As a working sound engineer in the 80s, I depended on the NS 10 to give me a sense of the room, as a standard reference or metric. I would play something like S

As a working sound engineer in the 80s, I depended on the NS 10 to give me a sense of the room, as a standard reference or metric. I would play something like Steely Dan's Babylon sisters, which I knew intimately, and how it sounded on the NS10 would tell me something about the accoustics of the studio I was in. It probably could have been any other speaker of the time, what was critical was the fact that it was in every single studio without fail. It was a constant variable in an equation where every other variable was in flux.