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Mixing On Headphones
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In this article:
Commercial Mixes
Hints And Tips
Spatial Anomalies
Choosing Headphones
For Mixing
Judging Bass End
Simulating The
Loudspeaker Experience
With Crossfeed Plug-ins
It's All In The Details
Headphone
Amplification

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Mixing On Headphones
Successful Mixing Without Loudspeakers

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Published in SOS January 2007

Technique : Recording / Mixing

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Mixing on cans is often frowned upon, but if you know


what you're doing, you can get good results with only
occasional checks on monitor speakers.
Martin Walker

There are those who say it's impossible to mix on headphones, but that hasn't stopped plenty of
professional musicians, engineers, and producers doing just that. Actually, it's rather important to make
sure your mixes sound as good on 'cans' and 'earbuds' as they do through loudspeakers, but listening
to some commercial material, I'm convinced that plenty of it is never checked on headphones before
release. On the other hand, if you work late at night or have a studio with poor acoustics, or a family
that doesn't appreciate hearing the same two bars looping round, you might have no choice but to work
on headphones! What's more, headphones can expose lots of tiny details in your mixes that you might
miss on speakers. So, with the right approach, getting it right in the cans can result in an even better
speaker experience it's just a matter of adapting and learning to rely on your 'phones. While it's
certainly tricky to replace loudspeakers completely during the mixing process, it's quite possible to do
about 90 percent of your mixing on headphones. With occasional speaker reality checks, you should be
able to create finished results that sound equally impressive (although different) on both speakers and
'phones. So it makes sense to test your mixes on headphones, and to learn how to work with 'phones
to create mixes that work well on speakers. Here's how.

Commercial Mixes
Many commercial mixes can sound rather weird over headphones. When listening to loudspeakers, your right ear receives
sounds from the left channel as well as the right, but slightly later and at a slightly reduced level. This is due to the 'shadowing'
effect of the head, and in particular the external parts of the ears, which act like complex direction-dependent tone controls.
You also hear additional reflections from walls, ceilings and floors. This all sounds perfectly natural, because that's how we
experience every sound around us.
On headphones, you hear only the left channel in your left ear and the right in
your right ear. Any hard-panned sounds will be heard through one ear, which
sounds very unnatural. In fact, it can cause headaches and induce nausea over
prolonged periods. When sounds panned to the middle are played through
loudspeakers they are heard 'in front', but the same sounds on headphones
appear to be emanating from inside your head. You can get used to the skewed
spatial response, and you can even enjoy its intimacy, but the one-ear
phenomenon remains unpleasant for some.

If you want to avoid


unpleasant one-ear
headphone sounds in
your mixes, just back
off slightly on those
extreme pan settings.
Here, for instance,
using Cubase 4 as an
example, the pan
setting for channel 1
will sound odd on
headphones, while
that of channel 2
(highlighted) should
sound fine.

Some headphone amps, accessories and plug-ins (see the box on page 82 for
examples of the latter) provide optional 'crossfeed' that mixes a little of the lefthand channel into the right and vice versa, to mimic the natural behaviour of our
ears. This technique is sometimes known as acoustic simulation. Since our heads
and ears absorb and reflect sounds at higher frequencies, the crossfeed signals
are generally rolled off by a few dBs above about 2kHz. Crossfeed can make
hard-panned sounds appear to come from similar points in space as they would
on a pair of frontal loudspeakers, and I recommend it for listening to albums that otherwise seem 'unlistenable' on
headphones. This includes lots of stereo albums released before high-quality headphones were popular, such as Beatles and
early Pink Floyd LPs, and many releases from the '60s and '70s.
There is actually a small selection of high-quality orchestral, sound-effects and virtual-reality recordings available that are
specifically intended for headphone listening. These 'binaural' recordings are made using a dummy head fitted with ear mics,
such as Neumann's KU100, and can be far more realistic than loudspeaker stereo. They accurately capture how we hear
sounds through our own two ears, so when you're listening to a binaural recording on headphones, you can locate sounds
coming from behind as well as in front, and even above and below your head. However, this positional information is lost
when played back through loudspeakers and, for this reason, binaural recording remains a specialist interest.
Hints And Tips
For mixes that sound good through speakers and headphones, it's sometimes quicker and easier to start a mix on loudspeakers and then
tweak it for headphone listeners than the other way round.
Don't be tempted to keep edging up headphone levels, or you'll end up with a headache, listening fatigue, and eventually hearing damage. Try
instead to take regular short breaks, which should keep your decision-making processes fresh.
If you're using circumaural headphones, try experimenting with how you position them on your head. I've found that wearing my Sennheiser
HD650s slightly lower (by extending the headband) and slightly forward on my ears gives noticeably sharper imaging.

Spatial Anomalies
We've established that one-ear mono sound is the biggest barrier to successful headphone mixes: now let's see how to avoid
it. In general, it's not a problem with most classical recordings, since they are invariably captured with relatively distant
coincident mic pairs or spaced mic arrays. Even if additional close-up mics are used for solo performers, these are primarily
used to alter solo/accompaniment balance, and are rarely, if ever, panned to extremes.
It is with rock and electronic music, using multiple, panned mono and stereo sources that we need to be particularly careful.
One obvious cure is simply to pull back extreme L/R panned instrument settings slightly. I find L90 and R90 suitable positions
for this on a Cubase pan control, which has a 100 calibration. Despite abandoning the final 10 percent in each direction,
you'll scarcely hear the difference through most loudspeakers, yet it makes a world of difference for headphones. Don't be

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Mixing On Headphones
tempted to pull them in much more than this, though, since this will compromise the loudspeaker experience (remember that
stereo played through loudspeakers will always have a significantly narrower stereo image than when heard on headphones).
It's possible to manually set up crossfeed effects using a pair of global FX sends (each with a high
shelving EQ set to roll off above 2kHz and panned hard left and right), to which you send a small
amount of your hard-panned right and left tracks respectively (-20dB is normally sufficient). In my
experience, though, this isn't worth the extra fiddle over simple pan tweaks. However, if you want
to keep extreme pan positions, you can send your extreme-panned sounds to a reverb, set totally
wet (no direct sound) at a fairly low level, and panned hard to the opposite extreme. This will let
you achieve even wider loudspeaker mixes, while avoiding headphone unpleasantness.
Some people are convinced it's impossible to get around the different spatial impression that
headphones give when trying to create an overall mix that works well on loudspeakers, but I've
never found this to be a problem. When positioning your other instruments in the stereo
headphone field, you just need a little practice to get used to the fact that they will sound further
apart here than on speakers. Many musicians have a set of pan-control starting points that they
always use with loudspeakers, such as central, quarter, half or full pan in each direction, and you
can use exactly the same guideline positions as headphone mix starting points (just relaxing the
full pan settings slightly) until you adapt to the different width.

Recording/Mixing Books
Recording Techniques Join
in today's discussions:
Newbie question: How
to use a passive DI box
to remove static noise
caused by ground loop?
Headroom for near field
monitors: Where is all
this speaker buzz coming
from?
Recording choir with
backing track playing out
loud?!
88 key controller
SOS Mix Rescue articles

Consider adding
a tiny amount of
reverb to up-front
exposed sounds,
even at levels as
low as this, to
help them 'sit'
better when
heard on
headphones
without the usual
room acoustics
to 'glue' them into
the mix.

With stereo instruments, such as drum kits, try to refrain from spreading their individual sounds all the way across the stereo
image. This can sound odd enough through loudspeakers, but on headphones it becomes bizarre (though it may be an effect
you want!). Stereo synth preset sounds are often extremely wide by default, particularly when effect-laden, and can easily take
over a mix. The cure for both problems is a stereo-narrowing plug-in (see this month's PC Musician feature for Mac/PC
examples), to restrict their width and allow more space for everything else.
Even when I'm mixing on speakers, I generally switch to headphones to make such width adjustments, because you can hear
everything so much more clearly. As with mono sounds, stereo drum or percussion ensembles should be restricted to a
maximum width of around 90 percent to avoid unpleasant one-ear results if they contain individual panned instruments or
auto-pan effects, while even at 30 percent of normal width, most synth sounds can still provide plenty of stereo effect without
swamping the mix.
Choosing Headphones For Mixing

DAW Tips from SOS


100s of great articles!
Cubase
Digital Performer
Live
Logic
Pro Tools
Reaper
Reason
Sonar

Just as with loudspeakers, each make and model of headphone sounds different, and you generally get what you pay for.
However, you can find some superb 'phones for less than the price of a pair of entry-level monitor speakers, so don't compromise
unless your budget is really tight.
Unlike most speaker manufacturers, headphone designers are not striving for a ruler-flat frequency response: most headphones
exhibit a hump of up to 4dB between about 40Hz and 500Hz, to compensate for the fact that you don't 'feel' the bass frequencies
through your body as you do with loudspeakers. At higher frequencies above 1kHz they generally exhibit a gentle roll-off (perhaps
5dB down at 20kHz), to compensate for the fact that the drivers are right against your ear.
There are quite a few different types of headphone available, and some are more suitable for mixing than others. Traditional
headphones or 'cans' are more correctly termed circum-aural devices, since they cover the outer ear, while the supra-aural type sit
on top of the ears, and both are available in open and closed varieties.
Open-backed designs have grilles that expose the drivers to the
outside world, which in turn reduces resonant cavity effects and
inherently provides some cross-feed between the ears, giving these
designs a more natural and 'airy' sound when mixing. However, they
are of little use for performers during tracking because their sound
will spill into your mic recordings. For this purpose, closed-back
headphones are far more suitable, and they're also better for mixing
if you're in a noisy environment and want to block out the world.
However, this isolation can also result in sweaty ears, making closed
cans less suitable for long mixing sessions.
Meanwhile, most portable CD and MP3 players are shipped with 'ear
buds' (US) or earphones (UK) that clip into the outer ear. These
generally offer pretty average audio quality, but sensibly provide little
isolation so you can hear that car coming up behind you when
jogging. Finally, canal 'phones (or 'in-ear monitors') sit inside the ear
canal and are supplied with a selection of differently shaped 'seals'
to suit different ears. If (and only if) you get an effective seal, you get
both a good bass response and effective isolation from the outside
world. Standard canal 'phones can therefore be a little hit and miss
for judging the bass end of mixes, but with custom-moulded in-ear
monitors, you get increased isolation plus perfect fit and a very
consistent bass response.

If you want to create headphone mixes that translate well to


loudspeakers, using high quality headphones models like
Sennheiser's HD650 and AKG's K 701 (shown here) will help you
judge bass and spatial detail more easily.

Nevertheless, for mixing, the majority of recommended models tend to be open-backed (for comfort and cool ears over long
periods) and circumaural (for the deepest and most natural bass end). Sennheiser's HD650s (www.sennheiser.co.uk) are very
highly regarded in audio circles for their incredibly detailed yet neutral sound and for their bass extension. For those who consider
the sound of HD650s slightly laid-back (I don't), the Grado RS2 (www.gradolabs.com) might suit for exposing ever-more minute
details, while others say that AKG's K701s (www.akg-acoustics.com) have the cleanest sound around.
Your choice of headphone amplification may sway you one way or another, as each of these models can sound slightly different
depending what you plug them into. If you need isolation, one closed-back model that manages the trick of sounding really natural
and providing extended bass, yet remaining comfortable over long periods is Sony's MDR7509 (www.sony.com), which also
features a neat folding design that's handy for location recording. Sony have recently discontinued this model (though a few
dealers may still have them in stock), replacing it with the MDR7509 HD, which I've not had the pleasure of testing.

Judging Bass End


Having resolved spatial issues, bass levels provide the main obstacle for mixing on headphones. Deciding how much bass
sounds 'right' on headphones is a perennial problem because, although you hear bass through your ears, you don't get the
physical full-body feelings that you do from the bass that emerges from loudspeakers.
Some musicians, particularly drummers working with electronic instead of acoustic kits, have tried vibration transducers in
their seats, such as Sensaphonics' Aura Bass Shaker (www.sensaphonics.com) to replace the physical aspect. While this can
make the experience more realistic, I still wouldn't like to make mixing decisions using such techniques.
Regularly comparing your in-progress mix with commercial tracks of a similar genre always helps, but the bass end on many
cheaper headphone models doesn't sound like the bass you'd hear from loudspeakers, so you can easily misjudge it. As a
result, it's quite possible to end up with a mix where the bass guitar and kick drum levels seem to be the same as on your
favourite CD, yet they sound 'bloated' when heard over speakers, with too much bass at 80Hz and below and, paradoxically,
too little in the next octave between 80Hz and 160Hz, where your 'phones offer much greater clarity.
Having said that, my headphone mixing decisions became far easier after buying a pair of higher-quality Sennheiser HD650
'phones, since I immediately heard 'real' bass that sounded much closer to what you hear through loudspeakers, making it
significantly easier to judge bass levels. So, if you've experienced bass mix problems in the past, don't rule out headphone
mixing until you've tried some quality 'phones!

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Another approach (sometimes the only foolproof one) is to periodically check your mix through speakers, if only for a few
seconds at a time. Once you know how a mix sounds on loudspeakers you can also make comparative adjustments when
back on your 'phones. I've successfully revisited mixes late at night entirely on 'phones after hearing them elsewhere through
loudspeakers.
Some balance and level issues can be trickier with headphones. Just as when you use good monitor speakers in a well
treated control room, with a good set of headphones you'll be able to hear so far into the details of a mix that each instrument
will be clearly audible even when its level is too low. If you are not used to working at this level of detail, you may still find that
when you go back and check your mix on speakers, such imbalances become much more obvious.
One trick that may help is that just as you can use the 'standing outside the studio with the door open' trick to judge speaker
mix balance, turning headphone mixes to whisper-low levels is a handy way to check that nothing 'sticks out' of your mix.
Conversely, it's tempting to whack up headphone listening levels beyond that of speakers because you can, but do take care
to keep them within safe limits.
Don't be tempted to hype the bass end if you're using lightweight 'phones (keep referencing similar material to check), and
remember that just as you can listen to your mixes through ghetto-blasters and in the car to check that they translate well,
having a few pairs of cheap earphones around can help as well. After all, many people may end up listening to your mixes on
such models! They may also help you decide whether or not to compensate for the lack of low bass with bass harmonic
enhancer plug-ins like Waves' Maxx Bass or Renaissance Bass (www.waves.com), which give the impression of bass even
when the fundamental frequencies are almost absent.
Simulating The Loudspeaker Experience With Crossfeed Plug-ins
If you want to try simulating the loudspeaker experience on headphones, why not try out some crossfeed plug-ins? As discussed in
the main text, these mix a little of the left-hand channel into the right and vice versa, and can therefore position sounds more as
they would appear through loudspeakers. Some applications are already bundled with plug-ins that reproduce such effects. For
instance, Wavelab's Externalizer provides a single fader that progressively moves the virtual speakers both forward and apart,
although I find it adds a harsh tonality.
VNOPhones is a simple Mac/PC freeware plug-in by SkoT of Vellocet (http://vellocet.com/software/VNoPhones.html), which
provides two sliders: one controlling the amount of crossover, and the other the time delay that corresponds to the width of your
head. I found it quite effective and neutral in operation. However, its design doesn't compensate for the fact that your head and
ears also absorb and reflect a significant proportion of frequencies above a couple of kHz.
To mimic this behaviour and make headphone listening more natural, the most
effective approach is to slightly blend the left/right channels only at lower frequencies.
People have been designing and implementing such 'crossfeed' circuits for decades.
For Mac, the freeware Canz3D plug-in (www.midnightwalrus.com/Canz3D) seems
perfect for experimentation, offering a host of parameters, including crossfeed,
frequency shaping and delays to simulate a 3D environment. The before-and-after
examples using commercial music are quite impressive.
The most effective PC plug-in I discovered during my research was the freeware
Crossfeed EQ (www.ohl.to/audio/crossfeed_eq/crossfeed_eq.zip). This comes with a
help file that does a good job in explaining how all the different controls work, and how
to adjust them to reposition extreme panned sounds to approximate 'front speaker'
positions. There's also a five-band EQ section to compensate for any small rise in
bass levels due to the summing used (a low-shelf EQ starting at 500Hz and rolling off
to about -2dB should be about right), as well as various test signals to help you
optimise the settings, including uncorrelated pink noise to test for changes in tonal
quality with and without crossfeed.

Fed up with having your head turned inside


out while listening to your album collection on
headphones? Some time spent tweaking this
freeware Crossfeed EQ plug-in for your ears
and headphones will result in far more
natural results.

Whatever you decide to use, try to minimise the inevitable comb-filtering effects and
other subtle changes in timbre you hear with crossfeed when mixing in delayed versions with the original signal. There are no 'best'
settings, as they will need adjusting to suit both different headphones (for instance, open-backed models designed for monitoring
will require lower crossfeed settings than the closed-back ones more commonly used for recording) and different listeners.
I've found Crossover EQ an extremely useful tool for listening on headphones to existing recordings, and also during the mixing
process to quickly check how a mix is likely to sound spatially through loudspeakers. However, it's better to work on your own
mixes without crossfeed, so they sound good to all headphone listeners.

It's All In The Details


The fact that listening on headphones makes it possible to hear all the tiny details that you often don't notice through speakers
has many positive aspects, too. It makes headphones good for spotting unwanted clicks, background hisses, tiny amounts of
distortion and so on. Moreover, since headphones eliminate the contribution of the studio/listening room to the sound, some
engineers and producers take their favourite 'phones with them when mixing in unfamiliar venues, so they can hear the sound
of the recording without that of the room. With a decent set of 'phones, most musicians shouldn't find making decisions about
EQ or compression any more difficult than through loudspeakers. In fact, you may even find it easier to notice the tell-tale
effects of over-compression, such as distortion or pumping, when listening on headphones. However, this level of detail does
make reverb levels more difficult to judge, as you can hear so far into the mix that even a tiny amount of reverb is fairly
audible. As a result it can be easy to underestimate the amount of reverb required for a loudspeaker mix, where it needs to be
heard over the additional room acoustics. You'll adjust with practice, but until then just remember to add a little more reverb on
headphones than initially feels right, and keep referring to commercial mixes for comparison.
Sometimes the room sound can be the final 'glue' that holds some aspects of the mix together, so when creating a mix that
will be played on headphones you may need to add some final touches to your reverb treatments. For instance, if you have
exposed up-front solo instruments or vocals that work fine 'dry' through speakers, and you don't want to add obvious reverb or
ambience effects to them, they may still benefit from a tiny dab of wide room or hall reverb. Even adding reverb at levels about
40dB lower than the direct signal can help sounds 'sit' better in headphones, and you should find that it doesn't push the
sound further away when listening on loudspeakers.
Another advantage to the clarity of headphone playback is that you can use it to add nuances and fairy dust to your mixes.
These subtle little details improve the loudspeaker experience as well, but they are far easier to judge with headphones
because you can hear the result of every tiny parameter change. Some examples include almost subliminal tempo-related
echoes that add low-level interest, occasional auto-pan effects to create mix movement, transient enhancement, incidental
percussion and ambient effects. You could also experiment with more extreme effects, using heavy compression, distortion
and so on, but mixed in occasionally at very low levels. It's just so much easier and more fun to add such effects when you're
working on headphones, and the result is a rich patina of low-level detail.
The only effects that will not work on headphones are 3D placement plug-ins that are designed for use with loudspeakers (the
converse applies too). For instance, QSound's 'beyond the speaker' plug-in effects are extremely effective at making spot
effects jump out or ambient washes extend into the room, but on headphones they can sometimes make audio actually sound
narrower than it did without the effect. Nevertheless, they are so effective with loudspeakers that I wouldn't abandon them
completely. Similarly, headphone-specific 3D placement effects may dilute the speaker experience. On the other hand, if they
sound amazing on 'phones it may still be worth it, and you really need to judge each case on its merits.
Overall, it's quite possible to do the majority of your mixing on headphones as long as you can check occasionally through
loudspeakers, as well as enhancing them for both playback systems. If this makes your music more attractive to the vast
number of iPod users out there then all the better remember, many potential purchasers may be auditioning your on-line
tracks on headphones in the first place!

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Headphone Amplification
To get the best from your 'phones you need to consider amplification. Because of their low impedance range (usually between
32(omega) and 600(omega)), you can't plug headphones into line-level outputs, and you may damage these outputs if you try.
Many hi-fi amps include a headphone socket that is simply wired to the main speaker outputs via a large series resistor, but there's
some evidence to suggest that this can result in a boost of several dBs at bass frequencies with some 'phones, making them sound
bloated and bass-heavy. The dedicated headphone sockets found on many CD players can sound slightly better, although many
use cheap integrated circuits. Meanwhile, headphone outputs on portable CD and MP3 players are designed for long battery life
rather than sound quality, and often distort the bass if you turn the level up.
Significantly better audio quality can often be obtained by connecting your line-level
signals to a dedicated headphone amp, which provides higher output levels with lower
distortion, a tighter, more muscular bass end, and a more delicate mid- and high-range
with improved stereo imaging. Even MP3 players can sound surprisingly good!
Sadly, although an international standard recommends that headphones should
expect a 120(omega) source impedance (regardless of the headphones' own
impedance), this is often ignored by headphone and headphone-amp manufacturers,
so you may experience less bass from your 'phones when fed from a low-impedance
source, and more from a high-impedance source.

For the ultimate headphone listening


experience you could connect the digital
output of your audio interface to an external
DAC with built-in monitor controller and
headphone amp, such as the Benchmark
DAC1 or the Grace M902 (pictured).

Commercial headphone amps range from the budget utilitarian through to the
audiophile, sometimes with exotic circuit elements such as valves. If your soldering
skills are up to scratch, there are also plenty of DIY designs available (see
http://tangentsoft.net/audio). You can even buy the HPA2 audiophile-grade headphone amp, found in Benchmark's DAC1, as a
ready-assembled circuit board to incorporate into your own case (www.benchmarkmedia.com).

Some of the better amplifiers for headphone monitoring include Graham Slee's Monitor Class Intro model at 333
(www.gspaudio.co.uk), the 750 Benchmark DAC1, and even better (if you can afford it) is the 1400 Grace M902
(www.gracedesign.com). Both of the latter are basically low-jitter 24-bit/192kHz D-A converters that can be used as monitor
controllers as well as headphone amps, so you can connect them directly to any S/PDIF output to provide superlative audio quality
for both your speakers and headphones.
Published in SOS January 2007

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