Category: news

Silenoz gets into why his working relationship with Dimmu Borgir's Shagrath has thrived through the years. Continue reading…

Today, Shadow Kingdom Records announces June 19th as the international release date for the highly anticipated seventh album of America’s Destructor, Tales of Glory, on CD and vinyl LP formats.  Hailing from the steel town of Cleveland, Ohio, Destructor began their saga in 1984. Their debut album, 1985’s Maximum Destruction, would soon become an underground classic, spreading their signature power-thrash overseas with a license […]

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Swedish death metal band Februus are back with their highly awaited new album. It’s proggy death metal that veers off into different dimensions altogether, making for a very interesting albeit weird listen. As someone commented on YouTube, listening to their 5-min song feels like listening to an album – there’s indeed so much in there! You can listen […]

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Professional headphones matter because mixing and mastering depend on accuracy, detail, stereo placement, and translation.

Studio headphones should reveal balance problems, harsh highs, low-end buildup, vocal issues, edits, distortion, and spatial placement without hyping the sound.

Consumer headphones often boost bass and treble for excitement. Mixing headphones should give a flatter, more honest picture of the audio.

The best Best results come when an engineer knows a headphone well. 

Buying Guide

Open-back headphones are best for mixing, mastering, stereo imaging, and long sessions.

Closed-back headphones are best for recording, tracking, editing, travel, and noisy rooms.

Closed-back designs reduce leakage and help prevent mic bleed, but they can create a narrower stereo image and stronger bass impact that may not be fully accurate.

Open-back designs leak sound, so they are not ideal near microphones. Their wider stereo image and relative frequency neutrality make them better for mixing and mastering.

Active noise-canceling headphones should usually be avoided for studio mixing because processing can alter frequency response and affect judgment.

Frequency response and neutrality

Wide frequency range on a spec sheet does not prove accuracy.

Tonal balance, translation, detail, bass control, midrange clarity, stereo placement, and treble smoothness matter more.

Frequency-response curves can help show if bass, mids, or highs are boosted or reduced.

Neutrality is important, but slightly colored headphones can still be useful. Sony MDR-7506 has a bright upper range that can expose harshness, sibilance, high-frequency problems, edits, and subtle flaws.

Producers should test headphones with familiar songs. Listen for tight bass, clear vocals, natural mids, smooth treble, stable stereo placement, and fatigue after extended use.

Comfort for long sessions

Comfort matters because producers often wear headphones for hours.

Key factors include weight, clamp force, pad material, breathability, headband pressure, ear-cup shape, and replaceable parts.

Open-back headphones often reduce fatigue because they feel more breathable.

Closed-back headphones can feel warmer and more pressurized over time.

Beginners often overlook comfort, but an uncomfortable headphone can hurt focus and slow down decisions.

Impedance and amplification

Impedance affects how easy a headphone is to power.

Low-impedance models under 80 ohms, including ATH-M50x, DT 900 Pro X, and Sony MDR-7506, usually work with common audio interfaces or computers.

High-impedance models often need a stronger audio interface or headphone amp.

Premium audio cables, such as dragon cables, are not a replacement for proper amplification, but sturdy, well-shielded cables can improve reliability in a studio setup. 

Detachable cables are also useful because they are easier to replace, route, and pack for mobile sessions.

Models at 250 ohms or higher may sound quiet, thin, or less controlled without enough power.

ATH-R70x and ATH-R70xa have very high impedance, so smartphones and small USB-powered interfaces may not power them properly.

1. Sennheiser HD 490 Pro

• Type: Open-back
• Best for: Professional mixing and mastering, detailed stereo work, long studio sessions
• Driver size: 38mm
• Frequency response: 5Hz to 36.1kHz
• Impedance: 130 ohms
• Sensitivity: 96 dB SPL
• Total harmonic distortion: under 0.2 percent at 1kHz and 100dB SPL
• Cable length: 1.8m
• Weight: 260g
• Amp: Recommended
• Approximate price: $350

Sennheiser HD 490 Pro is a strong all-around choice for mixing and mastering.

It delivers detailed sound, excellent comfort, balanced lows, strong stereo detail, and a flat response through key low and midrange areas. Testing data notes flat behavior around 50Hz to 1.5kHz, plus smooth low-end performance for critical mix decisions.

Oval-shaped ear cups improve comfort. Two pad sets support production and mixing tasks. Cable connection on either ear cup improves workflow.

Pros	Cons
Balanced frequency response	Open-back leakage
Excellent detail retrieval	Not ideal for recording vocals
Comfortable oval ear cups	Benefits with a quality interface or amp
Swappable ear pads	Not very portable
Cable plugs into either ear cup	Case takes up space
Rugged carry case

Ideal user

Serious producers, engineers, and mastering-focused home studios that need an accurate open-back reference.

2. Beyerdynamic DT 900 Pro X

• Type: Open-back
• Best for: Home studios, production teams, engineers who do not want a separate amp
• Frequency response: 5Hz to 40kHz
• Impedance: 48 ohms
• Weight: 345g
• Amp: No
• Approximate price: $260

Beyerdynamic DT 900 Pro X offers strong accuracy, comfort, and value.

Updated drivers, detachable cables, modern build, and fixed 48-ohm impedance make it suitable for many production setups without a dedicated amp.

STELLAR.45 drivers deliver detailed, transparent sound while keeping power needs practical.

Pros	Cons
Transparent sound	Open-back leakage
Strong price-to-performance ratio	Not ideal for portable use
Easy to power	Costs more than older Beyerdynamic PRO models
Comfortable velour pads
Detachable cables
Modern build

Ideal user

Producers who want a modern open-back headphone without an expensive monitoring chain.

3. Audio-Technica ATH-R70x / ATH-R70xa

• Type: Open-back
• Best for: Long professional mixing sessions, natural sound, comfort
• Frequency response: 5Hz to 40kHz
• Impedance: 470 ohms
• Weight: 210g for ATH-R70x
• Amp: Yes
• Approximate price: $350

Audio-Technica ATH-R70x and ATH-R70xa suit engineers who need comfort and natural tonal balance.

ATH-R70x weighs only 210g, making it one of the lightest professional open-back options.

Sound is balanced, detailed, dynamic, and spacious enough for confident mixing and mastering.

High 470-ohm impedance requires a strong headphone amp or capable interface.

Pros	Cons
Very lightweight	Needs a good headphone amp
Natural tonal balance	Not ideal for phones or small USB-powered interfaces
Excellent comfort	Headband design may not suit every user
Wide stereo image
Strong dynamics and detail

Ideal user

Engineers who prioritize comfort and accuracy during long sessions and already own proper amplification.

4. Sennheiser HD 650

• Type: Open-back
• Best for: Natural mids, stereo imaging, mastering checks
• Frequency response: 10Hz to 41kHz
• Impedance: 300 ohms
• Build notes: Open-back design with significant sound bleed
• Comfort notes: Lightweight build with velvet pads

Sennheiser HD 650 is a trusted reference headphone for mixing and mastering.

It has neutral balance, natural mids and highs, present but controlled bass, and excellent stereo imaging.

Its midrange works especially well for vocals, guitars, keys, strings, and acoustic instruments.

300-ohm impedance means proper amplification is important.

Pros	Cons
Smooth, natural midrange	Requires adequate amplification
Excellent stereo image	Bass may feel restrained
Comfortable and lightweight	Open-back leakage makes recording difficult
Trusted reference sound
Clear presentation

Ideal user

Mix and mastering engineers who want a proven reference headphone and have proper amplification.

5. AKG K702

• Type: Open-back
• Best for: Spatial decisions, instrument placement, reverb and delay judgment
• Frequency response: 10Hz to 39.8kHz
• Impedance: 62 ohms
• Cable: Detachable
• Pads: Velvet
• Design note: Austrian AKG model

AKG K702 is known for wide stereo imaging, strong detail, and accurate depth.

It helps with panning, reverb tails, delays, instrument placement, dense arrangements, orchestral work, and ambient production.

Although impedance is 62 ohms, a good headphone amp can improve performance.

Pros	Cons
Very wide soundstage	Bass is less emphasized
Excellent detail and separation	Performs best with a good headphone amp
Comfortable for long use	Not suitable for tracking vocals
Good for depth and placement decisions	Some USB-powered interfaces may limit quality
Detachable cable
Comfortable velvet pads

Ideal user

Producers working on dense mixes, orchestral music, ambient music, or projects where space and stereo placement matter.

6. Sony MDR-7506

• Type: Closed-back
• Best for: Budget studios, editing, tracking, harshness detection, portable work
• Driver size: 40mm
• Frequency response: 10Hz to 20kHz
• Impedance: 63 ohms
• Sensitivity: 106 dB/W/m
• Cable length: 3m / 9.8ft
• Weight: 229g to 230g
• Amp: No
• Approximate price: $80, often around $100

Sony MDR-7506 is a long-standing budget studio standard.

It has been sold since 1991 and still appears on current studio headphone lists because of value, durability, compact design, and useful reference sound.

Its upper mids and treble can reveal percussion, vocal, guitar detail, harshness, sibilance, distortion, and high-end issues. Bass is tight and audible, but not strongly hyped.

Comfort is not its strongest trait. Small cups, heat buildup, and firm clamp can become tiring during longer sessions.

Pros	Cons
Affordable	Not flat enough for serious mastering
Lightweight and durable	Treble can sound aggressive
Revealing upper mids and highs	Coiled non-detachable cable can be inconvenient
Good isolation for tracking and editing	Limited headband cushioning
Useful for exposing harshness and sibilance	Less detailed than premium open-back models
Foldable for travel and storage	Small cups can create fatigue
Strong value under $100

Ideal user

Beginners, podcasters, editors, tracking engineers, broadcast users, and producers needing a dependable second reference.

7. Audio-Technica ATH-M50x: Best Closed-Back All-Rounder

• Type: Closed-back
• Best for: Recording, monitoring, beginner production, hybrid studio use
• Driver size: 45mm
• Frequency response: 15Hz to 28kHz
• Impedance: 38 ohms
• Weight: 285g
• Approximate price: $150
• Design note: Closed-back isolation
• Cable options: Straight and coiled cable options included

Audio-Technica ATH-M50x is a practical closed-back workhorse for recording, monitoring, portability, and beginner production.

It balances enjoyable listening with a more analytical sound, making it a strong starter headphone for new mix engineers.

Rotating and folding ear cups improve transport and collaboration. The build is sturdy, the ear pads have strong cushioning, and the clamp is secure without being as intense as the Sony MDR-7506.

Low end can feel powerful, low mids dip, and highs around 5kHz to 8kHz can feel reserved, so users should check harshness and sibilance on another system.

Pros	Cons
Good isolation	Not perfectly flat
Durable and portable	Closed-back soundstage is less natural than open-back models
Easy to drive	Bass and upper mids may be colored
Works for recording and general production	Faux-leather pads can get warm over time
Beginner-friendly balance	Reserved 5kHz to 8kHz range may hide harshness
Useful detachable cable options
Foldable ear cups
Good midrange detail
Solid stereo separation for the price

Ideal user

Beginners, vocal recording setups, mobile producers, and users who need one flexible closed-back pair for recording, monitoring, and early-stage mixing.

Closing Thoughts

Open-back headphones are usually best for serious mixing and mastering because they offer wider stereo imaging, a more natural soundstage, and flatter frequency behavior.

Closed-back headphones are better for recording, editing, broadcast work, noisy rooms, portable production, and second-reference checks.

Headphones help in untreated rooms, but mixes should still be checked on speakers, earbuds, car audio, and small consumer devices.

They became famous slowly and then all at once. Here's how. Continue reading…

The post The Alternative Number Ones: The Wallflowers’ “One Headlight” appeared first on Stereogum.

Legendary mincecore pioneers AGATHOCLES have announced reissue of their fourth studio album Thanks For Your Hostility. The release is set to arrive soon via Selfmadegod Records. The fourth full-length by AGx, recorded in 1996 at the legendary Soundshape Studio in Belgium and originally released by German label Morbid Records, will be reissued to mark its 30th anniversary. Thanks For […]

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No matter what style you prefer, we all have to agree that we all have a sweet spot

Here's how the band summed up their "effin' amazing" first week. Continue reading…

Producers often ask one practical question at export time: “Should I export directly to FLAC, or render WAV first and convert later?”

FLAC means Free Lossless Audio Codec. It is a compressed audio format, but it is not lossy. Proper FLAC encoding reduces file size while preserving the original audio data.

The main point is simple: FLAC gives you WAV-level audio integrity with smaller files, better archive practicality, and easier delivery.

Practical workflow issues make that question worth asking. Some DAWs do not export FLAC directly. 

Many producers render a WAV first, then convert that WAV to FLAC afterward. Done correctly, that second step does not reduce fidelity.

What is the Key Difference Between FLAC and WAV

Choosing between FLAC and WAV is not only a sound-quality decision. 

It also affects storage, delivery, metadata, compatibility, and long-term file management. 

Both formats can protect full-quality audio, but they fit different parts of a production workflow.

FLAC

FLAC stores the same audio information more efficiently through lossless compression. 

Instead of discarding musical detail, FLAC packs mathematically redundant information in a more efficient way.

It can deliver the same sound quality as WAV while using much less storage. Common professional estimates put FLAC at about 40% to 60% smaller than WAV. 

Other practical archive estimates place the reduction at about 50% to 70% compared with uncompressed audio files, without sacrificing quality.

It also handles metadata better than WAV in many everyday use cases. 

It can carry artist information, album details, track title, artwork, date, genre, and credits in a more reliable way across modern music libraries and playback systems.

That matters when files need to be organized, shared, delivered to clients, placed into catalogs, or prepared as high-quality listening copies. 

WAV metadata can be less consistent across players, stores, libraries, and client systems.

FLAC also has several practical advantages for finished work:

• Smaller archive folders
• Faster transfers
• Cleaner catalog organization
• Better tagging support
• Lossless playback quality
• Strong modern player compatibility

WAV

WAV is usually uncompressed PCM audio. It is one of the most accepted audio formats in professional production, so it works well across DAWs, mastering rooms, editing systems, and hardware workflows.

WAV is excellent for recording, editing, mixing, and mastering because software can process it easily and most engineers know how to handle it. 

Engineers often prefer it because compatibility trouble is rare.

WAV and AIFF are uncompressed PCM formats that preserve what was captured during a recording session, including headroom, dynamics, and transient response. 

Evergreen Vinyl is a useful reminder that preservation starts with the source. Its Taylor Swift vinyl collection focuses on physical records, album versions, artwork, and collector value, showing why the original recording, pressing, and handling matter before any digital format is chosen.

That makes WAV a safe choice when audio needs to pass through multiple stages of production.

File size is its main drawback. A typical three-minute WAV or AIFF album-delivery file at 24-bit / 96 kHz can be around 200 MB. That can be more than six times the size of a comparable MP3.

High sample rates and high bit depths increase the size quickly. Large WAV archives can become difficult to back up, upload, download, and organize. 

A single WAV file is often more than double the size of a FLAC file.

Several WAV strengths explain why it still matters during active production:

• Very broad DAW support
• Reliable use in mastering and editing rooms
• Strong compatibility with old and new software
• Simple processing during recording, mixing, and mastering
• Fewer playback or import problems in hardware-based workflows

Rendering to FLAC Does Not Mean Losing Quality

Confusion usually starts with one word: compression. Many producers connect compression with MP3 damage, missing detail, or lower fidelity. FLAC uses a completely different type of compression.

Lossy compression, such as MP3 or AAC, reduces size by discarding audio data. Once that data is gone, it cannot be restored.

Lossless compression, such as FLAC, reduces size by storing the same audio data more efficiently. During playback or decoding, FLAC restores the audio data exactly.

Properly encoded FLAC should preserve the same audio information as the original WAV. A FLAC file can be a bit-exact representation of the WAV file. 

During playback, the data reaching the D/A converter can be exactly the same as the original WAV data.

Different FLAC encoders may create slightly different file sizes because the compression ratio can vary. 

That does not mean the decoded audio data is different. With correct encoding, encoder differences affect storage efficiency, not sound quality.

Conversion safety depends on a few practical conditions:

• Clean original WAV render
• Reliable FLAC encoder
• Correct sample rate and bit depth handling
• No added normalization, dithering, or processing during conversion
• No accidental export to a lossy format in between

WAV and FLAC can also be converted back and forth without meaningful sound-quality loss, as long as the files are handled correctly and the original audio is clean.

Quality of the original recording still matters. Lossless format alone does not guarantee a great-sounding file.

A poor FLAC made using bad hardware, poor settings, a damaged record, or a weak transfer can still sound worse than a well-made MP3 created using a stronger source.

Why You Should Render Final Work in FLAC

Final audio files have different needs than active session files. During production, compatibility and processing ease often matter most. After a track is approved, storage, delivery, metadata, and preservation become more important.

FLAC fits that final stage extremely well. It keeps full-quality audio while making finished work easier to store, send, tag, and protect.

Smaller Files Without Sacrificing the Master

FLAC reduces file size while keeping the master intact. That is its biggest practical advantage.

For long-term storage, backup drives, cloud archives, collaborator handoffs, and client delivery, smaller files make life easier. 

WAV files are large because they are usually uncompressed. FLAC gives you a storage-friendly version while preserving full audio quality.

FLAC files can be 50% to 70% smaller than uncompressed audio files without sacrificing quality. More conservative professional estimates still place FLAC at 40% to 60% smaller than WAV while keeping WAV-equivalent sound quality.

For producers storing many final masters, stems, alternate mixes, instrumental versions, clean edits, acapellas, TV mixes, and client revisions, that reduction adds up quickly. 

A huge archive can become easier to back up, move, and protect.

Storage savings become especially noticeable in larger audio catalogs:

• Full albums with multiple master versions
• Stem packages for sync or remix use
• Clean, explicit, instrumental, and TV mixes
• Sample packs with hundreds of files
• Long-form recordings at high sample rates
• Restored or digitized audio collections

Storage savings also matter when working across multiple drives or cloud services. Smaller files reduce upload time, download time, transfer friction, and backup cost.

Better for Archiving

Archiving is not only about keeping a file. It is about keeping the best possible version in a format that stays practical over time.

A FLAC archive keeps audio lossless while saving space. 

That makes it ideal for finished songs, stems, alternate mixes, library music, sound design assets, restored audio, and digitized recordings.

Large catalogs can become hard to manage in WAV only. FLAC makes high-quality archiving more practical because it protects the audio while reducing storage load.

Keeping both WAV and FLAC can also be smart for important masters. WAV can act as the maximum-compatibility production file, while FLAC can act as the practical archive and sharing file.

Delivery is often where FLAC becomes immediately useful. Finished audio may need to reach clients, collaborators, labels, editors, music libraries, or listeners quickly.

FLAC files are smaller than WAV, so they upload, download, and transfer faster. That matters in real production workflows.

Client portals, cloud storage links, label submissions, email-based delivery, private listening links, and sample-library exchanges all benefit when file size drops but quality stays intact.

For final listening copies, catalog review, archive transfers, and high-resolution downloads, FLAC often gives the best balance between quality and convenience.

Stronger Metadata Support

Metadata becomes more important after audio leaves your DAW. A file without clear tags can get misplaced, mislabeled, or separated from its project context.

FLAC can hold useful metadata such as:

• Artist name
• Track title
• Album title
• Artwork
• Date
• Genre
• Credits
• Version notes
• Composer or producer names

That makes FLAC more practical than WAV for organized archives and public-facing digital delivery.

Metadata helps files stay identifiable across music players, client systems, folders, drives, delivery platforms, and libraries.

WAV metadata support is less consistent than FLAC and MP3. That inconsistency can create problems when files travel through different players, stores, databases, and client systems.

A well-tagged FLAC file is easier to search, sort, identify, and deliver. For producers managing large catalogs, this can save serious time.

Summary

FLAC belongs in every serious audio workflow because it gives you lossless quality, smaller file sizes, easier sharing, stronger metadata, better archive practicality, and protection against lossy degradation.

Do not replace every production WAV with FLAC in every situation. 

WAV still matters for recording, editing, mixing, mastering, engineer handoffs, and maximum compatibility.

Always create a FLAC version of the finished work. It preserves the master while making storage, transfer, organization, and delivery much easier.