A "reversed" NS10 speaker was used "every once in a while" to mike the electric guitar on *Continuum*, particularly for the solo on "I'm Gonna Find Another You", as stated by recording engineer Chad Franscoviak in this October 1, 2006 *Mix Online* interview. > “Then, every once in a while, if he wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” The best example of that, he adds, is the solo in “I'm Gonna Find Another You.”more
A "reversed" NS10 speaker was used to mike Palladino's bass on John Mayer's *Continuum*, as stated by recording engineer Chad Franscoviak in this October 1, 2006 *Mix Online* interview. > “Then, every once in a while, if [John] wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” > (...) To capture Palladino's bass, his instrument typically went into either an Ampeg SVT or B-15 into an Avalon U5 mono instrument preamp and DI. “I took the throughput into his amplifier and usually put a FET 47 close up, and on occasion an RE20. Then I almost always put an NS-10 on his bass cabinet to get the ultralow stuff,” Franscoviak explains. “I would compress the DI and the FET 47 lightly, not in any way that would effect the dynamics of his performance, only for tonal reasons. I would never put a compressor on the NS-10.”more
Visible in this photo of Fatboy Slim's studio, from [this *Sound on Sound* interview about "Praise You"](https://www.soundonsound.com/techniques/classic-tracks-fatboy-slim-praise-you). It can be found on Slim's desk. He has used them since the production of *Better Living Through Chemistry*. > At this time, Cook was using a Soundcraft desk and monitoring through a pair of Auratones during the writing phase and Yamaha NS10s when it came to mixing. “I had four flatmates,” he remembers, “and you can’t work at any volume. So I worked on Auratones, the same pair of which I still use now, and you could feel when the bottom end was there, but it didn’t go through to other people’s bedrooms. Then when it came to mixdown, I would go onto NS10s. I would say to everyone, ‘Look, sorry, I’m mixing tonight, so I’ve got to actually play this at volume just to check the bottom end.’”more
The driver of an NS10 was used as a bass drum microphone for some of *Only by the Night*, particularly on "Sex on Fire", as stated by producer Jacques King in [this December 2008 *Sound on Sound* interview](https://www.soundonsound.com/techniques/inside-track-kings-leon-sex-fire). > "The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on. > "The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer. > "The toms were recorded with three Josephson E22S mics, which are a modern type, and they're fantastic on the toms. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track. The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape. The ride cymbal and the hi-hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal. > "I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."more
In [this interview](http://www.soundonsound.com/sos/oct99/articles/readerzone.htm), Gavin Harrison says of his Yamaha NS10 Studio Monitors, "The theory is that if you can make a recording sound good on Yamaha NS10s, it'll sound good anywhere, and I tend to believe that to be true."more
Because he is a drummer capable of writing his own beats, Vrenna never uses loops. For programmed sounds, he often uses Battery and employs the drum sounds his synths have. “I tend to just start from some of those and layer stuff,” he remarks. “I just layer sounds underneath and then make my own stuff, and then put those through pedals.” With limited space in the crib room, Vrenna uses a compact Yamaha custom drum kit. Vrenna pads the room down when he records vocals, but then he pulls the padding off the walls for a boomier drum sound. Longtime friend and engineer Bill Kennedy, whom the drummer has known since his NIN days, helped him experiment with different ways to mike the kit and they created a good overall scheme. To record the kit, Vrenna placed a vintage AKG D-12 inside the kick and a Yamaha NS-10 (used as a mic rather than a speaker) outside the kick. “It gives you a nice sub,” he says. “You put that in front of the kick head”.more
"I don't ever use dynamic mics on a drum kit if I can help it: it'll either be ribbons or condensers. The exception would be an [Electro?voice] RE20 inside the kick, but I tend to try to use a [Neumann] U87 or 47 outside, and a Yamaha NS10 driver on the bottom. I try to line them up equidistant, so that theoretically it would always phase?align. I'll use [Neumann] KM84s on snare, top and bottom."more
"Andy and myself also ended up with a Mellotron each, and I've kept an Emulator IIX, which is good for grungy loops. "We can achieve very good production quality with this set-up just through being very careful. We learned a lot with OMD from engineers like Tom Lord Alge and Steve Hague, so we can use the facilities we have to the out most. We've got good outboard effects like Lexicon reverbs and Urei compressors, and decent speakers like Yamaha NS10s and NS40s. Now I'm getting into the Yamaha ProMix 01 automated mixer, which is great because you can reset it so quickly. It allow you to get some perspective on a song then return to it easily."more
"For about fifteen years I’ve been using KROKs powered by a Yamaha 2200. Recently I learned they have a significant high-mid boost, and that might have worked in the favor of an old deaf drummer to not add more high-mids. I also use two self-powered M-Audio pairs (one with a sub), Yamaha NS10s, and various Horratones so I can go between and compare. Plus I monitor with headphones, especially late at night. For tracking I love the Vic Firth phones. All this is configured through a Mackie Big Knob."more
This article states that Jerry's studio includes "System 1: Five Yamaha NS10 monitors powered by Hafler 200 power amps and a Meyer Sound subwoofer. System 2: Blue Sky Audio surround system with five matched satellite speakers and Blue Sky subwoofer, controlled by Blue Sky's bass-management remote controller."more
At this time, Cook was using a Soundcraft desk and monitoring through a pair of Auratones during the writing phase and Yamaha NS10s when it came to mixing. “I had four flatmates,” he remembers, “and you can’t work at any volume. So I worked on Auratones, the same pair of which I still use now, and you could feel when the bottom end was there, but it didn’t go through to other people’s bedrooms. Then when it came to mixdown, I would go onto NS10s. I would say to everyone, ‘Look, sorry, I’m mixing tonight, so I’ve got to actually play this at volume just to check the bottom end.’” Both NS10 & NS10M can be seen in the pic.more
I'm not 100% as the logo is underneath the woofer and looks asif it could be an OLD mackie or a newer version of the Yamaha NS series judging by the black lines in the exposed woofer and hidden black meshed tweeter. The original NS series has the logo above the woofer and the HS series don't have black lines in the woofer.more
Writing on [her blog](http://lonelady.co.uk/blog/), Julie says, "Having made two albums with ‘sellotape and lego’, that is, a minimal handful of lo-fi equipment, it was time to acquire some new gear, and I could finally invest a bit of £ into this. NS10 monitors instead of £30 Sony hi fi speakers. A mixing console instead of a Tascam 8 track. An Arp Odyssey Mk II from 1976. (The cheap gear is still here and important.)"more
I cannot make anything on this, but once I made it on other monitors to reference on them, is like playing the PS4 version of a PS3 game.
I HATE and LOVE them equally. #oxymoron
These sound bad and have a very high bass roll-off. They do their job well though, they translate really well and are pretty consistent as far as playback goes. I find that they are easier to make quick decisions on than other monitors as well (I secretly don't mind their midrange though).