Wow. Ty, thanks! Rane seems to confirm industry scuttlebutt that 7506 are reasonably sensitive and Senn. generally not as much.

Grazie, sorry, I guess I won't be visiting your web site ;-(


Phew that's handy .. 'cos I aint got one Ahahaha! ! ! . .and I now don't need to construct a table.

Aint that sad - bloke without a website.

Grazie

I picked up some Sennheiser HD280s today for $150 CDN. A friend of mine has them and was telling me about how they "dissect" music but I finally really know what he meant!

any idea why the sony 7506 ($100) are the industry standard, when the sony v6 ($70) have a higher freq response (5-30khz compared to 10-20khz) at a cheaper price?

Is the 7506 better (louder) when used with DV cam outputs?

Thanks.

BB

http://www.rane.com/hc4hp.html[/url]

Ty Ford


Looking at this chart I can't really see much difference between the Sony MDR-7506 and the MDR-V600. Am I missing something?

thanks

Apparently. Go out on a shoot. See who's wearing what. I think you'll see many more MDR7506. At some point, specs are just specs. There could be many good reasons other than specs.

Regards,

Ty Ford

Remote audio offers modified 7506s with special baffling for $285. We had a shoot with a DVX100 in 24p this weekend and the camera headphone output has a really annoying delay. My own little Optura does as well. It makes it difficult tell if the room needs additional treatment. Would it be worth the extra expense, or am I making too much of this? I'll bet I could turn down the volume a little and give my ears a break as well. My hearing is already not so great (too many punk show in high school).

Good point. It took me a while to figure out that the DVX100a had to be in 24P before the delay was heard. VERY off-putting. I already get enough phase weirdness from headphones and live action.

Ty Ford

Apparently. Go out on a shoot. See who's wearing what. I think you'll see many more MDR7506. At some point, specs are just specs. There could be many good reasons other than specs.

Regards,

Ty Ford

I was talking to a local DJ about headphones and he mentioned that he switched from the 7506 to the V600 because he felt that they were a little more comfortable. Also that he has not noticed any difference in performance. That is why I was looking at the spec. I wonder how many others have actually used both and if so could you please give a comparison.

Thanks

Don

If you like the sony 7506 ($100), you might want to check out the sony V6 ($70). They have a higher freq response, 5-30khz compared to 10-20khz.

(this is not the same set as the sony V600)

http://jeremy.zawodny.com/blog/archives/003955.html

I was talking to a local DJ about headphones and he mentioned that he switched from the 7506 to the V600 because he felt that they were a little more comfortable. Also that he has not noticed any difference in performance. That is why I was looking at the spec. I wonder how many others have actually used both and if so could you please give a comparison.

Thanks

Don

Um, local DJ's don't DO location audio.

You don't need encyclopedic research to buy the right headphones for location audio.

You don't see V600s on movie sets. You see 7506. If V600s were good on set, the entire location audio industry would trash their MDR7506 and buy them.

Buy the 7506 and get to work.

Regards,

Ty Ford

If you like the sony 7506 ($100), you might want to check out the sony V6 ($70). They have a higher freq response, 5-30khz compared to 10-20khz.

(this is not the same set as the sony V600)

http://jeremy.zawodny.com/blog/archives/003955.html

Thanks Robert
I will consider them. Right now I do not have any likes or dislikes, I'm just trying not to purchase the same thing twice. Beginning to sound as if they are all "good".

Don

Actually, Rane used to publish a sheet on headphone frequeny response, impedance and sensitivity......


TA DAA! AS IF BY MAGIC!!!!

http://www.rane.com/hc4hp.html


Ty Ford

I was expecting to see frequency response graphs, unless
I'm missing it. I have seen these type of graphs at
one of those headphone sites.

Dunno about the V6, but the 600's are dull by comparison to the 7506. It's a standard because everybody uses them, not because they're the best. They provide a conversational benchmark that virtually everyone can relate to, because they all use them. If you stand alone, if you aren't needing that benchmark from which you can gauge what you're hearing...then you'll be fine with just about anything else. If you need to converse about audio with another audio guy, you really ought to consider benchmarks.

Hmm. How does the Sennheiser HD 280 Pro compare to the Sony MDR 7506? They are sound isolating units.

Hmm. How does the Sennheiser HD 280 Pro compare to the Sony MDR 7506? They are sound isolating units.

In my opinion, which is not an expert one, I think they are extremely close in quality, and I probably prefer the Senheisers. I have both sets of headphones and I think that if there is a noticable difference in quality, the Senheisers are better.

I also think they're built better in terms of durability and practicality.

Hmm. How does the Sennheiser HD 280 Pro compare to the Sony MDR 7506? They are sound isolating units.

I just bought a second pair they are true sounding very comfortable and on sale for under $75 at B&H.
Yes, they isolate you from ambient sounds but not completely.

In my opinion, which is not an expert one, I think they are extremely close in quality, and I probably prefer the Senheisers. I have both sets of headphones and I think that if there is a noticable difference in quality, the Senheisers are better.

I also think they're built better in terms of durability and practicality.

With all due respect. Sony MDR 7506 are pretty much the standard for location audio in the US. Because they hold up, because they fold up because they sound good, because they are comfortable and because they tell you what's going on.

Regards,

Ty Ford

do you wear eyeglasses?

This may seem picky to some, but I've noticed it.

I do, (can't wear contacts for medical reasons), and I've found that the biggest drawback to most phones is that they never fit quite well enough over my ears. The earpieces from my glasses always leave a small space that allows outside noise to intrude. Personally, I prefer the "feel" of full-sized phones, but that small space and intruding sound are leading me to consider in-the-ear - rather than over-the-ear - phones. It seems that even "isolating" phones would lose effectiveness for someone wearing eyeglasses, or even sunglasses

I notice it, too, when wearing protective earphones while working with motorized household power tools, e.g. electric saw, lawn mower, etc. and I'm chewing gum or sucking on a mint: as my jaw moves, it opens a small space around my temples, allowing more sound in. For those situations, I've taken to using earplugs inside the protective phones.

Again, it may seem picky to some, but I've certainly found it noticeable.

do you wear eyeglasses?

Yes I do.

Ty

Hmm. How does the Sennheiser HD 280 Pro compare to the Sony MDR 7506? They are sound isolating units.I own two pairs of the Senns (home & work) and have compared them back to back with the Sonys before buying. I owned a pair of 7502s for years, so the 7506 sound was instantly familiar.

To my ears the Senns are flatter and more natural. The Sonys are a bit scooped and are sweeter. I think the Senns are also a bit more rugged - at least the ear foams are. Both fold up. The Sonys are a bit more comfortable in that they don't clamp as hard. Both are excellent values.

For mixing or listening for accuracy, I prefer the Senns. They color the sound less than the Sonys. (Quick note on mixing with headphones: they don't give an accurate image, and they make small details stand out; however, they give a consistent frequency response in an untreated room for under $100. Use them to double-check a mix, or when you have no choice, but good monitors in a treated room are highly preferred.)

However, for tracking in the studio, or field recording, the Sonys have the advantage of being able to cut through the ambient sound better, due to the scoop. The Sony's would be better for casual listening as well.

Choose the model based on your primary application.

I tried a pair of sony Sony MDR 7506 headphones a couple days ago. A fellow XH-A1 shooter had them on set and I had my Sennheiser HD280 pros.

The Senns cut you off from the world, the Sonys let you hear whats happening around you, like when the director wants something.

That's enough for me. I don't need to reinvent the wheel. I'll be creative with my shooting and use the senns when I want to listen online and not hear my neighbors dogs bark.

I actually wish the 7506s had better isolation. It's very important that what you hear in the headset is what's recording to tape. Sometimes when I'm close to the speaker I can hear their voice directly, and it makes it difficult to tell if echo is a problem or not. There's often a slight delay in the sound, especially with a DVX100, and if you're hearing the headphone amplifier and the actor directly you can drive yourself mad trying to figure out if you're hearing reverb or not. Also, with better isloated headphones you can turn the volume down more and save your ears, not to mention less chance of feedback from the mic. As far as hearing what's going on, learn to use the mic as your onset ears. It will surprise you what you hear when nobody notices the mic just behind or next to them.

I actually wish the 7506s had better isolation. Remote Audio sells 7506s with custom isolation.

http://remoteaudio.com/hn7506.htm

Yeah, I've seen those and I want 'em badly. They're pricey though.

With all due respect. Sony MDR 7506 are pretty much the standard for location audio in the US. Because they hold up, because they fold up because they sound good, because they are comfortable and because they tell you what's going on.

Regards,

Ty Ford

I own the Sennheisers and my school owns the Sonys. They both sound fine; I don't really think it matters much.

That said, if I had to choose again, purely for monitoring video, I might get the Sonys. They fold up well, are durable, and they sound great. I like the isolation of the Sennheisers, though...but I use my Shure e4cs more and more now for just listening to music and even video editing and they are more isolating. But I'd never use them in the field, even though I suppose they'd be appropriate.

Either headphone will be fine. The Sonys are the standard, though.

another benefit to a standard is that when everyone uses the standard, we're all referencing the same thing. So, when you've got mixed cans on the set, in the studio, etc, it's harder to make sense when someone says "I need more punch" and the guy wearing a different set of cans says "Bottom end is already killing me..."
As has been posted here many times...7506 is not the best headphone out there, by far not the worst, but it's a reference point from which we can all have a cogent conversation.

What speakers would you recommend for mixing sound in FCP at the computer?

How much money?

Ty

Also how big is your room? Installations vary widely

And are you talking about basic dialog editing or doing a full-fledged sound design and music mix?

Room is 14x17 or so.

Something better than my mac built-in speakers with an eye towards the future as I learn more about sound mixing.

Not sure of budget at this point.

Dialogue editing with music tracks.

Room is 14x17 or so.

Something better than my mac built-in speakers with an eye towards the future as I learn more about sound mixing.

Not sure of budget at this point.

Dialogue editing with music tracks.

It's hard to say because there's such a wide variety on the market at various price points. Be prepared for some sticker-shock though. If you're serious about editing, mixing, and mastering, a conventional set of "multimedia speakers" or gee-whiz-bang hard-core gamer's speakers aren't going to cut it. Even popular "audiophile" speakers really aren't very good choices. What you're looking for is a set of speakers that accurately reproduce what you're sending them - if your mix is good they should show it and if it's bad they should sound terrible. You're going to be hard-pressed to find a pair of real studio monitors offering any degree of accuracy for less than $500 a pair and with the exception of a few hidden treasures $1000 a pair is about right for the starting point for the real-deal. The sky's the limit from there. Well respected brands include (in no particular order) Genelec, Dyn-Audio, ADAM, KRK, Mackie, m-Audio, Klein & Hummel, JBL Pro, Blue Sky, Event, and a number of others. One maker with an entry level system that is surprsingly good at a very good price is Yorkville Sound, not very well known but worth checking out if your budget is limited.

I'd suggest starting by looking at the nature of the project's you're doing - mixing for theatrical releases are going to be a lot more demanding than mixing for web delivery or YouTube - and thinking realistically about how much you're able to invest, both in the monitors themselves and for the acoustic conditioning of the space where you'll be using them. The speakers interact with the room and you have to look at BOTH parts of the system in a holistic manner.

I like the KRK Rokit speakers:
KRK Systems - Monitors, subwoofers, speakers, monitoring applications, room perfect technology (http://www.krksys.com/product_rokit.php)

They are not expensive, look nice and are very popular, and they are quite good -- remembering you can pay several thousand dollars a piece for studio monitors.

The Rokits cost:
5" $150 each
6" $200 each
8" $250 each

You can go to a Guitar Center and see and hear them, along with other speakers. Take a CD of material you know, the type you will be using the speakers for.

These speakers are bigger and heavier than you would expect if you are used to computer speakers.

There are many options, but the KRK Rokits are a popular, practical and good quality flat response monitor for home NLE systems and even home DAWs.

The Rokits have a variety of input types (RCA, balanced and unbalanced 1/4", XLR) and input controls which are very helpful for adapting to different situations.

There is a 10" KRK woofer available if you want to add it now or later:
KRK Systems - Monitors, subwoofers, speakers, monitoring applications, room perfect technology (http://www.krksys.com/product_krk10.php)

My cans are the Sennheiser HD 570 (HD570) - I find they're very good, but I wonder if I should swap them out for Sony MDR-7506 - Is it worth swapping over to the Sony's?

Chris

My cans are the Sennheiser HD 570 (HD570) - I find they're very good, but I wonder if I should swap them out for Sony MDR-7506 - Is it worth swapping over to the Sony's?

Chris

Everyone's ears are different. I'd take a sample of the type of audio you typically work with to a good music shop and 'test drive' different cans. That's what I did and to my ears, and for the audio I work with, I picked the Sennheiser HD 280's over the 7506's.


-A

My cans are the Sennheiser HD 570 (HD570) - I find they're very good, but I wonder if I should swap them out for Sony MDR-7506 - Is it worth swapping over to the Sony's?

Chris

Depends on what you're doing with them. Phones for monitoring as you record in the field ... absolutely! (And while the 7506 is possibly the most common I'm sure your's are fine.) Phones for evaluating takes and rough cutting dialog, sure. But never, ever, for sound design and mixing. You simply have to do the final mix on proper speakers at calibrated levels.

I'm just waiting for the Sennheiser HD 800 (http://www.sennheiser.com/sennheiser/home_en.nsf/root/spec_hd800) to hit the shops. I'm first in line.

First Review HERE (http://www.head-fi.org/forums/f4/sennheiser-hd-800-first-listen-first-review-398829/).

Answer to the original question (many pages ago!) Sennheiser HD280 for $199 or Sony 7506 for $228 from Turramurra music.

Me, I like Sennheisers but I'm going Sony for my recording job simply because they're the standard, as someone said.

It IS worth the money getting good sound.

Answer to the original question (many pages ago!) Sennheiser HD280 ..... <snip>

Actually - for camera use the industry standard (in the UK at least) are the Sennheiser HD 25-1 (now in Mk.II version) they were specifically designed to do the job the OP requested.

I own the Senn HD 280 Pros and find them to be very flat and neutral. If you're doing a rough mix, or checking a mix, you can do much worse. (And, yes, for a critical mix, use monitors, not headphones for more reasons than I care to discuss.)

The 7506s are scooped. (The highs and lows are artificially boosted - especially the highs.) This is bad for accurate monitoring, but good when on the set - they help cut through the ambient sound.

The 7506s sound artificially "sweet" to my ears. They're great for live recording. They're widely accepted. But they're not neutral by a long shot.

I've also auditioned the AKG 240 cans. To my ears, these sound dead. As Goldilocks would say, the Sonys are too hot, the AKGs are too cold, and the Senn 280s are just right. ;)

The best way to buy is to go to a store, audition the cans side-by-side, and then reward that store with your purchase.

I'm just waiting for the Sennheiser HD 800 (http://www.sennheiser.com/sennheiser/home_en.nsf/root/spec_hd800) to hit the shops. I'm first in line.Note that the HD800s are open headphones. That's preferred for audiophiles, but not for video production or other situations where you want isolation.