|
The Yamaha NS-10 is a loudspeaker that became a standard nearfield studio monitor in the music industry among rock and pop recording engineers. Launched in 1978, the NS-10 started life as a bookshelf speaker destined for the domestic environment. It was poorly received but eventually became a valuable tool with which to mix rock recordings. The speaker has a characteristic white-coloured mid–bass drive unit. Technically, it is known as a speaker that easily reveals poor quality in recordings. Recording engineers sought to dull its treble response by hanging tissue paper in front of it, resulting in what became known as the "tissue paper effect", a type of comb filtering. The NS-10 has been used to monitor a large number of successful recordings by numerous artists, leading Gizmodo to refer to it as "the most important loudspeaker you never heard of".〔 Yamaha discontinued the product in 2001. == History == Originally conceived as a domestic hi-fi speaker, the NS-10 was designed by Akira Nakamura and launched in 1978.〔 It was sold at the $400 price point.〔 The speaker was poorly received and its commercial life was short.〔 However, it took five years for its popularity to be established with professional users. As recording engineers came to rely on the NS-10 as a benchmark, it dominated the mixing of pop and rock music throughout the world for at least 20 years.〔〔〔〔 The NS-10 displaced the Auratone 5C Sound Cube as the nearfield monitor of choice in the 1980s and was recognised for its ability to reveal shortcomings in recordings.〔 It probably first reached American shores through a recording engineer's visit to Japan. The engineer, likely to have been Greg Ladanyi, monitored a recording session through the speaker in a Japanese studio and brought a pair back on his return to the US. Ladanyi then began using the speakers in a Los Angeles studio. Other engineers heard the NS-10 for the first time and were impressed by its sound. Its use spread to New York where the NS-10 was adopted at The Power Station and other studios.〔 Early use of the NS-10 among engineers include Bob Clearmountain, Rhett Davies, and Bill Scheniman in the US, and Nigel Jopson in the UK.〔 Clearmountain, then a rising star in record production, is often credited for the popularity of the NS-10;〔 Phil Ward, writing in ''Sound on Sound'', suggested that Clearmountain was probably not the earliest, but was certainly the most influential early adopter.〔 It became a legend that Clearmountain had chosen it because it was the worst speaker he could find.〔 He was one of a new breed of creative freelance recording engineers and producers who would travel from studio to studio equipped with their own gear that included microphones, and a pair of Yamaha NS-10, as a reference.〔 Recording studios around the world, particularly those specialising in rock and pop music, adopted the speaker as the standard.〔〔〔 In excess of 200,000 pairs were sold throughout the world.〔 Gizmodo referred to it as "the most important loudspeaker you never heard of".〔 Yamaha stopped manufacturing the speaker in 2001, citing problems sourcing the wood pulp for the drivers.〔〔〔 Even years after it was discontinued, the speaker continued to be found in studios everywhere.〔 ''Mix'' reported in 2008 that variants of the NS-10 were still commercially available in the Japanese consumer market.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Yamaha NS-10」の詳細全文を読む スポンサード リンク
|