Bedienungsanleitung Yamaha HS10W (Seite 11 von 16) (Englisch)

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HS80M/HS50M/HS10W Owner’s Manual

Fine-tuning for Surround

● Set the HS50M or HS80M LEVEL control to about 12

o’clock to set the nominal input level to

approximately +4dB. If you’re using the HS50M

set the HS10W LEVEL control to about 10 o’clock,

and if you’re using the HS80M set it to about 11

o’clock. You can then ﬁne-adjust the HS10W LEVEL

control as required. Another approach would be to

adjust the HS50M/HS80M output level to achieve

the desired relative balance with the subwoofer.

* If you’re using the HS50M with a digital mixer, set the

HS10W LEVEL control to about 9 o’clock. If you’re using

the HS80M with a digital mixer set the HS10W LEVEL

control to about 10 o’clock.

● Start with the HIGH CUT control set at its center

click position, which corresponds to a HPF frequency

of about 100 Hz*. The HIGH CUT frequency can be

adjusted later to achieve the smoothest integration

with the HS50M or HS80M speakers.

* Set to 80 Hz if you’re using a digital mixer.

● Turn the HS10W LOW CUT switch ON. Adjust the

LOW CUT control to achieve the desired degree of

bass extension.

● Set the HS50M/HS80M LOW CUT switch to “100

Hz”*.

* Set to 80 Hz if you’re using a digital mixer.

● When set to “-2 dB” the HS50M/HS80M EQ MID

switch attenuates the midrange frequencies slightly

to produce a somewhat “softer” sound that may be

better for listening or long monitoring sessions. For

accurate monitoring, however, set the MID switch

to “0”.

● Set the HS50M/HS80M ROOM CONTROL switch

according to the distance your speakers are placed

from the nearest wall (refer to “Proximity to Walls

and Corners”, above).

● For accurate monitoring set the HS50M/HS80M

HIGH TRIM switch to “0”. This switch can be set to

“-2 dB” to attenuate the highs slightly if you ﬁnd the

sound too bright.

Maintain a Consistent

Monitoring Level

Another difference between listening and monitoring is

that when you’re listening for enjoyment you probably

listen at signiﬁcantly different levels at different times: from

soft and unobtrusive for background music, right though

room-shaking for involved listening or dancing. This is

deﬁnitely not the case for serious monitoring. The response

of your ears changes so drastically according to level,

especially in the soft to medium-loud region, that is

essential to maintain a consistent monitoring level

otherwise you simply won’t get consistent mixing results.

You’ll undoubtedly need to turn up or down a bit at

certain points during the production process when

listening for speciﬁc problems or effects — in fact it is

important to listen to your mix at different levels as a ﬁnal

checking process, bringing the levels down very low to

check if any elements of the mix disappear and make sure

that the vocal continues to maintain its balance in the mix

at very low levels — but in general you should stay within a

fairly small range.

Just what is the best level to monitor at? Although there

is a “standard” monitoring level speciﬁcation,* the answer

for most small studios is “whatever is most comfortable for

you.” You need to monitor at a level that’s loud enough so

that you don’t miss any soft details, but not so loud that

your ears become fatigued (or your neighbors complain). If

you ﬁnd yourself turning up the volume after monitoring

for a short while, your ears are probably starting to get

tired and losing sensitivity. This is obviously bad for your

music as well as your ears. So ﬁnd that “comfort zone” and

prepare to make some great music.

*For you techies, the SMPTE RP 200 standard monitoring level is

83 dB SPL (RMS average) at the listening position, or if you’re

mixing for ﬁlm you’ll need to know that the standard Dolby

monitoring level for surround is 85 dB SPL.

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