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Important (st) it utensil in the studio
How important a well-maintained, neutral monitor is for the mixing and mastering of my recordings is, I noticed, when I had bought the YAMAHA HS80M, and then my previous work, which I mainly mixed with a good headphones (so I thought!) , Had listened.
I like listening to my music over the YAMAHA HS80M, because the detail range of the playback over the entire frequency range - even at room volume - is better than on the (not very bad) hi-fi system in the living room. The adjustment of the monitors to the room acoustics happens simply with a few switches on the back for highs, mids and basses. Quickly you get used to the new acoustics and do not want to miss them anymore. There are also no frequency ranges in the sound spectrum, which would be somehow unpleasantly overburdened by the HS80M, also frequency holes are not to be found.
Lately, I am mixing a lot of pop music, including my 7-string fretless bass. Since I notice clearly that the playback of the bass track on the HS80M is not quite the reality (eg as later on my stereo in the living room is to be heard). The basses are missing but clearly, if the mix over the HS80M would like to judge correctly. It can even happen that the mix, which is mixed on the HS80M, then on the stereo system (with sufficient bass reproduction) or in the car (pronounced drumming frequency at approx. 130 Hz) sounds somewhat bass-heavy or booming.
So if you put emphasis on the correct representation or reproduction of the absolute low frequencies (sensitively, I would say: lower than about 60 Hz, roughly corresponds to the basic pitch of the two deep strings of a four-string bass and below) should play with the idea , Possibly a suitable subwoofer to buy. This I have now done and the HS80M thank the relief in the low frequency range with a relaxed reproduction of the low frequencies from 100 Hz up to the highs up to 20 kHz, which is also their strength. The Sub (M-Audio SBX10) now takes care of the frequency range below 100 Hz down to almost 20 Hz. This means that the entire audible frequency range is covered.
On the other hand, the sound of the HS80M without the subwoofer is almost exactly the same as the acoustic situation of a lot of simpler stereo systems with small boxes (often small compact units are in use) or other playback devices (eg kitchen radios). Then the whole thing on smaller stereo systems sounds pretty good, which can be heard after a mix over only the HS80M.
The spatial resolution of the HS80M is sensitively present and audible, but not "exaggerated" clearly. This is certainly even better with more expensive monitors. However, the spatial representation of the HS80M is sufficient for a reliable assessment of the distribution of the instruments over the stereo panorama, even if (as with me) the boxes are not far enough apart (unfortunately not enough space for an exact equilateral triangle between boxes and sweet spot ). Depth staggering (of which is always spoken in specialist articles) I can hardly perceive. But this can also be my way of mixing. Stereophones Concert recordings from the symphonic orchestra give a good spatial impression when listening over the HS80M, which presumably is due to the run-time differences of the NOS method used.
Overall, I find the HS80M as a good choice for project studios, from the price / performance ratio acceptable monitors, whereby one should look at the similarly priced competition for possible alternatives. The use for pop music without sub is rather advisable, because too risky that bass errors in the mix remain undetected. Processing and function is synonymous after 5 years of operation still faultless, which one of the equipment studio equipment, which I bought myself later, can not always say (also from higher-priced Nobelmarken with high demand).
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