of bass. This trend reached its zenith with The Who's use of a dozen JBL 4350 monitors, each capable of 125 dB and containing two fifteen-inch woofers and a twelve-inch mid-bass driver. Most studios, however, also used more modest monitoring devices to check how recordings would sound through car speakers and cheap home systems. A favourite "grot-box" monitor employed in this way was the Auratone 5C, a crude single-driver device that gave a reasonable facsimile of typical lo-fi sound. However, a backlash against the behemoth monitor was soon to take place. With the advent of punk, new wave, indie, and lo-fi, a reaction to high-tech recording and large corporate-style studios set in and do-it-yourself recording methods became the vogue. Smaller, less expensive, recording studios needed smaller, less expensive monitors and the Yamaha NS-10, a design introduced in 1978 ironically for the home audio market, became the monitor of choice for many studios in the 1980s. While its sound-quality has often been derided, even by those who monitor through it, the NS-10 continues in use to this day and many more successful recordings have been produced with its aid over the past twenty five years than with any other monitor. 1980s–1990s By the mid-1980s the near-field monitor had become a permanent fixture. The larger studios still had large soffit-mounted main monitors but producers and engineers spent most of their time working with near-fields. Common large monitors of the time were Eastlake / Westlake monitors with twin 15" bass units, a wooden midrange horn and a horn-loaded tweeter. The UREI 813 was also popular. Based on the almost ageless Altec 604 with a Time-Align passive crossover network developed by Ed Long, it included delay circuitry to align the acoustic centers of the low and high-frequency components. Fostex "Laboratory Series" monitors were used in a few high-end studios, but with increasing costs of manufacture, they became rare. The once dominant JBL fell gradually into disfavour. One of the most striking trends was the growth of soft-dome monitors. These operated without horn-loaded drivers. Horns, while having advantages in transient response and efficiency, tend to be hard to listen to over long periods. The lack of distortion of high-end dome midrange & tweeters made them easy to work with all day (and night). Typical soft-dome systems were made by Roger Quested, ATC, Neil Grant and PMC and were actively driven by racks of active crossovers