Looking to find some kickass headphones

  • Thread starter Thread starter bewildered
  • Start date Start date
TheDewd said:
Since you are more experienced than I in this field, I give you the benefit of the doubt. But I never heard a commercial record since 1991 that sounded good on great gear. All instruments are flawed, the bass is off, the kick drum is too rounded, etc.
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lol.... :confused:

I mean, what can you add to that? That about says it all.

Nothing left to do. I'm selling all my gear andI'm gonna take up needlepoint.
 
Can we please define a term here?

"Mixing for the masses"

What the heck is that anyway?

Whenever I work on a mix, I'm only thinking about making the best music possible. Every engineer I've ever worked with does the same thing. In other words, express the music to greatest degree it can possibly be expressed, with the gear at hand to the best of ones ability. Never ever, in all the years I've been doing this has any engineer ever talked about "mixing for the masses" or dumbing anything down. Or trying to appeal to some mythical idea of what people might want to hear. It all comes from the music itself.

So what is this "mixing for the masses"? I need you to explain that to me, seriously, I really do because I don't get what that is.

My guess is that you are dividing the listening public up into two groups, the "masses" and the "audiophiles". As in: "the unwashed masses" and "the good guys".

My feeling is that a great mix will play back well on a standard home stereo system, but also sound that much better on a killer audiophile system. I'm not talking about making car mixes, and I don't think anybody here is. Although getting a mix to work in a noisy environment and still be a good mix is a bit of an art unto itself.

Dewd, you are very entertaining and some of what you say is half right, but you come at it from the wrong angle. Like looking at the truth from 180 degrees off, it's not the truth anymore.
 
And do these "masses" include the millions of listeners of jazz, fusion, and classical music--or are we just talking pop here? Such broad generalizations are killers, hard to take without a smile. Dewd, not to pick on you, but since you're thowing out this stuff with so much enthusiasm and certainty, I have to wonder about such distinctions.

To be frank, I'm guessing that you're just playing games in this thread. At least you've prompted some interesting and useful responses.

J.
 
I don't know if BeWildered decided on a set of headphones before this thread turned ugly but I would suggest the Koss Pro 4AA. I'm surprised no one else mentioned Koss, they've been the king of headphones for years. I don't know about using them for mixing but I have a pair(I upgraded from a twenty-five-year old pair of Pro AAA's, also great) and they've been slowly robbing me of my hearing for about four years now. But it's a nice to way go deaf.


http://www.koss.com/koss/kossweb.nsf/04ProductDetailCall?ReadForm&Home+Stereophones^PRO4AA

I also see they now have the Pro 4AAT which looks like a souped up version of the 4AA. Wasn't available when I bought mine. Bastards.

http://www.koss.com/koss/kossweb.nsf/04ProductDetailCall?ReadForm&Home+Stereophones^PRO4AAT
 
bewildered said:
well, after reading some threads on here about how headphones tend to break or die out within a year, i guess i shouldnt look so far into the future as to assume i will be using this during tracking.
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I've had a pair of Fostex T-20's for 15 years and the only thing I've done is replaced the cable once, althougth recently I've had to take 'em off & crank the volume for a second to get sound in both ears a few times.

They've lasted so long I think because I have a simple rule that I make sure everyone sticks to:

Headphones NEVER go on the floor.

I also use SONY $20.00 headphones for a lot of tracking and editing. They change the model #'s quite often.
 
Harvey Gerst said:
Southern Tracks Recording
www.southerntracks.com[/i]

Now, Southern Tracks just happens to be one of the best studios in the United States. Several of their mics costs more than my entire mic collection. Take a look at their client list (and their mic/equipment list).
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That is a COOL mic collection. wow. :eek:
 
That is a COOL mic collection. wow.
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Isn't there a law against monopolizing rare and vintage mics?

Holy microphone Cow.

They really should be forced to share.

I will probably never even see one of the vintage mics in that collection in person! :eek:
 
Scooter B said:
Isn't there a law against monopolizing rare and vintage mics?

Holy microphone Cow.

They really should be forced to share.

I will probably never even see one of the vintage mics in that collection in person! :eek:
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And their client list ain't too shabby either.
 
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