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Message: [QUOTE="Queen, post: 90512, member: 27"] Beyerdynamic publishes a 22 dBA isolation figure for the DT 275 PRO and no leakage figure at all, because almost no manufacturer measures the second one. A seal does work in both directions, so a closed cup contains more of your cue mix than an open one ever will. That much is fair. What it does not mean is that the two directions face the same problem. Room noise arrives, and you want all of it gone. Your cue mix starts inside the cup at working level, and it sits within a foot or two of a condenser whose gain has been pushed up to catch a breath. [HEADING=2]The number is measured in one direction only[/HEADING] Attenuation figures come from a controlled fit on a measurement head, with sound played at the outside of the cup and measured at the inside. That is the only path anyone tests. Nothing in that procedure tells you how much of a snare-heavy click gets out through the housing. Leakage scales with level, driver size, and seal quality, and closed designs leak least of any type. Least is not none. The cup itself radiates a little, the pad radiates a little, and both get worse the harder you drive them. Then the seal breaks at the exact moment it matters most. A singer pushes one cup half off to hear their own voice in the room, and that gap becomes a clear path from the driver to the microphone. The click that was inaudible during the chorus turns obvious in the empty bar before it. Microphone gain is the real multiplier here. When you open the preamp to capture a soft passage, you amplify [B]what escapes the cup and lands on the microphone[/B] by the same amount. Bleed follows the level of the quietest thing you are recording, never the loudest. That is why a heavy rock take survives it and a fingerpicked verse does not. [HEADING=2]The click itself is the easier thing to fix[/HEADING] Bleed is worst with sharp transients and high-frequency content, which rules out most of the default click sounds people reach for. Hi-hats, claves, rimshots, snares, and kicks are all poor choices for the same reason. They are designed to cut. Swap to a side-stick snare or a dull wood block and half the problem disappears before you touch anything else. Then roll off the click below roughly 200 Hz and above roughly 800 to 1000 Hz, so the energy that carries best through a plastic cup is simply not in the signal. Take any reverb off it. Level discipline does the rest. Engineers used to have an assistant ride the click fader, pulling it down through quiet passages and pushing it back up when the band came in, and you can automate that in a couple of minutes now. A click needs to be audible, not comfortable. For a vocalist who works with one cup off, pan their cue mix into the ear they keep on, and get them to rest the free cup behind the ear and against the head rather than letting it hang. A dangling earcup is a small loudspeaker aimed at your microphone from about eight inches away. If the material is quiet enough that none of this is sufficient, the answer is in-ear monitors under a pair of ear defenders. Bleed drops to nothing, the isolation goes far past anything a headphone can manage, and the performer still hears the click. It is uncomfortable and unglamorous, and for a solo acoustic take it works. None of that changes what [B][URL='https://goldmidi.com/community/threads/beyerdynamic-adds-dt-275-pro-for-loud-set-monitoring.75919/']a tightly sealed cup built for loud rooms[/URL][/B] is actually good at, which is keeping a stage out of your ears rather than keeping a click out of a microphone. Those are two different jobs, and only one of them has a number on the box. Buy for the first, and solve the second at the click track and the fader, where it costs nothing. [/QUOTE]

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