Sennheiser HD600


(not photo of actual unit)

Make / Model:Sennheiser HD600
Year: 2002
Purchased: Amazon, 2002
Price: $350 (new)

You can hear this on:
F*box ‘Hateless’
F*box ‘S.O.S. October’
F*box ‘This Malaise Is Our Grave’

I used these as my main mixing monitors on all of the above recordings.

Build Quality

OK

Sound Quality

Pretty Great

Impressions

The HD 600 was my first high quality headphone. After years of using Sony MDRs and AKG K240s, it was an obvious step up.

Pros

Excellent sound quality.
Comfortable

Cons

Completely useless for judging levels in a mix
Too analytical for mixing

Some folks say you can’t mix on headphones. You can, unless these are your headphones. Because while these things will let you know what a mix is doing, they will be the worst things to mix on. First, too much detail in monitoring with these will leave you with boring fucking mixes. Second, you can’t judge volume differences that easily on them. They make everything sound about the same volume. It’s almost like they are saturating, minus the distortion.

If you wanted to do location recording of classical music, these would probably be great, if you had an isolated room to sit in, as they are open ear, so you wouldn’t actually be able to hear anything.

If you want to listen to classical music at home, these would probably be perfect, unless there was noise in your room, then it would sound like that was part of the recording.

I think Sennheiser made these for folks that live in aneochic chambers, and like classical music.

Notice a trend here?

Classical music

Because if you listen to a synth on these things, it’s going to sound insane. Too ‘present’, as audiophiles say, or as normal people would speak it, they emphasize the fuck out of presence frequencies. Hence the dull mixes, hence DO NOT LISTEN TO SYNTHS.

If you like the sound of AC/DC, then every band you listen to will sound like them, no matter how dark the amp, cuz of this emphasis.

And if you need or like to hear bass, well, these things are all over the place bass-wise. A dip here, a cut there. They make no sense.

What they ARE good for is hearing 300-2kHz. They are great for that. Everything else is, interesting, but also, kind of fucked.

That being said, they will reveal secrets about recordings that you listen to: Tracks being unmuted in the mix, random clicks and pops, phase issues. So they make excellent Quality Control headphones for the mastering room, which is what I ended up using them for.

But for most else, I’ve been happier with different headphones.

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Llamatism is a collection of things, a cabinet of curiosities, and reports from explorations on things, by Gary Llama.

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