I should caveat this with what I’m used to first; Sennheiser HD25-II Professional headphones (the benchmark for all my listening both music and pro sound). Ultimate Ears Triple Fi 10, for when I don’t have the option of the HD25-II’s.
My Ultimate Ears are wearing out and using them regularly for work, prompted me to get the M6 Pro’s because of the price and the hype surrounding them.
I don’t know about breaking in modern cans, however, I did run these through 12-18db of non & oscillating pink noise for 100 hours before proper use, and I will say that they did sound more full after the break in.
I have had them for a month now and can honestly say that they completely suck for any kind of environmental noise isolation, even using custom ear pieces and the Comply tips included. Whatever it is about the construction, everything gets in and muddies the sound.
If I’m to break down sound into 5 categories from deep bass through to high treble, rated 5-1, these cans provide crisp clean clear high treble 1,2,3 and a fraction of 4.
Yes, this is great for studio work, and other quiet areas, but to get any bass to feed through, one tends to increase gain or volume, and then the treble is so piercing that it makes for an uncomfortable listening experience.
For $50 is it worth the price to get them and have them for a few weeks trial period. Probably not. $50 is 1/3-1/4 the price of the things you are going to pay to get you to where you wanted to be originally.
If I had known then what I know now, Id prefer the $50 and opted for a different pair of IEMs.
Ok after a few days, and reading the Manual (!!), I have determined that the Tascam DR-70D is actually almost everything I have ever wanted in a recorder/mixer.
The sound I am getting from my existing microphones, especially my Sennheiser MKH-416, is astonishing, especially considering I bought a dedicated Sound-Devices MM-1 specifically for that 416. My Shure VP88 sounds amazing, clear, and the separation between the mid and side capsules appears more pronounced, with more control over each channel. The pre-amps are amazing, quite mind-boggling considering the size of the thing. My wired Rode Lavalier connected to XLR is also remarkable in that it appears clearer and better high-end then it was then using the Micon-3 mini jack connector, maybe that has something to do with more power through the XLR connector..
The Interface is simple. The layout of controls is reasonably logical and fair considering the real-estate, though I think I will do some modification on the pots, maybe some rubber tape of some kind.
It would be nice if there were two XLR’s per side instead of three on the right and one on the left, but that’s just me being symmetrically anal.
Power requirements are reasonable, especially excellent when paired with an external battery back of your choice, connected to the micro USB port on the left.
I got this primarily for the 4 channels, so that I could do more in-depth field and location ambient recordings with a combination of microphones. I have been dreaming of using binaural contact mics in combination with clip binaural mics as well as a directional or even binaural hydrophones to create what I suspect might end up being an amazing sound.
Another project in mind is to have an additional 416 for dual channel recording in left and right channels and having that stereo separation option for play in post.. ooh…
I have ideas oozing out of my brain through my semi-lunar canals..
I’ve been back from India just over a year now, back living in the US and in that time its been a real struggle, both on a personal level and financially.
Looking back on that time, a half-year spent in India, thinking about it and thinking about how much I miss it, and yearn for the Utopian chaos to run through my veins once more.
I have edited my photography over and over trying to extract the essence of the experience. However the personal journey that India was to me, has obscured my objectivity, something that only time can distill.
I have started once again on the editing process, going back over the audio recordings I made, and in doing so, had an epiphany about the work. I realize that I have no choice but to go back to India, and capture more audio, this time with an expanded kit. And to dedicate much more time and effort into making quality environmental recordings.
Audio recordings offer a taste of reality that video and photography simply cannot touch. Where video has to be constructed to make a compelling presentation, and photography provides specificity, and depth, that depth is within just that contextual intimacy.
Audio offers a living reality of time based exploration. Audio treats the consciousness to a wide layered mental vision, one that the mind is intrinsically connected to, there is no learning to listen, whereas there is learning to read photographs.
This Location Sound during the Anup Jalota concert at Pilot Baba’s Ashram camp 2013 Maha Kumbh Mela, Sangam Allahabad, Uttar Pradesh India. I had decided to walk around the sector 9 area where the ashram was located, about 7 miles from the actual main bathing area.
You can hear all of the local sounds, and the far distant sounds of the millions (130,000,000 to be more accurate) of pilgrims who existed at the ‘city’. Headphones highly recommended. Sit back and enjoy the Mela as I did for thirteen minutes.