Best products from r/trapproduction
We found 29 comments on r/trapproduction discussing the most recommended products. We ran sentiment analysis on each of these comments to determine how redditors feel about different products. We found 37 products and ranked them based on the amount of positive reactions they received. Here are the top 20.
1. Hosa STX-110M 1/4" TRS to XLR3M Balanced Interconnect Cable, 10 Feet
- This cable is designed to connect gear with balanced phone outputs to gear with XLR inputs. It is ideal for use in a variety of pro audio applications
- Nickel-plated plugs for rugged durability and efficient signal transfer
- Oxygen-Free Copper (OFC) conductors for enhanced signal clarity
- OFC spiral shield for effective EMI and RFI rejection and flexibility
- Connector(s): 1/4 in TRS to XLR. Length: 10'
Features:
2. Audio-Technica ATH-M50x Professional Studio Monitor Headphones, Black, Professional Grade, Critically Acclaimed, With Detachable Cable
- Critically acclaimed sonic performance praised by top audio engineers and pro audio reviewers
- Proprietary 45 millimeter large aperture drivers with rare earth magnets and copper clad aluminum wire voice coils
- Exceptional clarity throughout an extended frequency range with deep accurate bass response
- Circumaural design contours around the ears for excellent sound isolation in loud environments
- 90 degree swiveling earcups for easy one ear monitoring and professional grade earpad and headband material delivers more durability and comfort
Features:
3. Seagate Backup Plus Slim 1TB External Hard Drive Portable HDD – Silver USB 3.0 for PC Laptop and Mac, 2 Months Adobe CC Photography (STDR1000101)
Store and access 1TB of photos and files on the go with Backup Plus Slim, a portable external hard driveThis portable hard drive features a minimalist metal enclosure, and is a stylish USB driveSimply plug this portable hard drive into a Windows or Mac computer via the included USB 3.0 cable to back...
4. Audio-Technica AT2020 Cardioid Condenser Studio XLR Microphone, Black, Ideal for Project/Home Studio Applications
- The price/performance standard in side address studio condenser microphone technology
- Ideal for project/home studio applications; The noise level is 20 dB SPL
- High SPL handling and wide dynamic range provide unmatched versatility
- Custom engineered low mass diaphragm provides extended frequency response and superior transient response
- Cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source. Output connector: integral 3 pin XLRM type
- Black speckles on the mic are part of the design. Audio-Technica case style: R7
Features:
5. PreSonus AudioBox iOne 2x2 USB/iPad Audio Interface
- Bus-powered USB 2.0/iPad audio interface for personal and portable recording; no additional power supply needed.
- Contains 1 microphone input with low-noise, high-headroom, Class A mic preamplifier and +48V phantom power to accommodate studio condenser microphones.
- Contains 1 instrument input to record guitar, bass, and more.
- Comes with Capture Duo for iPad, a one-tap recording application with wireless transfer to Studio One.
- Comes with over $1000 worth of recording software including Studio One Artist, Ableton Live Lite, and Studio Magic plug-in suite. Also compatible with almost all recording software for Mac, Windows, and iPad.
- Equipped with 2 balanced ¼” TRS main line-level outputs and a stereo headphone output with independent level control.
- Studio-grade converters allow for up to 24-bit/96 kHz recording and playback.
- Built to travel; its metal chassis ensures durability.
- Large main volume knob
Features:
6. Sennheiser HD280PRO Headphone (new model)
Dynamic, closed ear headphones.Weight w/o cable: 285 gram Ear coupling is circumauralLightweight and comfortable, ergonomic design, Cord Length 3.3 9.8 feet CoiledExtended frequency response and warm, natural sound reproduction. Nominal impedance 64 ohm. Sound pressure level (SPL) 113 dBAround the ...
7. Phonon Subtonic Monitor Basic Headphones Smb-02
- Exclusive Phonon tuning theory to deliver high accuracy monitoring
- Excellent space definition and stunning low volume playback for headphone mixing
- Perfect for studio use (for professionals) and excellent for discerning consumers
- Unparalleled sound quality regardless of output source - from console to smart phone
- Thick but lightweight ear pads that minimize ear fatigue and offer comfort for hours
Features:
8. The Mixing Engineer's Handbook: Fourth Edition
- Packed For Extra Value – Bulk 200 pack of sheet protectors 8.5 x 11 in size. Can hold up to 10-15 sheets of paper, perfect for large paper storage.
- Ultimate Protection – These heavyweight sheet protectors are 3.3 mil / .084mm thickness which provides maximum performance over economy (1.97 mil or .05mm) standard weight clear plastic sheets
- Crystal Clear Visibility – These clear plastic sheets provide optimum clarity for easy viewing of the documents, photographs, keepsakes, or presentations stored inside 3 ring binders
- Worry Free Archival Storage – Acid free and archival safe plastic sleeves for binders are made with non-stick material and will not harm materials place inside - Will not lift copy from important documents or transfer ink to the binder sleeves
- Extra Sheet Capacity – New and Improved binder sleeves can hold 8-12 sheets of paper depending on paper thickness
Features:
9. Focusrite Scarlett 2i2 (2nd Gen) USB Audio Interface with Pro Tools | First
- Two natural-sounding Scarlett mic preamps with plenty of even gain; two instrument inputs, 1/4-inch balanced jack outputs to connect professional studio monitors; one headphone output with gain control
- Class-leading conversion and sample rates up to 192kHz / 24 bit; super-low roundtrip latency for using your plug-ins in real time without the need for DSP
- LIMITED TIME OFFER: FREE Venomode DeeQ, Maximal 2, and Pivot, plug-ins upon registration and download.
- Includes Pro Tools | First Focusrite Creative Pack and Ableton Live Lite, Softube Time and Tone Bundle, Focusrite’s Red Plug-in Suite, 2GB of Loopmasters samples, Choice of one free XLN Addictive Keys virtual instrument, all available via download upon purchase and registration
- Compatible with Windows 7 and higher, and Mac OS X 10.10 and higher. Frequency response - 20 Hz - 20 kHz ± 0.1dB. Supported Sample Rates: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz. Focusrite now offers a 3-Year Warranty on this and all other Focusrite products.
Features:
10. Numark NPM5 Studio Monitor System
- Active stereo speaker system with built-in amplifier
- Two-way system with 5" woofer and 1" tweeter
- Easily accessible level, treble, and bass controls
Features:
11. Vmusicbook: Mastering Music and Entertainment Entrepreneurship for Independent Hip-Hop, R&B, Grime and Electronic Dance Artists, Producers Songwriters, Publishers, Managers and Promoters
12. Mixing Secrets for the Small Studio (Sound On Sound Presents...)
- Focal Press
Features:
13. Auralex ROOMADCHA/BUR Alpha-DST Roominator Kit:32- DST112 Panels- Charcoal; 32- DST114 Panel- Burgundy; 4-LENRD Bass Trap-Charcoal; 2 TTPRO
Ideal for the small studioEasy to InstallClass B fire rating
14. ASUS VivoBook F510UA 15.6” Full HD Nanoedge Laptop, Intel Core i5-8250U Processor, 8GB DDR4 RAM, 1TB HDD, USB-C, Fingerprint, Windows 10 Home - F510UA-AH51, Star Gray
- Powerful 8th Generation Intel Core i5 8250U 1.6GHz (Turbo up to 3.4GHz) processor
- 14.2 Inches Wide, 0.8 Inches Thin and portable footprint with 0.3 Inches Nano edge bezel for a stunning 80% screen to body ratio
- 15.6 inches Anti glare full HD display with ASUS splendid software enhancement
- 8GB DDR4 RAM and 1TB HDD
- Ergonomic chiclet keyboard with fingerprint sensor, Windows 10 Home
- Comprehensive connections including USB 3.1 Type C (Gen1), USB 3.0, USB 2.0, and HDMI; Lightning fast 802.11AC Wi Fi keeps you connected through any congestion or interference
Features:
15. Sony MDR7506 Professional Large Diaphragm Headphone (International Model) No Warranty
- Neodymium magnets and 40mm drivers for powerful, detailed sound
- Closed-ear design provides comfort and outstanding reduction of external noises
- 9.8-foot cord ends in gold-plated plug; 1/4-inch adapter included
- Folds up for storage or travel in provided soft case
- Frequency Response - 10-20kHz , Impedance - 63 ohm
Features:
16. Ultimate Support JS-MS70 JamStands Series Studio Monitor Stands (Pair)
- Height-adjustable stand for studio monitors. Locking pin ensures stable and accurate height positions. Levelling floor spikes and rubber feet included. Low-profile base can be easily positioned into tight spaces
- Product Name: JS-MS70Part Number: 17441Locking Heights: 32. 25”, 36. 25, 40. 25”, 44. 25” (819mm, 1022mm, 1124mm)Platform Dimensions: 9” x 9” (229mm x 229mm)
- Base Dimensions: 17. 25” x 17. 25” x 17. 25” (438mm x 438mm x 438mm)Weight: 8. 4 lbs. (3. 8 kg)
- Leveling floor spikes and rubber feet included
Features:
17. Wired-Up 3.5mm Speaker and headphone Splitter [Electronics]
Nickel Plated Headphone Splitter
18. 3.5mm to XLR Adapter - Riipoo 1 Meter 1/8" TRS 3.5mm Stereo Jack Male to XLR Female Audio Adapter Speaker Microphone Cable Cord
- This TRS 3.5mm to XLR stereo audio adapter can connect CD, speaker, PC, phone, tablet and more to microphone and others
- Cable Length - 1 meter / 3.3 feet
- Connector 1: 3.5mm TRS male ; Connector 2: XLR female
- 99.99% OFC - This 3.5mm to XLR adapter audio cable is made of 99.99% high purity oxygen-free copper (OFC), high transmission rate, the signal loss is small.
- EMI and RFI Interference - The 3.5mm male to xlr female adapter effectively shield EMI / RFI interference, filter out high-frequency noise interference, improve audio quality.
Features:
19. AKG Pro Audio K702 Over-Ear, Open-Back, Flat-Wire, Reference Studio Headphones,Black
- Over-ear design for maximum wearing comfort for long work sessions
- Sophisticated open technology for spacious and airy sound without compromise
- Patented Varimotion two-layer diaphragm for improved high-frequency range and better performance at low frequencies
- Unique flat-wire voice coil for higher sensitivity, better impluse and treble response
- Specially shaped 3D-foam ear pads for optimum fit and ease of use
Features:
20. How to DJ Right: The Art and Science of Playing Records
- Dynamic, closed ear headphones with up to 32 dB attenuation of outside sound
- Lightweight and comfortable, ergonomic design, Cord Length 3.3 9.8 feet Coiled
- Extended frequency response and warm, natural sound reproduction
- Around the ear design with padded earcups
- Earpads, headband padding, and audio cord are easily replaceable, ensuring long life
- Connectivity technology : Wired
- Dynamic, closed ear headphones with up to 32 dB attenuation of outside sound
- Lightweight and comfortable, ergonomic design
- Extended frequency response and warm, natural sound reproduction
- Collapsible earpieces for compact transport
- Earpads, headband padding, and audio cord are easily replaceable, ensuring long life
Features:
From the Mixing Engineer's Handbook (third edition)
The Frequency Element: Using the Equalizer
Even though an engineer has every intention of making his recording sound as big and as clear as possible during tracking and overdubs, it often happens that the frequency range of some (or even all) of the tracks are somewhat limited when it comes time to mix. This can be due to the tracks being recorded in a different studio where different monitors or signal path was used, the sound of the instruments themselves, or the taste of the artist or producer. When it comes to the mix, it's up to the mixing engineer to extend the frequency range of those tracks if it's appropriate.
In the quest to make things sound bigger, fatter, brighter, and clearer, the equalizer is the chief tool used by most mixer, but perhaps more than any other audio tool, it's how it's used that separates the average engineer from the master.
> "I tend to like things to sound sort of natural, but I don't care what it takes to make it sound like that. Some people get a very preconceived notions that you can't do this or you can't do that, but as Bruce Swedien said to me, he doesn't care if you have to turn the knob around backwards; if it sounds good, it is good. Assuming that you have a reference point that you can trust, of course." - Allen Sides
 
> "I find that the more that I mix, the less I actually EQ, but I'm not afraid to brung up a Pultec and whack it up to +10 if something needs it. - Joe Chiccarelli
 
The Goals of Equalization
While we may not think about it when we're doing it, there are three primary goals when equalizing:
Sometimes just being aware of which of these you're trying to accomplish at the moment can help you get the sound you're looking for quickly and easily, rather than just randomly twisting some knobs until you think it might sound right.
 
The Frequency Bands and What They Do
Before we examine the various methods of equalization, it's important to note specific areas of the audio frequency bandwidth and how they affect what we hear. The audio band can effectively be broken down into six distinct ranges, each one having an enormous impact on the total sound (see Table 7.1).
 
Table 7.1 The Audible Frequency Ranges
Range | Description | Effect
----------|-----------|-----------
16 Hz to 60 Hz Sub-Bass | Encompasses sounds that are often felt more than heard and gives the music a sense of power. | Too much emphasis in this range makes the music sound muddy. Attenuating this range (especially below 40 Hz) can clean up a mix considerably.
60 Hz to 250 Hz Bass | Contains fundamental notes of the rhythm section. | EQing this range can change the musical balance, making it fat or thin. Too much boost in this range can make the music sound boomy.
250 Hz to 2 kHz Low Mids | Contains the low-order harmonics of most musical instruments. | Can introduce a telephone-like quality to the music if boosted too much. Boosting the 500 Hz to 1000 Hz octaves makes the instruments sound horn-like. Boosting the 1 kHz to 2 kHz octave makes them sound tinny. Excess output in this range can cause listening fatigue.
2 kHz to 4 kHz High Mids | Contains speech recognition sounds such as "m," "b," and "v." | Too much boost in this range, especially at 3 kHz, can introduce a lisping quality to a voice. Too much boost in this range can cause listening fatigue. Dipping the 3-kHz range on instrument backgrounds and slightly peaking 3 kHz on vocals can make the vocals audible without having to decrease the instrumental level in mixes where the voice would otherwise seem buried.
4 kHz to 6 kHz Presence | Responsible for clarity and definition of voices and instruments. | Boosting this range can make the music seem closer to the listener. Reducing the 5-kHz content of a mix makes the sound more distant and transparent.
6 kHz to 16 kHz Brilliance | Controls brilliance and clarity. | Too much emphasis in this range can produce sibilance on the vocals.
 
For those of you who have an easier time visualizing the audio spectrum in one-octave increments (like those found on a graphic equalizer), here's an octave look at the same chart (see Table 7.2).
 
Table 7.2 Graphic Equalizer Chart
Octave Band | Effect
---------|----------
31 Hz | Rumble, "chest"
63 Hz | Bottom
125 Hz | Boom, thump, warmth
250 Hz | Fullness or mud
500 Hz | Honk
1 kHz | Whack
2 kHz | Crunch
4 kHz | Edge
8 kHz | Sibilance, definition, "ouch!"
16 kHz | Air
 
EQ Methods
Since each specific song, arrangement, instrument, and player is unique, it's impossible to give anything other than some general guidelines when it comes to equalization methods. That said, there are a number of methods that can quickly and easily get you in the ballpark, as long as you know what you're going for. Remember that different engineers have different ways of arriving at the same end, so if the following doesn't work for you, keep trying. The method doesn't matter, only the end result.
Before these methods are outlined, it's really important that you observe the following:
 
Method 1: Equalize for Definition
Even source material that's been recorded well can sound lifeless, thanks to certain frequencies being overemphasized or others being severely attenuated. More often than not, the lack of definition of an instrument is because of too much lower midrange in approximately the 400- to 800-Hz area. This area adds a "boxy" quality to the sound. Sometimes it's because the sound is lacking in the 3-kHz to 6-kHz area that makes it undefined. Subtractive equalization is a method that allows you to zero in on the frequencies that are masking the definition in a sound.
There are two spots in the frequency spectrum where the subtractive equalization is particularly effective: between 200 Hz and 600 Hz and between 2 kHz and 4 kHz. This is because most directional microphones provide a natural boost at 200 to 600 Hz because of the proximity effect brought about by close-miking, and many mics (especially those known for being good vocal mics) have a presence boost between 2 kHz and 4 kHz. Dipping those frequencies a few dB (more or less as needed) can make the track sound much more natural than if you were to try to add frequencies instead.
If there was a limited number of microphones (or even just one) used to record all the instruments in a home studio, these two frequency bands (or any other where there's a peak in the response) will build up as more and more instruments were added. By dipping those frequency bands a bit, you'll find that many of the instruments can sit better in the mix without having to add much EQ at all.
> What I hate to see is an engineer or producer start EQing before they've heard the sound source. To me, it's kinda like salting and peppering your food before you've tasted it. I always like to listen to the sound source first, whether it's recorded or live, and see how well it holds up without any EQ or whatever." -Bruce Swedien
Tip: Always try attenuating (cutting) the frequency first. This is preferable because all equalizers add phase shift as you boost, which results in an undesirable coloring of sound. Usually, the more EQ you add, the more phase shift is also added and the harder it may be to fit the instrument into the mix as a result. Many engineers are judicious in their use of EQ, but that being said, anything goes! if it sounds good, it is good.
 
Alternate method
> "I just try to get stuff to sound natural, but at the same time be very vivid. I break it down into roughly three areas: mids, the top and the bottoms; then there's low mids and high mids. Generally, except for a very few instruments or a few microphones, cutting flat doesn't sound good to most people's ears, so I'll say, 'Well, if this is a state-of-the-art preamp and a great mic and it doesn't sound that great to me, why?' Well, the midrange is not quite vivid enough. Okay, we'll look at the 3k, 4k range, maybe 2500. Why don't we make it kind of come to life like a shot of cappuccino and open it up a little bit? The....
 
 
Then it goes on more with another table later on but I ran out of text. You can get the newer 4th edition here:
You can't Have an EQ chart for synths tho because synths make tons of different sounds in different octaves and frequencies.
Do you mean your room is already treated or sound treating isn't a priority at the moment? If it isn't treated I'd make sure to get a good set of headphones to reference on, then use monitors when you're producing with friends or don't feel like wearing headphones.
headphones: audio technical mt50x $150
or audio techinca mt40x $100
monitors: Krk Rokit 5 or 6s or Yamaha Hs 5 or 7s
keep a look out for these on craigslist and eBay, you can find some good deals out there. Yamahas are going to be better quality, but you can find good deals easier on KRK and they'll get the job done
audio interface: Scarlett 2i2 $150~
if you're looking to record vocals then I'd get something like this for a mic
at2020. you'll want to get the package with the pop filter and the cables
You're going to want to get a power surge protector to keep your monitors and equipment safe. Also just a heads up, but Black Friday is just around the corner, so if you can hold out on certain items you'll be able to grab some of these items for a fraction of the price.
Definitely upgrade to some reference headphones, you don’t even know what you’re missing. It’s like watching a movie on your phone screen vs on a big 4k tv (and maybe in that case a well treated studio is like a movie theater). In cheap ear buds, you get tinny highs, muddy mids and shitty bass/no sub.
Speakers can be good, and decent reference monitors can be pretty reasonably priced, but monitors aren’t very helpful if the space you’re working in hasn’t been treated properly. If you’re in a small room with no sound dampening, the audio can bounce around the room and cancel itself out, making sound design and mixing very difficult or impossible. In my opinion, headphones are the way to go unless you can afford a proper studio monitor setup.
I definitely second the vote for Audio Technica M50X. Best headphones for the money in my opinion. There are a lot of good headphones out there though, search this sub I’m sure there have been discussions about it before
Audio-Technica ATH-M50x Professional Studio Monitor Headphones, Black https://www.amazon.com/dp/B00HVLUR86/ref=cm_sw_r_cp_api_i_GEaNDbSXX7Q0Z
I do have some monitors, they aren't the best. http://www.amazon.com/Numark-NPM5-Studio-Monitor-System/dp/B0038YX39A/ref=sr_1_3?ie=UTF8&qid=1375248910&sr=8-3&keywords=studio+monitors
But it's all on a budget, I guess it would of been better to invest more into the monitors and not be getting this keyboard but I picked these up a while ago. Honestly they aren't too horrible but like the speakers you mentioned they don't do the low end too good.
EDIT: I also have these for headphones. http://www.amazon.com/Audio-Technica-ATH-M30-Professional-Closed-back-Headphones/dp/B00007E7C8 I can usually hear the low end better on those but I don't know if that's simply because it has an EQ adjustment.
Audio-Technica ATH-M50x are my favorites, for a super reasonable price. They’re studio monitor headphones, great for delivering high quality sound, similar to what a home studio setup would sound like.
https://www.amazon.com/dp/B00HVLUR86/ref=cm_sw_r_cp_api_i_FHG0CbVRR5BDA
Check out VMusicBook, they probably have a section on this.
It’s not super well edited, but there’s a lot of good shit in there regarding navigating the industry, including publishing your work such that you can police any theft.
Plus, it’s like $8 on Amazon 👌🏼 Just make sure you type VMusicBook as one word if you decide to look it up.
your low-mids to mids as well as highs are lacking. as in you need either better samples to fill out those frequency ranges or you need to eq your stuff better. along with that your sub is lacking any real presence (in terms of the kick and the bass). you can solve this by distorting/compressing/eqing your kick/bass. another problem is stereo placement -- try using the haas effect as well as panning your instruments well.
you've been producing for four years but haven't done much mixing/mastering and your track reflects that. look into buying this book and watch this video as well, i highly recommend this one.
Aight. Get this, and get this. Get some speaker stands as well, and boom--you done. All of those things you'll be able to take wherever you go, and your body will thank you. Your neighbors won't mind either. If you live not on the ground floor you could invest in some speaker stands that allow you to fill the tube--put a bunch of sand in it, it'll help decouple the speaker from the ground. Gonna be a real pain to move those though.
I know they are the least flashy, not very sexy upgrade items but trust me these are what you want.
EDIT: Oh and be sure to set up your room so your desk is in the center of the short side of the wall (you want the speakers "shooting down the room", so they should be projecting down the longer sided walls. Put the speakers on the small wall that has the least number of adjoining rooms and try to get it at least 1.5ft away from wall. Place the acoustic panels as directed.
It will blow your fucking mind how different the sound is.
I'd recommend getting a seagate external hard drive for your mac. I'm thinking a 1 TB would be enough storage space for omnisphere, including all your sample kits and other vsts 👍Also, I can't stress how important it is to backup all your data on separate hard drives or on the cloud. Best of luck man!
​
https://smile.amazon.com/dp/B00H4XH5IG/?coliid=IJGCHU5NWSEL3&colid=X3ENPTWIB1Z2&psc=0&ref_=lv_ov_lig_dp_it
Also this labtop is really great and it’s in the low range for labtops yes I know it’s 500$ but it’s probably the best deal out there
ASUS VivoBook F510UA FHD Laptop, Intel Core i5-8250U, 8GB RAM, 1TB HDD, USB-C, NanoEdge Display, Fingerprint, Windows 10, Star Gray (F510UA-AH51) https://www.amazon.com/dp/B0762S8PYM/ref=cm_sw_r_cp_api_lYSZAbJ56W3MN
In short, they suck. The reason is that all headphones have an internal equalization that adjusts the audio signal. The issue with the beats is that they boost bass and mid tones. If you were to use it while producing, you’ll find that your tracks will sound like shit on other speakers, because your beats don’t have a balanced audio signal.
https://www.rtings.com/headphones/reviews/beats/studio-3-wireless
TO BE FAIR, use what you got. But you will forever be frustrated with how your tracks sound on other speakers if you use beats. You want headphones with a flat audio signal, meaning they don’t boost anything and give you the cleanest signal possible.
Here’s the industry standard pair. They’re $100 and give you a nice, flat audio signal that will help you produce the best sound across the majority of speaker systems.
Sony MDR7506 Professional Large Diaphragm Headphone (International Model) No Warranty https://www.amazon.com/dp/B01EJVYN3K/ref=cm_sw_r_cp_api_i_MgAvDbKXDBBVQ
Do you mean the soundcard built into the Mac? No, you would need a 3/5mm jack if you want to plug directly into the laptop. Do not do this. Laptop soundcards are mostly awful and an audio interface is required to process sound from your DAW, otherwise you will experience audio crackling/lagging/etc. You're going to have to spend a little money on this, there really are no substitutions for a good soundcard / audio interface. This one is cheap and reliable, a different model than my exact one, but this is a good brand and you really can't go much cheaper than this without a major drop in quality.
---
Merged from my above post, so you have it all in one place:
Yes the XLR connector should be 3 prong male.
This is WRONG, do NOT buy
This is CORRECT, DO buy
On the back of my Yamaha HS8 monitors, there are female 3-prong connections, I plug the male 3-prong end of my cable into it, that is called an XLR connector. I then plug the other end of the cable, a 1/4 TRS shielded connector, into the back of my Presonus Audiobox iOne. Make sure that it is 1/4 TRS and not a 3.5mm audio jack, as that will be too small to fit into the audio interface.
These cables look fine. They're cheap, have good reviews, and are balanced/shielded cables which means you shouldn't have interference issues from other electronic devices.
-----------------------------
Conclusively, you need these items, but if you find a cheaper audio interface with two TRS ports, go for it, as long as reviews show it's reliable. You also need two 1/4 TRS to XLR Male cables, balanced. Items:
Audio-Technica AT2020 Cardioid Condenser Studio XLR Microphone, Black https://www.amazon.com/dp/B0006H92QK/ref=cm_sw_r_cp_api_i_fgRiDbHAD6JCX
pretty good one
Save yourself the time, return those and get these.
Ultimate Support JSMS70 Speaker Stand (Pair) https://www.amazon.com/dp/B005JTV358/ref=cm_sw_r_sms_awd_9JZxwbWYXQ2W6
Technically if there powered you could use Jack or XLR to 3.5mm Jack and plug direct into the audio out on your computer.
Cable
splitter
But really just buy a 2nd hand audio interface off eBay. Tascam do a really decent one for like $40
I recommend the Sennheiser HD280 Pro, great quality for $100 imo. They can get a little uncomfortable when wearing them for 4+ hours or so but not that bad, usually means it is time to take a break anyway.
https://www.amazon.com/Sennheiser-HD280PRO-Headphone-new-model/dp/B00IT0IHOY/ref=sr_1_3?keywords=sennheiser+hd280&qid=1565478593&s=gateway&sr=8-3
Nobody mentioned AKG. They’ve been broadcast standard for 50+ years because of comfort and indestructible. Oh and the sound is top notch.
I prefer them to both senheiser and at by a long shot.
AKG Pro Audio Professional Headphones, Black, 1/4" to 1/8" (K702) https://www.amazon.com/dp/B001RCD2DW/ref=cm_sw_r_cp_api_i_URzIDb2MAPAXM
What you could take a look at is Sonarworks reference software, which compensates for errors in different headphones and gives you a flat response, so what you are hearing from your headphones is accurate.
https://www.sonarworks.com/reference/how-it-works-headphones
I'd say upgrade at some point though if you looking at taking things seriously. The Phonon Subtonic SB-02 have a really good sub-bass response. Used with Sonarworks, you should be able to get good mixes which you can then check and fine tune in a car, laptop etc...
https://www.amazon.com/Phonon-Subtonic-Monitor-Headphones-Smb-02/dp/B00F1W0FS4
I actually had a friend who's been DJing for ~7-8 years sit me down and explain it to me. Since then though he's lent me this book, which breaks it down in the same way that he did.
http://www.amazon.com/How-DJ-Right-Science-Playing/dp/0802139957
The book is pretty old and very DJ focused, but track structure is hugely relevant to DJs so this should be really helpful. There's no real focus on trap or hip hop, but the same concepts are applicable to almost all genres of electronic music.
i know mr carmack among many producers have rocked these at some point. Audio Technica's.
Ive owned Sony MDRs and AIAIAI's aswell and I much prefer the AudioTechnica's, everyone different though. Getting familiar with how they translate to other speakers is very important.
https://www.amazon.com/Audio-Technica-ATH-M50x-Professional-Monitor-Headphones/dp/B00HVLUR86