@Blumlein 88
I can give you one simple example of why it's possible to make a mix sounding better even on the full-range speaker when using a frequency-limited speaker.
As pretty much all instruments share and overlap in the midrange, mixing a kick drum can sound pretty okay on the full-range speaker but totally disappear on the limited speaker. This can indicate that there is a misbalance in the frequency response of the kick drum, and it may need a lift higher up in the frequency for the overtones and transients to come through in the most natural way, and when doing so the mix will most likely also sound better on the full-range speaker.
That is why a full-range speaker will not always reveil faults that are obviously there when hearing the mix with the limited-ranged speaker. Not every task done in mixing are dependent on a totally flat frequency response, and as a music production hardly ever goes directly from the mixing stage as a fnished production without passing through a number of other loudspeakers, there is a very small risk that any possible faults in the mixing monitors slip through all the processing stages.
It's a bit naive to think that the faults in the frequency response of the NS-10 would transfer to the sound of the end product. If you think so, I hope you can give some example of albums mixed on the NS-10 that without doubt was colored by speakers.
I can give you one simple example of why it's possible to make a mix sounding better even on the full-range speaker when using a frequency-limited speaker.
As pretty much all instruments share and overlap in the midrange, mixing a kick drum can sound pretty okay on the full-range speaker but totally disappear on the limited speaker. This can indicate that there is a misbalance in the frequency response of the kick drum, and it may need a lift higher up in the frequency for the overtones and transients to come through in the most natural way, and when doing so the mix will most likely also sound better on the full-range speaker.
That is why a full-range speaker will not always reveil faults that are obviously there when hearing the mix with the limited-ranged speaker. Not every task done in mixing are dependent on a totally flat frequency response, and as a music production hardly ever goes directly from the mixing stage as a fnished production without passing through a number of other loudspeakers, there is a very small risk that any possible faults in the mixing monitors slip through all the processing stages.
It's a bit naive to think that the faults in the frequency response of the NS-10 would transfer to the sound of the end product. If you think so, I hope you can give some example of albums mixed on the NS-10 that without doubt was colored by speakers.