Why are choice of headphones so important?

 

Why would you need a pair of headphones with a relatively flat EQ response that doesn't exaggerate any of the frequencies for serious audio production monitoring? Because you'll find using headphones with exaggerated Lows, mids or highs either exclusively or in any potential combination will make your track sound completely different to how the final result will sound over a speaker system. For example using headphones  with enhanced bass for serious audio production will probably mean you'll end up not including enough bass in the very specific way you wanted it to sound whilst using your audio enhanced headphones resulting in your final master or pre-master recording lacking those things you spent hours and hours or even days perfecting just to get it exactly how you wanted it. Even worse you might not have included enough highs and top sections of the mid range frequencies for it to sound muted, muffled and dulled if you used high and mid range enhancing headphones to put it together.

 

Keep in mind that a lot of would be producers who may have the potential to do good thing don't necessarily have cash coming out of their ass meaning they need proven reliable gear that will do the job well and is going to last.

 

Which is why I would generally point any would be producer, remixer, DJ in the direction of the Sennheiser HD25 II's as they're known for sounding almost like a pair of studio monitor speakers which you can't really get anywhere else for the price. Plus its quite difficult to overdrive them to the point of distortion. Its not like the bass response is lacking either as that is rich too when appropriately tweaked via hardware EQ settings for standard audio listening on your hi-fi or mp3 player. Plus they don't require batteries in order to get any sound out of them.





 

What is real audio production?


I guess this is just an opinion but audio production to my mind is trying to make sounds/tracks as best you can to ultimately produce it at the highest quality you can within the means you have. Today's digital technology pretty much allows you to make instrument s out of just about any sound once sampled. The sound can then be manipulated to then create many other sounds or instruments which can also be applied to and played on a musical scale across the entire octave range.

It could also be trying to get something to sound as closed to how you wanted it to sound in your mind or in concept via the means you have at your disposal. 
 

Using samples and sampling within electronica musical production is nothing new. However its true that more often then not the samples have been changed beyond recognition or used in such a context that makes them sound nothing like they did originally. Remixing tracks is also a part of audio production whether officially or unofficially endorsed. If it wasn't why would the original recording artist even bother to remix their own tracks as well as commission collaborations with other digitally recording artist in order to produce remixes?

 

Today's digital software also allows the use of high quality sampled instruments that can be either found freely or bought. Generally the ones that have been bought have been created to a higher standard or are generally more current.

 

I also think there needs to be a rethink about where people can sample from. For instance I always make a point of paying for all my electronica music purely because it’s a none mainstream music that doesn't necessarily see the same kinds of revenue generation as mainstream pop artists. These independent artists somehow need to be able to keep doing the things they do in order to produce this music. I have spent thousands upon thousands of dollars on electronica MP3 tracks to maybe only use them for a month or so. Meaning after a relatively short period of time most of these tracks just sit on my hard drive to never be used ever again i.e. the majority of which are quite disposable. I think its unfair to not let people take samples from these tracks or rework them having already paid for them especially given the kinds of equipment they were designed to be used on.

  

Also many software based samplers and synthesizers still use sampled instruments or even samples from their original analogue counterparts. Granted there will be those that have the ability to produce original tones like their original counterparts without the use of sample but they're very far and few between and generally also carry a hefty price tag. But really as far as snobbery goes in the virtual sampler/synthesizer realm, I reckon you'd do just as well just using extremely high quality samples of the analogue originals and putting them through the effects or synthesizer found on your production software with all its various plug-ins that are at your disposal. I guess the sound quality of it is pretty much going to be determined by your audio processor/audio interface you use and various types of algorithms your software based plug-in or effect uses although it is true that the software you use does effect how it sounds to some degree too, but not to the point it would hamper any potential creativity in the slightest if using a decent audio interface. Plus if it is any good and does get picked up you'll get the opportunity to rework the initial concept in order to get the levels and general audio fidelity up to scratch.

 

The exception

 

 At the same time I don't think it should necessarily bother those recording artist or producers who have in fact already made their millions in some kind of more mainstream genre and do produce these types of niche dance floor electronica under various different aliases in order to just challenge themselves creatively and stay on the musical side of things. Since they've already more then likely gotten the mileage in recognition for their original track and their alias they produced and put it out under. Financially (in a hard spendable cash to buy bread and butter sense and not status) its not like they need the money.

 

 In the end either do or don't do. If it sounds good it will sound good. But keep in in mind there's plenty of stuff that is good out there that never makes it. Maybe on the off chance you might just be able to make that something that stands out contextually against a particular time frame, state of mind or place whilst folk like me are scouring through all the new releases on the digital download sites ready to part with our cash or just wanting give certain tracks recognition so others might buy it if its not specially to my own tastes or what I would necessarily play. But also there's no denying there'll always be the solid contenders who seem to put out the quality for the most part time after time no matter which alias they produce under for the varying specific electronica genres.