| I love my HS-50's but I literally learned to mix on a true pair of NS-10's . . . so all the weird things about the 50's don't bother me one bit (in fact, I'm more comfortable with them than with anything else).
The fact of the matter is this -
No matter what you use eventually you should get used to how it handles frequencies and you should be able to account for the quirks, short-comings and the exaggerations. In my opinion the worst sort of speakers are speakers that exaggerate low-end and high-end, because that's what's going to be the most noticable and extreme with consumers.
What I LOVE about my 50's is that they have a boost in the mid areas and specifically they have a boost in the low-mids and true-mids that causes them to peek out a bit more than usual. For me, those are the hardest frequencies to hear quality separation in when mixing so the boost helps me space things out and pick out the different instruments (which is a huge portion of all recorded music) more accurately.
That said, if you want a real clean "high end" sounding monitor, they are not the monitor for you. . . and there's no reason to NOT get high-end monitors if that's what you'll feel comfortable mixing on. . . Me? I know exactly what my mixes are going to sound like on my 50's except the occasional sub-woofer lows that sneak up on me. . . and those are the easiest freqs for me to deal with.
I do use some (in my opinion) really nice headphones to reference all my mixes, just to make sure (and to check the stereo spread) that I'm not totally F-ing up and, of course, I always drag my mixes around to every stereo in the house and every car I can get in . . . but with my 50's I would feel comfortable if I couldn't do that. With the KRK's I used it was a literal crap-shoot what my mix would end up sounding like - especially if I brought the mix into anything that had a sub. |