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Resonant Road / Mixing with MDR7506
Back at it. Improvising quasi jazz. Now mixing with Sony MDRs. Feels better, but waiting for delivery
of Beyer DT770s for comparison. RC275 paired with BeatHawk Acoustic Grand. Noise, IFretless Bass and BeatHawk B3.
Comments
First off, that was a heavy track! When I got into Stockhausen & John Cage years back I also listened to avant garde jazz cats like Ornette Coleman and Albert Ayler and really respect the ability needed to make stuff that seems so random actually coalesce into art. Your track was very interesting and that down played bass that pops up is really cool.
Now, for me, I love Sony MDR-7506 headphones and use them for recording and mixing. I experimented with others but 7506's are really flat which is what we want.
Mixing on headphones is frowned upon by some people but usually those people have fully acoustic treated rooms with brilliant sounding monitors. For many of us, especially if recording with mobile set ups, headphones are the only real option as far as monitoring goes.
The best I ever heard it put was 7506's are to headphones as Yamaha NS-10's are to nearfield monitors. What you are hearing is what's there, no hyped bass, no coloration.
Be cool...
Thanks for rescuing this track from the dung heap of oblivion @JRSIV. Much appreciated. I just need one positive bit of feedback to feel I am still on the path. This is not a music centric forum, and that is probably a good thing. When you got a bunch of musicians critiquing the shit out of tracks you lose the wonderment that music brings when it is just heard.
I think @McD is finished with me cause my pieces are so “random” but that is just where I’ve gotten to. But, I agree, there is often a deeper “form” that departs from structured norms. Not for everyone, that’s for sure. Anyway, thanks for the encouragement. It makes me want to record more.
Btw, I tried the Beyer DT770s and liked them, but much preferred the Sony’s for a crisper and cleaner sound. Also the 80 ohm version required a bit more power than my iPad could supply. The Sony’s are much louder.
I really like that track, that piano work is fantastic. I like how much anticipation it all creates, it really keeps you engaged. Also a big fan of the 7506 headphones, those all I ever use when mixing since I can’t use monitors at my apartment
MDR-7506's are a studio reference standard - they've had a pair in every single studio I've done a session in. I've been using them myself since the early 90's and they are extremely reliable.
Be careful with mixing on them! I find that they are pleasant enough to listen to, but there is a distinct lack of low and end trying to mix only on the 7506's may result in muddy mixes - been there MANY times myself. While the 7506's are the cans I use most, I do have a separate pair of phones for perspective. Also be careful as the high end can get very brittle at higher volumes.
I'm glad to see you're back to creating tunes, again. I like this one - very much in the style of your previous Istanbul recordings, although I'd bet these came from a better "inner" place. But I dig it - very evocative and full of space.
@LinearLineman I know we creatives are a sensitive lot but I try to kick out whenever I get down or feel legit encouragement isn't forthcoming. I mean our wives, friends, mates, etc. are by and large going to tell us what we're doing is good, so we disqualify their feedback.
But I have learned to take all comments, good or bad, in the spirit they're given: if a friend is putting something over then I'll thank them and let myself feel good that they dug it, rather than navel gazing my way out of a compliment. And if a troll online shits on my stuff, hey who cares, really.
I think at root most of us make music not because we want to, but because we need to
...we have to. Keep on the goodfoot!
@Daveypoo I agree about 7506's IF you are new to them or mixing in general. If you take the time to "learn" them they can be quite a powerful tool. The key, as you say, is the low end. Since there's no hyped 'loudness' or bass curve you do have to become used to judging how bass will sound with them.
The key is checking the mix with another speaker/headphones/in the car, etc. But again it's different for everyone, I know cats who HATED NS-10's and never used them while others swore by them. I think it's most important no matter what your main monitoring set up is to check mixes on multiple sources.
@JRSIV, I feel a lot of bass end with the 7506s. I will play my last few tracks thru my JBL 305s tomorrow, but I suspect the bass will actually come down a bit. Are you saying it should be the opposite?
Definitely! And take some time to do it.
The reason is that the NS-10 are all but linear. They're not neutral monitors but the kind of coloration they apply helped a lot of engineers to get the kind of balanced mix that works well on many different reproduction systems.
That's why you've usually seen other, more neutral monitors next to them in the same room.
And I think the same can be said of the 7506s, they're not neutral at all but the enhanced high-end detail can help in some mixing situations (checking distortion, sibilance, and transients).
Enjoyed that @LinearLineman
I'm not into jazz generally but that fit the bill this Wednesday morning.
Oh and I listened to it on my iPhone X speakers so all the mixing talk was lost on me.
No not necessarily. The concerns we’re talking about re: the 7506’s have some truth to them but to me the key is A) listening to our mixes on different speakers & headphones to see how they translate in the ‘real world’ and
learning just how deficient our main monitoring headphones/speakers are across the frequency spectrum.
Because you can have extremely expensive top quality monitors like Barefoot Micromain’s or Genelec’s and there’s still no guarantee a mix is going to be great. I know for me some of this stuff seemed contradictory but it’s true: you have to trust your ears AND rely on quality tools to guide the way.