Yamaha MSP10 review....

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tubedude

tubedude

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I was doing hardcore monitor searching on ebay, and kept getting beat by $5 on about 1,000 different auctions. Was pissing me off.
Then, someone popped up with a single Yamaha MSP10 monitor that had a cosmetic dent where it had been dropped. I did some research on it, found a mate for on musiansfriend in a b-stock blow out for $349, and started bidding, sound unheard.
I think I won the auction at like $40, but didnt meet his reserve. So, I tried emailing him and made an offer. He declined, saying he wanted more and would relist it. About a week later, he did. So, I started bidding. I hit his reserve and won the auction at $209.
Now, with musicians friend having the b-stock blowout, that is $558 for a pair of $1300 monitors, one of them being brand new with a cosmetic blemish, the other having a dent it and being somewhat used but in otherwise GREAT shape. I think I got a great deal, price wise. Musicians friend is out of them, but if you can find one used like I did, I know where you can get another one, new, for $419... let me know if ineterested...
For those of you that dont know, this is Yamahas high end active 8 inch studio monitor (titanium dome tweeters, my favorite) that was designed similar to the Genelec, with healthy bi-amped power of 120watts low, and 65 watts high. I researched the parts list at Yamaha, and these amps are full of high end componetry, including really good caps and whatnot... I am buzzing so I'll be more specific later...

Heavy bastards, over 45lbs each I think...

Rip Rowan reviewed them at prorec.com, and his review had me worried, especially what he said about the power amps and the speaker excursion. Let me say this, I took a project, cranked the bass drum frequencies, and got LOUD, and they werent moving as much as I thought they probably SHOULD be moving. I am very leary of that dudes reviews these days.
These things do have a very pronouned mid, and I am still trying to figure out if thats good or bad. Its definatly different, and I can see how these things could produce a good mix.
More to come....
 
when shopping for mon's I listened to them too, but I already knew the NS-10 sound wasn't mine... And imo they sound like active NS-10's ... If that's your cup-o-T then go for it, but it ain't mine.

good luck with them.



Herwig

(btw: I didn't liked Rip's monitor review too much)
 
NS-10 Fad

Now this is my opinion and thats what this forum is all about, but i think the NS-10's are crap. They got popular becuase of a simple buy out of yamaha. Years ago.......don't know exactally when, Yamaha had distributed these NS-10's to major record companies for them to listen to their clients albums. So to insure that the sound that was mixed together at the studio's is the same as what the record companies will hear the NS-10's became a studio standard due to what i would call a "format issue". It's a smart thing to do and it makes sense to get them for that, but now days i wonder if it is?

I see it as a fad due to how people explain them ........."i want to get those bad ass white coned speakers i see in studio pictures". You know what this reminds me of?........hahaha the Triton keyboards.......that subject makes me laugh.

k im done........time for more beer!
 
pipelineaudio said:
eeek more ns-10 bashing!
Click to expand...

Apparently every 23 yr old with a band is fully qualified to dismiss stuff they've never used because their friend who went to the recording academy says it's so.
 
why do people have to bash the person with the opinions/facts about a product, and don't write down the reasons why the product is good?
 
You don't have to defend something with a track record like the NS10's. Whether you love them or hate them they work and their cheap. They are also the one common monitoring link between all studios.

People have a tendancy to bash them without understanding their true value as a common standard. Standards aren't about what is best but a way of establishing a common practice. BBE's and Exciters are fads. If you are an audio engineer than NS10's are a way of life. For better or worse you better learn how to use them if you want to have portable ears.
 
zallen25, I wasn't sure but I am now. I don't like you. No sir, not one little bit.
 
Could you explain how a BBE or exciter is a fad? I think they are wonderful devices! Great for Live situations. All they do is recreate harmonic frequencies you don't normaly notice. I don't know if it is entirely an accurate representation of what the "real" sound is.......but I notice the difference they provide and I like what they do. Do you not like them?
 
Now I know you don't know your ass from your elbows.
 
Track Rat said:
zallen25, I wasn't sure but I am now. I don't like you. No sir, not one little bit.
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See? My point exactally! Dude..........im not here to make buddies with you. I just like to hear peoples suggestions on recording related topics, not personal vendettas. But don't worry i love you too lol.
 
zallen25 said:
Could you explain how a BBE or exciter is a fad? I think they are wonderful devices! Great for Live situations. All they do is recreate harmonic frequencies you don't normaly notice. I don't know if it is entirely an accurate representation of what the "real" sound is.......but I notice the difference they provide and I like what they do. Do you not like them?
Click to expand...

whoops !!! hahah typo there, meant to say exciters instead of BBE
 
A BBE is one of the fastest ways to screw up audio I can think of. There's NOTHING a BBE does that you can't do with good engineering practices.
 
Well if you're not going to explain how it screws it up or what you say they do to your sound, then I will stick to what i know for now. By the way I said they are great for live sound, I wouldn't use one for recording issues, although there is no rule saying you can't!
 
In my opinion there is nothing that can make a track or mix sound 'better'. If your raw tracks don't kick ass then they never will.

There is alot of stuff to make tracks sound 'different'. If you like the way a BBE or an Aural Exciter changes the sound then cool. I've never heard them put on a track and do something that couldn't be done in a more subtle and controlled way with compression, EQ or distortion.

If you use processors to change your sound then you can never be wrong. If you use them to fix your sound then you are treating the symptoms and not the disease.
 
TexRoadkill said:
In my opinion there is nothing that can make a track or mix sound 'better'. If your raw tracks don't kick ass then they never will.
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Hmmm...I wouldn't go that far. Mixing engineers would love to always have kick-ass raw tracks, but unfortunately that's not we always get.

That's why we get paid. While it's popular around here to say you can't polish a turd, I submit that's exactly what has been done on some of the top selling albums of our era.

Can you say: Madonna, Cher, Britney, etc.?

While we all might prefer to mix Aretha, the reality of the business is more often we're given Paula Abdul... It's our job to make it kick ass by any means necessary. If not, we're out of work...

And believe me, no one wants to listen to your sob story that: "...there was nothing I could do, the raw tracks didn't kick ass..."
 
littledog said:
That's why we get paid. While it's popular around here to say you can't polish a turd, I submit that's exactly what has been done on some of the top selling albums of our era.

Can you say: Madonna, Cher, Britney, etc.?
Click to expand...

There are definately tricks to make a performance better but I doubt they had too many issues with sound quality.

My comments were addressed more to the " I used Noise Reduction in CEP to eliminate the hiss and then added an exciter to restore the highs" crowd.
 
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