[cultmethod]

I have a PCIe RME HDSPe AIO card installed in my computer that I currently use to drive my headphones.

I also own a pair of Denon AH-D5000's, and a pair of Audeze LCD-X's. I love both of them, but for different applications.

Since I produce bass heavy EDM, I really like the boomy sound signature of the Denon's when mixing, because it allows me to really dial in my sub bass levels and actually "feel" the sub bass. It's almost like having a subwoofer on your ears.

But I also use the LCD-X's for it's superior midrange, sound stage, resolution, and extreme neutrality. I typically use these later on in the mixing / mastering process.

My end goal here is to be able to run both concurrently in the most transparent way possible so I can have the best of both worlds. I was thinking about purchasing a simple splitter, but I'd really like a way to toggle and independently control levels for each headphone so I'm not constantly re-adjusting every time I change cans.

So my question is, what solutions are out there? Is there a simple interface I can buy that will take in one 1/4'' input (from my sound card) in to an interface of some kind that will allow me to plug in two 1/4'' inputs and control their volume independently? I basically just want a small transparent splitter that will give me gain control and possibly a way to toggle each input on/off. (My soundcard provides plenty of amplification so I don't really need an amp)

Any help is HUGELY appreciated.

 

[PaganDL]

Hi @cultmethod,

Yes, the simplest option would be a splitter or even a switcher, though as you say a splitter won't help you fine tune for different head gear, especially since the D 5000 & LCD X are really different.

I suggest looking at something like the Presonus HP 4.
I use this myself especially if I want to do quick ABCD though I mainly use this head amp for its pass through function so I can run an audio signal from my monitor controller, which is active to hifi amp which manages passive speakers.
There are four independant channels, hence the name which can be set to all different volumes for ease of use.
One button allows for mono summing & another allows for whatever monitors you have connected to be on mute as well.
For the price, it is great value & most of all, won't make whatever you play through it sound canned.

Feel free to ask more if you need.

Hope you have a great day !

 

[cultmethod]

@PaganDL Awesome! Thank you much for the advice.

I actually crossposted this thread to a few other forums and got the same recommendation for the HP4. I definitely think I'm going to go with that solution. I just hate it's ugly blue color .

 

[cultmethod]

@PaganDL One more thing. On the RME forums, someone recommended that I get a RME ADI-2 Pro FS. Unfortunately this is way out of my price range for what I'm trying to do ($1,999). But it got me nervous - with the HP4 being so cheap - if it would introduce significant distortion and/or noise to the signal. The marketing for the HP4 doesn't really even target producers. I really, really, need a clean and transparent signal so I can judge my mixdowns accurately. If I absolutely need to, I will save for the $2,000 ADI-2 Pro if it's absolutely worth it. Curious on your thoughts.

Thanks again!

 

[PaganDL]

@PaganDL One more thing. On the RME forums, someone recommended that I get a RME ADI-2 Pro FS. Unfortunately this is way out of my price range for what I'm trying to do ($1,999). But it got me nervous - with the HP4 being so cheap - if it would introduce significant distortion and/or noise to the signal. The marketing for the HP4 doesn't really even target producers. I really, really, need a clean and transparent signal so I can judge my mixdowns accurately. If I absolutely need to, I will save for the $2,000 ADI-2 Pro if it's absolutely worth it. Curious on your thoughts.

Thanks again!

No problem, @cultmethod, happy to help.

Funny you should mention the ADI 2 Pro FS, I've been looking to upgrade my own audio interface to that in the very near future.
My current audio interface has been many years in service & while still going strong, I feel it needs to retire...
Though initially my first choice was going to be the Babyface Pro but then since I don't do a much recording, I can always forgo that part despite the Babyface Pro being cheaper but not by much.
The Aniversary Black Edition for the ADI 2 Pro FS would have been nice but since it's just a paint job, I think I rather save the few hundred myself & put it towards a recording rig if I need one later on...

Honestly, as the HP 4 falls uder pro gear, as do the RME, albeit different levels, while budget & price is always a factor in making the final decision, don't be intimidated by consumer audio thinking as most out there don't even use pro gear, let alone understand the capabilities of said pro gear.
Unfortunately, most who follow consumer gear tend to be sheep as well as most don't demo said consumer gear for various reasons which are both long & not worth going into & I really don't want to digress from topic...

In answer to your question, will something like the HP 4 being so cheap introduce significant distortion and/or noise to the signal? Well that really depends on YOU, your SOURCE QUALITY & RECORDING QUALITY.

Sure, while the HP 4 is not outright marketed for producers, it is for Monitoring which is one of the key elements in a producer's job, is it not?
Feel free to correct me if I'm wrong on whether this element is true or false.
While I am not a music producer or recording artist, Sound Montioring is a semi serious hobby for me & I do have quite a few aquaintances & casual friends who produce & make music &/or sound at various levels in different media.
When I was initally looking for a multi channel head amp, they all pointed me to the Presonus HP 4, for the best value for money as well as good sound reproduction.
Not to mention, from my current audio interface, Lexicon Alpha, all audio to the HP 4 is managed by a monitor controller, in this case, Drawmer MC 2.1 so if there has been any noise or distortion, I certainly haven't noticed it over the years.

So short of copying my audio chain by adding the Drawmer in between your current interface & potentially the ADI 2 Pro for you, as I already outlined, as long as your source quality & recording quality are good to excellent, you will have as clean & transparent a signal without being fully digital.

Can't comment on the HP4's blue casing colour beyond I like blue so personally, it doesn't bother me in the least but then neither do I really notice it as it's usually off to side mostly blocked from view by my drinking cup & third monitor.
Also, as it is the sound that matters, the casing colour's not going to affect that anyway.

Feel free to ask me more if you need.

Hope you have a great day !

 

[cultmethod]

Funny you should mention the ADI 2 Pro FS, I've been looking to upgrade my own audio interface to that in the very near future.

It does look sexy doesn't it? I think what I'm going to do for now is just go with the HP4, and then in the interim save for the ADI 2. It's just a really steep price tag for the simple purpose I'd be using it for (splitting audio between two headphones). But I'm sure in the future I would really appreciate the flexibility and additional options the ADI2 would provide.

In answer to your question, will something like the HP 4 being so cheap introduce significant distortion and/or noise to the signal? Well that really depends on YOU, your SOURCE QUALITY & RECORDING QUALITY.

Completely agree here. My source quality is all 24-32bit digital samples and VSTi output - I produce EDM, so there really is no recording involved unless of course I need to work with a vocalist. My interface is the RME HDSPe AIO (which has been amazing). I've just heard a lot of people on various forums comparing headphone amps, saying that each produces a different sound when all I really want is a reference quality amp that's as transparent and simple as possible.

I also just dropped a lot of cash on these Audeze LCD-X's and I want to make sure that this HP4 won't cripple their full potential. I think at the end of the day I'll just have to take a line from your signature and "Trust my (your) own ears, no one else's." I can always A/B with the headphone breakout cable straight from the interface itself.

This is straight from RME:

Aiming for the absolute reference sound, any detail in the ADI-2 Pro is special and has its own story. The main PCB is an extraordinary 10 layer design with custom copper thickness, guaranteeing finest undisturbed sound as well as ample but separated power for the phones outputs. Internal power supply stages and precise regulators use a super-low-noise design to not degrade performance through the power rails. Selected SoundPlus operational amplifiers maintain highest SNR, lowest THD and high slew rate under all conditions. The whole analog circuit design is fully symmetrical and balanced throughout - and DC-coupled. The only capacitors in the signal path perform DC protection at the analog input sockets, and have been carefully selected to avoid any sonic impact.

The 4-channel AD-converter, supporting 786 kHz sample rate and DSD recording, is used in a dual mono design, with 3 dB improved signal to noise ratio. Two premium DACs are used for two separate stereo outputs. Internal audio processing like EQs, Crossfeed and spectral analysis, is done by a high performance DSP with 2.17 Giga FLOPS (2882 MIPS), delivering enough computing power to work even at 768 kHz sample rate.

I just hear that marketing and get spooked that the HP4 will sound like trash comparatively.

Also, as it is the sound that matters, the casing colour's not going to affect that anyway.

Blasphemy! We all know that sleek modern silver and black equipment produces superior sound!

 

[PaganDL]

It does look sexy doesn't it? I think what I'm going to do for now is just go with the HP4, and then in the interim save for the ADI 2. It's just a really steep price tag for the simple purpose I'd be using it for (splitting audio between two headphones). But I'm sure in the future I would really appreciate the flexibility and additional options the ADI2 would provide.

Doesn't matter how 'simple' your use case is for when you get the ADI 2, as long as it serves you well is all that matters.
You're lucky you're in the US so it will be 'cheaper' for you.
Since I'm outside the US, I have to pay an average of 1.2 times more than US MSRP equivalent after exchange rate conversion through a local approved agent.
Though thankfully there is a 'trade discount' other I be paying more like 1.5 times instead.
So I would suggest if you know any good pro audio places near where you are, ask them for a good deal.
By the way, remember it's the Pro Version, the original ADI 2 is still around so it is easy to get confused if you don't pay attention, not saying you would but it is easy to miss...

Completely agree here. My source quality is all 24-32bit digital samples and VSTi output - I produce EDM, so there really is no recording involved unless of course I need to work with a vocalist. My interface is the RME HDSPe AIO (which has been amazing). I've just heard a lot of people on various forums comparing headphone amps, saying that each produces a different sound when all I really want is a reference quality amp that's as transparent and simple as possible.

That is true to a certain extent, different amps do produce 'different' sounds, tones, flavours, whatever you want to call it...
Though humbly & subjectively, all depends on the whole YOU, your SOURCE QUALITY & RECORDING QUALITY I mentioned earlier, I also forget to add GEAR SYNERGY is ridiculously important & can't be understated enough.
There are those out there who still can't grasp this concept or perhaps their ears can't.

On a brief tangent, Astell & Kern & Sony DAPs are notorious for having picky synergy with different head gear, Sony's own DAPs don't play that well with their own IER M Series which I find both laughable & sad but audio idiots will say it does, go figure.
It's like saying oh so & so insert brand here should only be used with another $$$$ value equivalent to get the best sound, fidelity, etc.
When there are countless music professionals, especially those who help well known artists record if the artists don't do it themselves, check their work in basic stock car audio...usually in mp3, no less.
Why?
As that is what the majority out in the world has to listen to most music.
So once again, as long as it sounds good to you, then you should be more than happy & satisfied, etc...

On the good mid range spectrum, for value in use & dollar, hard to beat the Rupert Neve RNHP.
Now that is a better than reference quality amp that's as transparent & simple as possible, not to mention, like the HP 4, either or both can be taken with on the go.
While I'm sure there will be some who will blow their top at the following statement but with a good source, HP 4 is not far behind the RNHP, just a few steps down in my book but then mileage will definitely differ.
I suggest you look into that at some stage.
Probably the best $ 500 USD you will ever spend.
Rupert Neve himself used the LCD Xs as his reference headphones when tuning this amp.
Otherwise, another one to keep an eye out for which sits in between the RNHP & HP 4, not to mention still tempts me to this day is the Burson Audio Soloist M2 though for that value again, if it was a choice between the two, RNHP wins hands down every time.
Doesn't mean I don't want to own the Soloist M2, just no real need nor do I have money to burn...

I also just dropped a lot of cash on these Audeze LCD-X's and I want to make sure that this HP4 won't cripple their full potential. I think at the end of the day I'll just have to take a line from your signature and "Trust my (your) own ears, no one else's." I can always A/B with the headphone breakout cable straight from the interface itself.

Well, all I can say is demo the HP 4 with your LCX & a good source then decide from there.

I just hear that marketing and get spooked that the HP4 will sound like trash comparatively.

Can't be overstated enough, what are you hoping to compare & I know you're joking but very different levels.
So yeah, sure, on a technical level, one is a super basic work horse tractor while the other is a super, perhaps even hyper car...
Leave you to decide which one is which.
If you want a more real world comparison, RNHP VS ADI 2 Pro makes more sense technically.
I challenge you to hear any potential differences which are negative in any way or best case senario, blind AB it. : p

Blasphemy! We all know that sleek modern silver and black equipment produces superior sound!

Well, some do judge gear, doesn't matter what, that way
Good old Perception Bias at work, sadly part of human nature, no one is immune.

Be interested to know how things turn out for you.

Hope you have a great day !

 

[cultmethod]

On the good mid range spectrum, for value in use & dollar, hard to beat the Rupert Neve RNHP.

Otherwise, another one to keep an eye out for which sits in between the RNHP & HP 4, not to mention still tempts me to this day is the Burson Audio Soloist M2

These both look like great amps, but neither have dual headphone outs. So (correct me if I'm wrong) that would rule them out for my purposes.

Edit: That got me thinking... maybe there is a way I could split my analog out's from the HDSPe AIO into two headphone amps (one for each headphone). Curious if this would be viable.

 

[PaganDL]

These both look like great amps, but neither have dual headphone outs. So (correct me if I'm wrong) that would rule them out for my purposes.

Edit: That got me thinking... maybe there is a way I could split my analog out's from the HDSPe AIO into two headphone amps (one for each headphone). Curious if this would be viable.

Hi @cultmethod,

That is correct, both RNHP & Soloist M2 only have one head out each though for your purpose, you could still use a basic splitter, Belkin, Hosa, or get a custom loom made using Neutrik plugs with Canare or Van Damme cables.
Just keep in mind the splitter shouldn't alter the audio signal in anyway beyond carrying the signal as accurately as possible & not altering impedence unless the head out doesn't support sensitive head gear but that is uncommon.

As stated, my interface's head out manages the audio signal to several head amps via a splitter as does the monitor controller which helps manage another two head amps via balanced connections though I have yet to put that on a loom just yet.

Hope this answers your questions, feel free to ask more if you need.

Hope you have a great day !