Dubstepforum.com

travis baker wrote:

RandoRando wrote:ath m50s are the best pair to purchase

i lke these responces

my birthday is a week away, hopefully they will be mine

SMOR3S wrote:Are you buying new cans for monitoring, or listening pleasure?

Listening pleasure.

got the ath m50's this week! fxcking sick! i recommend them to anyone!

im also on the lookout for new cans, monitoring purposes...

was thinking of hd's

now im not so sure...

have one eye on the m50's now...

_v_ - Beyerdynamics man - DT990 pro is the only way.

Electric_Head wrote:_v_ - Beyerdynamics man - DT990 pro is the only way.

i second this

Speaking as being a manager of a Pro-Audio Store, i've set out to try almost all of the headphones that we stock.
I currently own a pair of Sennheiser HD25-2 (reliable as anything can be for dj'ing) and Audio Technica ATH-M50, which i frankly regret buying. They are alright, but after using Adam, Genelec & Neumann monitor speakers in the studio, they dont go anyway near the accuracy i need for mixdowns, but for a hundred and a bit quid, i suppose they are not bad value.
Ive also got Beyer DT100's in the studio which we use for vocalists, but all the vocalists seem to want to use the Audio Technicas instead, so i think that speaks for itself.

The difference between hd25's is

The Sp's have a single headband and wobbly earphones.
Cables from both headphones in a Y shape to plug.

The HD25-2 have a headband that can split, and fixed earphones. has 2 spare earpads. Single cable from one headphone.
The HD25 BASIC sre the same, but without spare earpads


My personal favourites that i've borrowed at the minute are the Sennheiser HD650, which for £270 gives a fairly even response, though the bottom end is not, by any means exaggerated like the hd25's or the beats studio (which if i'm completely honest, hold up rather well to the competition!) but these are great cans for mixdowns.

If you want a slightly more refined version of the beats type sound, then the Ultrasone pro900 have the Uberbass effect of sitting inside a speaker, but keeping some clarity, (though with a noticable dip in the midrange)

If money was no object, then the absolute gems for me are the Audeze LCD2's (1000$) and LCD3's ($2000). If only i didnt have to choose between money to finish the studio building work and getting a pair of them....

Headphone.com actually have a build your own graph you can compare headphone measurements on.

http://www.headphone.com/learning-cente ... -graph.php

You can't compare the DT100 with other higher end Beyer models.
They are totally different.

So yeah im as confused/undecided as ever now, but thanks a lot for the responses
something to think about...

_v_ wrote:So yeah im as confused/undecided as ever now, but thanks a lot for the responses
something to think about...

thats dsf for you, leaves you hot, bothered, and a little confused

Electric_Head wrote:_v_ - Beyerdynamics man - DT990 pro is the only way.

I got some of these last week. I'm struggling with the amount of high end, but it could be just that i need to get used to them.

Jock - are you using a decent amp to power them?
I haven't noticed any issues with the high end.
I find everything to translate pretty well to most systems.

Electric_Head wrote:Jock - are you using a decent amp to power them?
I haven't noticed any issues with the high end.
I find everything to translate pretty well to most systems.

they actually are quite top endy that being said i think its because of the flat responce and the fact that there headphones. i havnt heard anything like these when it comes to detail, the subs are great to work on and the mids to highs are accurate. i found around 80 to 150 hertz i little muddy. i normally switch back and forth to my ktrk's when producing. great value for money!

travis baker wrote:

Electric_Head wrote:Jock - are you using a decent amp to power them?
I haven't noticed any issues with the high end.
I find everything to translate pretty well to most systems.

they actually are quite top endy that being said i think its because of the flat responce and the fact that there headphones. i havnt heard anything like these when it comes to detail, the subs are great to work on and the mids to highs are accurate. i found around 80 to 150 hertz i little muddy. i normally switch back and forth to my ktrk's when producing. great value for money!

Yeah i have just noticed that the really top end stuff 18-20k is quite loud, but its probably just because i haven't used good headphones before. Like i said i'm just gonna give them a few weeks bedding in before i make any judgements.

Got a pair of hd25's fairly recently and the one thing that bothers me is that the left earphone (the one without the cable) is sort of loose and wobbly and subsequently doesn't quite sit on my eat like I'd like it to.

I'm not sure if this is a production fault/ it was damaged in transit or if it's a feature to make monitoring easier. Was wondering if some fellow owners could shed some light?

fuck it man, so what if I'm a producer, you don't Have to have flat response headphones... ima just buy the Sony XB500

JizzMan wrote:fuck it man, so what if I'm a producer, you don't Have to have flat response headphones... ima just buy the Sony XB500

surely if youre a producer you want your equipment to give you an accurate representation of what the tune is actually sounding like? thats what flat response is for. If you have something that colours the sound you will have no idea how its going to sound on other systems. You can get around it, its about knowing how those headphones translate. But it would be far easier to just have something thats flat, surely not?

Sparxy wrote:

JizzMan wrote:fuck it man, so what if I'm a producer, you don't Have to have flat response headphones... ima just buy the Sony XB500

surely if youre a producer you want your equipment to give you an accurate representation of what the tune is actually sounding like? thats what flat response is for. If you have something that colours the sound you will have no idea how its going to sound on other systems. You can get around it, its about knowing how those headphones translate. But it would be far easier to just have something thats flat, surely not?

thing is, I've been producing on the xb300s (which is the level below the xb500s) for a couple of years now and my mixes havent suffered too badly because as you said, its about knowing how the headphones translate. I think I'll struggle more if I switch to flat response rather than stick to the xb's cos I'll just be left thinking about where the bass is

JizzMan wrote:

Sparxy wrote:

JizzMan wrote:fuck it man, so what if I'm a producer, you don't Have to have flat response headphones... ima just buy the Sony XB500

surely if youre a producer you want your equipment to give you an accurate representation of what the tune is actually sounding like? thats what flat response is for. If you have something that colours the sound you will have no idea how its going to sound on other systems. You can get around it, its about knowing how those headphones translate. But it would be far easier to just have something thats flat, surely not?

thing is, I've been producing on the xb300s (which is the level below the xb500s) for a couple of years now and my mixes havent suffered too badly because as you said, its about knowing how the headphones translate. I think I'll struggle more if I switch to flat response rather than stick to the xb's cos I'll just be left thinking about where the bass is

true that. I've use XB500's for quite a while now, it's purely about knowing how the sound translates. It does help having actual monitors though, I tend to mix levels on my M1s and go to the XBs for stereo shinanigans (big ting for me, I put a lot of stereo modulation in my mixes.)

I know the XBs are to bass heavy, and the M1 520's are pretty weak in the lower register. I've become accustomed to mix to a mean between the two. So yeh it's all about knowing how your hardware behaves really. I think it's much more important to just make a decision and get used to what you end up with than flap about trying to get the perfect audio fidelity hardware. You'll become accustomed to how you have to mix based on your setup, so like unless you've got £100000s to spend on top tier gear, room treatment and so on, Just putting effort in to reacting to the imperfections you know are there will essentially give you the same output, minus the huge wads you would have doshed out otherwise.

I've got HD25s for djing but wouldn't use them for producing. I use them to listen to music and they get quite uncomfortable after a while.. looking at buying some different ones for listening and producing (when I eventually bother to try).