Plus over the years, I’ve broken the old taboo and gotten very good results on phones – even as a mixer. I’d much rather do music mastering on speakers, but Linda’s place is small and not suited to a speaker setup. I like to travel but I can’t afford not to work, especially for longer periods when I’m at my partner’s place near Seattle. At home, my Sonys plugged into a Panasonic SV-3800 DAT machine sounded pretty rad.įast forward to my use of headphones to work remotely. Best, meaning which headphone output made an AKG-240 or Fostex T-20 sound loud and clean. However, it was apparent to most recording engineers which model of DAT machine or recording console headphone outputs sounded best. There wasn’t much in the way of dedicated headphone amps back in those days. Great to use quietly at night because at a moderately loud level, the high freqs would take my head off!Įven then, I had some idea of how different gear made those phones sound their best. Annoyingly bright but suitable for critical listening to check something I was mixing. Later as my music production career took shape, I owned a Sony MDR-V7. I think my first pair was a Yamaha HP-3 or something. It was a way to get closer to a recording without spending money I didn’t have. Like most other audiophiles, I owned headphones in my youth. ![]() A new offering from Focal now has the head-fi crowd buzzing the updated Focal Utopia 2022. ![]() As much as my time permits I plan to explore high-end products that have appeared in the headphone space. I was quite impressed by the headphones from the French powerhouse Focal when I contributed some impressions of their Stellia to this PTA review. This is part story, part review of how this happened. ![]() Recently, while taking a break from reviewing two-channel gear, I became fascinated by the goings-on in the headphone community.
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