I love how simple this channel is to understand. It's definitely a great guide for beginners and intermediate producers who might just learn a thing or two from going back to the basics.
@@SecretAgentPaul I think the reason the car test is so effective is a combination of multiple things. For one, when you're driving around in the car, your attention is partially spent on the driving so you're not spending 100% of your attention on the music. The benefit of this, in my opinion, is that you tend to notice "weird things" in the mix this way because they sort of jar your attention. If I can get through a whole song with no defects grabbing my attention, then I'm feeling good. Second, when driving, there's a constant noise floor created by the engine, road noise, etc. which sort of serves as a "sonic water-level" if you will. If you can still hear all parts of the music on top of this masking noise, then you're good. But if certain things disappear under this noise, then there's something to fix in the mix. Lastly, I think a lot of car stereos basically operate right at the limits of their capabilities. They don't have lots of spare power for cleanly reproducing high transients. So if your mix doesn't have correct compression and limiting on the master, you start to notice the distortion on these transients, or you find that you just can't turn up the music as loud as other music because the volume knob is already maxed out but the overall level of your mix is too low.
Respect, your videos are always great. As long as the monitors arent too big for the room I almost always prefer speakers to headphones It may be bro-sciency but I much prefer when the sound waves can actually mix together in the room and then referencing my phone speakers / car speakers / favorite listening headphones to see how it transfers
@@AudioUniversity i enjoyed the video a lot! I may not be at the point in my mixing journey to use a lot of those tools because my best results so far admittedly has been to lean mostly on instinctual trial and error I cant explain technically why my best mixes are “good” to me but luckily I have been able to replicate it for the most part I have put enough time on my speakers and in my room + references that I think a lot of what I do is based off of feeling and not as much thought Improvements like arranging my setup into a more optimal listening position or sound treating my mixing room has brought noticeable improvements, so whenever I feel ready to tackle the next level of technicality I think that video would be perfect for me
my life has changed since using Waves NX CLA - headphone room sim. Ive listened to so much reference material through thse i know them like the back of my hand
I would take it a step further with the studio monitors in your room, becoming part of the recording that is a rule of thumb on any system set up whether it be studio or home theater but it is a valid point
ilouds minis are a good for rooms that aren't fully treated. They have really good power and depth but maintain clarity and bass reflection isn't much of a problem. Never hear the mtm version but they come with sonarworks.
I think there's only one criteria for 'Studio Monitors' and that is to be able to make a mix that translates well. For me that's expensive headphones that reveal all the details to build a mix, then a pair of cheap speakers to check the mix on for worst case scenarios.
I've used to mix with my DIY 2.1 speakers ( because I'm broke ).I use ( cheap ) headphones for quality check. The key is to get used to with your sound system and know the peaks and dips of your system.
While I am not disputing or dismissing the advice in this video, what about using what you already have and knowing what the music you already have (sounds like) from iTunes, Apple Music, Spotify etc and getting the mixing as close as possible to that?? After all (as you rightly point out), you would want to make sure your mixes translate well on other consumer systems, so why not the one you already may have? I do actually have a pair of Active Studio Monitors (with separate Amps for Woofer & Tweeter) and as great as they sound, I do wonder with all the conflicting advice & opinion here on UA-cam.
Getting to know your own system is great advice, Paul! That’s ultimately what everyone does, as no system is completely perfect. But if your system has a nearly complete cancellation at a specific frequency due to a reflection, you simply won’t hear that frequency. So even if you’re used to how your system sounds, it will be completely useless for mixing content within that frequency band. The same goes for low frequencies. You just cannot mix sub bass frequencies on a smartphone, because the speakers don’t reproduce that range. So in order to make informed decisions, you need to (a) have a system that can produce all frequencies or (b) test your mic on a variety of systems.
@@AudioUniversity You are correct about how frequencies can cancel each other out in a mix if you can’t hear them properly, because of say Bad Acoustics. I have that pretty much covered in a Living Room full of soft-furnishings, the Monitors on de-coupling sponge-pads, speaker-stands on a carpeted floor ;)! You have a great channel here!
I have monitors and headphones but due to the small room which is also my bedroom I'm limited to the position of my computer/ monitors so the headphone use is a must. But like you said, I got used to them and know how/ what/ why it is supposed to sound.
Please help! if I only do a creative mixing (saturation, reverb, compression, delay and other effects), which one is the best solution for getting a high quality produced track before taking it to sound engineers to do the functional mixing? 1. Treat my 9x10 room and invest in high qual quality studio monitors. 2. Buy a high quality open back headphones along with amplifiers, dac power and then correct the acoustics using sonarworks and other alternative software. I wanna get the most out of the process before giving beats to artists or just posting them for sale. First time listening impression is crucial. Thanks !
To make a portable speaker bass heavy, which one is more important, replacing speakers or adjusting EQ, I know both are important, but which one is more important.
The first 40 seconds of these blew the minds of headphone/IEM “audiophiles”. It’d have been icing on the cake if you’d showed an equal loudness curve and how it was derived. Apparently that region of audio reproduction doesn’t think the science is there to figure out how to tune in ear monitors to a perceived flat response. 250 randomish people messing around with a 3 band EQ (bass, mids, highs) to get what they think is a flat response (without anything for reference) is considered “cutting edge” in that realm. Referring to the Harmon Curve. It’ll never cease to boggle my mind that a community of “audiophiles” as large as the IEM/headphone world is could exist in a complete vacuum absent ~75% of science that’s been done starting with Floyd Toole’s first informal listening tests. It’s a massive business but even the manufacturers seem to think it’s a law into itself. Heck,… there aren’t even TS parameters for (at least the vast, vast majority of) the drivers used (at very, very least in IEMs),… I guess I could have just said that and made this rant
I think they work really good if your room is acoustically conditioned. If not then it won't do any good because you won't be able to hear everything. For a home studio only little ones. For a professional studio then it would work really good.
@@AudioUniversity Right now i'm using M-Audio BX8. They're fantastic for the price but i'm looking to go better. I saved your links, i'll look at the ADAM A7V studio monitors. I really appreciate you taking the time to respond. Thank you.
One piece of advice... don't believe any manufacturer's claimed frequency response. When tested they're usually a lot less flattering than the response curves they advertise. This goes for domestic speakers and so called pro speakers. All speakers are flawed and whether they sound flat in a given room is something you listen for and measure in your particular room. Flat under anechoic conditions does not mean flat in most room conditions.
i'd say first learn your equipment! learn how they work how they react and how they response to all kinds of sounds. even if you have the best equipment in the world it won't help you until you understand them
Very Cool Thankyou. Why would I have Awesome sound through my Studio Monitors exactly mimicking my Guitar Amps, But sub-standard associated sound through my Audio Interface for recording? Thankyou
2:51 in my experience, ear fatigue is not normal for headphones. I think the ear fatigue your experiencing might be from the sibilant sound signature of the DT770 Pro's, which has a significant 6db hump from 4.5khz to 8.5khz, aptly known as the "fatigue area". I'd recommend either using EQ, or using other headphones that have a flatter response like the HD600's or the K612 Pro's. Not replacing pads after years of use, especially with higher clamp force headphones, can also cause pain around the ears.
I can vouch for the piercing sound of the DT770s, i'm wearing a pair right now. However, I use SoundID Reference Headphones to flatten them, and it's funny how in like 3 years of using them I never noticed that hump, but nowadays I can't listen to people speaking in a video if the reference is turned off without it hurting me
Great video, and really for me just comfort is a big part. Like you mention with ear fatigue. I use glasses so wearing headphones for extended periods of time can be very uncomfortable. I do own some really nice Stax headphones but over many many hours it can get very bad
Yes that's true, but I think I found a way to allow me to use headphone longer with glasses, I put the headphone first then I insert my glasses after, it will make the side frame of the glasses sit atop of my earlobe, so it's kinda avoid the double pressure we get when the side frame sit in the back of our ear with headphone on the front, btw sorry if my english is not good, I rarely speak english... Cheers
I suppose first off we need to distinguish between (A) Earlobe fatigue and (B) Eardrum fatigue. Even if there is zero of the (A) type, there can be plenty of the (B) type over extended sessions.
It all boils down to knowing your listening environment, system, etc.. and being able to translate those idiosyncrasies to your mixes. Mixing at lower volume levels (85db or lower) will help distinguish subtitles and reduce fatigue. Also, listening to your mixes at very low volume levels can help to distinguish things that might be too hot in your mixes. Having a small, full range speaker for monitoring can be a good test for your mixes.
I agree. I’ve just gotten monitors after many years of headphones and a standard stereo. I got used to how to EQ and balance based on how it would sound on my phone, car etc. But lots of trial and error.
I think it depends a lot on the headphones. You talked about frequency response and use a beyerdynamic which is known for its +10db peaks at 9KHz. You may be confusing detail for just an over-the-top frequency boost which does correlate to ear fatigue. Some headphones have a very high amount of distortion that can ruin how you perceive frequencies. It really depends on the performance of the driver.
I can second it, it especially occurs if you’re used to one specific timbre. This was why I couldn’t use the Porta Pros with or without equalization, because something in the higher mids was peaking and fatiguing me too soon to solve it.
Headphones are not really stereo ,more like dual mono,its more stereo effect than actual stereo,none the less very useful ,would always trust monitors for final touch.You need the phase coherence ,timing,of left sound hitting right ear and right hitting left ear to obtain real world imaging direction.
I found that the RESISTANCE offered by Studio headphones is something to pay attention to. Some of them are in the 40 Ohm range, some 80 Ohm range. USB Audio interfaces are really not that powerful as to putting out power for headphones. A few months ago I had to exchange a studio headset because of this. I settled on an Audio Technica ATH-M50x which has a 38 Ohm resistance, great sound quality and is reasonably priced at $170. Great sound volume with any mixer or USB interface that I've played with.
You mean impedance, not resistance. And most good interfaces (looking at the scarlet 2i2 range) are good enough to drive most headphones at the 200-250ish range. Of course you might have to max out the volume to do so, but it's enough. I have an audient iD14 MK2 and I've driven HD600s which are 300ohms without any problems
Thanks for your great work here...I have some quite old but in great condition: ENERGY SPEAKER SYSTEMS PRO 4.5 FLOOR STANDING SPEAKERS. Can I use these as my monitors? Do I connect to my interface as normal?
Why play with a demonstration like this? It is essential and a MUST to utilize headphones and monitors for safe mixing. Assuring a good, proper mix without getting into the unknown (REFERENCING) is probably one of the most important aspects of your mixing production in accuracy!
I'm a bass player and I just sold my GK bass amp. Tired of using it, just want to find some studio monitors and connect my bass guitar to it. I understand I need an interface which I have. Will studio monitors do the job? I play along with music while I'm playing the bass. Just want to make it simple rather than using these bass amps.
Another fantastic upload, thanks for this. For most non pro musicians/folk interested in recording, it's the loudness of monitors that's going to be a major restriction, particularly if you live in flats/apartments and/or have a family. For that reason, the primary listening environment is going to be the best headphones you can invest in for the task. I'd love to be able to push things through good monitors when I want but unfortunately, the restrictions are too great to make proper use out of them...hence the headphones. Of course, I'll still play through the house and car HiFi just to get a check.
1:13 Am I the only one who thinks the guitar in the bg (in the case) was used by Dracula when he was rocking at the top of his castle at night while there was thunder.
This is something I picked up from working live sound for so long: Monitor on studio monitors but PFL/Solo on headphones. I think of my headphones as a microscope on the audio but for listening to the mix as a whole, studio monitors all the way
As a high percentage of music and podcasts are listened to in a car, I recommend listening in a car, especially if you want your recorded voice to be heard clearly. Try recordings with different mics and interfaces played back in your car to see what I mean.
Seriously, I enjoy watching your videos! One quick question though, your LCD monitors are interesting. They are vertically placed. What type of stand do you use? I have the same size of table. Can't place them sideways due to lack of space.
In the waygone past, speakers were called speakers, but in the modern world, some speakers are now called monitors. Any logical reason for the name change? What's the difference between a speaker and a monitor?
All monitors are speakers, but not all speakers are monitors. You call them 'monitors' because you use them to 'monitor' the audio, that is, listen to the sound in a careful, controlled way (rather than just passively listening)
They are designed for different purpose monitors are used to render audio information as transparent, unaltered, colorless, not adding flavour as much as possible, it is designed to play back every single blemish in the audio data to evaluate a recording for production, to further control the matching of amplification and drivers, many monitors are active in nature, some models may have a PCM DAC inside the cabinet, you can also find systems (mics, software and/or hardware) that profile the listening space characteristics and apply compensation during playback, monitors can be passive and used outside a studio, rogers 3/5A is an example Non monitoring speakers can be designed to have certain characteristics to please the listener according his/her own preference through added flavoring, transient response behavior, many such design are passive allowing user to mix and match amplification devices to satisfy user requirement, this is not to say they cannot be used for monitoring, lookup what Abbey Road Studio uses
Some speakers were called monitors in the waygone past too. Certainly I encountered monitors in the ‘80s-the first time I visited a recording studio-though I know the term was used long before even that. It’s just that monitors were only found in studios, mixing suites, on stage (facing the performers), etc. where few people ran into them. In this age of ubiquitous home studios, however, monitors are much more common.
I'm going to the other way. My Hs80 monitors are mostly turned off because i learned how to produce, mix and master with my phones. Todays music you dont need to sound "super high quality full pro" as streaming and youtube codec will make all sound the same. Also, make your music sound good on cellphone speaker or bluetooth mono devices is the goal today. You dont need studio monitors for that.
Bro Amazing Video Like aways! Thanks For helping all of us! hey I got a possible video idea but it could be that i'm wrong lol - so I been looking for a video to help me understand how to get familiar with my monitors. maybe is a hard question to answer. but anyways, here's what i'm trying to find "best ways to get to know your studio monitors" this would very helpful. how about any of you guys know of a video that can help me understand more on this topic? it would be a huge help. :)
Great suggestion, OZZAR! Thanks. In the meantime, I’d recommend listening to music you’re familiar with on the speakers often. Also check out this ear training method: ua-cam.com/video/0fckQLQWhe0/v-deo.html
I´ve seen too many kids spend their last pocket money on some studio monitors thinking this would somehow be a necessary and useful thing for them, when in reality their untreated rooms made this a big waste of money... Almost anybody in a bedroom setup is better off buying some quality headphones, learning them, and using whatever stereo system they own to double-check until they have some free cash they can spend on some room treatment and monitors.
What about mixing on open back vs closed back headphones? I've heard that closed back headphones are not as good as open back because there are reflexions inside the headphone.. cup... Or whatever it's called.
Closed back headphones are better for tracking, but are good for mixing too Open back headphones are better for mixing, could be good for vocalists to hear themselves better if needed as well (beware of mic bleed though). Open backs give you a much better representation of stereo, it will sound "wider" to you, which is better to separate the sounds while you are mixing
2:49 He says as he has Beyerdinamic DT 770 Pro which are prone to have harsh Brightness, can some1 get this man a pair of Hifiman Arya Stealths 3:01 That's why we have Open back Headphones to allow the natural ambience of the room to fill the soundstage, however if you natural ambience is a bus good luck with hearing anything through Open back headphones
I think another factor should be who listen to your music and what they use to listen to it. I use two sets of studio monitors, a very inexpensive computer speakers and a flat screen TV. If I can get a decent sound from all I am OK. Yes, I put carpets on some walls in my listening room.! Thank you for the video.
Might as well make good sounding mixes to be listened in most environments. Because each device will have its own sound. If you have too much bass on a mix, a bassy sound system will make it sound like crap. If you can make a mix sound good in a 5 dolar earphone then you're all set because it will also sound good in any system. Hence why Yamaha's NS10s are so popular, because if you can make it sound good there, it will sound perfect everywhere
Very simplistic take on CRM Coherency is usually very overlooked. Adams are one such brand that ignore such qualities. Sacrificing "Impressive" for true coherency. But they do fit into what is often regarded as "Audiophile" behaviours which has very little to do with fideilty
If you aim at making the mix sound good on any system you also compromise how good it can sound on a great system that goes deep in bass and can support a lot of dynamics. For example, if you aim at some narrow band mix and don't allow deep pure subwoofer bass because it won't show up on a tiny phone speaker, your mix will lose a lot of appeal for those of us who enjoy some sub bass effects not having a ton of harmonics just to appear on a tiny Bluetooth speaker. Rather, you need to know your audience and some of the best sounding music simply won't sound great on crappy audio gear. I really hate any music that appears obviously super optimized with too much compression and harmonics added to fit in the narrow frequency response of some cheap-ass speakers I would never want to use anyway.
Great graphic on the room modes! .. I use my Sennheiser HD-420 SL headphones for bass balance, minus room interaction. The near field is less affected by room modes, and near boundary reflections, so a carefully setup near-field monitor pair should be reasonably accurate. A good pair of smaller, full range speakers (no crossover) are an excellent reference to get the mids right, minus low bass and upper harmonics, the approach of a few notable engineers from the 70's.
An interesting assessment from an expert (not me). ALL HEADPONES will last about 18 months of medium use before something goes wrong with them. Some last for even shorter, a few last longer, but 18 months is the average lifespan of a set of cans. Looking at it from this perspective, you want monitors, for sure. Some of them come with 5-year mfr's warranties.
If you're serious about working in audio... BUY. STUDIO. MONITORS. I don't know and I don't care what he says at the end of the video. Buy monitors. Otherwise just keep audio as a hobby. If you don't want to buy monitors, you're not serious enough.
After buying Shure professional headphones for my sound system, was very dissappointed. Using "Gaming" headsets instead, They are generally better and more comfortable. The Shure headphones have cheap plastic swivels for folding, The gaming headset has no swivel and wide metal for adjustments. The cord on the Shure is plastic with no mechanical isolation so any movement is transferred to the headphones. The gaming headset has a braided cloth cover for a much quieter noise isolation from cord motion. Studio monitors are applicable only for a studio. Disclaimer, I do live sound, so working from FOH instead of a studio most of the time.
If you're not working on a studio or mixing/producing why buy studio headphones? It's like buying racing tires and brakes for your 2003 honda civic. What's the point? Might as well buy gaming headsets if you're not going to produce music. Also, if you're working FOH you might as well get any pair of headphones, there's no need to buy studio headphones for it
@@pedrosilvaproductions Actually this is for FOH. Just was really disappointed in the sound isolation of the "professional" Product over a gaming headset. Game headphones seem to have been able to perfect the craft with better performance, comfort, and fidelity..
It doesn't matter how flat the speakers are, the room will change the response. Room modes will also cancel or exaggerate frequencies & the further the room is from the ideal bolt plane, the worse this will be. There is absolutely nothing you can do to totally eliminate room modes, other that remove the room, ire go outdoors. You can however minimise some room room effects by specifically designing the room for sound and using acoustic treatment, but this is extremely expensive. A good room will be about 1.5 times higher than it is wide & twice as long as it is wide. It will also have no exact 90 degree corners, no parallel surfaces, no parallel edges and no opposite corners that are the same distance apart as any other opposing corners. The reason for this is to break up the room mode generating feature across the spectrum, so that they do not reinforce each other, making the effect weaker at each frequency they occur. The upshot of this is that both speaker & headphones have their pros and cons. Headphones do not have room modes but they don't tell you how things sound in a room. A lot of music is consumed through headphones, a lot is consumed as ambient background, only a small amount is consumed as specific listening engagement is a room. You probably need to use both speakers & headphones to do a good mix.
Also, it's important to understand that headphones will sound different depending on the user, primarily due to the user's outer-ear shape (the Pinna). Headphones are not speakers, and should not measure ruler flat; the nearest thing to a standardised curve for headphones is the Harman Curve which some manufacturers follow (AKG, Dan Clark to name two) but most don't.
@@davidgriffin79 Yes, but I didn't comment on headphones or compare speakers with headphones. I left my point unstated, thinking it obvious that each have their strengths and weaknesses. Neither are true reproduction, they are just different.
@@kenwebster5053 My point wasn't to argue with you, but to point out the weaknesses that headphones have and what the wearer should be weary of. The take-away is that headphones should not measure flat (like speakers) but should preferably follow a standardised curve such as the Harman Curve.
Really wish you would've mentioned the difference between open and closed headphones. Barely anyone brings it up when it comes to recording and mixing.
I had headphones that recently broke, they had Dolby Headphone technology in them, and they were great for mixing. They had a stereo spread similar to monitors and clarity and detail/fidelity that was insanely good. They were Razer Thresher Ultimates (yes, I know, gaming headphones for mixing, bad idea, but they sounded so damn good. I don't think it was even the intent of Razer.) Does anyone have any suggestions on what to replace them with? For heavy metal specifically. I have M50x's right now but they are really only best/good for electronic and pop. Metal sounds like it's missing holes in the fidelity on the M50x's. I'd want to stay with closeback.
Have you looked at beyerdynamic dt1770 pro‘s yet? I‘m using those to mix everything from rock to jazz. Work really great and are closed backs so suitable for tracking too…
It sounded good because they are tuned to sound like that. Most studio headphones sound "dull" and "flat" for most people and that's the point. If you're using for mixing then it's exactly their design. I would keep the M50X's. They are good for metal, you're just listening to them through flat studio headphones. I've used M50X's for metal, being a metal guy myself and they sound good for mixing in them. If you make the track sound good on them, and then listen on a car for example you'll see that the M50X's are doing exactly their job, which is to sound flat
@@pedrosilvaproductions I don't think they're really that flat. Maybe relatively flat, but they're still quite uneven from small area to small area of the frequency spectrum, with quite a lot of dips and peaks in the lower and upper mids, as well as highs. The bass is voiced for electronic and partly pop, as far as I can hear, and they don't tolerate metal that well imo. It's okay, and they translate to a reasonably good degree, but they're limited as headphones imo. I'll try out the 1770's and see if they're significantly better. Only upside I see to them is portability + low resistance.
My 2 cents is headphones are essential for mixing and mastering music outside of a studio. A friend sold me on studio monitors, when I listen to my music on them. my music sounds as good as professional mixes... I however know it doesn't sound that good... listening through headphones reveals the differences when comparing my mixes to professional tracks. My older songs that always sounded muddy no matter what I did sounded the best on studio monitors... on headphones they sound muddy compared to every reference track
I love how simple this channel is to understand. It's definitely a great guide for beginners and intermediate producers who might just learn a thing or two from going back to the basics.
Being an amateur music/sound nerd, I'm surprised I didn't think about some of these; particularly the haptic feedback. Great information!
what ever you listen to everything on works but i feel the real world listening is key because of the "how does it sound i the car " experirance
Life's biggest mystery could be the answer to the question, "why is the car stereo the ultimate mix test?"
It just is.
Great point!
@@SecretAgentPaul could be that you're familiar with your car speakers
I don’t test my music in the car because I don’t spend all my time on them.
@@SecretAgentPaul I think the reason the car test is so effective is a combination of multiple things.
For one, when you're driving around in the car, your attention is partially spent on the driving so you're not spending 100% of your attention on the music. The benefit of this, in my opinion, is that you tend to notice "weird things" in the mix this way because they sort of jar your attention. If I can get through a whole song with no defects grabbing my attention, then I'm feeling good.
Second, when driving, there's a constant noise floor created by the engine, road noise, etc. which sort of serves as a "sonic water-level" if you will. If you can still hear all parts of the music on top of this masking noise, then you're good. But if certain things disappear under this noise, then there's something to fix in the mix.
Lastly, I think a lot of car stereos basically operate right at the limits of their capabilities. They don't have lots of spare power for cleanly reproducing high transients. So if your mix doesn't have correct compression and limiting on the master, you start to notice the distortion on these transients, or you find that you just can't turn up the music as loud as other music because the volume knob is already maxed out but the overall level of your mix is too low.
Respect, your videos are always great.
As long as the monitors arent too big for the room I almost always prefer speakers to headphones
It may be bro-sciency but I much prefer when the sound waves can actually mix together in the room and then referencing my phone speakers / car speakers / favorite listening headphones to see how it transfers
I think you’ll like this video: ua-cam.com/video/MhaFDif31v8/v-deo.htmlsi=UBm9luq_GctWhpL6
@@AudioUniversity I will check it out and report back 🫡
@@AudioUniversity i enjoyed the video a lot!
I may not be at the point in my mixing journey to use a lot of those tools because my best results so far admittedly has been to lean mostly on instinctual trial and error
I cant explain technically why my best mixes are “good” to me but luckily I have been able to replicate it for the most part
I have put enough time on my speakers and in my room + references that I think a lot of what I do is based off of feeling and not as much thought
Improvements like arranging my setup into a more optimal listening position or sound treating my mixing room has brought noticeable improvements, so whenever I feel ready to tackle the next level of technicality I think that video would be perfect for me
my life has changed since using Waves NX CLA - headphone room sim. Ive listened to so much reference material through thse i know them like the back of my hand
I would take it a step further with the studio monitors in your room, becoming part of the recording that is a rule of thumb on any system set up whether it be studio or home theater but it is a valid point
Studio Monitors are made to have a rather "flat" response. It is up to the audio auditor/editor to make them sound great.
ilouds minis are a good for rooms that aren't fully treated. They have really good power and depth but maintain clarity and bass reflection isn't much of a problem. Never hear the mtm version but they come with sonarworks.
I think there's only one criteria for 'Studio Monitors' and that is to be able to make a mix that translates well. For me that's expensive headphones that reveal all the details to build a mix, then a pair of cheap speakers to check the mix on for worst case scenarios.
also neighbor friendly.
good review of the pros and cons of studio monitor sounds....awesome
Thanks!
I've used to mix with my DIY 2.1 speakers ( because I'm broke ).I use ( cheap ) headphones for quality check. The key is to get used to with your sound system and know the peaks and dips of your system.
While I am not disputing or dismissing the advice in this video, what about using what you already have and knowing what the music you already have (sounds like) from iTunes, Apple Music, Spotify etc and getting the mixing as close as possible to that??
After all (as you rightly point out), you would want to make sure your mixes translate well on other consumer systems, so why not the one you already may have?
I do actually have a pair of Active Studio Monitors (with separate Amps for Woofer & Tweeter) and as great as they sound, I do wonder with all the conflicting advice & opinion here on UA-cam.
Getting to know your own system is great advice, Paul! That’s ultimately what everyone does, as no system is completely perfect.
But if your system has a nearly complete cancellation at a specific frequency due to a reflection, you simply won’t hear that frequency. So even if you’re used to how your system sounds, it will be completely useless for mixing content within that frequency band. The same goes for low frequencies. You just cannot mix sub bass frequencies on a smartphone, because the speakers don’t reproduce that range. So in order to make informed decisions, you need to (a) have a system that can produce all frequencies or (b) test your mic on a variety of systems.
@@AudioUniversity You are correct about how frequencies can cancel each other out in a mix if you can’t hear them properly, because of say Bad Acoustics. I have that pretty much covered in a Living Room full of soft-furnishings, the Monitors on de-coupling sponge-pads, speaker-stands on a carpeted floor ;)!
You have a great channel here!
I have monitors and headphones but due to the small room which is also my bedroom I'm limited to the position of my computer/ monitors so the headphone use is a must. But like you said, I got used to them and know how/ what/ why it is supposed to sound.
Your contents are great bro ⚡❤ Anyway this is the first comment 😄
Thank you, Sahan!
Yes, if only possible then absolutely.
Please help!
if I only do a creative mixing (saturation, reverb, compression, delay and other effects), which one is the best solution for getting a high quality produced track before taking it to sound engineers to do the functional mixing?
1. Treat my 9x10 room and invest in high qual quality studio monitors.
2. Buy a high quality open back headphones along with amplifiers, dac power and then correct the acoustics using sonarworks and other alternative software.
I wanna get the most out of the process before giving beats to artists or just posting them for sale. First time listening impression is crucial.
Thanks !
I will never ever get a speaker without integrated room EQ. This makes a world of difference.
To make a portable speaker bass heavy, which one is more important, replacing speakers or adjusting EQ, I know both are important, but which one is more important.
Thanks! That is really clear and pretty comprehensive for a beginner.
Thanks for watching!
The first 40 seconds of these blew the minds of headphone/IEM “audiophiles”. It’d have been icing on the cake if you’d showed an equal loudness curve and how it was derived. Apparently that region of audio reproduction doesn’t think the science is there to figure out how to tune in ear monitors to a perceived flat response. 250 randomish people messing around with a 3 band EQ (bass, mids, highs) to get what they think is a flat response (without anything for reference) is considered “cutting edge” in that realm. Referring to the Harmon Curve. It’ll never cease to boggle my mind that a community of “audiophiles” as large as the IEM/headphone world is could exist in a complete vacuum absent ~75% of science that’s been done starting with Floyd Toole’s first informal listening tests.
It’s a massive business but even the manufacturers seem to think it’s a law into itself. Heck,… there aren’t even TS parameters for (at least the vast, vast majority of) the drivers used (at very, very least in IEMs),… I guess I could have just said that and made this rant
I bought a pair of Genelecs because those are going to last decades. My friend has a pair he bought 1999-2000
Genelec makes some amazing monitors! Nice!
I think they work really good if your room is acoustically conditioned. If not then it won't do any good because you won't be able to hear everything. For a home studio only little ones.
For a professional studio then it would work really good.
Well said, Juan. Thanks!
Which is better for production/mix/master DT 770s or DT 990 PRO
yeah but the probablem is we still dont have accurate headphones, and if you want accurate sound its better to go with a speaker
Good one
I mix on my adam audio t7v and then hear it though on my beyerdynamics
Kyle, which studio monitors do you use?
I'm currently using the ADAM A7V studio monitors. What do you use, Paul?
@@AudioUniversity Right now i'm using M-Audio BX8. They're fantastic for the price but i'm looking to go better. I saved your links, i'll look at the ADAM A7V studio monitors. I really appreciate you taking the time to respond. Thank you.
@@AudioUniversity I just bought a pair of the ADAM A7V studio monitors (with the subwoofer) from Sweetwater. 👍
thank you
i can't afford monitor speaker now ^_^ , so i'm using currently headphones .
You can still make great music through headphones! Thanks for sharing!
One piece of advice... don't believe any manufacturer's claimed frequency response. When tested they're usually a lot less flattering than the response curves they advertise. This goes for domestic speakers and so called pro speakers. All speakers are flawed and whether they sound flat in a given room is something you listen for and measure in your particular room. Flat under anechoic conditions does not mean flat in most room conditions.
Invest in monitors.🍻
I use a pair of Adam T7's and UE Capital Studios Reference CIEM. I can mix much faster and for a longer time using the IEM
i'd say first learn your equipment!
learn how they work how they react and how they response to all kinds of sounds. even if you have the best equipment in the world it won't help you until you understand them
Very Cool Thankyou. Why would I have Awesome sound through my Studio Monitors exactly mimicking my Guitar Amps, But sub-standard associated sound through my Audio Interface for recording? Thankyou
❤️❤️👍❤️❤️
Thanks for watching!
I can tell by your isolation pads that you have cats. Mine look the same.
no
2:51 in my experience, ear fatigue is not normal for headphones. I think the ear fatigue your experiencing might be from the sibilant sound signature of the DT770 Pro's, which has a significant 6db hump from 4.5khz to 8.5khz, aptly known as the "fatigue area". I'd recommend either using EQ, or using other headphones that have a flatter response like the HD600's or the K612 Pro's. Not replacing pads after years of use, especially with higher clamp force headphones, can also cause pain around the ears.
Hd 600 are horrendous for mixing music. They lack far too much detail , you risk making a dull track
I can vouch for the piercing sound of the DT770s, i'm wearing a pair right now. However, I use SoundID Reference Headphones to flatten them, and it's funny how in like 3 years of using them I never noticed that hump, but nowadays I can't listen to people speaking in a video if the reference is turned off without it hurting me
Maybe I knew most of this already, but it was very cool how you presented this information as a reminder. Thanks!
Glad you enjoyed it!
Great video, and really for me just comfort is a big part. Like you mention with ear fatigue. I use glasses so wearing headphones for extended periods of time can be very uncomfortable. I do own some really nice Stax headphones but over many many hours it can get very bad
Good point, Floppydisk. I wear glasses often, as well. It gets uncomfortable very quickly!
@@AudioUniversity You should try it with glasses AND hearing aids - I can't use headphone for more than 45 minutes before the pain sets in.
Yes that's true, but I think I found a way to allow me to use headphone longer with glasses, I put the headphone first then I insert my glasses after, it will make the side frame of the glasses sit atop of my earlobe, so it's kinda avoid the double pressure we get when the side frame sit in the back of our ear with headphone on the front, btw sorry if my english is not good, I rarely speak english... Cheers
I have a pair of very comfortable headphones... For long time listening.
I suppose first off we need to distinguish between (A) Earlobe fatigue and (B) Eardrum fatigue. Even if there is zero of the (A) type, there can be plenty of the (B) type over extended sessions.
It all boils down to knowing your listening environment, system, etc.. and being able to translate those idiosyncrasies to your mixes. Mixing at lower volume levels (85db or lower) will help distinguish subtitles and reduce fatigue. Also, listening to your mixes at very low volume levels can help to distinguish things that might be too hot in your mixes. Having a small, full range speaker for monitoring can be a good test for your mixes.
Thanks, TB Player! Great points.
85 db is ear deafening loud?
Spot on! This exactly how it was done in the past when DAW were none exsistant.
@@viktorkoning1442 yes try 70dB or less
I agree. I’ve just gotten monitors after many years of headphones and a standard stereo. I got used to how to EQ and balance based on how it would sound on my phone, car etc. But lots of trial and error.
I think it depends a lot on the headphones. You talked about frequency response and use a beyerdynamic which is known for its +10db peaks at 9KHz. You may be confusing detail for just an over-the-top frequency boost which does correlate to ear fatigue.
Some headphones have a very high amount of distortion that can ruin how you perceive frequencies. It really depends on the performance of the driver.
I can second it, it especially occurs if you’re used to one specific timbre. This was why I couldn’t use the Porta Pros with or without equalization, because something in the higher mids was peaking and fatiguing me too soon to solve it.
If some filter/effect rotates s phase, you will never hear a disaster result using only headphones.
I never had issues mixing on headphones. My mixes translate from headphones to speakers even to the phone.
@Audio_University awesome!
Headphones are not really stereo ,more like dual mono,its more stereo effect than actual stereo,none the less very useful ,would always trust monitors for final touch.You need the phase coherence ,timing,of left sound hitting right ear and right hitting left ear to obtain real world imaging direction.
I found that the RESISTANCE offered by Studio headphones is something to pay attention to. Some of them are in the 40 Ohm range, some 80 Ohm range. USB Audio interfaces are really not that powerful as to putting out power for headphones. A few months ago I had to exchange a studio headset because of this. I settled on an Audio Technica ATH-M50x which has a 38 Ohm resistance, great sound quality and is reasonably priced at $170. Great sound volume with any mixer or USB interface that I've played with.
You mean impedance, not resistance. And most good interfaces (looking at the scarlet 2i2 range) are good enough to drive most headphones at the 200-250ish range. Of course you might have to max out the volume to do so, but it's enough. I have an audient iD14 MK2 and I've driven HD600s which are 300ohms without any problems
@@pedrosilvaproductions thx I stand corrected...🙋
0:21 “What goes in is what comes out”, got it ;)
Thanks for your great work here...I have some quite old but in great condition: ENERGY SPEAKER SYSTEMS PRO 4.5 FLOOR STANDING SPEAKERS. Can I use these as my monitors? Do I connect to my interface as normal?
Why play with a demonstration like this? It is essential and a MUST to utilize headphones and monitors for safe mixing. Assuring a good, proper mix without getting into the unknown (REFERENCING) is probably one of the most important aspects of your mixing production in accuracy!
I'm a bass player and I just sold my GK bass amp. Tired of using it, just want to find some studio monitors and connect my bass guitar to it. I understand I need an interface which I have. Will studio monitors do the job? I play along with music while I'm playing the bass. Just want to make it simple rather than using these bass amps.
Another fantastic upload, thanks for this.
For most non pro musicians/folk interested in recording, it's the loudness of monitors that's going to be a major restriction, particularly if you live in flats/apartments and/or have a family. For that reason, the primary listening environment is going to be the best headphones you can invest in for the task. I'd love to be able to push things through good monitors when I want but unfortunately, the restrictions are too great to make proper use out of them...hence the headphones. Of course, I'll still play through the house and car HiFi just to get a check.
Hello. What happened to the new video you posted regarding Monitors vs Headphones?
There was a mistake in production. It will be released next week. This week’s video is about Pre- vs Post-Fader. Thanks for watching!
@@AudioUniversity aawww maaan. I haven't finished watching it. 😞
Sorry about that! It will be back - I promise.
@@AudioUniversity Thank you! Will check on it as soon as it's back. Keep up the awesome work!
Best piece of studio gear is a set of good speakers.
1:13 Am I the only one who thinks the guitar in the bg (in the case) was used by Dracula when he was rocking at the top of his castle at night while there was thunder.
This is something I picked up from working live sound for so long: Monitor on studio monitors but PFL/Solo on headphones. I think of my headphones as a microscope on the audio but for listening to the mix as a whole, studio monitors all the way
As a high percentage of music and podcasts are listened to in a car, I recommend listening in a car, especially if you want your recorded voice to be heard clearly. Try recordings with different mics and interfaces played back in your car to see what I mean.
Seriously, I enjoy watching your videos! One quick question though, your LCD monitors are interesting. They are vertically placed. What type of stand do you use? I have the same size of table. Can't place them sideways due to lack of space.
Thanks, anabec! Here is the stand I use with my 27" monitors: amzn.to/3IrQqkT
In the waygone past, speakers were called speakers, but in the modern world, some speakers are now called monitors. Any logical reason for the name change? What's the difference between a speaker and a monitor?
All monitors are speakers, but not all speakers are monitors. You call them 'monitors' because you use them to 'monitor' the audio, that is, listen to the sound in a careful, controlled way (rather than just passively listening)
Great question, Stuart. I agree with this answer, Daniel.
They are designed for different purpose
monitors are used to render audio information as transparent, unaltered, colorless, not adding flavour as much as possible, it is designed to play back every single blemish in the audio data to evaluate a recording for production, to further control the matching of amplification and drivers, many monitors are active in nature, some models may have a PCM DAC inside the cabinet, you can also find systems (mics, software and/or hardware) that profile the listening space characteristics and apply compensation during playback, monitors can be passive and used outside a studio, rogers 3/5A is an example
Non monitoring speakers can be designed to have certain characteristics to please the listener according his/her own preference through added flavoring, transient response behavior, many such design are passive allowing user to mix and match amplification devices to satisfy user requirement, this is not to say they cannot be used for monitoring, lookup what Abbey Road Studio uses
Some speakers were called monitors in the waygone past too. Certainly I encountered monitors in the ‘80s-the first time I visited a recording studio-though I know the term was used long before even that. It’s just that monitors were only found in studios, mixing suites, on stage (facing the performers), etc. where few people ran into them. In this age of ubiquitous home studios, however, monitors are much more common.
i cant decide to listen this comparision on heaphones of monitors lol
I'm going to the other way. My Hs80 monitors are mostly turned off because i learned how to produce, mix and master with my phones. Todays music you dont need to sound "super high quality full pro" as streaming and youtube codec will make all sound the same. Also, make your music sound good on cellphone speaker or bluetooth mono devices is the goal today. You dont need studio monitors for that.
Pure ignorance and newb comment. Wrong wrong wrong
Bro Amazing Video Like aways! Thanks For helping all of us! hey I got a possible video idea but it could be that i'm wrong lol - so I been looking for a video to help me understand how to get familiar with my monitors. maybe is a hard question to answer. but anyways, here's what i'm trying to find "best ways to get to know your studio monitors" this would very helpful. how about any of you guys know of a video that can help me understand more on this topic? it would be a huge help. :)
Great suggestion, OZZAR! Thanks.
In the meantime, I’d recommend listening to music you’re familiar with on the speakers often. Also check out this ear training method: ua-cam.com/video/0fckQLQWhe0/v-deo.html
yes they are
I´ve seen too many kids spend their last pocket money on some studio monitors thinking this would somehow be a necessary and useful thing for them, when in reality their untreated rooms made this a big waste of money... Almost anybody in a bedroom setup is better off buying some quality headphones, learning them, and using whatever stereo system they own to double-check until they have some free cash they can spend on some room treatment and monitors.
What about mixing on open back vs closed back headphones? I've heard that closed back headphones are not as good as open back because there are reflexions inside the headphone.. cup... Or whatever it's called.
Closed back headphones are better for tracking, but are good for mixing too
Open back headphones are better for mixing, could be good for vocalists to hear themselves better if needed as well (beware of mic bleed though). Open backs give you a much better representation of stereo, it will sound "wider" to you, which is better to separate the sounds while you are mixing
haha i use both studio monitor, headphones and surround system for my music.. there is really no rules. as long as it sounds good it Sounds good..
Great video, Are those A4V or A7V ? Also would like to hear some thoughts on those on upcoming videos.
These are A7V. I really like them! I’ll try to cover them in a future video. Thanks for watching!
2:49 He says as he has Beyerdinamic DT 770 Pro which are prone to have harsh Brightness, can some1 get this man a pair of Hifiman Arya Stealths
3:01 That's why we have Open back Headphones to allow the natural ambience of the room to fill the soundstage, however if you natural ambience is a bus good luck with hearing anything through Open back headphones
Amazing and very informative Stuff in such a short video woww 👏🏼🔥
Glad you enjoyed it! Thanks!
Many thanks
Thanks for watching!
you look like AI man 😅 are you are real person?
let me know what you think of the iLoud micro monitors 🔊
another great video! and look at your channel growing!
Thanks!
I think another factor should be who listen to your music and what they use to listen to it. I use two sets of studio monitors, a very inexpensive computer speakers and a flat screen TV. If I can get a decent sound from all I am OK. Yes, I put carpets on some walls in my listening room.! Thank you for the video.
Great point! Thanks!
Might as well make good sounding mixes to be listened in most environments. Because each device will have its own sound. If you have too much bass on a mix, a bassy sound system will make it sound like crap. If you can make a mix sound good in a 5 dolar earphone then you're all set because it will also sound good in any system. Hence why Yamaha's NS10s are so popular, because if you can make it sound good there, it will sound perfect everywhere
Well done. Great delivery.
Thank you!
Very simplistic take on CRM
Coherency is usually very overlooked.
Adams are one such brand that ignore such qualities.
Sacrificing "Impressive" for true coherency.
But they do fit into what is often regarded as "Audiophile" behaviours which has very little to do with fideilty
If you aim at making the mix sound good on any system you also compromise how good it can sound on a great system that goes deep in bass and can support a lot of dynamics. For example, if you aim at some narrow band mix and don't allow deep pure subwoofer bass because it won't show up on a tiny phone speaker, your mix will lose a lot of appeal for those of us who enjoy some sub bass effects not having a ton of harmonics just to appear on a tiny Bluetooth speaker. Rather, you need to know your audience and some of the best sounding music simply won't sound great on crappy audio gear. I really hate any music that appears obviously super optimized with too much compression and harmonics added to fit in the narrow frequency response of some cheap-ass speakers I would never want to use anyway.
I always ask myself: most people listen to music through headphones. why use speakers when mixing?
Great graphic on the room modes! .. I use my Sennheiser HD-420 SL headphones for bass balance, minus room interaction. The near field is less affected by room modes, and near boundary reflections, so a carefully setup near-field monitor pair should be reasonably accurate. A good pair of smaller, full range speakers (no crossover) are an excellent reference to get the mids right, minus low bass and upper harmonics, the approach of a few notable engineers from the 70's.
anyone have recommendations for sound panels
You can use a Phonitor 2 from SPL with your HPs. With it you get a similar stage and cross fading like monitors. My first choice in untreated rooms!
The first thing you want is a studio that doesn't sound like a brick reverb tunnel
Thank You....this video is so helpful...All The Best.
Short answer: Yes. Done.
Great ❤ video, Kyle.
Thank You So Much Sirjee
Yes.
Great Channel , precise presentation 🙌🏽
Thanks for the great content👌
😱
An interesting assessment from an expert (not me). ALL HEADPONES will last about 18 months of medium use before something goes wrong with them. Some last for even shorter, a few last longer, but 18 months is the average lifespan of a set of cans. Looking at it from this perspective, you want monitors, for sure. Some of them come with 5-year mfr's warranties.
If you're serious about working in audio... BUY. STUDIO. MONITORS.
I don't know and I don't care what he says at the end of the video. Buy monitors. Otherwise just keep audio as a hobby. If you don't want to buy monitors, you're not serious enough.
Yes
After buying Shure professional headphones for my sound system, was very dissappointed. Using "Gaming" headsets instead, They are generally better and more comfortable. The Shure headphones have cheap plastic swivels for folding, The gaming headset has no swivel and wide metal for adjustments. The cord on the Shure is plastic with no mechanical isolation so any movement is transferred to the headphones. The gaming headset has a braided cloth cover for a much quieter noise isolation from cord motion. Studio monitors are applicable only for a studio. Disclaimer, I do live sound, so working from FOH instead of a studio most of the time.
If you're not working on a studio or mixing/producing why buy studio headphones? It's like buying racing tires and brakes for your 2003 honda civic. What's the point? Might as well buy gaming headsets if you're not going to produce music.
Also, if you're working FOH you might as well get any pair of headphones, there's no need to buy studio headphones for it
@@pedrosilvaproductions Actually this is for FOH. Just was really disappointed in the sound isolation of the "professional" Product over a gaming headset. Game headphones seem to have been able to perfect the craft with better performance, comfort, and fidelity..
It doesn't matter how flat the speakers are, the room will change the response. Room modes will also cancel or exaggerate frequencies & the further the room is from the ideal bolt plane, the worse this will be. There is absolutely nothing you can do to totally eliminate room modes, other that remove the room, ire go outdoors. You can however minimise some room room effects by specifically designing the room for sound and using acoustic treatment, but this is extremely expensive. A good room will be about 1.5 times higher than it is wide & twice as long as it is wide. It will also have no exact 90 degree corners, no parallel surfaces, no parallel edges and no opposite corners that are the same distance apart as any other opposing corners. The reason for this is to break up the room mode generating feature across the spectrum, so that they do not reinforce each other, making the effect weaker at each frequency they occur.
The upshot of this is that both speaker & headphones have their pros and cons. Headphones do not have room modes but they don't tell you how things sound in a room. A lot of music is consumed through headphones, a lot is consumed as ambient background, only a small amount is consumed as specific listening engagement is a room. You probably need to use both speakers & headphones to do a good mix.
Also, it's important to understand that headphones will sound different depending on the user, primarily due to the user's outer-ear shape (the Pinna). Headphones are not speakers, and should not measure ruler flat; the nearest thing to a standardised curve for headphones is the Harman Curve which some manufacturers follow (AKG, Dan Clark to name two) but most don't.
@@davidgriffin79 Yes, but I didn't comment on headphones or compare speakers with headphones. I left my point unstated, thinking it obvious that each have their strengths and weaknesses. Neither are true reproduction, they are just different.
@@kenwebster5053 My point wasn't to argue with you, but to point out the weaknesses that headphones have and what the wearer should be weary of. The take-away is that headphones should not measure flat (like speakers) but should preferably follow a standardised curve such as the Harman Curve.
@@davidgriffin79 OK, point taken.
Really wish you would've mentioned the difference between open and closed headphones. Barely anyone brings it up when it comes to recording and mixing.
Good point! I’ll try to cover this in a future video. Thanks.
I was also going to mention something about that. It makes a huge difference
I had headphones that recently broke, they had Dolby Headphone technology in them, and they were great for mixing. They had a stereo spread similar to monitors and clarity and detail/fidelity that was insanely good. They were Razer Thresher Ultimates (yes, I know, gaming headphones for mixing, bad idea, but they sounded so damn good. I don't think it was even the intent of Razer.) Does anyone have any suggestions on what to replace them with? For heavy metal specifically. I have M50x's right now but they are really only best/good for electronic and pop. Metal sounds like it's missing holes in the fidelity on the M50x's. I'd want to stay with closeback.
Have you looked at beyerdynamic dt1770 pro‘s yet?
I‘m using those to mix everything from rock to jazz. Work really great and are closed backs so suitable for tracking too…
@@jimi272 Thanks man, I'll try them when I can.
It sounded good because they are tuned to sound like that. Most studio headphones sound "dull" and "flat" for most people and that's the point. If you're using for mixing then it's exactly their design.
I would keep the M50X's. They are good for metal, you're just listening to them through flat studio headphones. I've used M50X's for metal, being a metal guy myself and they sound good for mixing in them. If you make the track sound good on them, and then listen on a car for example you'll see that the M50X's are doing exactly their job, which is to sound flat
@@pedrosilvaproductions I don't think they're really that flat. Maybe relatively flat, but they're still quite uneven from small area to small area of the frequency spectrum, with quite a lot of dips and peaks in the lower and upper mids, as well as highs. The bass is voiced for electronic and partly pop, as far as I can hear, and they don't tolerate metal that well imo. It's okay, and they translate to a reasonably good degree, but they're limited as headphones imo. I'll try out the 1770's and see if they're significantly better. Only upside I see to them is portability + low resistance.
But headphones can't replicate the feeling of a good bass filled room. Can they?
Nope if you’re going for fun or really need to hear the low end monitors are the way to go, too many boost the bass a lot because of headphone mixes
Nothing new, everything is totally obvious you "explained" here.
My 2 cents is headphones are essential for mixing and mastering music outside of a studio. A friend sold me on studio monitors, when I listen to my music on them. my music sounds as good as professional mixes... I however know it doesn't sound that good... listening through headphones reveals the differences when comparing my mixes to professional tracks. My older songs that always sounded muddy no matter what I did sounded the best on studio monitors... on headphones they sound muddy compared to every reference track