spacey


I went here Dude....a long time ago....and got these. FWIW.

Very comfortable too. Not one session have they ever been uncomfortable
and they just don't tire my ears like other sets.
Sound....well that's for one to decide - If/when they go bad I'll replace in-kind.

Not the 2900s? They're 2150 more than the 750s ya know?

bapu

spacey


I went here Dude....a long time ago....and got these. FWIW.

Very comfortable too. Not one session have they ever been uncomfortable
and they just don't tire my ears like other sets.
Sound....well that's for one to decide - If/when they go bad I'll replace in-kind.

Not the 2900s? They're 2150 more than the 750s ya know?

Well...if and when I want open back I'll go for these....since they're limeited...their replacement. :)

I have a question and since i cant buy anything anymore without the help of this forum here it goes. I need some headphones for mixing/mastering. Before anyone dogs me about it i know this is not the way to mix but realisticly, its about the only way i can. Im sure im like most people in which i cant listen to my monitors that much cause ive got my wife watching tv ive got neighbors, i dont have kids but im sure alot of u do and im sure everyone mixes til all hours of the night like i do. Therefore, I need some really good headphones. So the people out there that does the majority of your mixing through headphones, what are u using? Ive read some reviews at guitar center on a few brands like the Sennheiser HD650. The reviews are pretty good but id like to hear from people that i know will be using headphones the same way im using them.

Dude Ivey

I love my VRM box. Once we had the baby i invested in it and i use all the "crappy" presets like computer speakers to check my mix.
 
it's not really necessary to have great headphones to mix, as long as you know what your headphones sound like. My old old old sony monitors were a little bass-light.  So i'd add bass. then when i put it in the car, it was too boomy. And my old Sennheisers (forgot the model, but they were open back and designed for symphonic music) always caused me to have too much low-mids and when i played it at home, it was too muddy.  so it takes experience so you automatically know that your most commonly used cans are "bass heavy" or "bass light" and so you mix with that in mind. and any high-quality car system is going to be bass heavy or top heavy. Right now i use Grado sr225is which are open back so noise does leak out, but it's a better sound and doesn't give me as much ear fatigue as a closed headphone does. and since you're not supposed to track and mix at high volumes, the sound leak does not bother my wife. YMMV.
 
i dont know your experience level so i dont want to 'talk down' to you, but also keep in mind the old methods of carving out using EQ to balance the instruments and be aware of stacking up too much in a single freq band. the VRM box is pretty good at revealing problems on different types of systems. i use the Japanese White Speaker setting mostly since they are less forgiving than the Genelec presets.
 
and of course, comparing your mixes to commercial mixes is very handy and to me is a constant reminder that mastering is a SCIENCE and the outcome of mastering depends on how well you prepared everything before the mastering session.

You know what I never understood ... why is it that we aren't supposed to mix/master in an untreated room, but when we listen to a professionally recorded CD in an untreated room it sounds good? Whey can't we achieve that in the same room?

Interesting comment, Bub.  I find the absolute best tool for mixing is listening to a reference CD by a band I like in a similar genre through the studio monitors and comparing it to my mix.

It cuts both ways, too.  I was using "Making Promises" by Indigo Girls as a reference for a project I was mixing with similar instrumentation and vocals.  When I put "Making Promises" in, I was shocked by how squashed (over-compressed) it seemed compared to my uncompressed mix.  I had never noticed that until I was doing an A/B comparison.

I was listening more for EQ and balance than for compression, but was really surrpised how much compression I heard on a folk-pop project with so much reliance on acoustic instruments.
 
(Or you could listen to Justin Bieber and do the opposite.)

Bub


You know what I never understood ... why is it that we aren't supposed to mix/master in an untreated room, but when we listen to a professionally recorded CD in an untreated room it sounds good? Whey can't we achieve that in the same room?

Because the professional CD has been mixed and mastered to sound good in ANY room on ANY system. If you mix in that untreated room, you're likely to end up with a mix which works well in THAT room but sounds like crap elsewhere. I think the purpose of a treated room is so that you have an accurate perception of the entire frequency range, so that your not going to make mixing decisions which are influenced by the sonic peculiarities of the room you're in. 

ive got my wife watching tv

Something to consider before you buy start writing up a list of possibles is whether you need open back or close back.  I much prefer open back (better sound IMO and your ears don't get so hot!) BUT if the wife is too close, she might get annoyed at the leakage from open back phones and/or the TV may be audible for you!  


In-ear phones are another possibility


Andy

+1 on the ATH-M50's. I also use the HDPHX plugin on my master bus. I don't think it's available anymore though. Paul

There is also the Redline monitor plug. 

Just another nickel's worth of free advice:  Get a good spectrum analyzer such as SPAN (http://www.voxengo.com/product/span/) and do comparisons between your mix and a similar genre mix.  Sometimes it helps in pinpointing those frequencies which you either have over or under emphasized.

+1 on the AKG's

Best,
guitardood