yamaha hs7 volume setting

Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. Inputs are available on both XLR and TRS jacks with the outputs to the main speakers on balanced XLRs. I actually believe this to be a truer reflection of the source material, something I decided having listened at length to both EDM and non-EDM on them, and thus a very good thing. Both low- and high-cut controls (each variable from 80 to 120 Hz but detented at 100Hz) are fitted to the rear panel for adjusting the crossover frequencies, and there's a low-cut on/off switch, which affects the feed to the main speakers. All rights reserved. Prices include VAT. It was quite a good test for them, because while the Traktor Kontrol S8 is a DJ software controller first and foremost (and I played MP3s, WAVs and AACs through the Yamahas via that route, mainly EDM), it is also a standalone mixer, and I used it to play music from vinyl and CD, and non-EDM too. When turning the power off, the product should be turned off FIRST for the same reason. With a 6.5″ cone, they’re appreciably smaller than the HS8s, and this might actually be the perfect size for DJ/producers, as we’ll get on to. I would assume somewhere below 75% and then control the volume from the pre-amp such as my Jotunheim running balanced pre-outs to the speakers. Built into rear-ported, rigid MDF cabinets (210 x 332 x 284 mm) with jointed corners, the 6.5-inch woofer and the one-inch dome tweeter are driven by a combined total of 95W of power (60W for the LF driver plus 35W for the tweeter, crossing over at 2kHz). Of course, there’s no need to talk about interference or distortion at higher volumes or any of those other considerations when listening to, say, sub-$100 speakers, as the HS7s had an audibly great signal-to-noise ratio and we couldn’t get them anywhere near loud enough to introduce any kind of harshness to the sound. The way I used to have it set up is I had my monitors on one controllable channel, and my subs on another, and could vary volume … Although there isn’t much separating the Yamaha HS5 vs. HS7, the Yamaha HS7 stands out as follows: Better lows: The HS7 will offer greater output at lower frequencies because its frequency range moves from 43Hz to 30KHz. the left [ ] to turn the power OFF. Win! I'm using them for Audio & Video post production, and the mixes I'm getting out of these are 100x better than my previous set. PreSonus StudioLive 32SC Series III Mixing Console. my home studio currently consists of 2 Yamaha HS5’s paired with 2 8” Pioneer subs to make up what the woofer in the Yamaha’s don’t provide. And overall, they sound excellent. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Web site designed & maintained by PB Associates & SOS. Yamaha HS7 Pros. On their own, the HS7s have enough low-end extension to work perfectly well without a sub in a typical home studio. This active speaker even has a mesh grille protecting the tweeter, just like the NS10. Overall, they’re great. This is the bigger version of HS7. You may login with either your assigned username or your e-mail address. A level control, again centre-detented, adjusts the sub's contribution to the overall sound, and there's a polarity invert switch, which may be needed depending on where the sub is placed relative to the main speakers. Most importantly, the HS7s are not NS10s, they are very much their own speaker regardless of the cosmetics. First Look: Pro Tools | Carbon. I usually discourage the use of subwoofers in smaller studios as the extended bass end can exacerbate the acoustic problems that are prevalent in small, untreated rooms. The All-New Behringer Keyboards 'n' Stuff Thread. Overall, they feel good quality, reassuringly heavy (over 8kg each), and look smart and workmanlike. However, a smaller sub, such as the HS8S, does have the advantage that you can put the main speakers where they meet ergonomic requirements while placing the sub in a position that gives the most even bass response. Putting this in perspective, though, these are relatively low-cost speakers that perform well given their price range. In my own view the sub would be best combined with the HS5s as the HS7s already have enough low end for most small spaces (they are specified as covering 43Hz to 30kHz, but where the studio is garage-sized or bigger the HS7/sub combination would be appropriate. Failing to do so may result in hearing loss or device damage. They have 95W of output per speaker. © 2001-2020 Head-Fi.org. Page 8: Subwoofer Connections] to turn the power ON, or to frequency can be adjusted via the LOW CUT control. They’re a mid-sized black speaker made in MDF, with the now-iconic Yamaha white woofer cone and grilled tweeter (think NS10, the near-legendary small studio monitors). If you’re new to all of this, this is how “real” studio monitors traditionally have worked, and how most still do, especially as you move up the price range where performance matters more than consumer-friendly features. The HS series monitors by Yamaha are ported and so, you get good bass output. Firstly, the sound is true, truer than more coloured-sounding monitors aimed explicitly at DJs. By continuing to use this site, you are consenting to our use of cookies. It's probably the highest sensitivity without introducing clipping: They handle DJ/producer studio monitoring tasks in mid-sized rooms very comfortably, with plenty of headroom to spare. To sum up, the HS7s are capable of working quite happily without a sub but play nicely with one when necessary. This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register. You must log in or register to reply here. There's a high-trim switch for adjusting the HF to the taste of the user, with 0dB, -2dB and +2dB settings. the bass to compensate for placement relative to boundaries, with options for flat, -2dB or -4dB below 500Hz. The HS7 features controls for adjusting the speaker's bass and treble response. JavaScript is disabled. They’re “proper”, sold separately, individual monitors, and don’t function as a pair in any way, like some speakers aimed at the home studio. This better overall balance wasn’t at the expense of them being engaging or fun to listen to (trust me, turned up they truly pack a punch), but it did mean that not only did non-EDM fare better on them than it does on some speakers, but that they were easy to listen to over a long period of time. Over time, I spotted some characteristics, subtleties that I want to report here. Bass deep enough that you really don’t need a separate subwoofer (which is a great thing in my view as subwoofers can complicate the sound as well as improve it). The Yamaha logo on the front panel will light when the power is ON. When I unboxed the monitors, I was struck by their solid construction and good looks. Worth pointing out that they sounded noticeably different to my memory of the long-discontinued but legendary (they were in the first studio I ever recorded in) NS10s from Yamaha, that I recall being harsher in the mids. They give an overall sound that’s true to the original, giving the confidence that if you’re producing on them, you’ll be able to mix down and be reasonably sure your results are going to sound good from earbuds to nightclub. Don’t Miss Our Previous Articles in This Series: Part 1: “How to Set Up the Ideal Home Recording Studio.” The passive, sealed-box Yamaha NS10 is something of a studio icon, and it's an image that Yamaha seem to be capitalising on, with the white speaker cones of their new HS7 model. Yamaha HS7’s revolutionary cabinet design delivers accurate sound reproduction and makes HS7 extremely durable and minimally cross-resonant. The HS7 has a 6.5-inch woofer and a 1-inch dome tweeter, the latter of which is covered by a protective metal mesh screen. Mastering Essentials Part 3 - How loud should I master? I also have a set of MSP 7 at home, but the HS7 sounds better. Input can be on balanced XLR or balanced/unbalanced quarter-inch jack. So no linking them together or wired remote controls here: you have a mono input per speaker (left output from DJ controller or mixer to left-hand speaker, right output to right-hand speaker) and turn them off/on and adjust their volumes totally separately. I usually discourage the use of subwoofers in smaller studios as the extended bass end can exacerbate the acoustic problems that are prevalent in small, untreated rooms. Depends on the speakers. I was lucky enough to use these over an extended period of time, as my speakers of choice when producing a Traktor Kontrol S8 tutorial series. Again, be sure to check out the entire range of Yamaha professional sound products here and follow Yamaha Music USA on Facebook and Twitter. They inhabit a price point that gives them quite a bit of worthy competition, however, so do check out the alternatives if you get a chance. The HS8S is impressive for its size, and can help in larger rooms or even smaller spaces where optimum monitor placement isn't possible. Yamaha's HS series comprises the HS5 and the HS7, and either model can be used alone or teamed with the HS8S subwoofer.

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