Despite their small size, the acoustics in the placement of these speakers emphasize the "meatiness" of the bass drum due to the boost in the 60 Hz range.
A rise in the 250 Hz range is perceived as "boxy". This is a useful feature, allowing for the detection of such rumble in musical instruments. If the mix is well balanced, it will sound sufficiently appealing, as the body of musical instruments will sound full, warm, and rich. If the mix unpleasantly rumbles, this frequency range should be checked.
Cymbals in the tracks sound bright due to the open-sounding high frequencies, while the reproduction of mid frequencies is smoothed. In conjunction with the boost in low and high frequencies, this creates a colorful sound, which contrasts well with the "bare" NS-10 of the first monitor line.
Reflections from the console are quite noticeable, especially in the mid-frequency and lower midrange areas. The timbre is quite heavily colored, but the depth of space is better felt. If NS-10 significantly cut off the fundamental low end and the mix sounds rather modest, with restrained space, then on Genelec, the space is more convincing.
The bass drum is slightly elongated in time due to the phase inverter, but it adds additional richness to the sound. This is an important aspect of working with Genelec, and it complements NS-10 well, speaking of monitors located on the console bridge.
A tip from the dSONIQ team: Genelec has a significant dip in the 95-100 Hz range, which allows checking, for example, the bass guitar for harmonic content. If this instrument disappears, it's a good sign to find another timbre for the bass guitar or add harmonics to the original sound. If harmonics are present but weakly felt, you can boost the higher frequency zone with an equalizer. In the absence of harmonics, we recommend using a saturator to generate them.