The point is not to sound good in the studio (except for client playback perhaps). The point is for it to “translate” to other stereos beyond the the studio’s monitors. Despite what’s common in car audio, frequency response is NOT the only important measure - not for a studio monitor anyway. There are many flatter speakers than the ones I use and definitely ones with better low end extension. Back to the NS10. It’s a sealed cabinet. This means the low end (for this driver and cab at least) starts rolling off at maybe 100 or ~75hz at best. BUT the lows that are there are much faster / more accurate (outside of freq response). NS10s also have a nasty frequency peak somehwhere around 2-7K (sorry to not be more specific) and don’t have great high frequency extension either. Sounding like a horrible speaker yet? Honestly I love auratones even more which are nicknamed “horrortones” because they are so mid centric.... NS10s though. So, that nasty frequency spike forces an engineer to smooth out the vocals or if the electric guitars or cymbals or whatever are too spiky right around the frequencies where our ears are most senseitice. The lack of deep low end also helps us stay focused on what’s most important in a mic - the mid range. Why mids? Because our ears hear mids easier than highs or lows, especially when listening at low volume (google fletcher musnson curve). Plus we have no idea whose stereo will have great highs and lows but even the crappiest Apple earbuds or laptop speakers still has some mids. Mixing with the primary focus on the mids also means the mix comes out louder (and not due to compression) because we naturally get the midrange more “full” sounding, and that’s loudest to the way humans hear plus takes less wattage to reproduce than low end (think about loud rock records, there isn’t actually much bottom end on a lot of them - sadly because it got squashed away in the loudness wars for some recordings in the last 20ish years). Lastly, Since NS10s aren’t very loud in the lows (they’re there but fairly rolled off) it lets the mix engineer know whether too much of the bass guitar, or floor tom, or even vocal’s energy is made up of deep lows. If you mix solely on some scooped modern studio monitor (most of the crap available these days), it can sound bangin in the studio and then take it to a car with a stock system, especislly an older car without good lows, and all the volumes of the instruments in the mix may seem to be way different than what you heard in the studio. Why? Several reasons. But one is that the mix had too much energy (at least for certain instruments/sources) below say 80-100Hz. Maybe the floor tom didn’t need to have ALL its 250-700 gutted (or even more). Maybe the bass guitar actually needs a HPF or low shelf reduction not a low end boost. Etc etc. mixing records is a bit more complicated frequency wise than it might appear and a lot of if it counterintuitive.