It is a pity the Yamaha speakers aren't as publicized as the others but I can tell you that they sound great, no exagerration but just the way the original source is recorded.
It is great on classical and jazz and fantastic on vocals but for high intensity music I would suggest other brands as people may not like the lack of thunder.
The Yamaha speakers sound really good with Yamaha amps and recievers but surprisingly they can also make the flat SONY amps sound good.
__________________ Yamaha NS-1000M, NS-1000x, Yamaha MX-1000 and MX-1 power amp, Yamaha CDX-1050 CDP, Accuphase DP70V CDP, Canton Ergo 120 speakers, Technics SL-1200 Mk-II TT. For HT, Yamaha Z9 with three Yamaha subs, two YST SW800 and one YST SW320 in rear, for mains, Yamaha NS-300 with 300C and for surrounds, NS-100 in rear, front effects handled by NS-90. For DVD duties, Yamaha DVD-S540 and for SACD Yamaha DVD-S2300 Mk-I. Also have Yamaha EQ-550 equalizer and Yamaha KX-932 deck.
I take it you have Yamaha speakers. I don't want to quibble with you--if you're enjoying the sound, no one can argue with that--but I have a somewhat different perspective on Yamaha speakers.
Several years ago, while auditioning speakers for a friend's system, I listened to a couple Yamaha models in the $200-300 range. Compared to everything else in the store, they sounded congested, hollow, and muddy. As I recall, they were nominally three-way speakers but ran their 10-inch woofers up to a ridiculously high frequency like 5kHz. This was a common cost-saving ploy among Japanese manufacturers such as Technics and JVC back in the 80s--maybe still is. Given that Yamaha had once upon a time made much better speakers than that, including some that were highly regarded as studio monitors, I was surprised to see them using such a cheap gimmick in their consumer lineup.
My friend paid less than the cheapest Yamaha for a pair of cheap Polks. The Polks were about one-fifth the size but sounded significantly better in every way, including the bass. Now maybe Yamaha has gotten serious about speakers since then. I hope so, because I've recommended their electronics as better than average and it would be a shame if their speakers were crap.
Guest : I take it you have Yamaha speakers. I don't want to quibble with you--if you're enjoying the sound, no one can argue with that--but I have a somewhat different perspective on Yamaha speakers.
Several years ago, while auditioning speakers for a friend's system, I listened to a couple Yamaha models in the $200-300 range. Compared to everything else in the store, they sounded congested, hollow, and muddy. As I recall, they were nominally three-way speakers but ran their 10-inch woofers up to a ridiculously high frequency like 5kHz. This was a common cost-saving ploy among Japanese manufacturers such as Technics and JVC back in the 80s--maybe still is. Given that Yamaha had once upon a time made much better speakers than that, including some that were highly regarded as studio monitors, I was surprised to see them using such a cheap gimmick in their consumer lineup.
My friend paid less than the cheapest Yamaha for a pair of cheap Polks. The Polks were about one-fifth the size but sounded significantly better in every way, including the bass. Now maybe Yamaha has gotten serious about speakers since then. I hope so, because I've recommended their electronics as better than average and it would be a shame if their speakers were crap.
That is how the B&W and Cantons sounded to me the first time till I gave them a second audition in another shop. For Yamaha check out their higher end NS series speakers. As you may be aware most studios across the globe use Yamaha NS 10M monitors. Yamaha also made the famous NS 1000 and NS 2000 speakers which put its more expensive counterparts to shame. They were the first to use pure carbon fiber material for speakers giving the speakers exceptional rigidity and excellent transients. The NS 300 have pearl mica woofers and that too again is a trend setting act.
As I said before they are natural sounding so wont appeal to those who are looking for excitement in speakers, not purity.
Have to admit speaker assesment is a very subjective field where passions run high.
__________________ Yamaha NS-1000M, NS-1000x, Yamaha MX-1000 and MX-1 power amp, Yamaha CDX-1050 CDP, Accuphase DP70V CDP, Canton Ergo 120 speakers, Technics SL-1200 Mk-II TT. For HT, Yamaha Z9 with three Yamaha subs, two YST SW800 and one YST SW320 in rear, for mains, Yamaha NS-300 with 300C and for surrounds, NS-100 in rear, front effects handled by NS-90. For DVD duties, Yamaha DVD-S540 and for SACD Yamaha DVD-S2300 Mk-I. Also have Yamaha EQ-550 equalizer and Yamaha KX-932 deck.
I personally have utilized NS10's extensively in the studio, and would describe them as incredibly flat. I would not, however, want them in my living room.
I cannot speak for the rest of the Yamaha line. There is a good chance that they make some impressive speakers. And there are quite a few people who prefer their speakers as flat as possible.
__________________
Clint DeBoer
Editor in Chief Audioholics
hawke : I personally have utilized NS10's extensively in the studio, and would describe them as incredibly flat. I would not, however, want them in my living room.
I cannot speak for the rest of the Yamaha line. There is a good chance that they make some impressive speakers. And there are quite a few people who prefer their speakers as flat as possible.
Hawke,
The NS 10M are meant as studio monitors only and not reccomended for home audio use. They have to be flat as that is what monitoring calls for.
For home use the Yamaha NS speakers just like the Cantons have no exagerrated curves thereby giving almost accurate rendition of the recording. Therefore if the recording is good then they shine otherwise you hear faults and defects of the original recordings.
From the NS 1000/2000 days Yamaha has been making some great speakers and for those who have cared to audition them with an unbiased mind and proper set-up they have come back with pleasent surprise. My contention is that there are so many garbage speakers out there in the market and it is a pity that in light of that the Yamaha speakers are so under rated. This is the company whose musical instruments grace some of the greatest musicians and concerts around the world.
__________________ Yamaha NS-1000M, NS-1000x, Yamaha MX-1000 and MX-1 power amp, Yamaha CDX-1050 CDP, Accuphase DP70V CDP, Canton Ergo 120 speakers, Technics SL-1200 Mk-II TT. For HT, Yamaha Z9 with three Yamaha subs, two YST SW800 and one YST SW320 in rear, for mains, Yamaha NS-300 with 300C and for surrounds, NS-100 in rear, front effects handled by NS-90. For DVD duties, Yamaha DVD-S540 and for SACD Yamaha DVD-S2300 Mk-I. Also have Yamaha EQ-550 equalizer and Yamaha KX-932 deck.
I'd appreciate any info about Yamaha NS-690 speakers. *I have enjoyed them for a long time but one of the midrange speakers has failed. *The voice coil has gone "open circuit". *Are these speakers repairable? *Is there a replacement for the midrange speaker or can the voice coil be repaired? *Do you know any suppliers of replacement speakers, parts or repairs? *Thanks for your help. *jflack@concentric.net
I hate to be the one to raise questions here, but are you guys thinking that there are speakers that produce a flat frequency response in typical rooms (home environments)?
Early reflections muddy they sound (which is why studios use near-field monitors), and reflections (all of 'em) produce comb filters in the room that will prevent a flat response in most cases. *I've never seen any exceptions. *Every room will also have at least one major mode, where there will be excessive SPL centered around a frequency you can calculate from the room dimensions. *One has to take pretty extreme measures to achieve a flat response in the home, and then it may not be acceptable (depending to a large extent on the kind of recordings you like).
There is a huge difference between measuring a loudspeaker under anechoic or semi-anechoic conditions, and even measuring very-near-field can yield results that appear to indicate a flat response. *It all falls apart when you put a speaker with wide dispersion into a typical room. *That the inaccuracies don't drive us nuts is a tribute to human adaptability.
It is not impossible to get a flat response from a loudspeaker in the home, but it is not simply a matter of placing the speakers in "the proper location" in the room. *It takes WAY more than that. *Once the speaker reaches a basic performance level, the room becomes the biggest problem.
The Yamaha near-field monitors use to have a very flat response, up close, or in a dead room. *Not sure what their more recent products are like, because I have no experience with them. *The company makes a number of very fine products for the production and reproduction of music.
Next to the Steinway, I'll take a Yamaha piano every time. *I also like their big sport bikes. *
Guest : I hate to be the one to raise questions here, but are you guys thinking that there are speakers that produce a flat frequency response in typical rooms (home environments)?
Early reflections muddy they sound (which is why studios use near-field monitors), and reflections (all of 'em) produce comb filters in the room that will prevent a flat response in most cases. I've never seen any exceptions. Every room will also have at least one major mode, where there will be excessive SPL centered around a frequency you can calculate from the room dimensions. One has to take pretty extreme measures to achieve a flat response in the home, and then it may not be acceptable (depending to a large extent on the kind of recordings you like).
There is a huge difference between measuring a loudspeaker under anechoic or semi-anechoic conditions, and even measuring very-near-field can yield results that appear to indicate a flat response. It all falls apart when you put a speaker with wide dispersion into a typical room. That the inaccuracies don't drive us nuts is a tribute to human adaptability.
It is not impossible to get a flat response from a loudspeaker in the home, but it is not simply a matter of placing the speakers in "the proper location" in the room. It takes WAY more than that. Once the speaker reaches a basic performance level, the room becomes the biggest problem.
The Yamaha near-field monitors use to have a very flat response, up close, or in a dead room. Not sure what their more recent products are like, because I have no experience with them. The company makes a number of very fine products for the production and reproduction of music.
Next to the Steinway, I'll take a Yamaha piano every time. I also like their big sport bikes.
Chuck
Yamaha is the only Japanese manufacturer to my knowledge whose speakers have consistently won accolades in European and American magazines alike and has done much to repair the reputation of Japanese speakers in general. Australian Hi-Fi magazine tried a pair of NS 1000 in 1986 with lots of dexteriety and came out with nothing but spectacular praise. The NS 2000 that followed won equal praises from various parts of the world. Too bad they had to be discontinued as they used high tech nuclear shell beryllium which is a contraband in the US. They were very costly to start with and now regularly sells for around $1500 a pair used. The NS 1000 M ws used as studio monitors extensively and the Danish broadcasting company used them as monitors for a long time.
Those who have them generaly swear by them, just check out www.audioreview.com
The newer NS 300 and NSX 8 are pretty close to the legend and are worth an audition preferably with a Yamaha CX-1/MX-1 pre/power amp combo. Their clarity is still amazing although the NS 1000 due to their high tech pure carbon fiber woofer and beryllium tweeter and midrange could handle more power.
__________________ Yamaha NS-1000M, NS-1000x, Yamaha MX-1000 and MX-1 power amp, Yamaha CDX-1050 CDP, Accuphase DP70V CDP, Canton Ergo 120 speakers, Technics SL-1200 Mk-II TT. For HT, Yamaha Z9 with three Yamaha subs, two YST SW800 and one YST SW320 in rear, for mains, Yamaha NS-300 with 300C and for surrounds, NS-100 in rear, front effects handled by NS-90. For DVD duties, Yamaha DVD-S540 and for SACD Yamaha DVD-S2300 Mk-I. Also have Yamaha EQ-550 equalizer and Yamaha KX-932 deck.
I hate to be the one to raise questions here, but are you guys thinking that there are speakers that produce a flat frequency response in typical rooms (home environments)?
Early reflections muddy they sound (which is why studios use near-field monitors), and reflections (all of 'em) produce comb filters in the room that will prevent a flat response in most cases. *I've never seen any exceptions. *Every room will also have at least one major mode, where there will be excessive SPL centered around a frequency you can calculate from the room dimensions. *One has to take pretty extreme measures to achieve a flat response in the home, and then it may not be acceptable (depending to a large extent on the kind of recordings you like).
There is a huge difference between measuring a loudspeaker under anechoic or semi-anechoic conditions, and even measuring very-near-field can yield results that appear to indicate a flat response. *It all falls apart when you put a speaker with wide dispersion into a typical room. *That the inaccuracies don't drive us nuts is a tribute to human adaptability.
It is not impossible to get a flat response from a loudspeaker in the home, but it is not simply a matter of placing the speakers in "the proper location" in the room. *It takes WAY more than that. *Once the speaker reaches a basic performance level, the room becomes the biggest problem.
The Yamaha near-field monitors use to have a very flat response, up close, or in a dead room. *Not sure what their more recent products are like, because I have no experience with them. *The company makes a number of very fine products for the production and reproduction of music.
Next to the Steinway, I'll take a Yamaha piano every time. *I also like their big sport bikes. *:D
Chuck
Yamaha is the only Japanese manufacturer to my knowledge whose speakers have consistently won accolades in European and American magazines alike and has done much to repair the reputation of Japanese speakers in general. Australian Hi-Fi magazine tried a pair of NS 1000 in 1986 with lots of dexteriety and came out with nothing but spectacular praise. The NS 2000 that followed won equal praises from various parts of the world. Too bad they had to be discontinued as they used high tech nuclear shell beryllium which is a contraband in the US. They were very costly to start with and now regularly sells for around $1500 a pair used. The NS 1000 M ws used as studio monitors extensively and the Danish broadcasting company used them as monitors for a long time.
Those who have them generaly swear by them, just check out www.audioreview.com
The newer NS 300 and NSX 8 are pretty close to the legend and are worth an audition preferably with a Yamaha CX-1/MX-1 pre/power amp combo. Their clarity is still amazing although the NS 1000 due to their high tech pure carbon fiber woofer and beryllium tweeter and midrange could handle more power.
Does anything you've said mean that you actually believe they produce a flat frequency response in typical listening rooms? *They don't.
The most accurate in-room frequency response ever measured by Stereophile magazine (most audio rags measure little or nothing) is the InnerSound Eros Mk. III. *The article will be out in a couple of months. *Lots of people are quite take with that speaker too, and all the reviews are glowing, but there is not a speaker in the world what will produce a flat response in a typical home environment.
Is it that people are unaware of this FACT, or just that it is too technical a point to have any meaning to anyone?
Without extreme measures, in-room accuracy is a myth.
Here's an in-room measurement, taken from the primary listening position, and it is as flat as I've ever seen. *Takes a lot to get to this point guys, more than just speakers.
Yamaha NS-1000M, NS-1000x, Yamaha MX-1000 and MX-1 power amp, Yamaha CDX-1050 CDP, Accuphase DP70V CDP, Canton Ergo 120 speakers, Technics SL-1200 Mk-II TT. For HT, Yamaha Z9 with three Yamaha subs, two YST SW800 and one YST SW320 in rear, for mains, Yamaha NS-300 with 300C and for surrounds, NS-100 in rear, front effects handled by NS-90. For DVD duties, Yamaha DVD-S540 and for SACD Yamaha DVD-S2300 Mk-I. Also have Yamaha EQ-550 equalizer and Yamaha KX-932 deck.
Linear Mode
