis Monitor One's and began working with them. At first I was
impressed by the ammount of detail in the midrange area and somehow
punchy bass (espcially dance music)the Yamaha's radiated much more
energy than the somehow dull M1s... everything was happiness even if
the low end information was totally missing in the NS10s.
Switching between the 2 speakers during mixing provided a useful way
of compensating their tonal anomalies.
After a few months i realized that only 50% of the commercial mixes i
listened through the NS10s was acceptable while the M1s were a bit
more tolerant. Then I mixed some tunes exclusively on the NS10s. How
they sounded in the outside world? Boomy in the first place as I
wasn't able to hear below 60-80Hz...but that is understandable and
even acceptable given the monitor specs. In second place: dull! with a
big hole in the 3k-4k area...hmmmm Imaging was pretty accurate even if
I found panning decisions a bit extreme (may Yamahas image be a bit
narrow?). Reverb ammount and balance between mix elements translated
almost perfectly though...a point in favour of the NS10s.
I dont think i'll miss the NS10s, why? Because the arcane pleasure of
letting musical waves go thought my ears was completely lost. And if
everyone enjoy hi-fi audio at home why the hell should i suffer in
front of AMish speakers? Time to dethrone the false gods i guess.
I went shopping and found these interesenting KRKs ST8 for $290 here
in Peru ($250 in the States). Brought them to the studio was pleased
from the first moment. But it's too early to judge them. Now the M1s
fear to be dismissed as well, we'll see.

Rocco.

"rokko" wrote in message
m...
Hi.

I was never impressed by the NS10m but in a brief moment of weakness I
bought a pair of them used almost a year ago. I put them on top of my
Alesis Monitor One's and began working with them. At first I was
impressed by the ammount of detail in the midrange area and somehow
punchy bass (espcially dance music)the Yamaha's radiated much more
energy than the somehow dull M1s... everything was happiness even if
the low end information was totally missing in the NS10s.
Switching between the 2 speakers during mixing provided a useful way
of compensating their tonal anomalies.
After a few months i realized that only 50% of the commercial mixes i
listened through the NS10s was acceptable while the M1s were a bit
more tolerant. Then I mixed some tunes exclusively on the NS10s. How
they sounded in the outside world? Boomy in the first place as I
wasn't able to hear below 60-80Hz...but that is understandable and
even acceptable given the monitor specs. In second place: dull! with a
big hole in the 3k-4k area...hmmmm Imaging was pretty accurate even if
I found panning decisions a bit extreme (may Yamahas image be a bit
narrow?). Reverb ammount and balance between mix elements translated
almost perfectly though...a point in favour of the NS10s.
I dont think i'll miss the NS10s, why? Because the arcane pleasure of
letting musical waves go thought my ears was completely lost. And if
everyone enjoy hi-fi audio at home why the hell should i suffer in
front of AMish speakers? Time to dethrone the false gods i guess.
I went shopping and found these interesenting KRKs ST8 for $290 here
in Peru ($250 in the States). Brought them to the studio was pleased
from the first moment. But it's too early to judge them. Now the M1s
fear to be dismissed as well, we'll see.

Rocco.

In a top-level studio complex in Germany, several years ago, I saw and heard
the same combo of nearfields, NS10 and M1. Mounted one above the other on
the meter bridge and active both at the same time. Carefully adjusted in
respective levels, so I was told, quite seriously.

The sound? Well, if I had enough time to get used to it... eventually.....
maybe.... hmmm.....

Predrag

"Predrag Trpkov" wrote in message
...

The sound? Well, if I had enough time to get used to it... eventually.....
maybe.... hmmm.....

Predrag

But isn't that what you're supposed to do with reference monitors: get used to
them? I've been using a pair of JBL 6208s long enough that I hate to get rid of
them because I know what they are doing.

John LeBlanc
Houston, TX

"John_LeBlanc" wrote in message
...

"Predrag Trpkov" wrote in message
...

The sound? Well, if I had enough time to get used to it...
eventually.....
maybe.... hmmm.....

Predrag

But isn't that what you're supposed to do with reference monitors: get
used to them? I've been using a pair of JBL 6208s long enough that I hate
to get rid of them because I know what they are doing.

John LeBlanc
Houston, TX


Also, putting one of monitors on top of one another is a pretty silly thing
to do. A big resonant device adjacent is hardly the best environment for
anything. On the other hand it could make NS10s sound *better* .....


geoff

"Geoff Wood" wrote in message
...

"John_LeBlanc" wrote in message
...

"Predrag Trpkov" wrote in message
...

The sound? Well, if I had enough time to get used to it... eventually.....
maybe.... hmmm.....

Predrag

But isn't that what you're supposed to do with reference monitors: get used
to them? I've been using a pair of JBL 6208s long enough that I hate to get
rid of them because I know what they are doing.

John LeBlanc
Houston, TX


Also, putting one of monitors on top of one another is a pretty silly thing to
do. A big resonant device adjacent is hardly the best environment for
anything. On the other hand it could make NS10s sound *better* .....


geoff

There are some people who thought the discussion about which brand of toilet
paper to use with NS10s was because some people thought they were crappy
speakers.

Some day I'm going to get around to setting up the pair I bought from Guido a
couple of years ago.

John LeBlanc
Houston, TX

In a top-level studio complex in Germany, several years ago, I saw and
heard
the same combo of nearfields, NS10 and M1. Mounted one above the other on
the meter bridge and active both at the same time.

So what you are really saying is it was an overpriced studio where the techs
don't have the first clue how to mount their monitors.

"Sugarite" wrote in message
...
In a top-level studio complex in Germany, several years ago, I saw and
heard
the same combo of nearfields, NS10 and M1. Mounted one above the other
on
the meter bridge and active both at the same time.

So what you are really saying is it was an overpriced studio where the
techs
don't have the first clue how to mount their monitors.


No, I haven't made myself clear. They showed me, not without pride, what
they obviously considered to be a very smart innovation, their trade secret.

The NS10s certainly sounded less NS10-like. The same goes for the M1s. The
sound was "interesting", but I just couldn't immediately hear the
significant improvement. I also couldn't help thinking that a setup like
that would introduce more problems than it would solve.

There was definitely no shortage of gold records (international releases) on
the hallway walls, so if it worked for them...

Predrag

Sugarite wrote:
In a top-level studio complex in Germany, several years ago, I saw and
heard
the same combo of nearfields, NS10 and M1. Mounted one above the other on
the meter bridge and active both at the same time.

So what you are really saying is it was an overpriced studio where the techs
don't have the first clue how to mount their monitors.

Sadly, this describes most of the places I've worked. The whole reason that
nearfields became popular was because of badly set-up control rooms. I think
I can list the number of soffit-mounted monitor systems that I have heard that
actually sounded good on one hand... no, I take that back, on one finger...
--scott`
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Predrag Trpkov wrote:

No, I haven't made myself clear. They showed me, not without pride, what
they obviously considered to be a very smart innovation, their trade secret.

The NS10s certainly sounded less NS10-like. The same goes for the M1s. The
sound was "interesting", but I just couldn't immediately hear the
significant improvement. I also couldn't help thinking that a setup like
that would introduce more problems than it would solve.

You can do a lot of things to the NS-10 to make it sound less NS-10-like.
But doesn't that defeat the whole idea of using the NS-10 in the first place?
If you're going to make it sound better and more accurate, it's no longer a
universal reference.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In a top-level studio complex in Germany, several years ago, I saw and
heard
the same combo of nearfields, NS10 and M1. Mounted one above the other
on
the meter bridge and active both at the same time.

So what you are really saying is it was an overpriced studio where the
techs
don't have the first clue how to mount their monitors.

Sadly, this describes most of the places I've worked. The whole reason
that
nearfields became popular was because of badly set-up control rooms. I
think
I can list the number of soffit-mounted monitor systems that I have heard
that
actually sounded good on one hand... no, I take that back, on one
finger...

The sad part is that techs from different audio fields are too prone to
unilaterally reject aspects of other fields rather than actually identify
similarities/differences and learn from them. Case in point, the
mass-loaded metal speaker stand, widely understood in audiophile circles to
work wonders by minimizing cabinet resonance. Accepting that they have
better solid-body acoustics over a console meter bridge doesn't mean you
then have to accept the claimed advantage of $5k speaker cables...

And success is no measure of one's monitors on an objective basis. I know
of a multi-platinum engineer whose primary monitors are Realistic Minimus
7's. Sometimes pristine reproduction isn't desired. However, a wacky
concoction like NS10's and M1's running simultaneously is something that
could only be appreciated by a very very narrow crowd, and is very very far
down the list of things to try, well below Minimus 7's even.

Going the other way, the Behringer DCX2496 is starting to make a splash in
audiophile circles as an inexpensive digital crossover, allowing for some
pretty wild experimentation at unprecedented cost-effectiveness.

Hi everyone.

Just wanted to make myself clear that i never used both of them "at
the same time"... i used to switch between them. Listening to both of
the at the same time lead to unacceptable phase anomalies IMO.
Just in case.

Rocco.

"RoKKo" wrote in message
om...
Hi everyone.

Just wanted to make myself clear that i never used both of them "at
the same time"... i used to switch between them. Listening to both of
the at the same time lead to unacceptable phase anomalies IMO.
Just in case.

But also just having them sitting adjacent can also cause anomolies. Just
like having your speakers next to empty 44 gallon drums....

geoff