keith.rogers
Well-known member
I would never characterize my 250ohm set as thin, but I don’t listen to any modern stuff either.
uhhhgggg you're rightYour DT770's are what are known as a 'closed back' design. The AKG K240's are 'semi-open' design. They will sound a bit different. The semi-open type will let some room sound through to your ears and sound more 'open', and conversely will let the sound of the headphones leak out into the room. If you tend to track your voice overs with headphones, the semi-open could leak sound back to the mic. Generally best while tracking to use a closed back type of headphones to reduce/prevent audio leakage.
Q RfCSemi Open vs Open Headphones vs Closed Back for Mixing
Difference between Semi open vs Open Headphones vs Closed Back Headphones for Mixing and Mastering. Best Headphones recommendations.www.mastrng.com
The HD280Pro's are a closed back design like the DT770's. Both good for tracking with the closed back design. I have had a pair of the HD280Pro's for a number of years and have not had a problem with them, but I do use them less than my preferred Sony MDR-7506's and AT ATH-M50X's. Use your DT770's for tracking and see which you prefer between those and the K240's for 'mixing'/listening back to what you've recorded.What would you guys recommend under $200 that aren't the DTT770s? I've seen a lot of recommendations for Sennheiser HD280PRO but I see a lot of reviews saying the right channel failed within a year.
Thanks for the suggestions, maybe I'll give the Sonys a try. I hear Audio Technica headphones are really nice, but I'm trying to avoid collapsable headphones (my cheap pair are collapsable and part of the reason I started looking into upgrade is because the hinge started to squeak and bleed into my recording. Probably not as much of a problem with nice headphones, but I'm scared to buy a pair and have the hinge start squeaking.)The HD280Pro's are a closed back design like the DT770's. Both good for tracking with the closed back design. I have had a pair of the HD280Pro's for a number of years and have not had a problem with them, but I do use them less than my preferred Sony MDR-7506's and AT ATH-M50X's. Use your DT770's for tracking and see which you prefer between those and the K240's for 'mixing'/listening back to what you've recorded.
By default, many DAW meters only go down to -60dB fs and so seeing low level but still audio artifacts can be difficult. However, most DAWs allow the meter scale to be expanded. Samplitude goes to -90dB but give a numerical readout beyond that. I am sure Reaper can be so set? If not Audacity certainly can be.But why arent you seeing these in your editor...... Reaper?
Hold up a bit there Baz', you say you cannot SEE any artifacts in Audacity? I do not wish to question the resolution of your hearing but I doubt you can hear things down at -90dB fs assuming the 'meat' of your signal is at -18, -20ish?for one I’m using audacity and audition, and yes, the artifacts are so small they aren’t making a blip.
but if it’s there and you can hear it on every other pair of headphones I own but not these....then these aren’t good headphones. I shouldn’t have to rely on sight for things I should be able to hear in almost $200 headphones. Even if I could see and not hear it...what am I supposed to do? Deafly guess how to fix it and hope it sounds good to everyone else? Idk guys these headphones are a major disappointment all around.
I also discovered that the monitoring capabilities is not loud enough for me to hear when something bleeds into my recording. For example I’m finding that the plumbing pipes in my walls make noises but I wasn’t able to hear them in the headphones while recording, though I can on other headphones, so whole portions of my recording had to be redone.
Being able to monitor my audio is the whole point of having them. These are literally useless I have no idea why people like these.
Hold up a bit there Baz', you say you cannot SEE any artifacts in Audacity? I do not wish to question the resolution of your hearing but I doubt you can hear things down at -90dB fs assuming the 'meat' of your signal is at -18, -20ish?
Dave.
Headphones are designed for certain markets, purposes, price points, etc. I see the DT770s used primarily in recording and streaming, where a comfortable, sealed, closed back set of headphones is most important. And, personally, I think they are very nice for listening to some types of music. But I've repeated here that I don't think they are good for mixing. The advice I've heard and tried to heed is like @rob aylestone said (if I haven't mangled/misread) - something unflattering and revealing is what you want, not something that makes it sound good, particularly. Then learning to listen to how the mix translates on other devices, and take that experience back to listen on your mixing headphones or speakers, to understand how you need to adjust your hearing so you can better use them. Nothing is going to magically fix the mix - it's going to be a combination of learning to listen, adjusting technique, fixing room problems, wash, rinse, repeat.for one I’m using audacity and audition, and yes, the artifacts are so small they aren’t making a blip.
but if it’s there and you can hear it on every other pair of headphones I own but not these....then these aren’t good headphones. I shouldn’t have to rely on sight for things I should be able to hear in almost $200 headphones. Even if I could see and not hear it...what am I supposed to do? Deafly guess how to fix it and hope it sounds good to everyone else? Idk guys these headphones are a major disappointment all around.
I also discovered that the monitoring capabilities is not loud enough for me to hear when something bleeds into my recording. For example I’m finding that the plumbing pipes in my walls make noises but I wasn’t able to hear them in the headphones while recording, though I can on other headphones, so whole portions of my recording had to be redone.
Being able to monitor my audio is the whole point of having them. These are literally useless I have no idea why people like these.
I'm amazed! I'm of an age and state of my audio career that I seriously wonder about the amount of plugins that are not just available but that people use. If I have a singer who does the between word breath thing, it's a snip, and a fade out or fade in - or at worst a manual insert and crossfade of a bit of silence. I just can't imagine leaving these things to a plugin. I'm sure they do a great job, but I'd rather use my ears and I only ever 'close the gaps' if it's exposed. In fact - I leave most breaths in, and just reduce them in level as it's more realistic.
I bought their cheapest option that has de-noise, de-hum, de-click and de-clip.... I am interested in upgrading to the full package... what features specifically do you think would benefit voice editing? I'll youtube some videos to see if they convince me to pull the triggerHeadphones are designed for certain markets, purposes, price points, etc. I see the DT770s used primarily in recording and streaming, where a comfortable, sealed, closed back set of headphones is most important. And, personally, I think they are very nice for listening to some types of music. But I've repeated here that I don't think they are good for mixing. The advice I've heard and tried to heed is like @rob aylestone said (if I haven't mangled/misread) - something unflattering and revealing is what you want, not something that makes it sound good, particularly. Then learning to listen to how the mix translates on other devices, and take that experience back to listen on your mixing headphones or speakers, to understand how you need to adjust your hearing so you can better use them. Nothing is going to magically fix the mix - it's going to be a combination of learning to listen, adjusting technique, fixing room problems, wash, rinse, repeat.
If you want to tackle all those things like background noise, mouth-clicks, etc. then I'd recommend ponying up the bucks for iZotope RX Standard and learn to use it surgically, though the general noise reduction an be applied by learning from the "silent" section at the beginning and is really good at not leaving to many footprints around IMO. The little noises here and there are best tackled with something that really knows what to do to repair and replace if needed, but not applied globally.
RX 8 Standard is $300. Not wasted money. There may be other options, but it's very good, and has the ability to use other plugins you may have in your DAW, as well as adjust levels, report stats, e.g., to set compression limiting and finalize the LUFS of a recording.
iZotope RX 8 Standard Audio Repair Software
Audio Restoration and Repair Software with AI-assisted Processing - Mac/PC Standalone, VST2, VST3, AU, AAX Nativewww.sweetwater.com