I just got the AIAIAI TM-2 Wireless+ with the transmitter and have to say I really like them. Because so far they are the only ones that really have such a low latency that I can play piano and synths as well as guitar (I am very far away from Van Halen guitar playing)
I tried many other options including an in ear monitoring system solution from LD Systems which I found awkward to use.
Even with bluetooth I can watch YouTube without noticing a big latency when some one is talking.
Overall happy. I did order the on ear pieces because I am not used to over ear. Although the sound so far is very nice.
Nah⌠theyâre great for music production! Just because theyâre not âneutralâ, and thatâs what we look for when mixing, they make up for this by sounding great and being inspiring when making music.
One thing I would say, I can never use them for music making in wireless/Bluetooth modeâŚthat does freak me out, I have to have them physically plugged in.
On a wider note, the most important factor for any monitoring- headphones or monitors- is familiarisation.
The more you use the SAME source, the more beneficial it is to your own output.
There are no bad headphones these days once you get above $50, and any headphone mentioned in this thread will do itâs job well once you know the sound.
The only real practical consideration we have to make is environmental/physical⌠are you working with microphones? Does it matter to you if you get spill?
If the answer is ânoâ to both of these, you canât go wrong with a good set of open backs.
Good point, this is often overlooked in the comparison of headphones and monitoring systems with frequency response graphs and other technical details.
The minute your brain âhearsâ (interprets) sound, it starts compensating for any disbalance. For example, when your in a large hall youâll hear a great amount of reflecion of the walls. Minutes later, you donât hear the reflections anymore. The same goes for disbalance in frequency responses, latency, a lack (or excessive amount) of bass, etc.
This compensation process behaves different for any of us, just as the âfrequency responsâ of your hearing. It depends on your genes, if you trained your hearing, age, hearing damage, etc.
This means itâs almost impossible to generally say which headphone are best for mixing as itâs so subjective for each individual. What does actually matters is that headphones:
have a more or less âflatâ frequency response to at least minimize the compensation of your brain
can produce most audible frequencies (no accurate bass mixing when your headphones donât go below xx hz)
I agree that familiarization is super important, but I struggle to understand why it would be the most important. More important than the actual headphones? If certain headphones translate to speakers well, what do you have to get familiar with? (Not much. But, not nothing)
It is not impossible to say which headphones are best or at least better for mixing. Frequency response, detail, and distortion can change so much between headphones. Between my Grado SR225s, Beyer DT990s, and LCD-Xs, only the LCD-Xs can handle some songs I love distortion free (Frank Ocean and Earth Boys as an example). My friendâs Sennheisers HD25s are similar to the SR225s, they have a super compressed but fun sound. I like to listen to them sometimes, but I never make important mixing decisions on them.
Imagine trying to mix your beautiful pads with distortion? Just learn to⌠get used to it? (no thank you) Other headphones can solve that problem, but⌠they arenât better?
A thought experiment would be: 1. Draw something that requires decent proportions (like a human face), then 2. Try to draw the same picture again, but this time look at the paper youâre drawing on at a steap angle. You canât perceive the space properly, and it will look off.
That is my feeling when I try to mix with compressed but fun headphones.
Definitely more important than the actual headphones, yes. (edit- IMO obvs, not saying this is fact.)
If you constantly listen to music of all types in the same way (same headphones/speakers), your reference/judgement is wayyyy sharper when you hear something untoward because of the familiarity.
NS10s sound average at best, but they are/were so valued because they were so familiar to engineers/studios⌠with familiarity comes consistency, and less âmistakesâ.
I have a friend who mixes on HD25âs⌠he DJâs with them, he listens to music off his phone/laptop with them⌠he knows them inside out⌠and his mixes always impress me when I play them on my system (that Iâm familiar with).
Like anything, commitment and focus to something goes a long way.
Pick your poison (headphones) and commit.
Also, I really like your Soundcloud tracks⌠listening to Effective Human Interface Technology⌠but listened to a few, and theyâre cool. Sound good on my HD25s!
But, who used NS10s as their main monitors? Quincy Jones also used tiny speakers to check mixes, but do you think he mixed Off the Wall on them? (He didnât).
I agree. But, the quality of headphones differ greatly, and perception alone canât account for all of it. If your headphones veil a certain frequency area, you canât just make objective decisions about that area because of your experience. You might have a strategy to deal with it, but itâs just that.
I agree. I mixed on $30 headphones for years. But, I disagree that itâs good advice.
So after reading a few mentions of them in audiophile and production forums I decided to try a pair of Status Audio CB-1 headphones for mixing. People compare them favorably to some heavyhitter studio HPs so for $50 shipped thought Iâd give them a shot⌠will update with my impressions when they arrive.
Hi guys I really need your help.
I have ben trawling online for days on what headphones to purchase for mixing and mastering strictly EDM (House/techno).
I need to make a decision by the end of the day.
I will constantly travelling so they need to be durable.
I have narrowed them down to:
Sennheiser HD 600 (might need a portable amp to drive them though?)
DT 990 / 880
AKG K-712 Pro EDIT Focal Spirit Pro (But I hear the build quality is bad which isnât suitable for me)
Is there any I have missed?
Any insight would be appreciated as Iâve been going round in circles for ages. Thanks
As in you intend to use them on the move ? Arenât 990s open? Might not be very suited to use on a train. Was reading about 990s the other day and heard theyâve got a high bump thatâs a bit fatiguing. Always was interested in them though theyâre very good looking and Iâve heard good things in the other hand. I use krk kns8400. No complaints. Canât comment on anything else
Yeah Iâm always on the move. However I believe closed backs make the mix more narrow?
Yes I believe the 990s are also open back, but that they also suffer from a boosted high and low (not what youâre really looking for)
On the other hand the general coconscious is that the 600s lack in the low department.
Iâll check out the krks though
Yeah open backs will be better for mixing in general but not if itâs mixing with train noise etc. Iâd grab something closed personally for some quick dirty mixes in public and then sort it out later on my monitors or if thatâs not an option prob some open backs. 2 pairs wonât hurt but it really depends how light youâre trying to travel and what your budget is
