Faithful high definition studio headphones with flat frequency response

[Master Mi]

Heya, guys.

I'm looking for some professional studio headphones with natural high definition sound (without significant bass boost, treble boost or midrange cut), ...

... so, just some affordable high-end headphones with the flattest possible frequency response that allows me to perceive crystal clear, natural sound and listen to the true musical intentions of a composer or a professional developer of VSTi sample libraries in every little detail.

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Edit: My big choice is actually between those headphones:
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1) Beyerdynamic DT 880 Pro (5 - 35000 Hz, 250 ohms, semi-open)
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>>> https://www.thomann.de/gb/beyerdynamic_dt880_pro.htm
(also available as a slightly cheaper Black Edition)
>>> https://www.thomann.de/gb/beyerdynamic_dt_880_pro_black_edition.htm
frequency response graph >>> https://reference-audio-analyzer.pro/en/report/hp/beyerdynamic-dt-880-pro.php

2) Audio-Technica ATH-M50X (15 - 28000 Hz, 38 ohms, closed-back, replaceable jack cable)
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>>> https://www.thomann.de/gb/audio_technica_ath_m50_x.htm
frequency response graph >>> https://www.rtings.com/headphones/1-6/graph/21550/frequency-response/audio-technica-ath-m50x/295

3) AKG K-702 (10 - 39800 Hz, 62 ohms, open-back, replaceable jack cable)
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>>> https://www.thomann.de/gb/akg_k702.htm
frequency response graph >>> https://www.rtings.com/headphones/1-5/graph/7903/frequency-response/akg-k702/332

4) Sony MDR-7506 (10 - 20000 Hz, 63 ohms, closed-back)
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>>> https://www.thomann.de/gb/sony_mdr7506_kopfhoerer.htm
frequency response graph >>> https://reference-audio-analyzer.pro/en/report/hp/sony-mdr-7506.php#gsc.tab=0

5) Beyerdynamic Custom Studio (5 - 35000 Hz, 80 ohms, closed-back, replaceable jack cable, headset customization options and 4 adjustable bass levels)
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>>> https://www.thomann.de/gb/beyerdynamic_custom_studio.htm
frequency response graph (depends on bass slider settings) >>> https://1.bp.blogspot.com/-RugbixtitO8/X34p9pXMlRI/AAAAAAAABeA/m29TVSU-qEwzGQ8U4GiMEuqJxE1dLCNbwCPcBGAsYHg/s1200/Beyerdynamic%2BCustom%2BStudio.jpg

...

I already have the Sony MDR-7506 studio headphones, which are really good (apart from the slightly narrow soundstage or the slightly overemphasized frequency range between 2500 Hz and 7500 Hz, which can make the sound a bit harsh).
They have a high sound resolution and are not too uncomfortable to wear (I wouldn't recommend them for people with larger ears).
A big problem could be that the frequency response drops off dramatically above 12000 Hz - but I don't think that will be decisive for the listening experience and accurate mixing.

Some time later, I got the semi-open Beyerdynamic DT 880 Pro Black Edition (be sure to use the silver earcups instead of the black ones - it makes a huge difference, for example, in terms of a smoother frequency response) and a high-end headphone amplifier, the Lake People G109-P (to better drive and get the most out of these high-impedance studio headphones).

And the Beyerdynamic DT 880 Pro is still my absolute favorite when it comes to important points like:
- a natural, faithful and very analytical sound
- a very even frequency response
- a wide frequency range (5-35000 Hz)
- really accurate stereo and depth imaging (when I watch movies with these headphones, I feel like I'm in a small modern Dolby Surround cinema and get sucked right into the action)
- a really pleasant wearing comfort

And - what's really important with studio headphones - they gave me the best mixing results after listening to my mixes on other monitoring devices like other studio monitors, stereos, car stereos, MP3 players, etc....

They may even be among the best studio headphones for mixing in the world.
And they also seem to be much better than the closed-back Beyerdynamic DT 770 Pro and the open-back Beyerdynamic DT 990 Pro (I also own the DT 990 Pro, which is supposed to be better than the DT 770 Pro, but I don't like the really annoying harsh highs and the little bass boost - may be useful for watching movies and figuring out what a mix would sound like on a lot of customer hi-fi systems, but for mixing I don't really like using them).

So, I think I'll definitely stick with the Beyerdynamic DT 880 Pro.

...

But I still try to be open to other current and future developments of studio headphones.

So, I really like to check out some professional Japanese studio headphones like the ATH-M50X from Audio-Technica in the future.

There are also some new developments at the Beyerdynamic DT professional studio headphones are going, such as the DT Pro X series (the DT Pro 900 X might be interesting, as it seems to be very similar to the DT Pro 880, but still has the next generation Stellar.45 neodymium drivers, an open rather than semi-open design, a similar frequency response like the frequency response of the DT 880 Pro, even thicker ear cups, and a replaceable jack cable).

...

As soon as I get a chance to try out or even mix with new models of studio headphones, I'll let you know, of course. ))

Edited January 25 by Master Mi

[Moseph]

Whatever you end up getting, I recommend looking into Sonarworks Reference 3, which is a VST plugin that corrects frequency imbalances for headphone mixing based on your headphone model. I use it with my AKG K702s and like it a lot -- K702s are skewed toward mids and highs, and it evens things out in a way that makes getting balanced mixes noticeably easier. (FWIW, Sonarworks supports the DT 880 Pro and the Sony MDR 7506 but not the Sennheiser HD 569.)

[timaeus222]

I would definitely recommend the Beyerdynamic DT 880's, specifically the 32 ohm model. I got the 250 ohm model, which needed a properly calibrated headphone amp to get a full bass and treble response due to the high impedance. Presumably the lower impedance allows the extreme lows and highs to come through more evenly, so you shouldn't need an amp to get a proper frequency distribution.

Besides the frequency response, they are very durable and long-lasting, and they have an honest stereo field. I've had them since Dec 2013, and they still are super comfortable while allowing me to mix with utmost awareness of stereo space and frequency fullness.

As an example, here is something recent that I made using these headphones (note: you'd have to download it to hear properly clean treble frequencies since soundcloud embeds at 128 kbps), and here is something zircon made also using them.

[Master Mi]

Thanks for the nice hints and information. ))

In the end I've chosen the Sony MDR-7506 and I'm really satisfied with those headphones.
They've got a really natural sound - no overpowered, but really crisp and highly defined basses (probably one of the biggest issue with most studio headphones), pretty decent, clean and neutral mids and really defined high frequencies (although they might be a bit standing out and sharp at "sss" sounds like hi-hats - I tried to change this with an equalizer plugin but no matter where I reduced or raised frequencies I couldn't get significantly better results which might be a sign that these headphones make a really clean, authentic, neutral and natural sound).

In the beginning it might be a bit unusual to listen to soundtracks with such a reduced, neutral bass - but it's really good for the mixing process (as well as for watching movies etc.).
Your sense of hearing wil get used to the neutral sound within a few days/weeks.

The stereophonic/ surround sound is also pretty awesome (and really precise), too.
Related to this it can really keep up with the big room sound of my new stereo speaker system (Logitech Z533).

A bit annoying during the first days was the slightly noticeable pressure on the head around the ears (my ears got pretty warm at the first day after wearing the headphones over a longer time).
But this vanished after a couple of days and they now fit really well without boiling my ears.
If you have larger ears you should look for another model of headphones maybe (they're really made for smaller and normal ears) - such like Beyerdynamic DT 770/880/990 Pro headphones which are really big compared to my Sony headphones.

So, altogether you can hardly do anything wrong with buying the Sony MDR-7506 as professional studio headphones.
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PS: Since a friend of mine wants to buy some Beyerdynamic headphones (770 DT Pro or 880 DT Pro) for gaming soon I might have a chance to compare those ones with my Sony MDR-7506.

[prophetik music]

i owned alessandro labs/grado's music series two for several years and found them to be great, personally. they're not the most comfortable though.

[timaeus222]

I still recommend the Beyers, for both quality and comfort. I can use the Beyers for 5+ hours if I wanted to, and not get ear fatigue (sometimes I forget I even have them on).

[Master Mi]

Since I'd been focussing much more on this topic lately, I've updated this posting with new studio headphone models and relevant facts of these models.

Edit: My big choice is actually between those headphones:

1) Beyerdynamic DT 880 Pro (5-35000 Hz, 250 ohms, semi-open)
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>>> https://www.thomann.de/gb/beyerdynamic_dt880_pro.htm
(also available as a slightly cheaper Black Edition)
>>> https://www.thomann.de/gb/beyerdynamic_dt_880_pro_black_edition.htm
frequency response graph >>> https://reference-audio-analyzer.pro/en/report/hp/beyerdynamic-dt-880-pro.php

2) Sony MDR 7506 (10-20000 Hz, 63 ohms, closed)
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>>> https://www.thomann.de/gb/sony_mdr7506_kopfhoerer.htm
frequency response graph >>>  https://www.rtings.com/headphones/1-2/graph#386/2031

3) AKG K-702 (10-39800 Hz, 62 ohms, open, with replaceable cable)
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>>> https://www.thomann.de/gb/akg_k702.htm
frequency response graph >>> https://www.rtings.com/headphones/1-2/graph#332/2031

4) Beyerdynamic Custom Studio (5-35000 Hz, 80 ohms, closed, with replaceable cable, headset customization options and 4 adjustable bass levels)
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>>> https://www.thomann.de/gb/beyerdynamic_custom_studio.htm
frequency response graph (depends on bass slider settings) >>> https://www.dropbox.com/s/vdu9ty3w3l0m95z/DT770-CS.jpg?dl=0


I've already got the Sony MDR-7506 which are really good (except the little bit overemphasized 10000 Hz area which can make the sound a bit harsh).
They have a high-definition sound as well as a very good stereo imaging and they'll be kinda comfortable after wearing them for a few days.

The only problem might be that the frequency response sinks drastically at the frequency range over 15000 Hz - so, you might have some difficulties to hear some frequency clashes or conflicting reverberations effects in the high frequency area clearly enough.

I'm thinking about getting some further studio headphones for a more accurate and larger higher frequency section.

The Beyerdynamic DT 880 Pro Black Edition for just 185 euro really seems to catch my attention in this case - but I'm really not sure if I can just connect this 250 ohm version to my Steinberg UR22 USB audio interface without a further headphone amp.
But they really have a smooth flat frequency response graph (except the little 6000 Hz peak):
>>> https://reference-audio-analyzer.pro/en/report/hp/beyerdynamic-dt-880-pro.php
I don't really want to have the standard DT 880 (no-pro) 32 ohms hi-fi model, because the hi-fi series seem to have a much less flat frequency response and harsher higher frequencies - as you can see here:
>>> http://en.goldenears.net/11302

The AKG K-702 seems to be really interesting, too (also has a replaceable cable).
It has only 62 ohms (so, no amp needed, I guess) - but there I'm afraid that I'll have a similarly harsh sound like on my Sony MDR-7506, according to its frequency response graph.

Another interesting model I've found lately is the Beyerdynamic Custom Studio.
It has a quite large frequency range.
According to the frequency response graph these headphones also seem to be pretty flat until over the 15000 Hz region (except the little overemphasized bass section below 200 Hz where I'm not sure which bass level setting they've used in this measurement) - obviously no harsh high frequencies here.
>>> https://www.dropbox.com/s/vdu9ty3w3l0m95z/DT770-CS.jpg?dl=0

It has only 80 ohms - so, it might work well without a further amp.
Another big advantage of this model might be that - in addition to the replaceable cable - nearly all other parts of these studio headphones are replaceable, too.
You can also buy an additional special accessory cable with a microphone and use it as a pretty good headset.

I wonder if they can keep up with the DT 880 Pro since they play in a similar price league of the same developer.

Does anybody already have tested these studio headphones and can give a little comparision of the mentioned models?

[Nabeel Ansari]

If you're only using the headphones in your studio, buy the most comfortable pair and hit it with Sonarworks for the most ideal headphone response possible.

If you plan to use the headphones elsewhere, obviously Sonarworks can't follow you around, I'd say the best out of what you provided is the K-702 just based on the chart.

However, based on testimonial of friends, ubiquity, and an even better chart, I'd say you should probably go with the Sennheiser HD 280. This is the 280 i pulled off of google:

 

I have used the DT 880 for a long time, but to be perfectly honest, it's just as bad as the frequency response graph tells; it has incredibly shrill spikes in the treble range. It's honestly an eye-opener when you switch between a flat response and the DT880's (which I have, I use DT 880's + Sonarworks) just how bad the DT 880's actually sound. When compared A/B in that fashion, it honestly does sound like the audio is coming out of a phone speaker when you hear the DT 880's natural sound.

Of course, it doesn't matter too much at the end of the day. Headphone responses are easy to get used to and compensate for because they have very broad features (unlike a bad room, where you can get a random 9 dB spike at 130 Hz and nowhere else due to room geometry). What really matters is that most of the frequency range is represented adequately, and that they're comfortable to wear. Every other consideration can be appeased by practice and experience. You're never going to get truly good bass response on headphones (unless you have Nuraphones) and you're never going to get good stereo imaging without putting any crosstalk simulation on your master chain. Unlike studio monitors, there's a pretty low ceiling to how good headphones can sound, and if you're in the $100-150 range, any of the popular ones will do once you get some experience on them.

[Dextastic]

I tend to agree with that. Get a decent set of open cans, Sonarworks, and Canopener. Sonarworks and Canopener both have trials so you can see how big of a difference they make, and both go on sale every now and then.

[Master Mi]

Sennheiser HD 280 don't look too bad from the frequency response - but it's not too far away from my Sony MDR-7506.

I wonder why the Yamaha studio headphones aren't constructed in a way they would represent their pretty nice studio monitors - the frequency response in nearly all models seems to be completely different than their HS or MSP series of studio monitors.

The AKG K-702 look a bit more interesting for me, 'cause the frequency response from the lower to the higher frequencies is slightly rising there.
I'm not quite sure how electromagnetic waves (frequencies) go through your auditory canal, until they get to the sensory cells in the ear.
But if the process is similar to the physical way of frequency reflections of studio monitor speakers in the room (bass frequency waves remain longer in the room than higher frequency waves), then the AKG K702 could bring a fairly flat sound reproduction to the sensory celly in your ears.
The feature with the replaceable cable is also really nice.

But for some reasons it totally drags me in the direction of the Beyerdynamic DT 880 Pro Black Edition.
Except the little peak at 6000 Hz they seems to have the flattest frequency response I've ever seen at headphones (if all the measurements of the headphones are all fairly correct so far).
>>> https://reference-audio-analyzer.pro/en/report/hp/beyerdynamic-dt-880-pro.php

I'm still not sure, if I can connect the DT 880 Pro (250 ohms) without problems (or without another amp for headphones) to my Steinberg UR22 USB audio interface and get the full sound quality out of it.
If somebody already has experiences with using these (or similar 250-or-more-ohms headphones) in connection with an USB audio interface, please let me know.

Until I got more information about the DT 880 Pro, I'll stick with my Sony MDR-7506 which are actually pretty good except the lil harsh high frequencies.
The hint with Sonarworks isn't too bad there, 'cause it inspired me to create some EQ-masks as master plugins for my Sony MDR-7506 headphones and my Presonus Eris 3.5 studio monitors.
For creating these presets I used a multiband EQ plugin from my DAW to counter some of the sticking out frequencies (of the frequency response graphs I got from internet) on an imaginary, fixed horizontal axis a bit for getting an even more flat frequency response and a less harsh sound of my Sony MDR-7506 headphones.
I only use these selfmade EQ presets as master plugins which I can switch on or off anytime - it the mixing sounds good with both settings (EQ on & off) I guess it can't be too bad in the end.

Just don't forget to switch off the EQ master plugin before measuring/adjusting the loudness and exporting the track.
 

[Garpocalypse]

As someone who used the 280's for awhile back a few years ago I can say that they are deep in the dreaded Sennheiser Veil territory.  Which means you can really jack the upper mids and have no idea just how much aural pain you are causing your listeners. Before I upgraded to the HD 600's I was only using the 280's for mixing bass and low mids.  Even then I feel I would hit ear fatigue with those things in about 20-30 minutes of listening. 

If you can delay purchasing anything right now and save up I'd go right for the HD 600s.  They are expensive but you can hear absolutely everything with them. 

[Master Mi]

23 hours ago, Garpocalypse said:

If you can delay purchasing anything right now and save up I'd go right for the HD 600s.  They are expensive but you can hear absolutely everything with them. 

Hm, the Sennheiser HD 600 seem to have a similar frequency response like the AKG K-702.

Since the HD 600 is a 300 ohms model, does it mean these headphones work correctly with a normal USB audio interface or do you use further amps or stuff like that for composing and mixing with 'em?

[Garpocalypse]

Just now, Master Mi said:

Hm, the Sennheiser HD 600 seem to have a similar frequency response like the AKG K-702.

Since the HD 600 is a 300 ohms model, does it mean these headphones work correctly with a normal USB audio interface or do you use further amps or stuff like that for composing and mixing with 'em?

To get the very best of what they are capable of you'll want to use a nice headphone amp but I use a Presonus 22VSL interface and they work just fine and are perfectly accurate for mixing.   

[ArthurM]

I got sennheiser 280s and they are a pain in the ass. The sound leakage is so bad you can use them as speakers. There is zero bass, which caused me to mix my sound into a hitachi vibrator and not even know it. I mean, maybe that's how it's supposed to work and I'm just ignorant? Mixing on headphones is pretty much a nightmare.

[Nase]

i'm using superlux hd 681 now. the 20 euro AKG competitor. partly because they have 32 ohms and my focusrite interface just isn't that loud in the headphone output.

for someone who is able to/prefers to mix on speakers, they're really pretty good. if you don't know whether you need excellent headphones, just get those. you can still use them for your hifi...

[Nase]

having bought enough, i can do the direct comparison;

 

i got beyerdynamic  770 at 80 ohms, and superlux at 32 ohms.

 

meh. the superlux are good. they're definitely good to create any music. maybe they're to shallow, but this shit is prty good.

 

 

main thing is, 20 euros is goood these days.

 

it's still got a lot to do with loudness. the 80 ohm 770's just are a bit lacking on a standard interface like the focusrite i got. i had a lower ohm pair b4 but i cannot remember how they sounded.

 

i got 3 pairs right now, the superlux @ 32, the akg 240 @ 55, the 770 @80...AND what to say...

the superlux are good. they also don't cause ear hurt (purely ergonomical) like my old AKG's from a decade ago did....(after a 10 hour night shift)

 

i say, good enough. but if you mix for absolute quiet-i-tude, approach those 4 digits.... i know nothing about them. i just know these 20$ cans are pretty damn good relatively speaking.

 

superlux. good stufff. 20 fucking dollaras.gaussian bell winner

[Master Mi]

Besides, I've got the Beyerdynamic DT 880 Pro studio headphones (Black Edition, 250 ohms) meanwhile and I've connected these to my Steinberg UR22 USB Audio Interface (the first version - not the new MK II).

If I listen to a youtube soundtrack like "Rock Box" by Run-D.M.C. with the loudest volume setting on Youtube, for example, I just have to turn up the volume control unit of my Steinberg audio interface at around 11 o'clock to listen to this track at my preferred loudness level.
>>>

In comparison to the Beyerdynamic DT 880 Pro I have to turn up the volume control unit at around 10 o'clock, if I use my 63 ohms Sony MDR-7506 studio headphones (so, not too much difference in this case).
At least this USB interface seems to have a not so bad headphone amp for high-impedance - as well as for lower-impedance - headphones.

And just in connection to this USB audio interface the Beyerdynamic DT 880 Pro sound already pretty amazing - wide sound stage (as if you sit in a little home cinema), very clean, detailed, linear and full sound.
And with these studio headphones you cleary hear, if reverb and certain frequencies are too much or stick out in your mix or get in conflict with other track elements - exactly what I was looking for.

The bass of the Sony MDR-7506 might be a bit tighter (at least at my Steinberg audio interface).
But I'll save some money for another audio interface (maybe the Japanese Roland Rubix 24 with 2 additional line output ports) at which I can connect a high-end headphone amplifier designed for high-impedance headphones (maybe the German Lake People G103-P headphone amp).
So, maybe this combination will bring the Beyerdynamic DT 880 Pro studio headphones to their full potencial.

In the end it might be around further 500 bucks with uncertain results.
But nevertheless I will be able to use some lower-impedance headphones like my Sony MDR-7506 on the Roland Rubix 24 audio interface and some high-impedance headphones like my Beyerdynamic DT 880 Pro at the Lake People G103-P headphone amp at the same time.
So, it would be also a really nice combo, if you wanna listen to some music projects or plan some big gaming or movie evenings with good friends and without annoying the neighborhood in the later evening hours.

As soon as I've got the new stuff, I'll give a little feedback if there are further sound improvements of my high-impedance 250 ohms Beyerdynamic DT 880 Pro studio headphones when connected to the Lake People G103-P high-end headphone amp.

So, stay tuned, dudes. ))

Edited March 5, 2019 by Master Mi

[Nase]

maybe the ohm value isn't all that objective, generally. the 80 ohm 770's i got are just really quiet. with my 3 cans, the loudness seems pretty linear in comparison, from 32 to 55 to 80. what you say about 250 vs. 63 ohms tells a different story!

could be i just don't dig the sound of the 770's that much. at fully cranked up, it sounds barely loud enough but just not that good. pretty spacious but lacking power.

maybe i just need a critical amount of volume to feel good about the sound, i don't know. i've noticed that i like many consumer level headphones if the sound is direct and not obviously distorted/relatively flat. i mixed 2 or 3 songs of last year on cheap sennheiser headphones and those sounded good on expensive monitors, as well. it's got to do with being lucky and the mix in question, for sure.

[Master Mi]

The 50 Shades Of The Beyerdynamic DT 880 (Edition/Pro)
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Yo, guys - after finding a former studio headphones topic which I started some years ago, I wanted to share some of my newest information and experiences I got over the years in my next comments.
I also updated the main text for this topic.

My favourite studio headphones for mixing are still the Beyerdynamic DT 880 Pro and I guess this won't change in the next years because they gave me the best mixing results as well as the most balanced, the most analytical and most detailed listening experience of music and movies.
But I want to try out some more headphones within the next years, for example the closed Japanese studio headphones Audio-Technica ATH-M50X.

My first useful studio headphones were the Sony MDR-7506 studio headphones, which are really good (except for the somewhat overemphasized 10000 Hz range, which can make the sound a bit harsh).
They have a high resolution sound as well as a more or less acceptable stereo reproduction and they are not too uncomfortable to wear (wouldn't recommend them for those people with bigger ears).
The only problem might be that the frequency response drops off dramatically in the range above 15000 Hz - but I don't think that will be critical to the listening experience and accurate mixing.

Some time later, I got the semi-open Beyerdynamic DT 880 Pro Black Edition (be sure to use the silver earcups instead of the black ones - it makes a huge difference, for example, in terms of a smoother frequency response) and a high-end headphone amplifier, the Lake People G109-P (to drive the DT-880 Pro much better and get the most out of these high-impedance studio headphones).

With my first audio interface, the Steinberg UR22 (just had a USB-2.0 power suply), the DT 880 Pro sounded already really good but it felt that there was something like a little curtain over the bass and mid frequencies where the lower frequencies seemed to be presented a little bit more muddy and with less definition than the DT 880 Pro had to offer.
As soon as I got an advanced version of my audio interface with a separate power supply, the Steinberg UR44, the phenomenon with the cloudy bass and mid presentation was finally history.
Since the built-in technology of transducers in the UR22 and UR44 is considered to be equivalent, I think it really has to do with the much better power supply of the UR44.
So, in connection with the UR44 the bass and mid frequencies of the DT 880 Pro sounded much cleaner, more balanced and they had a higher definition in my opinion.

But the best results of the DT 880 Pro I've experienced in connection with an high-end headphone amp (Lake People G109-P in my case).
With this combination I got the cleanest sound, best audio definition (audio resolution), the mids and even the trebles seemed to be cleaner and more detailed.
The bass also had the best definition and it seemed that it got extended much more into the deeper bass frequency range.

So, you really seem to need a good headphone amp or at least an high-end audio interface with some really good headphone outputs to unleash the full potential of the Beyerdynamic DT 880 Pro high-impedance studio headphones.


The Beyerdynamic DT 880 Pro is still my absolute favorite when it comes to important points like:
- a natural, faithful and very analytical sound
- a very even frequency response
- a wide frequency range (5-35000 Hz)
- really accurate stereo and depth imaging (when I watch movies with these headphones, I feel like I'm in a small modern Dolby Surround cinema and get sucked right into the action)
- a really pleasant wearing comfort

And - what's really important with these studio headphones - they gave me the best mixing results when listening to my mixes on other monitoring devices like other studio monitors, stereos, car stereos, MP3 players, etc.afterwards.


Nabeel Ansari mentioned some "incredibly shrill spikes in the treble range" at the DT 880 - not sure if the normal DT 880 are much more different in the sound and frequency response that the DT 880 Pro.
But I have never experienced some harsh trebles at the DT 880 Pro.

The trebles of the Sony MDR-7506 are a little bit harsh and the trebles of the DT 990 Pro are really annoyingly harsh - but the DT 880 Pro have a really relaxed sound (can listen to music with these headphones for many hours without getting bothered).

Maybe there are really some bigger sound differences between the standard edition and pro version or between the 32-ohms model, the 250-ohms model and the 600-ohms models of the DT 880.

...

I've just checked some sources for the frequency responses of the different DT 880 (Edition/Pro) versions.
And here's what I got:


DT 880 Edition - 32 Ohms
---------------------------------


(I guess these are the harsh peaks, Nabeel Ansari experienced - maybe he got the 32-ohms model of the DT 880 Edition.)


DT 880 Edition - 250 Ohms
----------------------------------




DT 880 Edition - 600 Ohms
----------------------------------



DT 880 Pro - 250 Ohms
------------------------------


I also got different frequency response measurement for the DT 880 Pro from a another source (not sure which one is the more accurate measurement):




DT 880 Pro Black Edition - 250 Ohms
-----------------------------------------------


(The DT 880 Pro Black Edition is considered to be technologically identical to the silver DT 880 Pro - just the dark earcups seem to make these huge differences at the frequency responses. I'll get more into detail on this topic in a further comment. But for now, it should be more than enough new information about the different DT 880 (Edition/Pro) models.)

[Master Mi]

The huge influence of the ear pads on the sound of studio headphones
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It was quite a while ago when the original ear pads of my Sony MDR-7506 studio headphones - consisting of an exaggeratedly thin layer of extremely soft artificial leather - literally fell off with crumbling greetings after only a few years of use.

The Sony MDR-7506, which I still appreciate for their extremely good audio resolution (even if the stereo panorama they offer is rather narrow than wide and the frequency response tends to have slightly emphasized bass and somewhat sharper treble), were my first better studio headphones at the time, which really impressed me with the sound compared to my previous consumer headphones, so I naturally wanted to continue using them from time to time and therefore decided to simply replace the ear pads.

However, I didn't want the somewhat short-lived, original ear pads again.
This time I wanted some really long-lasting ones that also didn't generate so much heat in the ear area.

So I bought some fluffier velour replacement ear pads for the Sony MDR-7506.

And they weren't bad either, apart from the fact that they were a bit itchy when worn for long periods of time, they severely limited the bass response, which meant that the sense of spatiality was lost somewhat, the isolation got way worse (I could metaphorically hear the pigeons fart, so I guess velour pads are generelly not the best choice for closed-back studio headphones) and they were even tighter around the ears than the original ear pads.
And, dude, I don't have some kind of huge rabbit ears - I swear on the mystical legacy of Big Chungus.

So, the Sony MDR-7506 ended up being less used or even unused for a while, especially after getting my Beyerdynamic DT 880 Pro studio headphones, which are still the best studio headphones I've experienced over all the years, especially for mixing purposes.

But during the last weeks - after checking my newest mix with them - I had the idea to give 'em another chance and look for some bigger, better and more comfortable ear pads.
I looked for hours, finally came across these ones and bought these after recognizing that these ear pads might satisfy all of my expectations:

https://www.amazon.com/dp/B0C9T7QFKT/?th=1
(just recognized that they are about twice as expensive here in Germany compared to US)

And, yeah, these cooling gel ear pads even surpassed my expectations:

1) They kinda brought back the pretty tight sound I experienced with the original earpads (maybe the bass response is just a litte bit stronger now).
2) They are much more comfortable than the original ear pads, much bigger and thicker (no nasty feeling of tightness or pressure around the ears), you don't sweat under these ear pads and your ears don't get hot like with the original ear pads (at least not during winter days).
3) And even the soundstage feels much bigger and wider now! (This really surprised me, but it might have to do with the larger size and thickness of these ear pads, where the sound has more space to roam between the headphone drivers/membranes and my ears.)

I still won't use these headphones for regular, critical mixing stuff, but definitely for temporary and final checks of my mixes, for listening to music or maybe watching some terrifying horror movies.
So, I'm really glad I could save, repair and even improve these awesome headphones.

...

Another good example of how the ear pads can radically affect the sound of the studio headphones are my Beyerdynamic DT 880 Pro.
Back then, I ordered them in the Beyerdynamic DT 880 Pro Black Edition (completely black design with black ear pads), simple because I thought they looked way cooler than the original silver edition with silver ear pads, and they really matched my black home studio design.

And yeah, they sounded really great - high audio resolution, great depth and sound stage, fair frequency response with a kinda full, very deep bass (at least I thought that this frequency response was flat like the frequency response graphs for the Beyerdynamic DT 880 Pro I've seen in the internet showed me).

Time passed and I used them for my first mixes.
But I still wondered why I wasn't able to create such powerful mixes as other composers had done with them.
Maybe it was also due to my mixing skills at the time, but I don't think that was the only problem.

And years later, I've read an important customer feedback of somebody who also bought the Beyerdynamic DT 880 Pro Black Edition, where after consulting Beyerdynamic, the customer stated that the Beyerdynamic DT 880 Pro Black Edition has a different sound (much bassier - the bass also seems to cover the midrange) than the original silver model.
However, the customer also noted that after attaching the silver ear pads on the black DT 880 Pro model, the black DT 880 Pro model sounded like his silver DT 880 Pro model - with a much more analytical sound and a much better presentation of the midrange.

But you should be careful, because there are at least 2 different types of silver velour ear pads that are used for the DT 770/880/990 series and for similar Beyerdynamic headphone models:
- the EDT 770 V (they are mostly for the closed-back models like the DT 770 Pro)
- the EDT 990 V (they are especially for the semi-open and open-back models like the DT 880 Pro and the DT 990 Pro)

Since there is nothing like a "EDT 880 V", the EDT 990 V ear pads are the right choice if you want to replace the ear pads of the DT 880 Pro:
https://north-america.beyerdynamic.com/edt-990-v.html
(just recognized that they seem to be around twice as expensive in North America compared to Germany)


Lucky Mi...
I didn't need to buy the silver ear pads at the time because I already owned a third pair of studio headphones - the open DT 990 Pro with silver velour pads (so with these three studio headphones I finally had a pair of closed, semi-open and open studio headphones).
Since I didn't like the sound of the DT 990 Pro that much (the treble was much too harsh, the soundstage and the representation of depth and 3-dimensional stage felt rather less impressive and less realistic than with the DT 880 Pro), I swapped the silver ear pads of the DT 990 Pro for the black ear pads of the DT 880 Pro.

So, the DT 990 Pro got the black ear pads (and sounded even worse with them), and the DT 880 Pro finally got the silver EDT 990 V velour ear pads.
And I was really impressed with the sound of the DT 880 Pro afterwards - very relaxed and natural sound, great midrange presentation and very relaxed but very defined bass (almost sounded like better audio resolution), very analytical, detailed sound with a very accurate, razor-sharp representation of depth and panoramic stage.

After that I fell even more in love with the Beyerdynamic DT 880 Pro (especially in combination with my Lake People G109-P headphone amplifier, which can drive these high-impedance headphones even better and unleash the higher potential of these studio headphones) - probably one of the best studio headphones for mixing purposes, but also for simply listening to music and watching movies.
Even the newer DT Pro X studio headphone series (I tested the DT 900 Pro X in a music store a while back) couldn't really match the insightful, analytical and linear, truly natural sound of the legendary DT 880 Pro - maybe I'll write about my big studio headphone test marathons another time.

And I'm still impressed by how big the difference in sound and listening experience can be just by swapping the black velour ear pads for the silver velour ear pads from the same manufacturer.
I mean, I don't think it's mainly due to the color of these headphones, but it might have to do with a slightly different velour surface/texture and a different softness of these ear pads that make a big difference in sound and listening experience for the same pair of studio headphones.

...

As a result, with professional studio headphones that already have a good audio resolution, it sometimes seems to be enough to simply replace the existing ear pads with more suitable ear pads that soften the prominent frequency ranges instead of replacing the headphones as a whole.

So if the bass is pumping way too much, the treble is way too overemphasized and shrill, or if the soundstage lacks width, it might help, for example, to use much softer, much larger (for a slightly larger diameter for more space around the ears) and thicker (for more distance between the drivers/diaphragms and the ears) velour ear pads suitable for this headphone model.

Edited November 8 by Master Mi

[Sengin]

If you haven't seen Audio Science Review, give them a look.  It is all about objective measurements with some subjective listens at the end to verify: https://www.audiosciencereview.com/forum/index.php?reviews/

The TL;DR is you are looking for adherence to the Harman curve that also has low distortion.  What you do is find one without serious flaws (sharp cuts/boosts, fins, or phase problems) and then you put EQ on your desktop (usually via EqualizerAPO with possibly Peace on top as the GUI) to correct those flaws (often requiring preamp gain so you aren't going over 0dBFS).  You can get very, very close without spending serious cash.  As an example, look at the Hifiman Sundara review.  Or if you want in-ear monitors, $50 and even $25 get you amazing value.

Once you have a headphone you are interested in (of if browsing isn't your speed but you think you've narrowed it down already), look at oratory1990's measurements for the EQ curve https://www.reddit.com/r/oratory1990/comments/18xkiq3/oratory1990s_list_of_eq_presets_update_312024/.  At the bottom of each pdf will be a preference score - anything 90+ is considered the same tier (due to approximations in the measurements) and so you look for things like comfort, company support, warranty, etc if you have multiple in the 90+ range.  The DT 880 pros you mention (with fresh earpads, here (https://www.dropbox.com/s/0mxc2c4cy7tkxc0/Beyerdynamic DT880.pdf?dl=0) have a preference score of 88 which is already pretty good, however they can be EQ'd to get closer to the curve (again - don't forget the preamp gain! These would need -5.4dB) so I would definitely try that and see if you like them better.

Note: this is all a very TL;DR of a general way to get what you want.  This isn't to say that it's guaranteed you will like the Harman curve, but you can tailor the curve to your taste afterwards (e.g. bump the bass a bit).  As you should have chosen a headphone with low distortion, tweaking the EQ won't cause any problems.  If you are mixing, it can be argued that you want your headphone to be flat so listeners can adjust to their tastes (flat == low difference from the Harman curve).

 

Edited January 31 by Sengin

[Master Mi]

On 1/31/2024 at 8:34 AM, Sengin said:

If you are mixing, it can be argued that you want your headphone to be flat so listeners can adjust to their tastes (flat == low difference from the Harman curve).

According to my information, the Harman curve has nothing to do with a flat frequency response.
It rather represents a bathtub-like frequency response (overpresented bass and trebles, cut back mids) for pleasing ordinary consumer hi-fi listeners.
And it was created by the Harman company, which holds famous audio technology brands (or parts thereof) like AKG, JBL, Bang & Olufsen or Bowers & Wilkins.

The explanation seems to be bit too uncritical (especially for things like mixing/mastering purposes) for my taste - but the background information of the creation of the harman curve is kinda interesting:
https://headphonesaddict.com/harman-curve/

I'm really looking for studio headphones with a really flat frequense response without any sound optimizing tools.

They might sound "dull" or "boring" for consumer listeners - I prefer the term "less overexcited" and "more truthful".
But if you manage to create a mix that sounds exciting on studio headphones (or studio monitors) with a flat frequency response, the mix will sound much more explosive, exciting and clean on all the other hi-fi systems preferred by consumer listeners.

Important for clean mixes is also a good representation of the mids when doing mixing and mastering stuff.
If the mids sound really clean in your mix on a listening device with flat frequency response, you have already done one of your biggest tasks in the whole mixing process (resulting in a pleasing listening experience when playing the mix on consumer hi-fi systems or Harman-curve-related audio devices).

"It's all in the mix, especially in the mids."

So, besides looking for studio headphones with a flat frequency response it might be also useful to look for studio headphones with rather overrepresented mids (and reduced bass/treble) than studio headphones with overrepresented bass/treble... similar like with the legendary Yamaha NS-10 studio monitor phenomenon.

The Yamaha NS-10 were/are kinda midrange-heavy studio monitor devices which share the legacy that some of the best mixes in the world since the 80s have been done with these legendary speakers.


The legacy:

The sound (in comparison to newer high-end studio monitors):

The frequency response measurement:




It kinda reminds me of the frequency response of my Yamaha MSP3 studio monitors:



(And I was also really impressed after my first mixing results with these little precision tools.)

...

So if you can find professional studio headphones with a similar frequency response, you are guaranteed to be on the safe side as a mixing engineer in a similar or perhaps even better way than with studio headphones that have a neutral sound or a flat frequency response.
And you probably won't suffer as much from ear fatigue (unfortunately a rather common problem that occurs when mixing with most headphones over a longer period of time).

[Sengin]

11 hours ago, Master Mi said:

But if you manage to create a mix that sounds exciting on studio headphones (or studio monitors) with a flat frequency response, the mix will sound much more explosive, exciting and clean on all the other hi-fi systems preferred by consumer listeners

How so?  If most people enjoy bass, and most consumer speakers/headphones have the bass tuned high (e.g. 3+dB over a completely flat spectrum), and you mix on a flat spectrum, your mix may sound muddy when it gets to everyone else's headphones.  It's the opposite for mids - if most people's preference is for a slight reduction in mids, then you mixing on a flat spectrum (or as in your example, pronounced mids) means most people will hear it with too little energy.  Both cases result in a mix sounding imbalanced to everyone else.  You can mix well on a lot of speakers/headphones - the more familiar you are to that specific headphone/speaker the better.  But if you are just starting out, why not start with the curve that most people tend to like?

11 hours ago, Master Mi said:

I'm really looking for studio headphones with a really flat frequense response without any sound optimizing tools.

What do you have against using EQ to get to your desired profile?  Even if you don't want to use the Harman curve, you can use the Harman EQ settings for those specific headphones to get to the Harman curve then apply an inverted Harman curve to get to flat.  It's also worth noting that human ears do not have a flat frequency response, and we also perceive loudness differently at different frequencies.

11 hours ago, Master Mi said:

And you probably won't suffer as much from ear fatigue

The ear becomes 'desensitized' to different frequency ranges regardless of your headphone's curve (especially as you mix and it is by definition not balanced yet).  It's important to listen to something else when mixing occasionally to make sure you don't become ear-blind to problems (usually by listening to something you considered well-mixed, but really anything different will do).  It usually doesn't take long to 'reset' your ears.  There are no headphones that make you immune to ear fatigue, unless you mean something different to what I'm interpreting it as.

[Master Mi]

On 2/8/2024 at 11:25 AM, Sengin said:

The ear becomes 'desensitized' to different frequency ranges regardless of your headphone's curve (especially as you mix and it is by definition not balanced yet).

That's right.

That's why I try to avoid listening to soundtracks and other audio programs on devices with extreme frequency boosts (especially treble and bass boosts) and rather prefer listening devices with a more linear frequency response.

Another way to keep your ears alive is by mixing and listening to audio programs without dynamic compression and by listening to them at lower volume levels on a regular basis.
Make sure to keep this volume level.

As soon as you get the impression that the volume level isn't enough anymore that's the right time when your ears should get a longer break of silence.

 

On 2/8/2024 at 11:25 AM, Sengin said:

What do you have against using EQ to get to your desired profile?

I tried Sonarworks for my studio headphones long time ago - but I didn't like it.

I didn't like to change the presets everytime when switching between headphones and studio monitors.

And I didn't like the result of the sound.
It sounded more exciting after calibration, but also in a kinda weird and artificial way.

I would expect that it may sound more boring, less spectacular after calibration, and that it would show me much more the weaknesses of my mixes.
But it sounded more explosive and polished.

I don't trust tools that make my mixes sound instantly better without having done anything in the mix.

 

On 2/8/2024 at 11:25 AM, Sengin said:

How so?  If most people enjoy bass, and most consumer speakers/headphones have the bass tuned high (e.g. 3+dB over a completely flat spectrum), and you mix on a flat spectrum, your mix may sound muddy when it gets to everyone else's headphones.  It's the opposite for mids - if most people's preference is for a slight reduction in mids, then you mixing on a flat spectrum (or as in your example, pronounced mids) means most people will hear it with too little energy.  Both cases result in a mix sounding imbalanced to everyone else.  You can mix well on a lot of speakers/headphones - the more familiar you are to that specific headphone/speaker the better.  But if you are just starting out, why not start with the curve that most people tend to like?

My own experience at mixing - not specifically at mixing with headphones, but at mixing with studio monitors.

Let me explain what I'm talking about...

...

My second pair of kinda useful studio monitors - the Presonus Eris E3.5 - had a bigger bump in the bass and higher mid/treble section:



Back than, my mixes sounded like this:

Not too bad - but still far away from a professional mix.

...

Then I got the Yamaha MSP3 with a much more linear frequency response and a really good midrange:




Just some time later after getting used to my new Yamaha MSP3, my first mix created on these studio monitors sounded like this:
 

Much better and cleaner.

Even the bass frequencies you might expect to hear less in the mix on the Yamaha MSP3 with the much more linear frequency response is way cleaner and much more assertive in this mix compared to the previous track.

...

Just wait for my upcoming Crisis Core: Final Fantasy 7 Remix (my second big mix on the MSP3).

In view of my increased mixing experience and a few new mixing possibilities that opened up to me some time ago, it will really exploit the potential of the Yamaha MSP3 and, apart from the compositional creativity, even surpass the mixing quality of the original track.

I'm really looking forward to finally finishing the remix (I'd say it's already 90 to 95% finished).
Unfortunately, my private and professional life has been taking a toll on me with lots of work and additional hurdles, so I haven't really had the time and peace of mind to continue working on the soundtrack for almost 2 months.

But I hope that my somewhat extended Easter will give me the necessary time, peace and creativity to continue working on the track and to present the final results some time later. ))