ALL YOU NEED FOR MIXING
WITH HEADPHONES
WITH HEADPHONES
The Realphones software helps you get precise headphone monitoring that you can trust.
Launch Realphones
and dive into the sound
and dive into the sound
Feel like a pro sound engineer in a studio
Use all its features to make great mixes
Use all its features to make great mixes
Launch Realphones
and dive into the sound
and dive into the sound
Feel like a pro sound engineer in a studio
Use all its features to make great mixes
Use all its features to make great mixes
Improve the quality of your mixes with precise
monitoring with Realphones
monitoring with Realphones
Choose any of the four professional recording studios for your work.
Try out how your music sounds on consumer devices, cars, cafes, and concert places without leaving where you work.
Realphones include emulations of 10 different environments and over 30 professional and home acoustic systems.
Learn more
This music studio, designed with the involvement of Tom Hidley and Roger d'Arcy, is part of one of the largest cinema complexes in Europe.
Despite its large size, the overall sound is very "tight" and "focused," emphasizing the attack of the sound. The timbre coloration is far from neutral, but the sound is very "alive" providing a natural delivery of tones and musical instruments.
Near Field (Yamaha NS-10 with Bryston B3 amplifier)
The sound of these monitors in Music Studio I differs from their classic sound in other studios. There is a strong limitation in the range of reproduced low frequencies, and the mid frequencies are further focused with no excess of high frequencies.
Mid Field (Genelec 1031A)
Cymbals in the tracks sound bright due to the open-sounding high frequencies, while the reproduction of mid frequencies is smoothed. In conjunction with the boost in low and high frequencies, this creates a colorful sound, which contrasts well with the "bare" NS-10 of the first monitor line.
Far Field (ATC SCM 300ASL G Pro (5) + ATC Subwoofers (3))
The sound of this acoustic system is not affected by reflections from the console, as the speakers are much further away from it (unlike the first and second monitor lines). Another important feature is the very "tight" bass of the acoustic system. In this range, it sounds "faster" than the mid-field. There isn't as much bass, and it's not smeared in time. This provides a very good focus on the low-frequency foundation of the mix, allowing the low-frequency section and groove in the mix to be heard very well.
Unlike sound engineers working in Music Studio I, Realphones users can use an optimized version. It removes the above-described features from the sound and makes it more neutral. Some room coloring is retained, but only to the extent that it helps to work on the mix without being too distracting.
The dSONIQ team and the emulations they create are not affiliated, endorsed, or licensed by Yamaha, Genelec, Bryston and ATC.
Despite its large size, the overall sound is very "tight" and "focused," emphasizing the attack of the sound. The timbre coloration is far from neutral, but the sound is very "alive" providing a natural delivery of tones and musical instruments.
Near Field (Yamaha NS-10 with Bryston B3 amplifier)
The sound of these monitors in Music Studio I differs from their classic sound in other studios. There is a strong limitation in the range of reproduced low frequencies, and the mid frequencies are further focused with no excess of high frequencies.
Mid Field (Genelec 1031A)
Cymbals in the tracks sound bright due to the open-sounding high frequencies, while the reproduction of mid frequencies is smoothed. In conjunction with the boost in low and high frequencies, this creates a colorful sound, which contrasts well with the "bare" NS-10 of the first monitor line.
Far Field (ATC SCM 300ASL G Pro (5) + ATC Subwoofers (3))
The sound of this acoustic system is not affected by reflections from the console, as the speakers are much further away from it (unlike the first and second monitor lines). Another important feature is the very "tight" bass of the acoustic system. In this range, it sounds "faster" than the mid-field. There isn't as much bass, and it's not smeared in time. This provides a very good focus on the low-frequency foundation of the mix, allowing the low-frequency section and groove in the mix to be heard very well.
Unlike sound engineers working in Music Studio I, Realphones users can use an optimized version. It removes the above-described features from the sound and makes it more neutral. Some room coloring is retained, but only to the extent that it helps to work on the mix without being too distracting.
The dSONIQ team and the emulations they create are not affiliated, endorsed, or licensed by Yamaha, Genelec, Bryston and ATC.
This music studio, designed with the involvement of Tom Hidley and Roger d'Arcy, is part of one of the largest cinema complexes in Europe.
Despite its large size, the overall sound is very "tight" and "focused," emphasizing the attack of the sound. The timbre coloration is far from neutral, but the sound is very "alive" providing a natural delivery of tones and musical instruments.
Near Field (Yamaha NS-10 with Bryston B3 amplifier)
The sound of these monitors in Music Studio I differs from their classic sound in other studios. There is a strong limitation in the range of reproduced low frequencies, and the mid frequencies are further focused with no excess of high frequencies.
Mid Field (Genelec 1031A)
Cymbals in the tracks sound bright due to the open-sounding high frequencies, while the reproduction of mid frequencies is smoothed. In conjunction with the boost in low and high frequencies, this creates a colorful sound, which contrasts well with the "bare" NS-10 of the first monitor line.
Far Field (ATC SCM 300ASL G Pro (5) + ATC Subwoofers (3))
The sound of this acoustic system is not affected by reflections from the console, as the speakers are much further away from it (unlike the first and second monitor lines). Another important feature is the very "tight" bass of the acoustic system. In this range, it sounds "faster" than the mid-field. There isn't as much bass, and it's not smeared in time. This provides a very good focus on the low-frequency foundation of the mix, allowing the low-frequency section and groove in the mix to be heard very well.
Unlike sound engineers working in Music Studio I, Realphones users can use an optimized version. It removes the above-described features from the sound and makes it more neutral. Some room coloring is retained, but only to the extent that it helps to work on the mix without being too distracting.
The dSONIQ team and the emulations they create are not affiliated, endorsed, or licensed by Yamaha, Genelec, Bryston and ATC.
Near Field (Yamaha NS-10 with Bryston B3 amplifier)
The sound of these monitors in Music Studio I differs from their classic sound in other studios. There is a strong limitation in the range of reproduced low frequencies, and the mid frequencies are further focused with no excess of high frequencies.
Mid Field (Genelec 1031A)
Cymbals in the tracks sound bright due to the open-sounding high frequencies, while the reproduction of mid frequencies is smoothed. In conjunction with the boost in low and high frequencies, this creates a colorful sound, which contrasts well with the "bare" NS-10 of the first monitor line.
Far Field (ATC SCM 300ASL G Pro (5) + ATC Subwoofers (3))
The sound of this acoustic system is not affected by reflections from the console, as the speakers are much further away from it (unlike the first and second monitor lines). Another important feature is the very "tight" bass of the acoustic system. In this range, it sounds "faster" than the mid-field. There isn't as much bass, and it's not smeared in time. This provides a very good focus on the low-frequency foundation of the mix, allowing the low-frequency section and groove in the mix to be heard very well.
Unlike sound engineers working in Music Studio I, Realphones users can use an optimized version. It removes the above-described features from the sound and makes it more neutral. Some room coloring is retained, but only to the extent that it helps to work on the mix without being too distracting.
The dSONIQ team and the emulations they create are not affiliated, endorsed, or licensed by Yamaha, Genelec, Bryston and ATC.
Nominated for the prestigious NAMM TEC Awards 2021, Studio 21A is a sought-after workspace for any artist who has heard about it.
Careful acoustic tuning has resulted in a neutral yet lively and airy sound. The main monitor line operates with a three-way DSP correction to enhance the integration of the acoustic system into the control room and monitoring accuracy. You'll have two listening options: with room DSP correction enabled or disabled.
Additionally, we have recorded near-field monitors for you - the well-known classic Yamaha NS10 monitors. In this studio, they produce a soft yet airy sound. You can also experience the emulation of the central mono monitor Yamaha MSP3, which is used in the studio for mix checking and emulates portable devices with special equalization.
The dSONIQ team expresses gratitude to colleagues from the DingDong Audio team. Thanks to the Realphones technology and the efforts of our partners, you can now find yourself in one of the largest Chinese world-class studios without leaving your home!
DingDong Audio is a high-tech international trade and service company. Over the past three years, the team have undertaken sound installation design and system integration projects in Beijing, Shanghai, Shenzhen, and other locations. After years of development, the company has become the most powerful recording studio system overall planning organization and the first-class system integrator in China.
Additionally, we have recorded near-field monitors for you - the well-known classic Yamaha NS10 monitors. In this studio, they produce a soft yet airy sound. You can also experience the emulation of the central mono monitor Yamaha MSP3, which is used in the studio for mix checking and emulates portable devices with special equalization.
The dSONIQ team expresses gratitude to colleagues from the DingDong Audio team. Thanks to the Realphones technology and the efforts of our partners, you can now find yourself in one of the largest Chinese world-class studios without leaving your home!
DingDong Audio is a high-tech international trade and service company. Over the past three years, the team have undertaken sound installation design and system integration projects in Beijing, Shanghai, Shenzhen, and other locations. After years of development, the company has become the most powerful recording studio system overall planning organization and the first-class system integrator in China.
The planning and acoustic design of Cinelab studios were done by White Mark Limited (founded by internationally renowned acoustician David Bell).
Realphones Standard and Pro users have access to "cubes," ultra-detailed modern near-field monitors, and a very useful option to listen to far-field monitors from a client sofa, where the lowest frequencies are well heard.
For Realphones Ultimate users, a primary working setup is added. It's worth noting the carefully calibrated attenuation of mid and high frequencies of far-field monitors, allowing for extended work on material without auditory fatigue.
At the same time, Realphones users have the option to customize a more familiar frequency balance for a more open sound.
For Realphones Ultimate users, a primary working setup is added. It's worth noting the carefully calibrated attenuation of mid and high frequencies of far-field monitors, allowing for extended work on material without auditory fatigue.
At the same time, Realphones users have the option to customize a more familiar frequency balance for a more open sound.
The dSONIQ studio-laboratory has become a favorite among our team and guest users alike. Now, users of Realphones Ultimate have the opportunity to listen to it.
The studio features uniform reverb time across the entire frequency range and a well-defined sound. The near-field monitor line will delight you with its open and transparent sound, the mid-field with a rich and bold mid-frequency sound, and the far-field with powerful, saturated, and dynamic tones.
Thanks to the research we have been conducting since 2015,
we have developed a sophisticated multi-stage headphone measurement technology that ensures highly precise results.
At the moment, Realphones supports over 200 popular headphone models.
Correcting the frequency response of your headphone model will allow you to hear a linear sound with minimal coloration.
More about Realphones 2.0
More about Realphones 2.0
Check out Realphones in action
- Hip-Hop - Full Mix
- Hip-Hop - Instrumental
- Hip-Hop - Drums
- Hip-Hop - Vocals
- Rock (Instrumental) - Full Mix
(Don't forget to use your headphones)
- TC ZhouRecording, mixing, mastering engineer
Founder of Studio 21A
Bejing, ChinaThe sound I experienced from dSONIQ closely resembles what I'm accustomed to in my studio. Having never tried this type before, the outcome exceeded my expectations, delivering a more authentic and satisfactory sound, leaving me with a positive impression.
- Nicolas SchueleFilm and television composer
Apple TV, Netflix, National Geographic, Discovery, NBC, France Television, BBC
Switzerland, GenevaRealphones allowed me to mix on headphones an entire feature film including dialogues, effects, and 78 music stems, while being confident that what I was hearing was the truth. The result translates perfectly, from the cheapest of earbuds to a Dolby cinema.
- David GnozziPlatinum mixing engineer, Producer
Deep Purple, McSolaar, Ministry, Ryan Shuck (Orgy, Adema, Julien-K), Ladytron
Los Angeles, USAI want to say the studio emulations are very useful. You have a bunch of different references but the different media emulations to me are what make this software extremely useful regardless if you mix on the headphones or not.
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