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Originally Posted by mypasswordis
All I have to do is tack some Hello Kitty stickers on both the T Amp and the electrostatic Floats and I'll become a veritable chick magnet.
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Are the My Little Pony hologram stickers no longer
au courant? Blast.
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Originally Posted by mypasswordis
I dislike buying "blind"..
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I understand. Experience builds intuition, making the leap of faith more rewarding, but in the beginning, it's best to move carefully.
Do keep in mind that after 30 years, anything with high voltage can have problems or just, well, idiosyncrasies. I have a couple of SR-Xes and they don't sound alike. One is louder and has more bass.
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Originally Posted by mypasswordis
I assume you mean my ability to hear high frequencies is better...
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The odds are in your favor, yes.
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Originally Posted by mypasswordis
...treble extension/sibilance is the first thing I check for in a headphone, oddly enough.
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Not odd at all to us old-timers, since smooth, extended treble was the thing headphones historically couldn't do until the coming of the 'stats (which at first couldn't do
bass, but that's another story).
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Originally Posted by mypasswordis
Bass and treble knobs on receivers work decently enough with speakers but mess everything up with headphones..
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Depends on the phones and the receiver in question, of course, but if you only want to boost, say,
low bass you need an amp/receiver/preamp/EQ box with what's called a variable turnover switch. Most simple tone controls hinge around 1kHz, which is too high for anything but a 'phone with a tilty response curve. A turnover switch lets you change the hinge point down to a useful frequency.
A midrange control is very handy too, which is why despite the risks (and the hiss) I always recommend people try to find a cheap Kyocera R-851, although there must be other affordable units with versatile EQ attached-- suggestions welcome.
Even if you don't listen to your 'phones with EQ, you need to have good EQ available to test your 'phones. It's a very telling method of evaluating the overall design.
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Originally Posted by mypasswordis
Aye, headphones that are hard to mod are such a turn-off for me.
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Which is one of the reasons why I keep bringing up the Pro 30. Love the sound or hate it, it's a cinch to work on and thus very instructive, in that it encourages you to try a great variety of mods.
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Originally Posted by mypasswordis
I can see why the Euro method of damping was necessary to make the 3's sound good.
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Explain why this was so, if you would. I've never had a firm grip on the Euro method of damping or the theory behind it.
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