Yamaha MSP10 Studio (Recording, June 2003)
We reviewed the predecessor to this monitor in February 2002; it was called the MSP10 and came to us in a striking sunburst finish, together with the black SW10 subwoofer. At a glance, aside from the all-black finish, the MSP10 Studio under review appears to be a clone of the MSP10. What's new, and what's what?
Old and new
Apart from a couple of cosmetic items (logo now at bottom of fascia, cabinet corners less rounded for better dispersion), the differences are on the inside. Yamaha's literature mentions "significant refinements to the midrange performance and crossover parameters as well as parts and assembly precision."The stated aim: producing a monitor that is less "designed for listening" than designed for monitoring," with special attention given to sonic accuracy at low listening levels. Let's (re-)visit the hardware first.
Hardware
Just as its predecessor, the MSP10 Studio is a biamped two-way bassreflex studio monitor well suited for nearfield™ listening.
There are two portholes between the 1" titanium dome tweeter on top and the 8" cone woofer below. The tweeter sits in the center of a recessed 6" waveguide designed for improved dispersion of high frequencies. A tiny LED that's incorporated into the waveguide stays green while the unit is powered up and turns red to indicate amplifier overload. There are no monitor grilles.
The woofer is powered by an amplifier stated to produce 120 W maximum output at 400 Hz with a THD (total harmonic distortion) of 0.02%. The tweeter's amp is listed to produce 60 W maximum at 10 kHz, also with 0.02% THD. The crossover is set at 2 kHz and employs a very steep 30 dB/octave slope. The cabinet incorporates a new technology for magnetic shielding (Yamaha calls it "advanced magnetic circuit"), avoiding sound deterioration while providing shielding for peaceful coexistence of audio monitors and computer monitors.
The cabinet measures 103/8" x 12 7/8" x 161/2" (W/D/H). Yamaha sells an optional wall-mounting bracket (BWS251-300) and includes warnings about the needed strength of the wall. This advice is best heeded to the letter, since the solidly-constructed cabinet and built-in amplifiers combine to give the speaker a hefty 44 lb. weight.
From the rear
In typical Yamaha fashion, the power cable is non-detachable. The power on/off toggle switch is located next to where the power cable is attached, at the lower edge of the metallic housing that protrudes from the rear of the wood cabinet. There is only one audio connector, at the top of the rear, an XLR (pin 2 hot). Next to it is an input sensitivity control knob, flush with the rear surface, calibrated from a minimum of -6 dB to +4 dB (10 kΩ). To adjust the sensitivity the user twists the slotted control, using either firm finger pressure or a screwdriver.
A sliding Low Cut on/off switch controls the High Pass filter that is permanently fixed at 80 Hz, with no mention of slope given.
Yamaha provides some control over the cabinets eq, with two three-position switches labeled TRIM. The HIGH switch is inactive when set to 0; it cuts by 1.5 dB when set to -1.5 and boosts by 1.5 dB when set to +1.5, both at 10 kHz. The LOW switch is only designed as an attenuator; it is also inactive when set to 0, and it cuts by 1.5 dB when set to 1.5 and by 3 dB when set to -3 dB, both at 50 Hz.
We did our listening with eq and filter off and with the monitors set up as an equilateral triangle of roughly 36" per side with the listening position, with the cabinets upright and tweeters approximately at ear level.
First impression: vocals rule
These monitors are pedestals for vocals. They made all of the following stand out admirably, revealing the vocal idiosyncrasies that give each of these artists their unmistakable identities: India.Arie, who often is surrounded, almost buried, by a minichoir on Voyage To India (Motown); Queen Latifah on Nature Of A Sista' (Tommy Boy
Old and new
Apart from a couple of cosmetic items (logo now at bottom of fascia, cabinet corners less rounded for better dispersion), the differences are on the inside. Yamaha's literature mentions "significant refinements to the midrange performance and crossover parameters as well as parts and assembly precision."The stated aim: producing a monitor that is less "designed for listening" than designed for monitoring," with special attention given to sonic accuracy at low listening levels. Let's (re-)visit the hardware first.
Hardware
Just as its predecessor, the MSP10 Studio is a biamped two-way bassreflex studio monitor well suited for nearfield™ listening.
There are two portholes between the 1" titanium dome tweeter on top and the 8" cone woofer below. The tweeter sits in the center of a recessed 6" waveguide designed for improved dispersion of high frequencies. A tiny LED that's incorporated into the waveguide stays green while the unit is powered up and turns red to indicate amplifier overload. There are no monitor grilles.
The woofer is powered by an amplifier stated to produce 120 W maximum output at 400 Hz with a THD (total harmonic distortion) of 0.02%. The tweeter's amp is listed to produce 60 W maximum at 10 kHz, also with 0.02% THD. The crossover is set at 2 kHz and employs a very steep 30 dB/octave slope. The cabinet incorporates a new technology for magnetic shielding (Yamaha calls it "advanced magnetic circuit"), avoiding sound deterioration while providing shielding for peaceful coexistence of audio monitors and computer monitors.
The cabinet measures 103/8" x 12 7/8" x 161/2" (W/D/H). Yamaha sells an optional wall-mounting bracket (BWS251-300) and includes warnings about the needed strength of the wall. This advice is best heeded to the letter, since the solidly-constructed cabinet and built-in amplifiers combine to give the speaker a hefty 44 lb. weight.
From the rear
In typical Yamaha fashion, the power cable is non-detachable. The power on/off toggle switch is located next to where the power cable is attached, at the lower edge of the metallic housing that protrudes from the rear of the wood cabinet. There is only one audio connector, at the top of the rear, an XLR (pin 2 hot). Next to it is an input sensitivity control knob, flush with the rear surface, calibrated from a minimum of -6 dB to +4 dB (10 kΩ). To adjust the sensitivity the user twists the slotted control, using either firm finger pressure or a screwdriver.
A sliding Low Cut on/off switch controls the High Pass filter that is permanently fixed at 80 Hz, with no mention of slope given.
Yamaha provides some control over the cabinets eq, with two three-position switches labeled TRIM. The HIGH switch is inactive when set to 0; it cuts by 1.5 dB when set to -1.5 and boosts by 1.5 dB when set to +1.5, both at 10 kHz. The LOW switch is only designed as an attenuator; it is also inactive when set to 0, and it cuts by 1.5 dB when set to 1.5 and by 3 dB when set to -3 dB, both at 50 Hz.
We did our listening with eq and filter off and with the monitors set up as an equilateral triangle of roughly 36" per side with the listening position, with the cabinets upright and tweeters approximately at ear level.
First impression: vocals rule
These monitors are pedestals for vocals. They made all of the following stand out admirably, revealing the vocal idiosyncrasies that give each of these artists their unmistakable identities: India.Arie, who often is surrounded, almost buried, by a minichoir on Voyage To India (Motown); Queen Latifah on Nature Of A Sista' (Tommy Boy
 |
Records), where she has to compete against all kinds of loops and hyper-active backgrounds; Jack Johnson, who is intriguingly panned to the right on "Inaudible Melodies" Jack Johnson (Brushfire Fairytales, www.enjoyrecords.com); and Al Jarreau, who harmonizes against deep grooves and rich backgrounds on All I Got (Verve). The uncannily blending voices of India, Arie and Lathun on the duet "When Love Came In" (on Lathun's CD Fortunate, Motown) were nonetheless easy to tell apart on the MSP10 Studio monitors, something that can be hard to do on lesser monitors. |
Another track worth mentioning for the successful way the MSP10 Studio monitors dealt with it: Dana Glover's Rain" (on her debut album Testimony, www.dreamworksrecords.com), a very densely orchestrated track with more elements behind Danas powerful pipes than one would think is comfortable to manage. Although it was skillfully mixed, this track does not always sound as distinct as here on the MSP10 Studio monitors. We had no trouble hearing subtleties like on-the-fly changes in Hammond drawbar settings behind the gorgeous layered background vocals and the driving rhythm section.
An early discovery was borne out in later listening: The MSP10 Studio reveals any hint of sibilance left in a mix.
The low end
Victor Wooten, bassist of Bela Fleck and the Flecktones, came out with a solo album in 1997, What Did He Say? (www.compassrecords.com), that still serves as an excellent source for evaluating monitors. Victor and cohorts play acoustic bass and electric bass (sometimes multiple parts simultaneously), Victor also plays nylon-string guitar, and together with the rest of the varying instrumentation it all adds up to a quirky soundscape that puts unusual demands on low-end and mid-range reproduction. Track 10, the gorgeous nylon-string instrumental "Naima," has two basses and an acoustic drum kit going. The way the MSP10 Studio monitors handled the two basses underneath the guitar with all its subtleties, like finger squeaks and string rattles,was excellent, but we were even more impressed by the way in which the woofers had capacity left to preserve naturalness of the kick drum that never turned to mush in such a competitive low-end environment.
Another challenge for bass and midrange response is bassist Christian McBride's CD Gettin' To It (Verve); track 5, Neal Hefti's "Splanky," has no less than three acoustic basses, McBride being joined by heavyweight players Ray Brown and Milt Hinton. Again the MSP10 Studio monitors shone, not only handling the multiple low notes with distinction without cluttering up or thinning out the rich woody sound, but also conveying with great detail those little mid- and high-range noises that close-miking can pick up from players' fingers and from intensely worked strings.
The woofers in the MSP10 Studio monitors had no trouble dealing with the massive bass and kick sounds in Eryka Badu's CDs Baduizms and Mama's Gun (Motown), not leaving us wishing for a subwoofer. All in all, that's some serious low-end handling.
Compared to the earlier MSP10, the new MSP10 Studio appears to have tighter and less "rounded-off" bass.
Mids'n things
Acoustic guitars came through with almost clinical clarity, just this side of harshness, whether it was Paco de Lucia backing Flamenco great Fosforito (Iris Music), or India.Arie on Acoustic Soul (Motown), Jack Johnson on Brushfire Fairytales, or Jane Siberry on her Sheeba label. All very different, all distinct, and quite "in-yourface." Electric guitars have all the presence and tone that are required.
Our frequent contributor Bruce Kaphan's gorgeous CD Slider (Hearts of Space, www.hos.com) contains slide guitar solos backed by exquisitely balanced textures, taking the listener through chord changes not often heard from a slide guitar. Sonically, I didn't enjoy listening to this record quite as much as I had on other monitors – the MSP10 Studio monitors seemed to exaggerate a part of the mid-to-upper spectrum, adding a slight metallic edge to high notes.
A lovely test piece for balance between lows, mids, and highs is the third track (the second Promenade) of Mussorgsky's Pictures At An Exhibition, especially when recorded with the orchestral panning of this strings-only passage as is typical for the live orchestra (low strings favoring the right, highs the left). That's how conductor Kurt Masurs Teldec recording of the Gortchakov orchestration with the London Philharmonic Orchestra was done (complete with grunts picked up from the conductor's podium), and the MSP10 Studio monitors delivered much clarity with lots of sheen and rosin even though the strings don't sound close-miked.
An early discovery was borne out in later listening: The MSP10 Studio reveals any hint of sibilance left in a mix.
The low end
Victor Wooten, bassist of Bela Fleck and the Flecktones, came out with a solo album in 1997, What Did He Say? (www.compassrecords.com), that still serves as an excellent source for evaluating monitors. Victor and cohorts play acoustic bass and electric bass (sometimes multiple parts simultaneously), Victor also plays nylon-string guitar, and together with the rest of the varying instrumentation it all adds up to a quirky soundscape that puts unusual demands on low-end and mid-range reproduction. Track 10, the gorgeous nylon-string instrumental "Naima," has two basses and an acoustic drum kit going. The way the MSP10 Studio monitors handled the two basses underneath the guitar with all its subtleties, like finger squeaks and string rattles,was excellent, but we were even more impressed by the way in which the woofers had capacity left to preserve naturalness of the kick drum that never turned to mush in such a competitive low-end environment.
Another challenge for bass and midrange response is bassist Christian McBride's CD Gettin' To It (Verve); track 5, Neal Hefti's "Splanky," has no less than three acoustic basses, McBride being joined by heavyweight players Ray Brown and Milt Hinton. Again the MSP10 Studio monitors shone, not only handling the multiple low notes with distinction without cluttering up or thinning out the rich woody sound, but also conveying with great detail those little mid- and high-range noises that close-miking can pick up from players' fingers and from intensely worked strings.
The woofers in the MSP10 Studio monitors had no trouble dealing with the massive bass and kick sounds in Eryka Badu's CDs Baduizms and Mama's Gun (Motown), not leaving us wishing for a subwoofer. All in all, that's some serious low-end handling.
Compared to the earlier MSP10, the new MSP10 Studio appears to have tighter and less "rounded-off" bass.
Mids'n things
Acoustic guitars came through with almost clinical clarity, just this side of harshness, whether it was Paco de Lucia backing Flamenco great Fosforito (Iris Music), or India.Arie on Acoustic Soul (Motown), Jack Johnson on Brushfire Fairytales, or Jane Siberry on her Sheeba label. All very different, all distinct, and quite "in-yourface." Electric guitars have all the presence and tone that are required.
Our frequent contributor Bruce Kaphan's gorgeous CD Slider (Hearts of Space, www.hos.com) contains slide guitar solos backed by exquisitely balanced textures, taking the listener through chord changes not often heard from a slide guitar. Sonically, I didn't enjoy listening to this record quite as much as I had on other monitors – the MSP10 Studio monitors seemed to exaggerate a part of the mid-to-upper spectrum, adding a slight metallic edge to high notes.
A lovely test piece for balance between lows, mids, and highs is the third track (the second Promenade) of Mussorgsky's Pictures At An Exhibition, especially when recorded with the orchestral panning of this strings-only passage as is typical for the live orchestra (low strings favoring the right, highs the left). That's how conductor Kurt Masurs Teldec recording of the Gortchakov orchestration with the London Philharmonic Orchestra was done (complete with grunts picked up from the conductor's podium), and the MSP10 Studio monitors delivered much clarity with lots of sheen and rosin even though the strings don't sound close-miked.
The MSP10 Studio also excels at low listening levels
This same tonal balance was evident on the same CD during the quirky Gavotte, the third movement of Prokofiev's Symphonie Classique. The first violins are reinforced by the flutes playing fortissimo high C sharps and Ds in bar 41 and 43. The MSP10 Studio monitors let you know that the flautists didn't miss their notes!
The upper ranges
High-end sparkle from percussion loops with the chiming sound of a finger cymbal remained clear and prominent on Queen Latifah's "Fly Girl" from Nature Of A Sista', and the cymbals on many Jazz CDs we auditioned rang true without artifacts like the exaggerated sizzle we hear from lesser tweeters. When you hear not only the high-end sizzle but the build-up of overtones, precise placement and that illusive space around a complex instrument like a cymbal, you know that a tweeter has an extended range.
Also showing off high end with plenty of air was the MSP10 Studio monitors' treatment of the recent Grammy- winning recording of Brahms' and Stravinsky's violin concertos by Hilary Hahn (Sony Classical). Those magical moments in the fourth and fifth minutes of the Brahms first movement, for example, when the soloist plays an exposed, mostly high part against a light orchestral background, are most telling-in this case there was plenty of that hard-to-define quality of openness that lets the listener focus on a solo instrument while perceiving the size of the room where the performance takes place.
We enjoyed the accomplished writing for strings by pianist and composer Clare Fischer on his CD After The Rain (www.clarefischer.com), where cellist Cecilia Tsan is captured beautifully – the MSP10 Studio monitors let the complex overtones of her cello shine and allow her solo parts to stand out with distinction. Again we heard lots of sheen and rosin-without shrillness.
Another test for high-end reproduction is a combination of clarinet and violin-if ever shrillness is easily produced, it's by these two instruments. We're glad to report that such shrillness was not evident in Hindemith's Quintet Op. 30 as recorded for RCA Victor/BMG by clarinetist Richard Stoltzman and the ensemble Tashi.
Chick Corea and Gary Burton revisited their "Crystal Silence" duet on the occasion of Chick's 60th birthday (Stretch via www.concordrecords.com) and the MSP10 Studio monitors delivered Burton's tinkly high vibraphone notes splendidly against the rather dark piano; we can hear the audience, too-the MSP10 Studio hides nothing. It was nice to notice that the by-nowdetected slight tendency of the MSP10 Studio monitors towards forwardness in the upper mids and highs doesn't translate into making pianos sound metallic.
This accurate treatment of piano sounds was confirmed by listening to Bill Cunliffe's Live At Bernie's (www.groovenote.com), a piano trio album done at mastering engineer Bernie Grundmann's in the old direct-to-disc manner; we got the same results when revisiting several of the Marian McPartland Piano Jazz volumes as heard on her NPR show (released on CD by Jazz Alliance). The many shades of piano colors remain true to the originals when reproduced on the MSP10 Studio monitors.
Also showing off high end with plenty of air was the MSP10 Studio monitors' treatment of the recent Grammy- winning recording of Brahms' and Stravinsky's violin concertos by Hilary Hahn (Sony Classical). Those magical moments in the fourth and fifth minutes of the Brahms first movement, for example, when the soloist plays an exposed, mostly high part against a light orchestral background, are most telling-in this case there was plenty of that hard-to-define quality of openness that lets the listener focus on a solo instrument while perceiving the size of the room where the performance takes place.
We enjoyed the accomplished writing for strings by pianist and composer Clare Fischer on his CD After The Rain (www.clarefischer.com), where cellist Cecilia Tsan is captured beautifully – the MSP10 Studio monitors let the complex overtones of her cello shine and allow her solo parts to stand out with distinction. Again we heard lots of sheen and rosin-without shrillness.
Another test for high-end reproduction is a combination of clarinet and violin-if ever shrillness is easily produced, it's by these two instruments. We're glad to report that such shrillness was not evident in Hindemith's Quintet Op. 30 as recorded for RCA Victor/BMG by clarinetist Richard Stoltzman and the ensemble Tashi.
Chick Corea and Gary Burton revisited their "Crystal Silence" duet on the occasion of Chick's 60th birthday (Stretch via www.concordrecords.com) and the MSP10 Studio monitors delivered Burton's tinkly high vibraphone notes splendidly against the rather dark piano; we can hear the audience, too-the MSP10 Studio hides nothing. It was nice to notice that the by-nowdetected slight tendency of the MSP10 Studio monitors towards forwardness in the upper mids and highs doesn't translate into making pianos sound metallic.
This accurate treatment of piano sounds was confirmed by listening to Bill Cunliffe's Live At Bernie's (www.groovenote.com), a piano trio album done at mastering engineer Bernie Grundmann's in the old direct-to-disc manner; we got the same results when revisiting several of the Marian McPartland Piano Jazz volumes as heard on her NPR show (released on CD by Jazz Alliance). The many shades of piano colors remain true to the originals when reproduced on the MSP10 Studio monitors.
Full-spectrum music and samples
For an onslaught of full-range music, full both in terms of frequencies and dynamics, we like to put up CDs from the few Jazz big bands that play material other than flag-wavers, as well as full-orchestra recordings, of course. In the big band area, Maria Schneider's CDs (on Enja) are hard to beat for variety of colors and dynamics. Their subtleties were easily evident on the MSP10 Studio monitors, maybe lending a shade more bite to the brass than other comparable monitors. Any number of orchestral recordings confirmed our earlier impressions of clarity, accuracy, openness at the top, and forward enunciation of the MSP10 Studio monitors.
The MSP10 Studio reveals any hint of sibilance left in a mix
We confirmed this assessment further by listening to GigaStudio samples like Dan Dean's Giga Bass Collection, Larry Seyer's Upright Bass, Gary Garritan's Orchestral Strings and also Gary's Giga Harp, and Art Vista's Cool Vibes and Malmsjö Acoustic Grand. They're all very well produced libraries deserving of monitors of the caliber of the MSP10 Studio.
An area that is often overlooked in monitor evaluation is that of reverb tails. One tends to look to only the effects processor for the quality of decaying reverbs, where actually the monitor has a lot to do with it. Rule of thumb as far as we've ascertained: If a fading low piano note that, in the real world and without compression, easily lasts 50 seconds or more, sounds good to the last fading moments, long reverb tails are likely to also sound good.
We found this to be the case on the MSP10 Studio. Although it happily delivers whopping levels of undistorted sound, it stays accurate at low listening levels, and changes of dynamics don't seem to add coloration, other than that inflicted by the quirks of the human hearing as defined by Messrs. Fletcher and Munson (stating, in essence, that the human ear hears a change of overall eq as the volume goes down, perceiving progressively less bass and treble at gradually reduced volume levels).
In summary
MSP10 Studio Powered Monitor Speaker
An area that is often overlooked in monitor evaluation is that of reverb tails. One tends to look to only the effects processor for the quality of decaying reverbs, where actually the monitor has a lot to do with it. Rule of thumb as far as we've ascertained: If a fading low piano note that, in the real world and without compression, easily lasts 50 seconds or more, sounds good to the last fading moments, long reverb tails are likely to also sound good.
We found this to be the case on the MSP10 Studio. Although it happily delivers whopping levels of undistorted sound, it stays accurate at low listening levels, and changes of dynamics don't seem to add coloration, other than that inflicted by the quirks of the human hearing as defined by Messrs. Fletcher and Munson (stating, in essence, that the human ear hears a change of overall eq as the volume goes down, perceiving progressively less bass and treble at gradually reduced volume levels).
In summary
The Yamaha MSP10 Studio is a heavy monitor delivering big sound if desired, from finely matched built-in amplifiers mated to a very capable 8" woofer and an accurate tweeter with generous dispersion. It also excels at low listening volumes. It provides deep and neutral bass that doesn't sound "warm" or "fluffy," its upper bass and midrange are precise, and it has the upper-midrange and high-frequency sound characteristics that allow for clinical presentation of fine detail in tracks and mixes, with an emphasis on clinical rather than prettified.
The waveguide of the tweeter is designed for 120 degree dispersion, and it does indeed allow the listener generous mobility before the stereo image begins to suffer. Within that roughly 120 degrees the perception of placement of sound sources in the stereo field is never a problem, even with dense mixes, and definition of individual elements is easy due to the excellent separation.
This monitor doesn't so much aim to please as it wants to reveal the truth. Voices in particular stand out, and the airy highs tell the story of extended frequency response.
More from:
Yamaha Corp. of America
6600 Orangethorpe Ave.
Buena Park, CA 90620
714/522-9011, fax 714/522-9301
www.yamaha.com/proaudio
The waveguide of the tweeter is designed for 120 degree dispersion, and it does indeed allow the listener generous mobility before the stereo image begins to suffer. Within that roughly 120 degrees the perception of placement of sound sources in the stereo field is never a problem, even with dense mixes, and definition of individual elements is easy due to the excellent separation.
This monitor doesn't so much aim to please as it wants to reveal the truth. Voices in particular stand out, and the airy highs tell the story of extended frequency response.
More from:
Yamaha Corp. of America
6600 Orangethorpe Ave.
Buena Park, CA 90620
714/522-9011, fax 714/522-9301
www.yamaha.com/proaudio
Excerpted from the June 2003 edition of RECORDING magazine.
©2003 Music Maker Publications, Inc.
Reprinted with permission.
5412 Idylwild Trail, Suite 100, Boulder, CO 80301
Tel: (303) 516-9118 Fax: (303) 516-9119
For Subscription Information, call: 1-800-582-8326
www.recordingmag.com
©2003 Music Maker Publications, Inc.
Reprinted with permission.
5412 Idylwild Trail, Suite 100, Boulder, CO 80301
Tel: (303) 516-9118 Fax: (303) 516-9119
For Subscription Information, call: 1-800-582-8326
www.recordingmag.com
MSP10 Studio Powered Monitor Speaker