Description

Authentic Sennheiser HD25-ii Audiophile Headphone BlackOverview

Due to their low weight and the option of one-ear listening, the HD 25-II headphones are indispensable for mobile monitoring. The closed-back HD 25-IIs are purpose-designed, professional monitoring headphones offering high attenuation of background noise.

Features

  • High maximum soun #100 pressure level

  • Tough, detachable steel cable

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    A nerdy broadcast headphone from the 1980s ca 0 be found around the necks of countless DJs. Jordan Rothlein finds out why.

    The gear featured in the last three parts of this series—Technics 1200 turntables,Pioneer CDJ digital decks and Allen & Heath's Xone:92 mixer&a #99irc;€”earned their place in DJ booths for their durability, dependability and feature set. But there was also a need to form a common consensus with each of them: turntables, CD players and mixers are big, heavy and expensive, so having something everyone can agree on permanently installed in the booth is a major advantage. 

    Finding a standard headphone wouldn't seem like such a pressing matter. Headphones are the& 32most portable part of a DJ's standard kit, and they're likely the cheapest as well. So while DJs might occasionally share with those playing before and after, they tend to bring their own, and some have strong preferences for models that uniquely suit their needs. For disco pioneers like Larry Levan, that meant a lollipop-style headphone with a single cup mounted on a handle. Techno DJs like Donato Dozzy have opted for something lar #103er and more sonically immersive, like Allen & Heath's Xone:XD-53headphones. Dixon swears by a pair of audiophile headphones made by Phonon. And Detroit house veteran Terrence Parker has been using a lightly modified rotary-dial telephone handset as a monitor for years. 

     





    DJs might prefer the size, feel or sonic character of one pair or another, but they're all in service of the same task. Headphones let a DJ hear what's next before it hit& 115 the speakers. It could be as simple as that, but most club DJs are also cueing up the next track so it plays in time with the current one—a process better known as beatmatching. Part of beatmatching is physical: DJs must slow down, speed up, scratch over and finely adjust the playback device to line up the beats, assuming they're not employing a beat sync function (like you'd find on newer CDJs). But it's also an exerci 5e in listening, where the tempo, texture, melodic content and general compatibility of what's playing over the system is compared to what's coming through the headphones. 

    Using both ears separately is jarring enough, at least when you're first getting the hang of beatmatching. The nightclub environment, though, brings its own set of complications. The big one is the level of sound coming through the main system. Headp 4ones can compensate by getting louder, but obviously that can strain your hearing. Fit can help, too, providing some much-needed isolation from the main system. And a punchy, defined sound—particularly in the low-end, where the beat's main pulse lives—will help DJs prepare for the transition amidst a whole lot of background noise. 

    Overcoming a club's audio environment isn't the only hurdl 1 a pair of DJ headphones faces. The scratches, burns and missing knobs you often see on decks and mixers show the beating gear takes, and these pieces of kit don't even come on the road with the DJ. Headphones are put on and taken off many times throughout the set, stretching the headband and scrunching the soft covering around the cups. Then, at the end of the night, they're probably wrapped up and tossed into some less than protect& 101d pocket of a bag in the rush to the hotel, an afterparty or a flight. 

    In short, DJs ask a lot of their headphones. So while DJs have more control over this part of their setup than any other, it's not so surprising that a standard has developed, built upon a reputation not just for weathering the abuse but doing the job exceptionally well regardless of it. That headphone is Sennheiser's HD 25

     

    TMA-1 without Sennheiser's all-black, low-key forebear. 

    Still, the oversized, sparkling ideal persists in the DJ headphone market, and for many their big, swiveling cups and opulently padded headbands will remain the preference. But the next time you're unpacking from a party and pull a crunched, knotted-up but completely intact pair of HD 25s from& 32the bowels of your record box, take a moment to marvel at how well these little headphones perform—both in DJ booths and in the long, rough-and-tumble journeys between them. 

     

     

     

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