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On 2011-05-08 said:
THis is also why, for forms of music William doesn't
normally listen to, where the recording process is another
major creative element it's difficult as well to mix on
phones. EFfects such as artificial reverbs, etc. are more
difficult to judge. You think the signal is too wet on
phones, and then find that it could be "wetter" whence
listening on your chosen playback system. As with speakers
one learns to judge using a given set of phones after
awhile.
Actually, the same thing occurs with the kinds of music I do listen
to. As an amateur recordist, I quickly learned that headphone
listening produces a much more spacious effect than speakers (this
is /inherent/ in headphone listening), and made sure I miked for
exaggerated ambience.

true as well, which is why if possible I would rather record
a rehearsal and then have a listen before we get the one for
the money if I *must use headphones only during the capture.
Again, isn't always possible.

Many years ago, I built the Ben what's-his-name crosstalk generator
for headphone listening. It worked pretty well. As far as I know,
no one currently makes such a product.

ISn't that software MIke Rivers reviewed recently supposed
to be operating on a similar principle? I would rather just
fight with the headphones I learn and endeavor to find
another way to judge even if I can't justify the use of the
truck, such as set up in a back room where I can at least
listen to a piece of the recording on speakers and adjust
before we go for the money take. There would be times with
such a system that I'd want to put it in bypass and just
listen to what the phones tell me, or listen on a different
set of cans for different reasons.



Richard webb,

replace anything before at with elspider
ON site audio in the southland: see www.gatasound.com