Kalandra Remix

So lately I’ve been doing a Kalandra Remix and it was very fun! Kalandra is a half english and norwegian folk band. These guys are really interesting and it was an absolute pleasure to have such material to work with. I decided to make a house remix of one of their songs “Sell your voice” and I’m very happy with the result. I strongly recommend that you check them out. I’ll leave the links for the original down below. 





Indabamusic! If you haven’t joined, you should!

A couple of months ago I came over this site. And let me tell you, it is Awesome! Don’t know what it is? well, let me be the one to tell you. Indaba is a site made by some cool people based in new york. They supply you with plenty of remix, mix and original music competitions to embark on. It is exceptionally well done, with some hefty features to create a very good online society! Without slandering soundcloud, it is very hard to come in contact with new people compared to Indaba. Indaba has chatrooms, groups, listening party (a feature where you can get your music played by entering a lottery, AWESOME!) and frankly some insanely awesome musicians in their network. I’am a fairly fresh member and I can honestly say I’ve never been in an online community that works so well and are treating their members so fairly.

Skjermbilde 2014-01-02 kl. 23.45.41

Since I’ve joined I’ve entered 8 competitions and gotten a ridiculous amount of plays and feedback on my work. It has helped me become a better producer, especially when it comes to electronic music. I’ve also gotten to know some insanely talented people, that honestly deserves more attention. In addition to this, the remix competitions in particular are very good. We’re not talking about remixing small mariachi bands from mexico, but big bands like Linkin park, The Hives and Bon Iver. If you win one, it might be a big opportunity, seeing that the prices are just as awesome as the competitions themselves.

The competitions are also very varied. You might want to mix something that you haven’t produced yourself? Indaba’s got it. Maybe you want your music on a Tv-show? well, indaba has competitions for that as well oooor maybe you want to get your music in a big international music magazine. Say no more, Indaba has it. This site is just incredible and is a good way to develop as a music producer, DJ or artist. You might even meet one of the site founders in the listening party as they are frequently checking on their members! Those people deserve a medal! If you haven’t googled it by the time you’ve reached this sentenced, I’ll leave the link for you down below! Check it out and be sure to befriend me if you decide to venture into the indabaverse! See you there!

for Indabamembers! Greetings from Tesla Omph!


Chasing The Hit-Song: The “real” musicians and Bieber.

Well, If there was a recipe for hits, I would probably be filthy rich by now. There’s no definitive answers and most of the time it’s like either winning or losing the lottery. Of course there are exceptions, artists like Miley Cyrus, Rihanna, Justin Bieber, Katie Perry and Eminem get hit songs ever so often and their bank accounts are adding zeros as we speak. Even so, these are established artists with lots of exposure and backing from big international record companies. Which in turn makes it difficult to identify the “real” hit factor.

I got to thinking of what makes a hit song by definition and what is an “actual” hit song in the idea, without the variables of promotion, money and exposure? To quote Max Horowitz from Adam Elliots movie masterpiece, Mary and Max, I got a little “confuzzled”! Which means that I was confused and puzzled at the same time. And here’s the reason, many may say that what makes a hit song is wether or not it reaches top 10 or 20 or even 100 on the billboards, Itunes and YouTube, by definition it’s absolutely correct. Somehow I still feel that there’s some problems with this. What I really want to know is: Do some songs have the hit factor and others don’t? Can a song lack the hit factor and still become a hit? Are hit songs the result of strong economical forces and widespread promotion? It certainly seems like theres money in motion when a new Cyrus, Bieber or Beyonce song hits the billboards, this spawns even more “confuzzledness”. Why do songs like Justin Biebers “baby” become hits?


If we look at Justin Biebers “baby”, even if we don’t want to, we can spot some strange phenomena. It became a massive hit and in this very moment the view count on YouTube is roughly over nine hundred million. This strikes me as odd for two reasons 1: most of the worlds population don’t like him very much and 2: from a subjective point of view that song is terrible. Never the less Justin Biebers “baby” became a monster hit. There’s a number of ways to explain this, the two prominent factors being curiosity and of course teenage girls. Even though Bieber has a huge fan base, he has a even larger group of anti-fans. He made something I like to call a s-hit song, which is a hit, but is also shit. In our modern day society we allow this to happen. Even though most of us hate the song, we are so über-globally connected that if something extremely shitty pops up on youtube, we immediately have to check it out. If that wasn’t enough, we constantly have to talk about him over and over. This blog post being a perfect example.

Remember that this is a guy who used the word baby more often in a song, than conjunctions. Even so, we made him. Right after the video was released, all the people of earth marched right home and watched the music video. We showed it to all of our friends, we shared it everywhere, just so we wouldn’t be left out of the discussion of how terrible it was. This is a very powerful effect. I’m not a psychiatrist, but I feel we are more likely to take notice of things that pisses us off, supposed to things that make us happy. So basically what happened in the case of Mr. Bieber, is that he started to matter so much to us in a bad way, that we just pushed him even higher. And it gets weirder, the definition states that a song has to be popular to be a hit. “Baby” was definitely popular, but what happens when something is more unpopular than popular, which the song certainly was. It is very hard to determined wether “baby” should or should not be defined as a hit song. More people hated it, than liked it, so it shouldn’t get the recognition right? Well, actually a lot of people did like the song, so it fits the definition, but it also raises a question. Does a song need to have a hit factor?

In my opinion, no it doesn’t. You can promote a song, single or album to such a big level that it gets popular. When an artist is exposed to the whole world, some people have to take notice. Here’s an example. So “baby” has 900 million views on YouTube, 27 % of the worlds population is under the age of 15. 880 million of them are girls and 940 million of them are boys. Well, there’s a pretty good potential there, also considering that kids and teens are notoriously known for having bad taste in music. Then there’s the rest, 4.4 billion people between the ages of 15-65 and the remaining 500 million of awesome old people. In the two last groups, you would expect to find a very low occurrence of fans and a high occurrence of anti-fans. In the first group you would find a large number of fans and some anti-fans. Of course there’s also the people that generally don’t give shit. The reason is self explanatory really, but just to annoy you, I’m going to explain it anyway. Justin Biebers music apply to teenagers, there’s no doubt about that. He is considered being kind of a douche and not surprisingly there are many old people who don’t like that, not primarily the fact that he is considered a douche, but because he is an idol for teenagers. This causes the phenomena to grow. Girls in the pubescent stage have a historical tendency to taking notice of young-boy idols. They picture Justin Bieber as being the perfect boyfriend and they start to idolize. This in turn forces a need in older generations to storm the internet in a mission to stop it. What they are really doing is making it bigger. In addition to this, Justin Bieber has no competition being the teenage-sweet-heart boyfriend-idol guy. Except for maybe One Direction, the band name being a very good indicator where it is going the next ten years, downhill.

Now, here’s the deal! It is not unordinary for older generations to disapprove of artists that appeal to young people. Remember The Beatles and Elvis Presley? Of course you do, how could you not. Now I’m not comparing The Beatles and Elvis Presley with Justin Bieber in a musical sense (please don’t kill me), but do you remember how they were considered when they first entered the music scene? There’s some similarities and some differences. The Beatles and Elvis Presley where both despised by older generations, they were not suitable idols for teenagers and young adults. The one difference being that Elvis Presley and The Beatles actually made music that were critically acclaimed. But in light of this, perhaps we shouldn’t be so judgmental? Despite the vibe of this whole post, I actually have no problems with Justin Bieber from a purely objective point of view. I mean the guy obviously knows what he’s doing.


I often hear people complaining about how the music is so bad these days and the record companies must change. The argument is always criticizing the music industry. An example being “The music industry must promote the serious artists, the original and real musicians.” Well, here’s the thing! Music has never been more easily accessible and the music scene is flourishing with lots of new and exiting material. I’m frequently on YouTube browsing tirelessly. I’m not ashamed admitting that I enjoy the occasional Beyonce or Rihanna song, even considering that I have a background in thrash and death-metal, where such deviant behavior is a deadly sin. Anyways, when I’m browsing through music on youtube, I can’t help noticing how the commentary-field is riddled with comments about how music were so much better in past, followed by questions asking why the record companies are spewing out shit all the time. Well, why do you think? The music industry doesn’t make money of fans exclusively, in this day of age they make money of everybody. The moment you can’t control your curiosity and go onto YouTube to see Miley Cyrus sitting butt-naked on top of a wrecking ball, you are contributing to her success. You don’t have a wrecking ball fetish do you, then why are you checking it out? It is the equivalent to ordering something you think tastes bad in a restaurant, then eating it, then afterwards complaining about it, when you knew you didn’t like it in the first place. This to me sounds logically flawed, even in the context. My suggestion is that you go find some other place to eat or order something else. That’s how it works in every other aspect of life. The major record companies are simply making and promoting music that most people want to listen to and I’m truly sorry, but free jazz isn’t one. If you want to change the industry, start with yourself.

The music scene is constantly changing and in ten years it might be different. Which brings me back to the whole point of the blog post. As a music fan, music producer and musician I can honestly say that there’s no right or wrong way approach music. Do not overanalyze the music industry, there’s no conspiracy! People in the music business are simply trying to make money of what they do, which is of outmost importance if the music industry is going to survive. There’s no shame in wanting to have an income. I’m sure there’s people out there passionate about office work, that does not imply that they should or want to do it for free. If you don’t like chart music, don’t listen to it. Find some new and cool stuff on Soundcloud. Use and apply your own style as both a musician and listener and go with it. Don’t try to make hits for the sake of making hits. Tomorrow it might be you that spawn a new music-revolution. If you have any ideas on what my next post should be. Please comment!

To end this long and tiresome post, I would like to present you with a little treat from one very exciting band.

Kalandra – Sell your voice

Voiceover talent? hmmmmmm…?

It’s been some months now since I graduated from Southampton solent university and to be honest the work isn’t pouring over me right now. The facts are that the music business is hard, incredibly hard and to make it you need to have persistence. Even though the absence of work is a great deal of concern, I can tell you right now that I’m in for the long haul. I’ve been trying to figure out how to get from being left out on the porch, to get inside the house. I must honestly say that the locks were a bit sturdier than I anticipated and the ideas to open them are few. So here I’am hungry, broke, bored and writing on my blog.

What to do in these troubling times?

Well, I discovered something that might be useful, my voice. You might say “du’h, thats obvious”, but I’m not talking about using it to sing or in any musical way. Well, at least not in the conventional sense. In recent years I’ve gotten a lot of feedback on how my voice sounds. Besides from being born with a potato down my throat, I can actually produce a pretty good voiceover when I’m concentrated. By the way, by potato I mean that I mumble A LOT, which probably isn’t a fine quality to have when doing voice overs, theres just no use for mumbling people in that line of work. Even so, when I put on my  “Rolls…. voyce” something happens and people actually think I’m comfortable to listen to. I’m like night and day, which makes me wonder why I don’t speak like that more often, which again leads me to why I’m rambling on about my voice.

In late september I decided to do a voiceover demo for fun and sent it to a big voiceover studio in Oslo. I didn’t think much of it, but a few days later a new email gracefully swooped into my mailbox. To my surprise the subject-box read “New Voice-talent: Fredrik Valmestadrød” and then I was a voice talent all of a sudden, pretty bizarre considering I had no hope of getting a positive reply. But there it was! I jumped over the keyboard and scheduled an appointment with the studio to record voiceover samples for their website. The studio sessionImage happens in november and I’m curios to if any of their clients would want me to speak on their commercials. It also got me thinking that this might be an opportunity to get to know people in the business. While being to focused on getting clients in more Music producer-ish ways. I started to think that there might be other more effective ways to get my name out there, that I hadn’t thought of as much.

So if you have a talent you didn’t think you could possibly have much use for. well, use it. It is as simple as that. It just might be an opportunity. That’s all I wanted to tell you and maybe you’ll hear me on TV next year, showing off my new talent. Here’s an example!

Video by bård olsen, music, sound and voice by Fredrik valmestadrød

How to become successful in the music industry: The road to becoming a successful music producer

In this essay, I will explain how I’m going to succeed in the music business; my ultimate goal is to become a music producer and composer. By taking a historical look at the music business and the economic climate it is currently struggling in, I will explain what I think is going to make the road to success easier. There are many paths to cross to becoming a successful music producer. You have to build relations to people that may become useful to you[i]. Do favours, a lot of free work and market yourself in any way possible. Understanding the importance of having the right equipment. Are you going to build a studio, home studio?

The changing industry

The music business is changing. The cd format is dying, and the public shares and streams music online more then ever before. Physical formats are becoming ghosts of the past and the music business is struggling to keep up with the changes in the economic market[ii]. Because of this there are many different views on the development the industry is to take the next ten years. The music industry is therefore facing a difficult time ahead and is struggling to adjust[iii], huge risks have to be taken and a change of practice is required[iv]. Because of all the economic turmoil, it might not be harder to succeed in the music business, but it’s much more competitive. More people than ever are chewing on the ”money-bone”. You would have to have a huge amount of guts and perspiration, in addition to this a good amount of cheer luck. But there are ways; this is me explaining which actions I think are the road to succeeding in this harsh economic climate. First you have to start with the question, why the music industry started struggling in the first place?

One of the main and obvious reasons for the industries economic decline is the illegal sharing and downloading of music online. When Shawn Fanning developed Napster in 1999 he sparked a revolution[v], the revolution of online piracy. According to an article in the observer, this was ”The year music was set free[vi]. Music became incredibly obtainable for everyone with a computer and an uncontrollable thirst for music. Which basically meant that over 300 million Internet users[vii], had instant access to waste amounts of music for the nice sum of absolutely nothing. Shortly after other peer-to-peer programs started to emerge online[viii]. This forced the leading record companies to take a stand, they were loosing money and they were loosing it fast. The record companies responded to the online piracy by suing the creators of these peer-to-peer programs. This led to the loss of even more money, in retrospect, taking legal actions turned out to be a bad move. The barons in music industry were highly unsuccessful in stopping illegal downloading of music. They completely underestimated the phenomenon’s popularity4. It might be easy to sue a few creators, but it is quite the accomplishment to incarcerate or fine millions of people. Therefore they made examples out of a select few. One of those people was a woman by the name Jamme Thomas Rasset that in 2007 was sued by the music industries trade group for sharing 24 songs on the Internet[ix]. But even this wasn’t deterring the people from downloading music online and during the 2000’s; several of the big record companies went bankrupt. The big five (Emi, Sony Music, Warner Group, Universal Music Entertainment and BMG) has become the big three (Universal Music, Warner group and Sony music Entertainment)[x][xi].

Music industry economics is still suffering greatly from illegal downloading. Times are changing and the music industry is finding new ways to earn money. Streaming and online sale are two new ways to make money in the music industry. Though these methods are no guarantee for making the music industry thrive economically again.

Marketing Yourself

Why is this relevant? To find the best paths to success you have to understand the history of the field you’re seeking success in. Economy is vital to understand, though it’s possible to be successful in the music industry without being a cash cow, it is virtually impossible for anyone to live on just their reputation. I think the future, regardless if it’s music industry or other industries are in online marketing and sales. This is where I’m going to start my road to success.

The possibilities that lie within the Internet are endless. You have the potential possibility to become extremely successful over night. Internet is good for several things. You can effortlessly market yourself through social channels like Facebook and Twitter, you can start a website, start a blog and you can market your music on websites such as Myspace, Soundcloud and Youtube. You have the possibilities to sell your music through services like Itunes and streaming-software like Spotify. Though having your music on Spotify isn’t a gold mine, it has the potential to be profitable in the long run[xii]. I recognise these sites as extremely useful to reach my goals. By publishing my music on these sites, I’m creating a bigger network. I can reach more people and potential clients. Marketing yourself and selling your music on the Internet is becoming increasingly common in the music business[xiii].

Going for modesty or million dollar studios?

You might think that a music producer would need a studio, though that would be natural, using a lot of money on building a professional studio could be a very risky business. Studios around world are going bankrupt at an alarming rate and if you decide to build a million dollar studio, the prospects of getting those money back are pretty grim[xiv]. You might be out of business before you’ve started. In this day of age it might be more profitable to build a modest home studio[xv]. Buy a desk, a mixer, some good microphones, some preamps, a good soundcard, a mac pro computer, midi-keyboard, headphones and some music software. Even this is very expensive, but I think it’s better to have good equipment than a floating studio room that costs 200 000 pounds to build. If you have a duvet and some isolation plates you can make a perfectly working vocal booth. If you would need to use a professional million-dollar studio, you always have the option to rent one. Nowadays this isn’t all that expensive, and might be more profitable than building one of your own. I think this is the best path for me to start out with, a nice home studio with nice and good equipment.

During my time at the Norwegian school of creative studies I learned to work with little resources. In our time, I think that is a highly sought after ability. If you’re creative enough, you can make music with coconuts and the Macintosh microphone. The quality might be a little bit worse supposed to recording in abbey road studios, but the production costs drops a great deal. If you think about it, the quality of the recordings really isn’t that noticeable for the common man. Though it has to uphold some standards, the bare minimum for a professional made musical piece is often enough, as long as it’s mixed well and the composition is good. That said; you should always do your best.

The importance of contacts

One of the most important things in the music business is getting contacts. Without contacts you’re basically going nowhere[xvi]. Knowing the right people is the key to succeeding. But do not misunderstand me, I’m not saying you have to seek out Simon Cowell and try to build a business relationship with him. That might be a little difficult, but for me I found advantages by doing a lot of free work for some of the motion designers at the (NSCS). These motion designers are now working for advertising agencies, TV and radio and they still might want me to do music for them. It’s all about connections, If you are a fresh music producer, get to know everyone and work for anyone that is taking career paths in the entertainment business. They will call you when they’re starting to get successful with what they are doing.

The big word within music business is ”YES”, you can’t pick and choose jobs[xvii]. Realize that even if you think you are a big shot film scorer, others might not see it that way. They can always find other producers. Arrogance is the quickest way to music industry-suicide. By saying yes to almost every job during my time at the (NSCS), I now have a doorway into the advertising, TV and radio business. I’m now in the process of making new and important contacts. When my time here at Southampton Solent University comes to an end, these are the contacts I’m going to seek out. I find it to be a reasonable plan to try to get a foothold in the business, even before you’re graduated.

Finding the Funds

Then there is the issue of money. You have to figure out how to finance your business. This might be difficult considering you might be young and aren’t built of money. If you are thinking about loaning money, this might also be a challenging affair. If a 22 year old man entered my bank and asked to loan 50 000 pounds to start a career within the music business, I would most definitely show him the way out. As a producer you have to be very realistic, it is important to understand that succeeding in this business is extremely hard. You might live on bread and water the first 5 years of your career. That’s just the price you have to pay.

For me, the secret is to start small. Don’t borrow waste amounts of money the second you leave the university. You have to understand that the money you can expect to make is highly disproportionate to the equipment you think you might need. Take the equipment out of the equation. When you start as a fresh producer I can almost guarantee that you won’t be directing large symphonies for the next star wars movie anytime soon. Equipment might be more important later in your career, but when you’re fresh out of the university press, the jobs you get in almost every case aren’t high profile jobs. I think that a simple DAW at home in your bedroom or garage will suffice, early in the career. The key to becoming successful is to earn your way up. Gradually put new preamps into your rack. Gradually taking on bigger and bigger jobs.

Finding your niche and dealing with business partners

You have to specialize and you have to be good. There’s no point in starting a music business if you’re horrible at what your doing[xviii]. Make sure you actually can deliver a viable product and at the same time know your limitations. If an advertising company wants you to make a jingle with an African feel, you better be quite sure what that means. Do research, explore other musical styles, go out of your comfort zone instead of making music on the basis that you think you know what it means. There’s nothing the entertainment business like more than people that are highly adaptable. Getting a brief from TV producers can sometimes feel like you need an enigma machine just understand what they actually mean. Be aware that TV producers and advertising companies have absolutely no idea of what implications their wishes might pose for you the music producer. In most cases they have no knowledge of music or how to make it, that is your job. So when you do take a job for a TV production company, expect ambiguous briefs, but always deliver good solid work. If it’s wrong they will tell you. You also have to show what you’re really good at, you have to stand out in a certain field; Find your niche[xix]. One of the things I found the most difficult was finding what I was really outstanding in. I consider myself good at a wide variety of styles and music production, but without that one field were you really knock the ball out of the ballpark, you won’t get noticed. I later found my main niche and that is simply producing songs.


To sum up, you have to have a strong stomach to last in music business, when you think you’ve worked enough you have to work even more. It is important to know your limitations, never take no for and answer and never say no. Being a producer is extremely hard work and personally I’m prepared to work hard for what I want to accomplish. Identify what you’re good at and use it. Remember that music production is a pretty wide field. Don’t say no to advertising, TV or radio, because working with other mediums really are great ways to make money. Use your contacts and build networks, you never know when someone you are associated with gets a huge job and recommend you. Being active on social networks, websites to distribute your music is a great way to make yourself noticed. Becoming a successful producer demands hard work and crazy hours, but if you have the discipline to work through the long hours with little or no profit, success will perhaps wait on the other side.

[i] Dick Mcvey, How to become successful in the music business, Dick Mcvey producer home site, accessed 7 march 2013, <http://www.dickmcvey.com/AREYOUREADY.htm>

[ii] Cornell University 2012, The decline in of physical music sales, Educational purpouses, accessed 7 march 2013 <http://blogs.cornell.edu/info2040/2012/11/16/the-decline-of-physical-music-sales/>

[iii] Justin Stansbury 2013, Caught in time: The music industry’s struggle to adapt, Music business, accessed 8 march 2013 <http://www.hypebot.com/hypebot/2013/02/caught-in-time-the-music-industrys-struggle-to-adapt.html>

[iv] Adam Fruccy 2010, Record labels: Change or die, Music business, accessed 8 march 2013   <http://gizmodo.com/5481545/record-labels-change-or-die>

[v] The economist 2002, Fighting back, Newspaper The economist, accessed 9 march 2013 <http://www.economist.com/node/1446431>

[vi] Tom Lamont 2013, Napster the music was set free, Newspaper the guardian, accessed 8 march 2013 <http://www.guardian.co.uk/music/2013/feb/24/napster-music-free-file-sharing>

[vii] Pingdom 2010, The incredible growth of the internet since the 2000’s, techblog, accessed 8 march 2013 <http://royal.pingdom.com/2010/10/22/incredible-growth-of-the-internet-since-2000/>

[viii] The economist 2002, Fighting back, Newspaper The economist, accessed 9 march 2013 <http://www.economist.com/node/1446431>


[ix] Greg Sandoval 2011, RIIA files appeal in Jamme Thomas case, Cnet article, Accessed 9 march 2013 <http://news.cnet.com/8301-31001_3-20095566-261/riaa-files-appeal-in-jammie-thomas-case/>

[x] Jim Carroll 2012, The big 3 – Or why EMI to UMG means SFA, The Irish Times, Accessed 9 March 2013 <http://www.irishtimes.com/blogs/ontherecord/2011/11/15/the-big-3-or-why-emi-to-umg-means-sfa/>

[xi] Mike Masnik 2011, And then there were three: Bye, bye EMI, Tech dirt, accessed 9 March 2013 <http://www.techdirt.com/articles/20111111/10302916724/then-there-were-three-bye-bye-emi.shtml>

[xii] David Browne 2012, survival of the fittest in the new music industry, The rolling stone magazine, accessed the 9 march 2013 <http://www.rollingstone.com/music/news/survival-of-the-fittest-in-the-new-music-industry-20121108>

[xiii] David Browne 2012, survival of the fittest in the new music industry, The rolling stone magazine, accessed the 9 march 2013 <http://www.rollingstone.com/music/news/survival-of-the-fittest-in-the-new-music-industry-20121108>

[xiv] Mark Guarino 2009, could home recording doom professional music studios, Cs monitor, accessed 9 march 2013 <http://www.csmonitor.com/Innovation/2009/1217/Could-home-recording-doom-professional-music-studios>

[xv] Tom Porter 2010, Build your own soundproof studio in 11 easy steps, Music radar, accessed 9 march 2013 <http://www.instructables.com/id/Build-your-own-soundproof-studio-in-11-easy-steps/>

[xvi] NAJM, How to survive and change the music industry, record label, accessed 10 march 2013 <http://www.globaldance.com/NAJMSelfHelpHowChangeMusic.htm>

[xvii] James Wells 2011, Blake Neely: Never say “no”, BMI Music publisher, accessed 10 march 2013 <http://www.bmi.com/musicworld/entry/blake_neely_never_say_no>

[xviii] Dick Mcvey, How to become successful in the music business, Dick Mcvey producer home site, accessed 10 march 2013, <http://www.dickmcvey.com/AREYOUREADY.htm>

[xix] Peter Spellman 2004, Finding your niche career in the big, crazy world of music, Music dish, accessed 10 march 2013 <http://www.intimateaudio.com/article14.html>

Review: Beyerdynamic Dt 770 Pro 80 Ohm

Today I went out and bought the Beyerdynamic Dt 770 Pro headphones. I’ve heard quite a lot about them, both the 80 ohm and the 250 ohm version. Both headphones have received very good reviews for their good sound quality and comfort. I decided to go for the 80 ohm version, simply because I don’t have headphone amplifiers capable of powering the 250 ohm version. The difference in ohm can make a big difference in these types of headphones. 250 ohm of power would certainly filter out a lot of noise and balance the frequencies better than 80 ohm, but you have to consider what your main areas of use is. There’s no point in spending that extra cash on something that you in rear cases can enjoy the full potential of. I usually mix on my macbook, often through a sound card. Buying the 250 ohm version would mean that I would have to buy some powerful headphone amplifiers to get the full potential out of the headphones.


On the internet there’s a lot of discussion whether you should buy the 80 ohm or the 250 ohm. The 80 ohm version supposedly offer more of the low-end frequencies, while the frequency response of the 250 ohm version are a bit more balanced. I quite like balanced headphones because they make it easier to mix, that said I’m a major whore for bass and the first impression of the 80 ohm version does not disappoint. These headphones make it very pleasurable to mix your tracks and they separate the sound almost masterly. The stereo image is simply superior to any other headphones in this price class. Picking out sounds in your mix becomes increasingly easier with these headphones and with their velour ear pads and extremely comfortable fit, you can wear them for hours without feeling that your ears are about fall off.

I’m not going to recommend you buy the 80 ohm version supposed to the 250 ohm version. The 250 ohm version is a little bit more pricy than the 80 ohm, but it really all depends on what you prefer. If you want a more balanced pair of headphones you should spend the extra cash on the 250 ohm version. That said, I can’t imagine there being huge differences between these two pairs of headphones. They’re basically the same, but offers slightly different areas of use. If you have a modest homestudio I would definitively recommend you buy the 80 ohm version, if you’re working in a more professional studio environment the 250 ohm version would probably be a better purchase.


There are pros and cons with any piece of sound equipement that you buy. The Beyerdynamic dt 770 pro 80 ohm is a fine piece of equipement that delivers way more than you would ever expect in this price class, but in similarities with other sound products it has it’s flaws. One disadvantage with these headphones is that the upper mid area is somewhat restricted, making especially vocals a bit more diffuse supposed to bass instruments and instruments that play in more high end areas of the frequency range. I don’t consider that to be too much of a problem. With all types of headphones It’s important to get to know them and learn how they sound, especially if you’re using them for mixing. The Beyerdynamic dt 770 pro 80 ohm is a very, very good pair of headphones and if you’re looking to upgrade your current listening experience without molesting your bank account, you should definitively consider buying either the Beyerdynamic dt 770 pro 80 ohm or 250 ohm. 

Beyerdynamic dt 770 pro 80 ohm price range: 100-150 $
Beyerdynamic dt 770 pro 250 ohm price range: 150-200 $

Fredrik Valmestadrød 27/03-13

Working with experimental music

This week I’ve been occupied with experimental music, I’m working on one of my assignments this semester. The assignment is to make a musical piece that is six minutes long and the music has to be experimental. I’m trying out this kind of funky vibe on my musical piece and the work is coming along nicely. I’ve just finished some vocals and I want to share one of my tricks. Lately I’ve been doing a lot of vocals on my macbook pro microphone and I have gotten it to sound pretty nice. If you want to record some misc vocals with your mac mic theres one pretty useful plugin. If you have the waves package find the JJP-vocals plugin, It works great with the mac mic. Add some space, compression and adjust the sensibility. You can combine this with your regular way of doing things and get a pretty good result. Below is a picture of the plugin and the song I’m working on where the plugin has been used.