Waves nx sennheiser 6506/19/2023 The really good news is that Acustica is giving away a free version of Sienna as a summer giveaway with a limited set of room models but it includes the Spitfire Mastering Room with B&W speakers that's my preference. It really does make a high-end open back set of headphones sound like listening to a good set of speakers in an acoustically treated room. What says is true too, you definitely have to get used to a new set of cans, especially open back designs with a wide sound stage as they do unrealistic things to the low end and are far more revealing in the upper mids and highs.Īs well as Sonarworks I've recently changed to using Acustica Audio Sienna Pro on the desktop when using headphones, as this does more than correct the response curve of a particular headphone model, it's the first plugin I've found that realistically models the room (Waves claim to do this via their NX system but it's nowhere near as good). Headphones and speakers for that matter change in subtle ways over time. This is what my recent search threw up - not to dispute your claim, Jon, just because it really happened recently:įor every subjective POV there's always a deny post you'll find somewhere online. Not being a pro I find it hard to see the light in this question. But just as it is in any walk of life, trust is a hard earned said: I still use them to sense check what I’m doing but I’ve grown so accustomed to mixing with with the HD 660s’s, I now feel I can get the mix I want out of them without powering up the Eggs. Still love the Eggs, just hate the room they’re in. I had to move my studio setup from a room with great acoustic treatment (we had a fire), to a room that’s impossible to treat, and on that basis I was forced to have more trust in my cans, than I have in my SE Munroe Egg 150 monitors. If I can listen to music I know and love via that correction profile, then I can produce music with that profile too. At 100% things can sound a tad too boxy in the lows, for me it turned out to be a very ‘unscientific’ 63% mix that matched closest to my speakers. The trick with an app like Toneboosters Morphit is the wet dry mix. There’s little need for a headphone amplifier if you’re using a decent audio interface. You’ll notice subtle (or not so subtle) differences and that will equip you with the knowledge that you need to trust your cans. Outside of paying someone like Sonarworks to create a custom correction profile for you with proper measuring equipment, the way you’ll come to trust a pair of high end cans for music production, is to spend some time with a collection of your favourite music and then listen to it repeatedly via both speakers and headphone (only if you have monitor speakers you trust). Having said that I definitely think that the 660s is an improvement on the older model when used with a decent correction profile. The core difference between the older HD 650 model and the updated 660s model is that the bottom end was more natural in the 650’s without relying on a correction profile. And that was only after using a custom correction profile in Toneboosters on iOS (I still use Sonarworks on the desktop). ![]() It took about 6 weeks before I could trust my HD 660s’s. I used to laugh at those on audiophile websites with their discussions regarding lengthy burn-in and sexy headphone amplifiers, but burn-in can make a huge difference if you want and need to trust your cans as an alternative to a decent monitor/amplifier combo in your studio. The essential trick with any high end set of cans is allowing for burn-in. And when these go, I’ll be searching for another open-back pair I searched in vain for another second-hand pair but eventually purchased a pair of HD 660s’s. I used Sennheizer HD 650’s for years until I accidentally ruined one of the cans.
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