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Most linear near field studio monitors?

thewas

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my own reasoning as stated later
Ok, so no research backing up that claim.

wasn't realy talking about the bass here.
But the difference is in the bass, if bass drops like on that NS-10 there is also no delay in the waterfall, please read the above linked explanation from @KSTR carefully. And such a waterfall plot which pronounces delays at lower frequencies can be optically deceiving, much better is the group delay plot, also regarding to psychoacoustic audibility limits.

those which have a huge decay in the bass are ported
Not necessarily, a low frequency port tuning can be actually "faster" than the NS-10 where it counts, see here https://www.audiosciencereview.com/...s/transient-response.18745/page-5#post-764348
 

dasdoing

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Ok, so no research backing up that claim.

If you ever try to mix bad material you will understand how confusing resonance are if you are not sure if they are in the material or in the system. also if the system has a lot of resonances a resonance in the material will actualy be masked
But the difference is in the bass, if bass drops like on that NS-10 there is also no delay in the waterfall, please read the above linked explanation from @KSTR carefully. And such a waterfall plot which pronounces delays at lower frequencies can be optically deceiving, much better is the group delay plot, also regarding to psychoacoustic audibility limits.

the waterfall shows decay, not delay. I am not realy understanding his post. I might try to understand it again later.
since you understood it:

let's cut the bass (sorry, first time MS Paint user lol):
if I boost the bass of
NS-10

ns.png



to that of the a600 I get thses kind of resonances?

a600.png
 

thewas

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If you ever try to mix bad material you will understand how confusing resonance are if you are not sure if they are in the material or in the system. also if the system has a lot of resonances a resonance in the material will actualy be masked
Resonances should be of course avoided, fully agree there, like also seen at many ASR NFS spinorama these can be especially a problem at ported 2-way implementations where not the necessary countermeasures where taken. I thought you were referring on the NS-10 plot to the bass part which shows the biggest difference to other ported designs. Here for example from the same paper a ported 2-way which has also a similar clean waterfall in the mids like the NS-10:

1636551982923.png
 

dasdoing

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Resonances should be of course avoided, fully agree there, like also seen at many ASR NFS spinorama these can be especially a problem at ported 2-way implementations where not the necessary countermeasures where taken. I thought you were referring on the NS-10 plot to the bass part which shows the biggest difference to other ported designs. Here for example from the same paper a ported 2-way which has also a similar clean waterfall in the mids like the NS-10:

View attachment 164528

you oversaw the Westlake BBSM-5? righ to the left of the NS-10 is actualy cleaner than NS-10
 

dasdoing

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I must say that waterfalls are hard to read. Spectrogram much better. same but from above

here is T5V with a resonance at 800-ish (ignoring bass) splitting to 500-ish and 1000-ish later.
this is what Armin should post in the reviews too


T5V_Spectogram-1920x1463.png
 

lowkeyoperations

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Could I hear them? I'm a musician and mix engineer myself. I always had trouble getting things to translate right on the 120's, I wonder if I'll hear the same things here. Transients were damn near impossible to gauge for me.
Well, another vote for mixes done on the Amphion One15s over the Neumann KH120s.
 
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spankjam

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I've went with the Amphions because they have a tremendous treble representation while being a linear speaker which let's me work on modern, bass heavy music.
 
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spankjam

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Well, another vote for mixes done on the Amphion One15s over the Neumann KH120s.
I didn't find the transient response that bad but definitely nowhere near the Amphions which are fast as hell.

What did surprise me though was how bad the transient response on the PSIs was. They are quiet intentionally a very "warm" sounding speaker, better for enjoying music rather than working on, like a Bose.
 
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spankjam

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I did however get the One 18s because I was coming from ProAc Studio speakers which had also a 6 1/2" woofer and I really got used to that base extension for my nearfield setup, which is now even a huge step up from the ProAc to the Amphions, going down as low as 30 Hz.

ProAc was compensating for that with a Bassport, which unfortunately added this hump at 50 to 100 Hz which you get used to over time but having amphion's flat bass response through the back radiator, which doesn't create a hump in the low end (although it's great if you are joy-listeninh with it), and almost an additional octave more Low end, let's me work a lot better on 808s and sub synths for example and make sure it is controlled.

The studio 100 also didn't have the best treble response but great high end, with the amphions I get both, that's why you see engineers on ProAcs mostly dialing in lots of high end because the treble doesn't translate as well on them.
 

Frgirard

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What did surprise me though was how bad the transient response on the PSIs was. They are quiet intentionally a very "warm" sounding speaker, better for enjoying music rather than working on, like a Bose.
It's worth a golden audiophile to read so much fancy.
The transient or the lochness audio.
 
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spankjam

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It's worth a golden audiophile to read so much fancy.
The transient or the lochness audio.
I wonder how you actually gain any knowledge with your condescending attitude other than reflecting on your voice.
 
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