Recording - March 2018 - 55
beyerdynamic
DT 240 PRO
Headphones
We've reviewed a fair number of beyerdynamic headphones in the past; the German firm is well known for designs
ranging from very high-end studio phones to wired headsets
and other specialty designs. The DT 240 PRO, however, is
something a bit different.
Rather than a circumaural headphone designed for a truly
immersive studio experience, the DT 240 PRO is a highly affordable supraaural headphone that's meant to provide high-quality
audio on the go. It's meant for podcasters, home recording
enthusiasts, mobile listeners, and anyone else who needs a
durable, great-sounding headphone that can go anywhere.
The basics
The DT 240 PRO is a supraaural (on-the-ear) closed-back headphone with an aluminum yoke and generously padded earcups
and headband. The earcups swivel by 90º so that it can slide flat
into its soft carrying bag, and it has a straight/coiled cable that's
about 1.2m long when coiled, 3m when stretched out. It has a
TRS miniplug with screw-on 1/4" TRS adaptor, both gold-plated;
the other end of the cable is a TRS submini plug with no locking
mechanism. Interestingly, the DT 240 PRO has cable jacks on
both earcups; you can decide on the fly if it's less of a hassle to
have the cable on your left or right side, a very nice touch.
Some specs: the DT 240 PRO uses dynamic drivers with a
rated frequency response of 5 Hz to 35 kHz (no tolerances
given) and a nominal SPL of 99 dB (1 mW at 500 Hz, at
which power level and frequency the THD is under 0.1%). It
can handle up to 100 mW of power, has a 34Ω impedance,
and weighs 196 grams (about 7 ounces).
and are very non-fatiguing, but the very extended high end
of many conventional studio headphones is absent. Listeners
who are quickly tired out by excessive or brittle highs will find
the DT 240 PRO a welcome relief, but they tend to mellow out
strident treble enough to require crosschecking on monitors
or other headphones. Because these phones are so genteel
in the highs, there could be a tendency to mix bright when
relying on them alone.
If, on the other hand, you're an engineer who loves to focus
on the all-important mids when checking mixes, you'll really
dig the DT 240 PRO. Vocals and lead instruments come to
the foreground over the backdrop of the lows. This definition
makes the headphone good for spotting fine editing details,
but mixes don't come across as "glued" as they are in the
higher-end beyerdynamic models like the DT 1770 PRO-
which, to be fair, is considerably more costly and aimed at a
somewhat different audience.
The verdict
Ultimately, I believe that this difference in application and
audience is key to understanding where the DT 240 PRO fits
into the headphone world. It's an ideal phone to have with you
when working on video, podcast audio, and other fieldwork
where outside noise is a problem and intelligibility in vocals is
critical. In the tracking room, it's a winner-it gets good and
loud while sealing tightly. As for checking mixes, I wouldn't
recommend it as the only reference headphone you'd use, but
its detail in the mids will gain it a lot of fans when doing fine
edits on vocals, guitars, and drum tracks.
All in all, beyerdynamic has done a very good job with its
first headphone specifically aimed at content creators. The DT
240 PRO is well worth a hard listen.
The sound
The DT 240 PRO provides good isolation for use in loud
environments. Because of its isolation and light weight, it
makes a good monitoring headphone in tracking rooms
as well as for podcasting, interviews, voiceovers, and web
streaming broadcasts. The headband is well-padded but grips
tightly for good over-the-ear isolation; folks who are very
sensitive to this will benefit from taking occasional breaks-a
good idea anyway, to avoid listening fatigue.
The first thing the listener notices when using the DT 240
PRO is a combination of deep and nicely defined bass with
notably up-front mids. Listening to fingered acoustic bass and
grand piano reveals a good combination of clarity and power
in the lowest lows without their being woofy or overwhelming.
There's no sense of bass being pushed or bumped up to make
for a more exciting listening experience, which induces confidence
when using them for tracking or editing/mixing.
Speaking of "not being pushed or bumped up," the highs
on the DT 240 PRO are interesting-they offer good detail
$99; www.beyerdynamic.com
RECORDING March 2018
55
http://www.beyerdynamic.com
Table of Contents for the Digital Edition of Recording - March 2018
Contents
Recording - March 2018 - Intro
Recording - March 2018 - Cover1
Recording - March 2018 - Cover2
Recording - March 2018 - 1
Recording - March 2018 - 2
Recording - March 2018 - 3
Recording - March 2018 - 4
Recording - March 2018 - 5
Recording - March 2018 - Contents
Recording - March 2018 - 7
Recording - March 2018 - 8
Recording - March 2018 - 9
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Recording - March 2018 - Cover3
Recording - March 2018 - Cover4
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