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I have a Crazy New Headphone Idea. Am I just nuts?


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Hey Guys!

So super brief background: I was robbed recently (& posted on the boards here... if you see a SD702 with the Serial GQ0809247005, you know who to call!!). Among the things stolen were my decent pair of headphones that I used for monitoring on the SD702 and my other Bose earbuds that have a mic to talk on the iPhone.

I may be completely nuts, but I was hoping I could possibly combine the new purchases to replace both of these with 1 set of headphones. A pair that I would pretty much always use, recording or just on the phone). Am I nuts? I don't know much about what I should be looking for in field monitoring headphones (other than comfortable).

Here are two headphones I was thinking about (leaning toward the Bowers):

Bowers & Wilkins P5 Mobile Headphones:

http://store.apple.com/us/product/TX584ZM/C/Bowers-and-Wilkins-P5-Mobile-Headphones?fnode=49&p=1#whats-in-the-box

Molami Pleat Napa Headphones:

http://store.apple.com/us/product/H8039ZM/A/molami-pleat-napa-headphones?fnode=49&p=4

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I may be completely nuts, but I was hoping I could possibly combine the new purchases to replace both of these with 1 set of headphones. A pair that I would pretty much always use, recording or just on the phone). Am I nuts? I don't know much about what I should be looking for in field monitoring headphones (other than comfortable).

Not "completely nuts" but a little off square as I see it. It sounds like you want one headset so you can record, talk on the phone, go back go back to recording... I hope you're not trying to combine the 2 activities. If all your are trying to do is save money, but a dirt cheap headset for your phone (you can probably get decent ones for $20.) and with the money you save, buy a proper set of professional headphones for recording. Between the two activities, I think recording should take precedence over talking on the phone, so that's where you should spend your money. Before you spend any money, do some research if you are not sure what you should be getting for your professional recording needs.

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Thanks Jeff.

I guess my real question is, what are wrong with those headphones from the standpoint of monitoring audio in the field?

Yes, I'm on my phone all the time, on the road all the time, listening to music on the road, editing on the road, and recording all the time. I was hoping I could maybe have 1 set for these purposes instead of traveling with multiple sets of headphones. Not trying to combine the 2 activities of course, haha.

Also, the cheap Apple headphones with the mic cost at least $30 and last about 3 months on average. For a pair that can last longer, the Bose costs about $140 and lasts about 2 years.

Headphones are one thing that get beat up over time and need replacement. I would rather have 1 set and then replace them more often.

Anyone have opinions on the two sets I posted?

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P5 sound great for music

Great for music meaning: not that great for monitoring sound though? I guess I could use a little bit of a heads up on what I should be looking for in field monitoring headphones. To me, general sound, isolation, well built, and comfort is all I think about right now.

I normally went by "what other sound guys are using" for my monitoring headphones in the past.

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P5 are designed to make mp3 and even phone conversations sound good, not to be realistic. That's not to say you want your headphones to be realistic for monitoring - 7506's have hyped high and low ends (to me, anyway) that help you judge mic placement and diagnose low-end problems. I also use Beyer DT770 for this reason, but they are less fatiguing than 7506's IMO.

Headphones are REALLY personal. If you like the sound of them, and you get good results, there are no 'rules' that you have to follow.

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Most of the Shure SE range make very good monitors for work, and with the addition of the kind of cable Olle describes make a great phone headset too.

Though remember if you only have one pair for everything, you're screwed when they break. I'm sure I'm not alone here in having lots and lots of pairs of cans, which all get used sooner or later.

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Yea after reading a few of your posts and reviews of these headphones, I was probably barking up the wrong tree. Still holding out hope there may come along a pair built for the iPhone that I'll want in the field, but doubt it.

what's wrong with the other way around - using your professional headphones built for the field with your iphone?

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I use some piece-of-crap earphones with the iPhone when I have to make calls that way, far away from the set or on breaks. Any more than $25 is more than I want to spend for just an iPhone I'm going to use for 20 minutes a day. I have more serious IEMs if I want to go there with my iPods (Shures and Etymotics).

When I work, I use the 7506's (and may soon try the 7510's), and make sure I can trust the level settings and EQ on a day-to-day basis.

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+1 for extra cans, It's like a pen to writer, it's an essential tool to your work. An extra set is almost a requirement.

Even if a producer or director doesn't ask for a comtek system doesn't mean they won't come up on the shoot asking for a headphone monitor. Also, I have been plagued lately with ear cushions flying off my cans, annoying!

I should probably start a new thread, but I'm curious about using th IEM's for high SPL environments for production sound mixing / ENG. I read that the Shure and Logitech stuff gives something like 28db of hearing protection. The big white aircraft carrier/ NASCAR pit crew type offer 45db of noise protection.

Obviously, the latter full cup style offers better protection, but if performers are using the IEM'S with large PA systems and I read the NFL guys use the IEMs the obviously work well for the application's. My question is: Who is using what types for work? Pro's and cons, I want the most accurate monitor that I can hear full spectrum 20-20- with the best hearing protection.

Does the comfort level of the IEM make for the best choice for run and gun long hours of headphone wearing? I'm attracted to them for comfort and the ease of having one ear out, if needed.

I'm also concerned with ear damage in general with any headphones, read that the ear was not "designed"' to have earbuds style SPL's right in your ear. If your driving your headphones into a headphone peak level light territory to get over crowd noise floor to monitor, I imagine it can't be good for your ears or equipment...? Thoughts?

Side note- why do people think it's a good idea to talk at a moderate level for an entire take and the second they yell cut- start laughing and get the entire crew to be really 10 times louder, than before and test your ability to quickly adjust gain riding mixing skills so you don't go deaf! Biggest pet peeve! I hear you about listening to speakers at home ( I am a fan of B&W's speakers) , but yes-you just get tired of listening after a while on set. If they go MOS or something I just have to plug into some tunes to drown out all the crew chatter for a "listening break". Then I guess you need a real vacation from really listening at all during off time- Nature sounds are more soothing than crew chatter! So yes - you are nuts from listening all day long!

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" what are wrong with those headphones from the standpoint of monitoring audio in the field? "

nothing, really

but if you are doing production sound for a living, you will quickly realize that they are not really suitable, either.

" I'm curious about using th IEM's for high SPL environments for production sound mixing / ENG. "

you don't have to start a new thread, just find the one that is already going!

" why do people think it's a good idea to talk at a moderate level for an entire take and the second they yell cut- start laughing and get the entire crew to be really 10 times louder, than before and test your ability to quickly adjust gain riding mixing skills so you don't go deaf! "

they learn this in acting school, and usually perform even below moderate levels...

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Side note- why do people think it's a good idea to talk at a moderate level for an entire take and the second they yell cut- start laughing and get the entire crew to be really 10 times louder, than before and test your ability to quickly adjust gain riding mixing skills so you don't go deaf! Biggest pet peeve!

Blame Marlon Brando: A Streetcar Named Desire back in 1951. Many, many critics 60 years ago cited Brando's low-talking, mumbling "Method" acting style in the picture, which won several Oscars (but not for Brando).

And don't forget the Mumblecore genre of indie films. Actors have a lot of weird habits -- I think they believe if they hold back and speak lower, they come across as more "intense" on camera. I think their fear is being too loud and "theatrical," as they would on a stage.

What kills me is when we rehearse a scene, they do it at one level, then we roll camera, their adrenalin is up, and they either blow out my preamp level or they talk -5dB lower. Makes me crazy.

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Almost every actor I have worked with who insists on delivering the scripted dialog at almost un-recordable low levels, seems to have no problem just speaking --- like to the director or the crew before they roll camera, or right after they say cut. I often say that the scene would play so much better if they just talked to the other actor in the same manner as they just finished talking to their hair dresser or the director, or even me!

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There are adapters though, like a little extension chord with a mic and three buttons in the end that you just plug your regular headphones into.. That'd work. Think I've seen them at least...

http://fastmac.com/headset.php

There's one...

Well that just instantly solved my problem!

Although, a few posters were probably right with good monitoring headphones being exhausting for music, etc. In the end though, it's really just doing video editing on the road that I'd use them for, with the pretty frequent iPhone or Skype call in the mix. So I may try that fastmac thing.

As for the extra cans, for sure! I have a couple low end pairs, and hope to acquire a couple decent pairs as I can afford.

Thanks again for the help!

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" scene would play so much better if they just talked to the other actor in the same manner as they just finished talking to their hair dresser or the director, "

Katherine Hepburn once gave young actor Tony Hopkins this advice: don't act, just speak the lines...", and he said it was so true, and cherished that advice through out his career.

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