Jos malo o NS10M

[idekius]

U cemu je razlika izmedju Yamahe NS10M (stara verzija) i NS10M Studio (redizajnirana verzija)?

Video sam da prva verzija trba da stoji vertikalno, a druga horizontalno.
O cemu se radi?

[dvuckovic]

Skretnica u NS10M je drugacija, nema peak na, cini mi se 1.7 kHz, tako nesto....

Evo intervjua sa covjekom koji je dizajnirao NS10:


An Interview With the Man Behind the Sound
In order to learn as much as possible about the MSP10 STUDIO and its background, we talked directly to
Akira Nakamura, head of the MSP10 STUDIO design team. Nakamura was also the brain behind the
legendary NS10M and NS10M STUDIO. Here are some of his comments:

Interviewer: What were the first projects you
were involved in at Yamaha?

Nakamura: It was speakers right from the very
beginning, but the first ones I worked on were for
musical instruments – Yamaha Electone organs, to
be specific. We couldn’t get the sound we wanted
from speakers purchased from other
manufacturers, so we started developing and
manufacturing our own.

Hi-fi speakers weren’t an issue back then?

Not in the beginning. I joined the company and
started working on musical instrument speakers in
around 1965, but serious development of hi-fi
speakers wasn’t started until about 1970.

What audio speakers did you work on prior
to the NS10M?

Most of them, but perhaps the most notable was
the Yamaha NS1000M. I think we released it in
around 1974. The NS1000M became one of the
longest-selling hi-fi speakers, ever. As I remember,
the NS10M was released several years later,
in about 1978.

Was the NS10M an instant success?

In the home-use market, yes. It wasn’t until several
years later that studios began adopting the NS10M
for near field monitoring. This was because it was
originally developed for the home market, and was
only sold through outlets targeted at the home
market. But once the studio people caught on,
we had to expand our retail routes to include the
pro-audio market.

Why did the NS10M become the industry
standard for audio production?

At the time, most studios were using small single-unit
cube-shaped speakers for near-field monitoring –
actually they were probably used mostly to hear how
projects might sound on a boom-box or car stereo.
But the engineers were looking for a compact monitor
with a bit more power and a wider frequency range, as
well as something that more accurately represented the
home audio sound of the time. The NS10M was
perfect. It also had the midrange definition that the
engineers needed for rock and pop production, and
eventually became the engineers’ primary tool for
sound creation and mixing, rather than simply a means
to hear the results on a less-than-perfect system. It
wasn’t long before you could walk into just about any
major studio and find a pair of NS10Ms sitting on the
console meter bridge. This was an advantage for the
engineers, because they were familiar with the NS10M
sound and could expect the same quality in just about
any studio, anywhere in the world.

So Yamaha didn’t start out to deliberately
create a studio monitor speaker?

Not really. We were only interested in achieving the
cleanest, most natural reproduction possible.
As it turned out, what we were trying to achieve was
precisely what the audio production professionals
were looking for.

The white NS10M woofer cone was quite
distinctive, is there a story behind the color?

We were in the process of trying out different pulps
and papers for use in speaker cones, but nothing gave
us the sound we wanted. Looking for the cleanest,
most impurity-free cone paper we could find, we
eventually came across a type of especially pure pulp
that a photographic-materials manufacturer was
using. That was our answer.

The “NS10M STUDIO” was introduced in 1987.
What was the story behind that development?

In addition to optimizing the design for horizontal
placement, there was the “tissue paper issue”. There
was a period in which the pro-audio magazines and
papers were full of articles about how engineers were
placing layers of tissue paper in front of the NS10M
tweeters to give them the balance they needed. There
were even arguments as to how many layers of tissue
paper gave the best response, how far it should be
placed in front of the tweeter, and so on. So we sat
down with the speakers – and a supply of tissue paper
– and began an extensive series of tests. The overall
balance of the NS10M-plus-tissue idea was fine but, as
you would expect, some of the high-frequency
definition was lost. We figured out a way to deliver the
required balance without losing detail, and that
became the NS10M STUDIO.

After selling more than 200,000 units, NS10M
STUDIO was discontinued in 2001, causing
great shock to the engineers and the industry.
Why was it discontinued?

The white cones. Due to a number of unavoidable
reasons it has become impossible to continue
manufacturing those cones. Without those cones there
can be no NS10M. Fortunately, we were able to
produce enough maintenance units to keep current
users supplied for several years. Also, it was about the
time that the NS10M STUDIO was being widely
adopted that we began work on the MSP series
speakers with the goal of providing powered
convenience with superior frequency response and an
extended low end. Now that the MSP10 STUDIO has
been perfected, there’s really no better choice.

Tell us something about the new MSP10
STUDIO: what were the main sonic goals
behind its development?

There are other popular powered monitor speakers on
the market that have a nice “comfortable” sound, but
we came to the conclusion that they weren’t really
accurate enough for critical monitoring applications.
We wanted to create a monitor that delivers the source
without “softening” it in any way. Engineers need to
hear frequency, they need to hear dynamics, imaging,
separation … there are so many parameters that must
be kept under control. The MSP10 STUDIO was
designed from the outset to allow the listener to hear
every single aspect of the sound as clearly as possible
so that he or she can make the most effective creative
decisions and sonic adjustments. If a slight change is
made to the EQ on one track, you need to hear it. If the
reverb time of the ambience used on the vocal track is
adjusted by a fraction of a second, you need to hear
that, too. Once we knew what we wanted to achieve,
we had to translate those concepts into actual design
parameters and refinements – drivers, amplifiers,
crossover, enclosure, finish – everything counts.

The original MSP10 and the new MSP10
STUDIO look quite similar – how can we tell
them apart?

Visually the only difference is in the location of the
Yamaha logo (in the MSP10 STUDIO it is below the
woofer), and the fact that the radius of the enclosure
corners is a little sharper in the new version.
The main differences, however, are internal. It’s the
difference between sound designed for listening and
sound designed for monitoring, and that meant
making significant refinements to the midrange
performance and crossover parameters as well as
parts and assembly precision.

How does the MSP10 STUDIO fit in with
modern monitoring practices?

These days many engineers monitor at low levels.
Paradoxically, this allows them to hear detail that
gets “washed out” at higher levels. When we tested
other powered monitor systems we discovered that
they tended to lose definition at such low levels, so
we put a great deal of effort into ensuring that the
MSP10 STUDIO stayed clean and precise right
down to the lowest levels.

How about surround monitoring?
Of course, the MSP10 STUDIO is an ideal monitor for
surround applications. The 120??dispersion of the
tweeter waveguide makes it a perfect choice for
surround setups – plus the fact that is basically an
excellent monitor speaker.

Were there any major obstacles to achieving
the desired performance?

Many. But the areas that required the most time and
energy were probably the actual manufacturing
processes. In order to achieve the desired high quality
consistently in all units, we had to dramatically
increase the dimensional precision of all parts, as well
as the assembly procedures used to put them together.

What is different about the new “advanced
magnetic circuit”?

Speaker engineers who are serious about sound
quality have known about the problems with
magnetic shielding for quite some time.
Magnetically-shielded speakers have a “cancellation
circuit”, which is basically a reverse-polarity magnet
attached to the back of the speaker’s normal
magnetic circuit. Conventional cancellation circuits
consist only of a magnet and outer yoke — a
configuration which results in a random flux pattern
when magnetized. This disturbs the magnetic field of
the main magnet and has a deleterious effect on the
sound. With the new “advanced magnetic circuit”, an
extremely consistent flux pattern is produced in the
“shield” magnet by placing it between inner and
outer yokes at the magnetizing stage. The result is
significantly improved sound quality.

Why is the MSP10 STUDIO so heavy?
(The MSP10 STUDIO weighs 20 kg, compared
to about 12 kg for the leading competitor.)

Well, being heavier is not something we can really
brag about, but in the process of optimizing overall
performance we simply ended up with a heavier
enclosure, heavier woofer, and heavier transformers
in the amplifiers. We weren’t prepared to
compromise performance for reduced weight.

How large a factor is the reduced radius of
the MSP10 STUDIO enclosure corners?

The change is subtle, but it does make a significant
difference to the sound. By simply changing the
corner radius by a few millimeters we achieved
noticeable better definition and imaging. This might
be partly related to external diffraction, but it is more
likely to be a result of the change in the structure and
solidity of the corner joints that affects the overall
performance of the enclosure.