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To EQ or not EQ: The Cowon D2

post #1 of 13
Thread Starter 
What the title says. I've got some Denon C700's that I use as a portable setup with my Cowon D2. Funningly enough I do enjoy the warm fun sound of massively EQing it (e.g. Using the 'POP' setting) despite the flaws of doing so (that being disortion, added sibilence, less analytical/detail).

Am I insane or does the Cowon and/or the Denon c700's benefit from a bit of EQing?
post #2 of 13
Why not? If you like the sound, then probably you are doing something right.

I EQ mine, especially running RE2s with no amp.
post #3 of 13
i did too. i did not really like the sound without eqing it. good luck.

the denon c700 are rather hard to drive phones and will boom without a good headphone driver (which most daps including the d2 do not have) and i had trouble getting them to sound 'right' for me but they are great when you find that spot.
post #4 of 13
The c700's are 16ohms. Should be no prob to drive w/the D2. As for EQing on the D2, well, why get 1 if you need to ask? The D2 is MADE for EQing. SQ is good without, AMAZING with!!!
post #5 of 13
Umm... When I used to EQ, I kept all the bars down below 0, if you know what i mean.. But I'm not sure if that is of any help at all. EQ is fun, experiment and find a nice sound!
post #6 of 13
they are very hard to drive phones: not for volume but to control them. the d2 like most players has an inadequate headphone out that causes them to sound boomy because it cannot supply a) low bass b) enough stereo to keep the image separate or compartmentalised.

they are lovely when amped or played from a player that can drive them properly: 1g shuffle (mind the hiss) , ipod touch 2g, sony 600-800 (mind the hiss) series, old iriver (mind the hiss)
post #7 of 13
Well, it is a fact that lower impedance IEM's can be a pain to drive. They use power inefficiently and need to be driven either harder, or used w/an impedance adapter. I'd go w/the adapter myself.
post #8 of 13
Yes, the problem are the output stage buffering caps of most players. It's hard to place huge caps into a portable player. The soundquality gets worse the lower the headphone impedance gets, as those headphones draw a lot of current (and even more with bass heavy music). So the options are:
a) Bin those low impedance crap and use "real" headphones with 80 Ohm or more. The D2 is one of the most powerfull DAPs and can even drive 300 Headphones without a problem.
b) get an portable amp
c) use an impedance adapter. Just add something like 75 Ohm in line so that the outputstage isn't stressed anymore. You will have to turn up the volume a bit, but the soundquality should be comperable to a fullsize headphone.
d) try to replace the caps by bigger ones. But then you probably also have to find a new casing for the DAP
post #9 of 13
I EQ my D2 heavily to compensate for Fletcher-Muson Effect, in order to hear the whole spectrum equally loud (almost). My settings below:

BBE: +1
Mach3Bass: +3 (To boost 65 Hz frequency)

EQ:
80 (Default) = 0
230 (Default) (changed to wide) = -2
850 (Default) (changed to wide) = -3
3.2 (Default) = -2
6.9 (Default is 11.7) = -3 to knock down sibilance, I hate sibilance ...

and run this settings to my SE530 quite well. Diana Krall voice is full and brilliant.

At least to my ear, I can hear D2's 20-60 Hz more upfront now.

I prioritize first to vocal and second priority to the sub-bass, it may be too warm for some people's taste, but I like it.
post #10 of 13
whatever sounds best to you. who cares what everyone else or what the "facts" are?
post #11 of 13
Thread Starter 
Quote:
Originally Posted by RedBull View Post
I EQ my D2 heavily to compensate for Fletcher-Muson Effect, in order to hear the whole spectrum equally loud (almost). My settings below:

BBE: +1
Mach3Bass: +3 (To boost 65 Hz frequency)

EQ:
80 (Default) = 0
230 (Default) (changed to wide) = -2
850 (Default) (changed to wide) = -3
3.2 (Default) = -2
6.9 (Default is 11.7) = -3 to knock down sibilance, I hate sibilance ...

and run this settings to my SE530 quite well. Diana Krall voice is full and brilliant.

At least to my ear, I can hear D2's 20-60 Hz more upfront now.

I prioritize first to vocal and second priority to the sub-bass, it may be too warm for some people's taste, but I like it.
Interesting. The 3DS widens the reported small soundstage of the D2 + reduces sibilance.
post #12 of 13
BBE +1 does wonders to the sq. it widens up the soundstage.. (and i wonder if it adds some crossfeed as well), any higher and it deteriorates the sq. m3b is brilliant, it works a treat but is headphone dependent. using a denon d2000, i leave it on zero as the phone is already bass heavy. and what a wonderfull heavy it is.

if you have to EQ due to source material.. may have a problem there as the source needs to be good in order to be faitfull to original.. think FLAC or high bitrate mp3. imho, EQ is only ever needed to compensate for deficiency in headphones frequency response (or maybe to tweak it just a little to taste).

WRT to fletcher-munson curve.. ive never seen a "loudness" button on an mp3 player before? does it affect headphnes the same as it does speakers?
post #13 of 13
Fletcher–Munson curves

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The Fletcher–Munson curves are one of many sets of equal-loudness contours for the human ear, determined experimentally by Harvey Fletcher and W A Munson, and reported in a paper entitled "Loudness, its definition, measurement and calculation" in J.Acoust. Soc Am.5, 82-108 (1933).
Contents

[hide]

[edit] Background

Until recently, it was common to see the term 'Fletcher–Munson' used to refer to equal-loudness contours generally, even though a re-determination was carried out by Robinson and Dadson in 1956 , which became the basis for an ISO 226 standard.
It is now better to use the term 'Equal-loudness contours' as the generic term, especially as a recent survey by ISO redefined the curves in a new ISO 226 :2003 [1].
According to the ISO report, the Robinson–Dadson results were the odd one out, differing more from the current standard than did the Fletcher Munson curves! It comments that it is fortunate that the 40-phon Fletcher–Munson curve on which the A-weighting standard was based turns out to have been in good agreement with modern determinations.
The article also comments on the large differences apparent in the low-frequency region, which remain unexplained. Possible explanations are:
  • The equipment used was not properly calibrated.
  • The criteria used for judging equal loudness at different frequencies (which is tricky) had differed.
  • Subjects were not properly rested for days in advance, or were exposed to loud noise in travelling to the tests which tensed the tensor timpani and stapaedius muscles controlling low-frequency mechanical coupling.
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