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1. #SET.A.LIGHT 3D STUDIO REVIEW SERIAL NUMBER#
2. #SET.A.LIGHT 3D STUDIO REVIEW DRIVER#
3. #SET.A.LIGHT 3D STUDIO REVIEW FULL#
4. #SET.A.LIGHT 3D STUDIO REVIEW SOFTWARE#

With that in mind, we chose to focus on using the Barefoot monitors in Steven’s Mix Room for several mixes, as these had a punchy, full-range sound, whilst still giving a feeling of distance and natural space.

#SET.A.LIGHT 3D STUDIO REVIEW FULL#

It’s hard to review a product like this in full depth, as to fully explore each room setup would require a significant amount of time spent listening and mixing in each environment. In the same way that you wouldn’t want to tackle an important mix the day after you got some new monitors in the studio, it’s recommended that you acclimatise to a specific room before doing any real work. The trick here, as highlighted by a written note when you first open the headphone box, is that you need to spend a decent amount of time within a single environment to get to know it properly. There is a Depth dial to control the amount of 3D space, but even at the lowest setting, the room sound is still pretty strong. It’s quite an unusual feeling, but once you get used to the sound, it feels natural and it’s quite remarkable.

#SET.A.LIGHT 3D STUDIO REVIEW SOFTWARE#

However, the brain and ears are clever, and within minutes the software melts away and we’re in the space listening to the actual speakers. Our first thought is that we won’t be able to hear things clearly like this. When you first listen to the different room setups, the ambience and apparent lack of closeness and definition are a little overwhelming. The offshoot of this is that the software can only be used with these headphones, as you can’t switch off the headphone calibration EQ. This involves capturing the rooms using a binaural microphone that reproduces the idiosyncrasies of human hearing, and then fine-tuning all the measurements to fit the specific VSX headphone design. To recreate the realistic-sounding studio rooms, the plug-in uses Steven Slate Audio’s Binaural Perception Modeling algorithms. Accentuating the low and high frequencies using the gentle, integrated 5-band EQ helps to lift the clean headphone sound to our personal preference, and we felt confident it was flat enough to mix with and work as a base setting. The DT-1990s had a slightly more spacious and surgical sound, with a little more sub and top end brightness, whereas the VSX felt more punchy around the low-mid kick drum frequencies, and the music sounded a little more gelled together. We compared the sound of the raw (but calibrated) headphones against our set of trusty Beyerdynamic DT-1990s (with Sonarworks calibration), as they sit within a similar price bracket.

You also get a quarter-inch, gold-plated adaptor, and a nice, compact carry case. The headphones have a frequency response range of 10Hz to 20kHz, and 37 ohms impedance, which is low but could be useful if they’re being driven by a laptop. But it is removable, should you want to replace it. We’re not so keen on the included cable though, which is quite thin. Ultimately, this makes them extremely comfortable, so we can easily imagine mixing in long sessions without issue. They feel well-made and durable, and are surprisingly light and smaller than expected.

#SET.A.LIGHT 3D STUDIO REVIEW DRIVER#

The closed-back headphones sport a high-definition beryllium driver and Acoustic Ported Subsonics for detailed low-end.

#SET.A.LIGHT 3D STUDIO REVIEW SERIAL NUMBER#

When you load the software for the first time, it asks you to select the serial number from a drop down menu with five options, so there is some degree of specific calibration going on, although it’s not on a per headphone basis. Should you want to bypass the modeling entirely, you can also opt for the HD-Linear setting, which is the clean and calibrated headphone sound. In addition, there are two car interiors, an audiophile room, a club dancefloor, a cheap boombox, and five popular headphone models.

It boasts an attractive GUI, with a variety of 3D studio renderings including Hollywood’s NRG studio, Sonoma Studio, Archon Studio, Howie Weinberg’s Mastering room, and Steven Slate’s perfectly tuned mixing room.Įach virtual space has a mix of near-field, mid-field and far-field monitoring setups, featuring speakers from Barefoot, PMC, ATC, Amphion and more, alongside useful reference monitors like the NS-10s and Auratone Mixcube.

The plug-in can be loaded last your output channel and, thankfully, has the option for automatic bypassing on export.