Okay,
I worked in Studios. That's what the reasoning is / was.
Auratones were similar to TV speakers and good for setting levels.
NS-10's were cheap, and with paper towels (or kleenex) used for near field. NS-10M came out with the response corrected for near field work. No wad of paper needed across the tweeter any more.
These were inexpensive speakers, but became a standard. The woofer has a glue joint running radially to the edge (white cone). The point is, the engineer knew what an NS-10 sounded like so he could mix in other places. It's really true.
Studio main monitors were whatever. JBL's were popular and known to be anything but flat. Typically driven by DC300's (and still are at the Metal Works).
So, don't believe the ad copy. Yamaha lucked out and everyone else is confusing the issue trying to get in. But good sounding they weren't.
-Chris
I worked in Studios. That's what the reasoning is / was.
Auratones were similar to TV speakers and good for setting levels.
NS-10's were cheap, and with paper towels (or kleenex) used for near field. NS-10M came out with the response corrected for near field work. No wad of paper needed across the tweeter any more.
These were inexpensive speakers, but became a standard. The woofer has a glue joint running radially to the edge (white cone). The point is, the engineer knew what an NS-10 sounded like so he could mix in other places. It's really true.
Studio main monitors were whatever. JBL's were popular and known to be anything but flat. Typically driven by DC300's (and still are at the Metal Works).
So, don't believe the ad copy. Yamaha lucked out and everyone else is confusing the issue trying to get in. But good sounding they weren't.
-Chris
anatech said:
"At The Who's first studio, Ramport (where we recorded Quadrophenia), I used twelve JBL 4350 speakers set up in 6 pairs for a kind of 5.1 sound (long before 5.1 sound was invented). They were devastatingly loud, and great! Playbacks at Ramport were orgasmic."--Pete Townshend
Should somebody be unsure about the JBL model numbers, here's the 4350
phase_accurate said:
Yup. and me too.
Worked in recording studios from when I was in highschool... (called the owner every few weeks for a year until he had no resistance). Final mix audits were LOUD.
Luckily still goes away, but not completely. In a dampened room feels like i'm in a jet plane with extra near-ultrasonics... Hearing range is still thankfully normal (actually still quite sharp).
Everybody else seem to have answered the primary question.
Good engineers will actually leave the studio and try the music on car stereos, boom boxes, good home stereos, over the telephone... Also several mixes are made: after the recording, then usually the next day after ears have had a chance to rest. The best is picked of the bunch.
NS-10m are in most commercial studios for nearfield. Auratones seem to come in a good 2nd, but never really get used much.
With all the powered monitors out, things are changing, but mostly for the home studio.... Only a few studios (Hafler TRM), unless for video editing (ease of use).
Monitors?
Just bought a pair of yamaha Ns-615 B, they are new old ones, never been used. Even had a note still hanging on the back of each, telling what the boxes are made of. Anyway, my first impression was that they were very "bright" and revealing. Compared to my Dali speakers, they are totally different. Fun part is, I could hear sounds and effects on some records, that I havent heard before.
Just bought a pair of yamaha Ns-615 B, they are new old ones, never been used. Even had a note still hanging on the back of each, telling what the boxes are made of. Anyway, my first impression was that they were very "bright" and revealing. Compared to my Dali speakers, they are totally different. Fun part is, I could hear sounds and effects on some records, that I havent heard before.
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