ROAD TESTS Sennheiser Hd Blue Stage Headphones Sennheiser Australia (02) 9910 6700 www.sennheiser.com.au RRP: $369.95 (HD6 MIX), $429.95 (HD7 DJ), $499.95 (HD8 DJ)
HD6 MIX Sennheiser have been responsible for some of the best studio and DJ headphones over the years, so I was excited to take three of the new HD series of Blue Stage headphones for a test drive. This flagship range of studio and DJ headphones draws from the legendary HD25 headphones and shares their attributes across three models in the HD6 MIX, HD7 DJ and HD8 DJ. to help you hear every aspect of your mix. With the ear pads HD6 MIX completely enveloping your ears As far as the build goes, these and cutting out any background are the simplest of the three noise, you are left with just models with very little adjust the music, even in louder available in the support arm, but environments. they don’t really need it. They fit snuggly over the ears and hold tight, yet comfortably in HD7 DJ place. At first, I thought the fit Moving on to the HD7 DJ of these headphones would not headphone you notice a lighter lend themselves to long listening weight construction from the periods, but they seem to mould HD6 MIX model. There is also to your head and almost become a lesser bass response in these unnoticeable after a short headphones. A crisper higher while. With a big low frequency frequency range brings the snare response, these headphones and hi-hat sounds right to the deliver a full powerful full forefront to aid in mixing in a range sound that is designed loud DJ booth. It seems that
HD7 DJ vocals jump out just a little more with these headphones too, as a slightly pronounce midrange has them accentuated. The ear pads can be adjusted with three separate points each to find the best fit for your needs when monitoring with one or two ears at a time.
HD8 DJ
The HD8 DJ headphones feel even lighter and again more comfortable when I put them on. They too have the same amount of adjustment as the HD7 DJs do, but with an improved mechanism. This makes it very easy to switch from one to two ear monitoring without adjusting the position of the headphones on your head, you simply swivel one ear pad back and forth as needed. As far as the sound, they seem to have a little something
HD8 DJ extra going on in them that the other two models just don’t. The stereo spread seems to widen and a more lively delivery of the music is presented. All three models come with a really well appointed carry case that has space for the included spare ear pads and cable. They all come with a straight and curly cable to suit your needs and fold up for storage and portability. The cable can be connected to either side of the headphones, depending on which orientation you prefer and stereo balance is still maintained. With a great build across all the models and great sound to, these headphones from Sennheiser all have something great to offer. Highly recommended. BY ROB GEE
SPECS HD6 MIX • Frequency Response: 8–30,000 Hz • Transducer principle: Dynamic • Impedance: 150 O HD7 DJ • Frequency Response: 8–30,000 Hz • Transducer principle: Dynamic • Impedance: 95 O HD8 DJ • Frequency Response: 8–30.000 Hz • Transducer principle: Dynamic • Impedance: 95 O
HITS • Very solidly constructed • Firmly grips head and stays in place with movement • Comfortable, replaceable ear pads • Sturdy carry case included with all models
MISSES • Aesthetically, they all look too similar in design.
M-Audio M-Track MK2 USB Audio Interface Pro Audio Group Australia | (02) 9521 4844 | www.proaudiogroup.com.au | RRP: $189.99
SPECS M-Audio is a name that’s well known in audio interfaces and MIDI controller keyboards. Over the years they’ve brought us a wide range of products and never cease to improve what they have on offer. The M-Track series of USB audio interfaces has always represented great value for money in compact audio recording. This new M-Track MK2 USB audio interface continues to do just that, but sports a major facelift and a full redesign of how looks, feels and operates.
FACE FORWARD
For those of you who own or have seen the last versions of the M-track interfaces, you’ll no doubt be aware that they were a table-top design. They had all inputs and controls on the top surface of the unit, much like a compact mixer would be laid out. With this latest incarnation of the M-Track, M-Audio have done away with this idea and trended back to more of a rack style layout. Except, the unit is
not rack mountable. So, with the use of a rack tray, it could find a home with other equipment, otherwise, it will remain as a desktop unit, but with all the controls and inputs found on the front panel instead of the top. This I found a little annoying at desk level as I was repeatedly tilting it back off its feet to see what was what when I wanted to adjust something. Place it higher on a shelf and the problem will be solved.
PG.34 // MIXDOWN #253 // MAY 2015
SIMPLE SOLUTION
The M-Track MK2 offers two inputs, both on combination XLR/TRS connecters. Both microphone preamps have phantom power as an option and Input 2 can be switched between Line and Instrument level when using the jack connection. As far as outputs go, you have a headphone out on the front and a pair of balanced TRS outputs on the rear. It’s all kept pretty simple, but does the job as far as getting you two separate inputs for recording and the necessary monitoring outputs to record overdubs and mix your tracks. There aren’t any other frills or fancy tricks to push the price up. But it is housed in a really tough metal case and all the pots feel really smooth and firm.
As is to be expected with an interface like this, you get a bundled DAW software program in Ableton Live Lite, which will get you started recording right away. The nice addition of three Waves plugins as well really makes it a worthwhile software addition. The Eddie Kramer Effects Channel is pretty cool and the TrueVerb reverb is a must for any mixing situation when you want to really bring your recordings to life. For the price, it is definitely worth checking out. BY ROB GEE
• Inputs: 1–2 (balanced XLR), Line; 1–2 balanced 1/4” TRS Line, Inst; 2 unbalanced 1/4” TS • Main Outputs: L and R impedance-balanced 1/4” TRS Frequency Response: 20 Hz – 20 kHz (+/-0.1 dB) • Dynamic Range: 104 dB (A-weighted) • Sensitivity: -53 dBu • Gain Range: 55 dB • Power: USB-bus-powered • Size: 2.07 (H) x 9.4 (W) x 4.85 (D) inches • Weight: 1.04 kg
HITS • Simple, straight up design • Solid metal casing • Great selection of software included
MISSES • Less options than previous models
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