Excellent value. One of the primary features that make the Yamaha HS8 stand out is its higher frequency response rate. If I only had the HS8's to work with, I'm sure I'd mess up the mids on things (The woofer’s white cone harks back to its seminal forebear, the NS10M.) - Updated Bass Ports (They are now roughly -6db quieter which means a more controlled Low end) - Yamaha removed the internal shielding to improve magnet efficiency Most surprising was the total absence of flabbiness in the bass band I’ve come to expect from monitors that employ a bass reflex port. Frequency response: 46 Hz – 24 kHz* Yamaha’s HS series are seen by some as the long-awaited successor to the company’s ubiquitous NS10M studio monitors, which came onto the market way back in 1978 and can still be found in countless commercial studios to this day. The declared frequency response of the Yamaha HS8 is 47 Hz to 24 kHz (-3 dB). The HS8 weighs 22.5 pounds and consumes 60 watts of power. That's what I needed. 2-way bass-reflex bi-amplified nearfield studio monitor with 8" cone woofer and 1" dome tweeter. Examining the monitor’s frequency-response chart, the most noticeable deviation in response is a dip between 6 and 9 dB, with a nadir of roughly -3.5 dB. A heat sink (for the amplifiers), rocker-style power switch and IEC power receptacle round out the rear panel. I found the higher end of the A8X's to be a little too clear and not as well balanced wit the low's as I would have like. Yamaha has redesigned the cabinet as well as a few other components on the HS8 Monitors. To sum up, if you are on the fence, bite the bullet and buy. Why were the NS 10's so popular? Sound - The HS5 is an updated HS50M. Not flat or accurate, but great. It was because of their transparency - if your mix sounded good on the NS 10's, it would sound good on anything! Therefore, HS 8 can perform more detailed bass and accurate sound. This isn't a review of one pair of speakers; it's a comparative review of two pairs. Listening back to my mastered mixes with the HS8s’ filters nulled, imaging was very good and the spectral balance very even, save for mildly understated sibilance and a slight buildup in the upper-bass and low-midrange bands. emphasized with the HS8 where it was clear and apparent in the HS7 but not emphasized. The frequency response of HS8 is sligtly wider and more stable . There's a round, warm, controlled sound to the bass that was often out of control on the HS80's ( even with low cut adjusted ). All the monitors are almost up against my back wall, at an angle pointing at my mix position. The frequency response of the HS80M is 42Hz to 20kHz, while the newer HS8 provides a more extended frequency range. They’re a classic design featuring sleek lines, with a little bit of futurism thrown in by the rounded corners and Venn diagram style overlapping of the dome and tweeter perimeters. To make what could be a long story, short, the HS5s were very midrange forward and almost brash whereas with the HS7, the highs and mids were clearly there but not over emphasized. Whether you are an audio for film guy/gal or a music mixer or even a live mixer working outside the venue, you need a great pair of studio monitors. My final conclusions? Now enter the HS8's. The process was not “scientific” per se as I listened only to pre-recorded music (Bruno Mars-Just the Way You Are, Brad Paisley-Alcohol and Cheap Trick-I Want You to Want Me-Live.) I'm very happy with how these sound, both because they sound really good and because they sound exactly the kind of different from my LSR32's that I needed. Bob G. Information The highs on the HS8 are pretty hyped compared to the LSR32's. I was looking for a set of nearfields for reality checks while mixing. The LSR32's have 12" woofers that reach pretty darn low, but in my normal mix position in a 6' equilateral triangle, the lows (and especially the really low lows) don't seem to have enough space to build, and I have trouble hearing them. In my control room, an Acoustic Sciences Corporation Attack Wall (a set of modular tube traps) is positioned to prevent sound emanating from the rear of the monitors from reflecting off the front wall. Elsewhere, the 8-inch low-frequency driver produces 75W of power output, leaving you with a total of 120W in amplification power. CONS: Very slightly understated reproduction of sibilance. I like them both, in different ways. HS8: 38Hz - 30kHz I feel I really have two perfectly complementary bass-checking systems now. Yamaha HS8 Review. I have even found that musicians that do their own recordings tend to have better tracks if they have great monitoring in a well-treated space. Yamaha, and especially the HS8 monitor, has been a longstanding favorite with many musicians and producers over the years. Looking at the frequency response diagram of the HS8 closely, the most noticeable deviation is a 6-dB dip around 2 kHz. The HS8's sound scooped to me, especially in the problematic 250hz-400hz range. The Yamaha HS8 studio monitor offers a 38Hz – 30kHz frequency response from their newly developed transducers. The frequency response on the HS8 provides a wider range from 38Hz-30kHz versus the HS7 at 43Hz-30kHz. You betcha--uncomfortably loud, with no sign of stress that I can detect. I used Emu 1616, Radio shack analog SLM and yamaha HS80m when I mesaured the frequency response in my living room, I hold SLM 4.5inch away from the mid It's certainly not concert loud, but it's louder than I'd ever use for mixing, and it's loud enough for clients to hear their music "cranked." 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