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New Event Opal Monitors - not your regular speakers
Old 20th July 2019
  #2821
Here for the gear
Quote:
Originally Posted by Fleaman View Post
I bought my NS-10M STUDIO's new from a pro audio store in 1992. So the Studio models can be a fairly new'ish one also...
No offence, but how does that provide any information about the date of production?
Old 20th July 2019
  #2822
Gear Maniac
 

Quote:
Originally Posted by Ty Ford View Post
I have to believe that was either a room problem or you're doing some industrial music with incredibly low bass; like DC to 20 Hz.

Regards,

Ty Ford
No. The monitors came busted. My second pair did not have the same issue and sounded fine.

Edit:
As I explained, I never really found out what was wrong with them, due to the Guitar Center mixup, and they didn't seem very interested in calling the repair facility to find out for me.

What was recommended to me by Event was to get a newer revision since they were "more free of issues."

Thsts not to say all earlier pairs had issues, but apparently, some people sent theirs back for repairs including (but not limited to) switching out the crossover etc. That's just one example off the top of my head. Maybe the information is in this thread or elsewhere.. I don't have the time to re-read the whole thing.

Still, many people with the earlier models didn't have any problems at all.

From what Event (Rode) told me and what I gathered online, I decided to get a newer pair in order to have a better chance of reliability.

Whatever the case, I'm happy.
0 issues since I got the new pair.
They even crushed the boxes the came in in transit from overseas and had 0 issues. Total bricks. I did the voltage conversion myself and they're rockin'.

Last edited by ChristianN; 20th July 2019 at 10:58 PM..
Old 20th July 2019
  #2823
Gear Maniac
 

Quote:
Originally Posted by n0tu View Post
Would be interesting to know, tell me if you'll have a shootout!

Why the question marks? Yea they seem to be in a quite good condition, there is just a bit of glue showing just beside the seam of ONE.
Probably won't ever get around to it unless they every meet by accident. They do what they're supposed to so the shootout is way at the end of my to-do list lol.

Not sure what the question marks were. I edited them out. Maybe it was a typo!
Old 20th July 2019
  #2824
Lives for gear
 
Fleaman's Avatar
 

Quote:
Originally Posted by n0tu View Post
No offence, but how does that provide any information about the date of production?
Well, it wasn't new-old-stock. The NS10M Studio's were still being manufactured up until 2001 I think.

Just mentioning that buying a pair NS10MX's won't guarantee that they're newer than all Studio model's.
Old 20th July 2019
  #2825
Here for the gear
Quote:
Originally Posted by n0tu View Post
Yea they seem to be in a quite good condition, there is just a bit of glue showing just beside the seam of one.

Here are all the pictures: https://imgur.com/a/VJeOIPY
What do you guys say about the glue? I think it's only a minor cosmetic issue..

Is 350€ a good price for these? I could probably also get a pair of studios for that price, should I rather aim for those?

Last edited by n0tu; 20th July 2019 at 11:29 PM.. Reason: *you
Old 20th July 2019
  #2826
Here for the gear
Quote:
Originally Posted by Fleaman View Post
Well, it wasn't new-old-stock. The NS10M Studio's were still being manufactured up until 2001 I think.
What inspires your thinking, respectively, which piece of information makes you think that?
Old 21st July 2019
  #2827
Lives for gear
 
Fleaman's Avatar
 

Quote:
Originally Posted by n0tu View Post
What inspires your thinking, respectively, which piece of information makes you think that?
Other than my fairly accurate memory of that time period, where I specifically remembered the NS10M Studio's were still being manufactured and sold for many years after I bought mine in '92?

Well, here>

"Yamaha responded to this tissue-paper phenomenon by redesigning the crossover and tweeter to give a smoother treble response. At the same time the company altered the front-baffle logo so that it was legible when the speaker was placed horizontally, the generally preferred method of use. This tweaked design, known as the NS-10M (M for monitor), was marketed as a professional studio monitor and remained in production until 2001."

https://www.musictech.net/reviews/yamaha-ns-10/
Old 21st July 2019
  #2828
Lives for gear
 
Fleaman's Avatar
 

Quote:
Originally Posted by Fleaman View Post
Well, it wasn't new-old-stock. The NS10M Studio's were still being manufactured up until 2001 I think.

Just mentioning that buying a pair NS10MX's won't guarantee that they're newer than all Studio model's.

Quote:
Originally Posted by n0tu View Post
What inspires your thinking, respectively, which piece of information makes you think that?
I think this 'information' shall put the matter to rest>>>

https://web.archive.org/web/20140201...leaseNS10s.htm

YAMAHA NS10 PRESS RELEASE
Buena Park, CA, Feb. 21, 2001 -- Yamaha Corporation has announced that effective April 2001, production of the NS10M studio monitor speaker products will be discontinued, citing that the source of the wood pulp used in the woofer cone is no longer available. Despite an intensive worldwide search for a replacement material, none was found that provided an acceptable sonic substitute. Along with the NS10M studio model, production of the NS10MC and NS40M will also be discontinued.
Old 21st July 2019
  #2829
Lives for gear
 

Quote:
Originally Posted by javahut View Post
From my perspective, as someone who's owned, mixed on, listened to music on, and loved Event Opals for 10 years, but now have the HEDD Type 20 in my studio for the past few months... my honest opinion is... I don't think there would be anyone who loves listening to and working on Opals, that wouldn't listen to the HEDD Type 20 in their studio for just a few minutes, and wouldn't think the Type 20 is a substantial upgrade.

I'd always wanted a 3-way monitor, but not at the cost of great low end, and it had to be similar size or not too much larger than the Opals. I always thought the ATC SCM25A would be great, but the price range was a little over my budget, and I was really afraid of a lack of low end, that might end up making me spend even more trying to get the low end where I wanted it. And the Genelec 8351A looks great as well, with what should be a fantastic low end, and a similar type cabinet as the Opals... but again, the price a deterrent for me. So when I saw the HEDD Type 20 the first time, looked up the price, and then did a little research on its characteristic sound, they looked perfect, so I splurged to find out for myself.

So to describe the HEDD in another way... I almost feel like... as much as I love the Opals, if I could describe to Event how to make a new monitor with all the basic characteristics of the Opals, but take a step or three up in clarity, headroom, and dynamic response... but keep the warmth and low end of the Opals... and in the form factor of a 3-way monitor, you couldn't get much closer than the Type 20. I could really almost describe it as like listening to Opals, with a "betterizer". And quite a substantial "betterizer". Especially the mid and top end clarity with the Type 20 is just so much more nuanced and audible, but at the same time not being harsh or piercing in the least. And that clarity in the mid and top end just makes the ability to hear exactly what's going on in the low mids and low end much more apparent, and detailing it in a mix that much easier... and fun.

The Opals may be just very slightly more round and prominent in the lows and low mids. But the Type 20 is just as involving in that range, but with a clarity that I can't really discern when using Opals, while being just as big sounding down low. And they definitely have a depth in the mids and high end that the Opals can't touch... while being very easy to listen to for long periods of time. Anyone who thinks that ribbon tweeters in the Type 20 are necessarily more harsh because that's what they've previously heard in Adams or Eves monitors... has never heard the Type 20... because they're nothing like that.

Another couple ways the Type 20 remind of the Opals are 1) they both achieve that great low end with a smaller 7" woofer, and 2) they both punch well above their price range at the time of their release.

So that's my take on the Type 20. I'm not trying to convince anyone to think the same as me about it. I'm really just trying to be more informational, as one guy's opinion, for anyone that's used the Opals and loved them, but can't get parts to keep them going... or anyone who's heard them before and wishes they coulda had a pair before Event stopped making 'em. If you wanted a monitor that might take you to a similar place as the Opals... but with just a little (a lot?) "more"... and that's available in a current product... you wouldn't be too far off with the HEDD Type 20. And they may take you at least a few steps farther... for not a lot more cost than the original price of Event Opals.

And really, the only real reason I'm comparing 'em is because I've now owned and used both. And having always loved the low end extension and mid warmth of the Opals... I'm just thrilled to have finally found a 3-way design that gives me what I always wanted in a 3-way, and still has an awesome similar type low end extension as the Opals.

So like I said... I don't think there's anyone that loves Event Opals, that wouldn't listen to the HEDD Type 20 for just a few minutes... and think they'd just died and gone to Opal heaven+. Similar... in a great way, yet so different... in a great way.

Okay... no more talk of Type 20 in the Opal thread from me. This is just my experience with Event Opals and HEDD Type 20. Not at all meaning to denigrate Opals or anyone that uses and loves them, because they are great monitors.
Thank you again for this wonderful post !!

Please tell us more about the Hedd Type 20 translation qualities ?

Opals always seemed to me, to be hard to place in the room and get nice translation.

So what about the Hedd type 20?

Thanks for your feedback


Regards
Sergio
Old 21st July 2019
  #2830
Here for the gear
Quote:
Originally Posted by Fleaman View Post
Other than my fairly accurate memory of that time period, where I specifically remembered the NS10M Studio's were still being manufactured and sold for many years after I bought mine in '92?

Well, here>

"Yamaha responded to this tissue-paper phenomenon by redesigning the crossover and tweeter to give a smoother treble response. At the same time the company altered the front-baffle logo so that it was legible when the speaker was placed horizontally, the generally preferred method of use. This tweaked design, known as the NS-10M (M for monitor), was marketed as a professional studio monitor and remained in production until 2001."

https://www.musictech.net/reviews/yamaha-ns-10/
I believe the legendary tissue usage was popularized by Bob Clearmountain on the initial Yamaha NS-10's, which were the NS-10M and they apparently had issues in the upper frequencies. There is no such thing as "Yamaha NS-10" as he seems to be implying. The author of this article clearly didn't do enough research as the reissued models he is referring to, with the main update being the redesigned tweeter & crossover, are the NS-10M PRO, NS-10M STUDIO and the NS-10MC. I'm hesitating to read the rest of that article as he is already mixing up such rudimentary facts.

Quote:
Originally Posted by Fleaman View Post
I think this 'information' shall put the matter to rest>>>

https://web.archive.org/web/20140201...leaseNS10s.htm

YAMAHA NS10 PRESS RELEASE
Buena Park, CA, Feb. 21, 2001 -- Yamaha Corporation has announced that effective April 2001, production of the NS10M studio monitor speaker products will be discontinued, citing that the source of the wood pulp used in the woofer cone is no longer available. Despite an intensive worldwide search for a replacement material, none was found that provided an acceptable sonic substitute. Along with the NS10M studio model, production of the NS10MC and NS40M will also be discontinued.
Now that's some INFORMATION! Thanks!!

Quote:
Originally Posted by sergioelectro View Post
Thank you again for this wonderful post !!

Please tell us more about the Hedd Type 20 translation qualities ?

Opals always seemed to me, to be hard to place in the room and get nice translation.

So what about the Hedd type 20?
I'm also interested here!
Old 21st July 2019
  #2831
Lives for gear
 
Fleaman's Avatar
 

Quote:
Originally Posted by n0tu View Post
I believe the legendary tissue usage was popularized by Bob Clearmountain on the initial Yamaha NS-10's, which were the NS-10M and they apparently had issues in the upper frequencies. There is no such thing as "Yamaha NS-10" as he seems to be implying. The author of this article clearly didn't do enough research as the reissued models he is referring to, with the main update being the redesigned tweeter & crossover, are the NS-10M PRO, NS-10M STUDIO and the NS-10MC. I'm hesitating to read the rest of that article as he is already mixing up such rudimentary facts.
I had used the full quote as reference, but meant to only focus on the "...remained in production until 2001." info as my answer to your question.

As for the confusing statement> He did say "This tweaked design, known as the NS-10M (M for monitor) was marketed as a professional studio monitor"...so I took that as the 'Studio' model, as the ones before that were not marketed as a Studio monitor, nor were they 'tweaked' (as they were originals). And he reference the horizontal design too.

Not a big deal to me.

Also, even with my Studio's, I still used the tissue paper trick. Though I used 'Scott' toilet paper, which is very thin single ply tissue
Old 21st July 2019
  #2832
Lives for gear
 
Fleaman's Avatar
 

Quote:
Originally Posted by sergioelectro View Post
Thank you again for this wonderful post !!

Please tell us more about the Hedd Type 20 translation qualities ?

Opals always seemed to me, to be hard to place in the room and get nice translation.

So what about the Hedd type 20?

Thanks for your feedback


Regards
Sergio
Hey Sergio!

I've been reading about your 'perfect' monitor pair search here for many years(!).

Did you actually get a pair of Opals? Or are you going by comments here about them?
Old 21st July 2019
  #2833
Lives for gear
 

Quote:
Originally Posted by Fleaman View Post
Hey Sergio!

I've been reading about your 'perfect' monitor pair search here for many years(!).

Did you actually get a pair of Opals? Or are you going by comments here about them?
I am building a new studio, acousticly treated (the best that I can with GIK bass traps)

I just bought a pair of AMphion One 15, which are known to be good for translation, and I have my pair of Opals. (but the AMphion do not go low enough, so Ineed a second pair of nearfiel speakers)

Studio is not ready yet, but soon will be. I am trying to get the best setup.
I have never been very happy in the past by my Opals, about the way they translate.

So I am searching for a new upgrade. I noticed the Hedd type 20, and also the Genelec 8351 with their GLM advanced acoustic correction system, which I think I will buy.

But I am still curious about those HEdd type 20.

Regards

Sergio
Old 21st July 2019
  #2834
Lives for gear
 
Fleaman's Avatar
 

Ah, ok.

Well obviously you need to try all your current monitors in your new studio when it's finished...as 'translation' will likely be different...
Old 3 weeks ago
  #2835
Gear Head
 

Quote:
Originally Posted by sergioelectro View Post
Thank you again for this wonderful post !!

Please tell us more about the Hedd Type 20 translation qualities ?

Opals always seemed to me, to be hard to place in the room and get nice translation.

So what about the Hedd type 20?

Thanks for your feedback


Regards
Sergio
Since the Type 20 is pretty much exactly the same as Type 30 with lower SPL and a tad more bass compression (I've compared side by side), I figure I share my thoughts as a HEDD Type 30 owner, since the last 1,5 years.

And I can tell you their translation qualities are superb. It's the first pair of monitors where I nail the bottom and top end almost perfectly already while tracking. I've been mixing exclusively on Type 30s for the last year.

I would contribute this to the detailed, non-hyped and almost "boring" voicing, which forces you to do the mixdown right away, because it sound quite terrible if the mix is wrong.

This might sound like a vibe-killer, but since they're so detailed and balanced, this mixing process takes around a minute of EQ-tweaking on the desk, and then it's pretty much done. Since the top isn't hyped, you're not afraid to dial the right amount of top end in all your tracks right away. The AMT driver though, is still detailed enough to tell you when it's too sharp.

Also the low mids and upper bass gets muddy and boomy real quick if you're doing it wrong on these speakers, so you will get that one fixed right from the start as well. So you will get the bass sculpted and top end nice and shiny within the first minutes of tracking. I notice that all the early tweaks I do on these speakers translates very good to both PA-systems and really low end systems, like logitech computer speakers. So I feel no need for me to go back and re-check the mix on other speakers like NS-10 or likewise.

They were also impressively easy to place and integrate in the room acoustics, for such large speakers. I have a small basement studio (14 sqm, only 2m ceiling), which is well treated acoustically, and sit in a 150 cm triangle, so yes, these does work really well as near fields as well.

If anyone has any questions about the HEDD Type 30, I'll be happy to answer them, as I can't seem to find too many users around this forum. I have mostly good things to say though. After 1,5 years, I'm still not looking for new monitors hehe
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