TAE
All you have is now
In the Newb forum a guy asked about NS10's ..but a few folks brought up mixing with headphones and that piqued my interest...... In summary to the OP the NS-10's were considered the benchmark of an accurate reference monitor many years ago and are still a great monitor today. That said, they are not the Holy Grail of all monitors anymore, these days there are many more affordable equal or better options...right?
OK using headphones rather than monitors...
I went down the rabbit hole to take a peek... Many professionals would NEVER use headphones to master, some like them for finding the clicks and ticks and then a handful are saying they only use headphones these days...albeit $10,000 headphones but only headphones. I am NOT even close to a pro and though I have some decent monitors they sit on a shelf unused...I only use my cheap KOSS headphones and the results are obviously not pro...but good enough for the girls I dance with since I don't see any Grammy nominations in my near future.... But the set in stone no you can't do that attitude is always a bit annoying...I did see that I can buy a $1000 set of planar magnetic headphones from Koss ESP950 and then maybe go for the Grammy....
Introducing Glenn Schick and his thoughts on why he uses headphones only now...
With clients as diverse as 2 Chainz, The Weeknd, Justin Bieber, Chris Brown, Future, and Jason Isbell, Schick has worked on dozens of Grammy winning and nominated projects, including 2017’s ”Laws Of Gravity” by The Infamous Stringdusters “winner of Best Bluegrass Album” and Widespread Panic’s “Dirty Side Down”, nominated as “Best Engineered Album” in 2010. Glenn’s work with the artist “Future” has put more top 10 albums on Billboard’s 200, than any other artist this decade.
Schick’s three decade-long career has included being a musician, producer, studio owner, and engineer. With his company “Glenn Schick Mastering,” Schick has established a reputation as one of today’s most respected mastering talents. In 2017 alone, Schick worked on a 15 Gold and 11 Platinum records that were certified by the RIAA, 2 Billboard #1 albums, (Billboard Top 200) and many others in the top 5.
OK using headphones rather than monitors...
I went down the rabbit hole to take a peek... Many professionals would NEVER use headphones to master, some like them for finding the clicks and ticks and then a handful are saying they only use headphones these days...albeit $10,000 headphones but only headphones. I am NOT even close to a pro and though I have some decent monitors they sit on a shelf unused...I only use my cheap KOSS headphones and the results are obviously not pro...but good enough for the girls I dance with since I don't see any Grammy nominations in my near future.... But the set in stone no you can't do that attitude is always a bit annoying...I did see that I can buy a $1000 set of planar magnetic headphones from Koss ESP950 and then maybe go for the Grammy....
Introducing Glenn Schick and his thoughts on why he uses headphones only now...
BIOGRAPHY
Glenn Schick is a mastering engineer responsible for 25 years worth of Multi Platinum & Gold, Grammy Winning & Nominated, and Billboard #1 albums.With clients as diverse as 2 Chainz, The Weeknd, Justin Bieber, Chris Brown, Future, and Jason Isbell, Schick has worked on dozens of Grammy winning and nominated projects, including 2017’s ”Laws Of Gravity” by The Infamous Stringdusters “winner of Best Bluegrass Album” and Widespread Panic’s “Dirty Side Down”, nominated as “Best Engineered Album” in 2010. Glenn’s work with the artist “Future” has put more top 10 albums on Billboard’s 200, than any other artist this decade.
Schick’s three decade-long career has included being a musician, producer, studio owner, and engineer. With his company “Glenn Schick Mastering,” Schick has established a reputation as one of today’s most respected mastering talents. In 2017 alone, Schick worked on a 15 Gold and 11 Platinum records that were certified by the RIAA, 2 Billboard #1 albums, (Billboard Top 200) and many others in the top 5.
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