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Comments
Right, because you're hitting the physical limits of the drivers. I would think that it's much easier to get the cans closer to neutral than it is to match a different set of cans altogether.
The DT770s have more sub-bass than the ATH m50x, so it probably isn't possible to match the Beyers with the ATs.
The fact that the DT770 can go quite deep is also really useful for checking the sub-bass on a mix. If you have any mud or rumble below 100hz they're pretty good at picking that up.
My conclusion would be that the simulation simply has the wrong parameters or they have used measurements from a different DT770 model. The 80R and 250R models do sound quite different in fact.
Yes, it’s interesting that there is only one general setting for all the DT770 Pros from 32 till 250 ohms
I guess I'm missing out on this, but I can't see the point of these modellers (mic, monitor, headphones).
If your headphones don't go low enough or struggle at certain frequencies it won't make it better, imo it just makes it worse. The only benefit I can see is that you can hear it without 100% L-R isolation (which is my favourite part of hp use lol).
In any case you'll need to learn your gear and learn to adapt to its weaknesses.
F.e. I compared IKmm monitors - on their own they were fine, but against anything in the price range they sounded completely lifeless, unnatural... but at least loud...
A corrective EQ curve won't overcome the physical limits of a driver, so obviously it can't help to compensate for frequencies that aren't there because they're out of the driver's range, but it can definitely help to make the headphones more neutral.
It's very difficult to make a perfectly neutral-sounding pair of headphones (or speakers for that matter). So you might get some dips and boosts in the frequency response. A corrective EQ applied by Morphit will even those out and create a more neutral-sounding headphone. It's a very effective way of getting the most out of any pair of headphones.
+1
I use Sonarworks Reference 4 in the studio which flattens the response based on the exact headphone model. I have that correcting my Adam monitors as well to compensate for my room deficiencies calculated by their software and measurement mic. I find it helps especially in the room/monitors.
I so wish they had it for iPad too but I mostly use the iPad for writing and mocking up songs etc in gadget and/or cubasis... need to look into Morphit I guess because it’s nice when choosing sounds to have it flat, for me anyway.
My problem with my current headphone (Senheisrer HD215, Bose QC 15) is that they don’t reproduce bass frequency very accurately. I have to go in my car to get a more accurate bass picture.
@LinearLineman how is the Sony’s bass response?
https://www.sonarworks.com/blog/gear-reviews/studio-headphone-review-sony-mdr-7506/
@ecou, the Sony’s have a rather Goldilock’s Bass. Not too big, not too small. I think they are rather accurate and probably why they are so widely used. The famous Beyer’s have more bass for sure.
I was thinking of getting the Beyerdynamics DT990. Many people have recommended them. But after reading review I am not very confident anymore.
+1 for ath m50x
This might not have to do anything with the correction curves. Keep in mind that a mobile device like an iPad can't drive high-impedance headphones properly. Correction curves such as in Morphit are assuming there is a sufficiently powerful amp in the device driving the headphones that can handle low and high impedance cans.
@DavidM If they sound different, the correction curves have to be different.
And these have nothing to to with the max. output voltage that an iDevice can deliver.
TB Morphit runs on iOS anyway.
Same. Bought DT770 Pro 250 about 15 years ago. Still my preference with all the others I've tried? Can wear them for hours. I replaced the ear pads last year. Only issue I had was the dreaded (and apparently not uncommon) distorting ear piece on the first set. Hopefully that is a thing of the past now.
I actually had some distortion at one point. I pulled it all apart and removed some hairs that had gotten in there, and been distortion free ever since.
I will forever suggest the Sony 7506 but I’ve listened to countless hours of music on them so I know how music should sound through them. They help me get pretty accurate mixes though
If you are on a budget I can wholeheartedly recommend the Taiwanese product Superlux HD681EVO. I bought it for about 40 Euro and countless reviews acknowledge a PQR that is probably unbeatable. The 32 Ohms make it an excellent choice for the iPad. Some reviewers say that it has too much bass but I find it quite neutral.
http://www.superlux.com.tw/productInfo.do?pdctid=d708f6e9-bdf2-41b4-88ea-11912a76398e&pdkid=3a182f85-9464-41bf-b4c7-d618102f84ac&level=2&lv0=1#skill_zone_li
There is also a dedicated studio headphone HD668B but it has some more Ohms why I decided for the HD681EVO. Anyway the Superlux headphones does sound very good and have a great resolution. Many articles for home recording newbies recommend them. Some reviewers even see it on par with the inevitable Sennheisers, but read for yourself
https://www.amazon.com/Superlux-HD668B-Dynamic-Semi-Open-Headphones/dp/B003JOETX8/ref=sr_1_8?dchild=1&keywords=superlux+hd681+evo&qid=1597834150&sr=8-8&th=1
Many reviewers complain about poor build quality but again I can't confirm. I bought mine about a year ago and it still shows no signs of problems with the weaknesses mentioned in the reviews. But I don't stress it much. It lives in my home studio and I rarely take it somewhere.
It actually does. Headphone impedances are not constant over frequency. Therefore the interaction with the amplifier will depend on frequency as well. In other words, the headphones response will depend on whether you drive it with an impedance matched amplifier (for which I presume the correction curves were determined?) or with an amp that is not impedance matched. High-quality amps can usually work with any impedance headphones, but mobile devices struggle with high-impedance cans.
I asked the dev of Morphit about this some time ago. He said that the DT770s give very similar responses if driven by a matched amp.
Have a look here in case you'd like to learn more about the importance of impedance matching:
https://www.headphonesty.com/2019/04/headphone-impedance-demystified/
That’s the great thing about this model: It’s worth getting used to, because it’s likely to be around in 20 years.
DT 770 Pro is actually a bit older than MDR 7506 and Beyerdynamic’s headphones have been around since 1937 with the DT48. They are both recording industry standard headphones and both are good. Both will be around for years to come for sure.
That‘s essentially it - I bought a used AKG K501 a decade ago, changed the earpads and it became my main reference. I‘d switch to a K601 or K701 (same soundprint), but it‘s difficult to identify the original version.
The only visible difference is the package, which originally were grey/green, while later models in black boxes aren‘t my cup of tea - they are tuned differently. I once returned a 701 for that reason.
That doesn‘t mean they are worse, but I‘d loose my „internal“ reference.
For me personally the MDR7506 just has way too much high-end emphasis to be used for mixing. They are not in any way neutral, I wouldn’t be able to make reliable mixing decisions with them because of that gigantic high-end peak.
https://www.sonarworks.com/blog/gear-reviews/studio-headphone-review-sony-mdr-7506/
I wonder if this makes them popular with older people, the compensation for fading higher frequencies in the average older person?
I had this problem with 7506 as well. Sounded great in itself but my music sounded dull and inconsistent in the bass, most of the time too boomy when played on most other systems. DT770 helps me improve the result. But this is subjective though. Many go for 7506 and they get a good result. Everyone must try it him/herself.
It's possible, although I think their popularity stems from the fact that there was a fashion among audio engineers for many years to monitor on very bright setups - specifically NS10s. I think that sound became associated with "the" studio sound, in fact many people used to argue that this was what neutral sounded like back in the day (luckily we have much greater access to measurements now so we can put that fallacy to bed). The MDR7506 is the headphone equivalent of the NS10, very bright and harsh sounding.
Monitoring on such bright headphones can arguably help you to detect any hint of sibilance, and will also emphasize transient detail so could also possibly help with compression settings. On the other hand you also run the risk of ending up with boomy and dull mixes because your monitoring is tricking you into thinking there is more high-end detail there, while also masking some of the bass.
Anyway for anyone using the MDR7506 I would say that Morphit is absolutely essential if you want to hear an uncoloured version of your mix.
Yes. Loving my pair.
m50x
M50x work well for me, but I think headphones are a personal taste kinda thing.
I finally bought a set of the latest AT M50 model. I remember when I tried headphones over a decade ago and went with the Beyers I was really undecided between the M50 and DT770. The comfort of the DT's is way better than the M50 but I still love the sound. These 2 are the best headphones under $500 IMO.