Originally Posted by Shark_Jump
I'm a bit confused here, all your arguments appear to me to be a reason for having an EQ, but then you say it gets us further from the truth.
You say, 'Everything has an EQ signature including every single different piece of source material'.
But isn't this also a prime reason for EQ? So you can correct things back to what they should be.
What is the truth? I say its what ever sounds good to you. If want to get eq control over your phones or speakers by having 5 rooms or switching interconnects around thats fine by me.
And 'Each set up would be beyond EQ as you are using the natural plus and minus of the system '. What do you mean by 'Beyond EQ'? and what is the 'natural plus and minus of the system' mean? You've lost me here. Do you me the natural sound of the capacitors or the flat EQ that comes out the system (Which means its NOT flat by the time it gets in your ears).
In the perfect speaker system. One for each style of music. As well as matched componants for each style of music.
Different systems produce a synthetic virtural reality of a musical experience. A rock experience will be more forward. A jazz experience will have a more laid back stance. This is why rock sounds good in it's place, a stadium and jazz in a small intimate club.
No EQ can overcome these wide sound signature sweeps. Maybe some home AV room DSP can come close but it's not pure HI/FI imo. What I'm saying is the best systems I have heard seemed to reproduce some styles of music perfect. Other styles not. There is no perfect system for all types of music. Remember this is just what I feel. Someday I may hear that system. I have not yet. Each type of system has it's own way to make diferent styles of music musical. The crazy thing is even if you play rock on a great jazz system, it will be super clear, just not in a rock stance. That's the natural minus. The natural plus is for that system is to put on jazz or clasical.
There is no going back in headphones. I am under the understanding that music starts from a point source. Just like light from the sun. Things can then diffuse to their next specific place in the time/componant step phase.
The first step is the sound signature which is left by the recording process. Like snow flakes they are representations of nature and will never be repeated. Just like experiences in life. Never to be repeated again.
Mankind trys to add consistance threw reducing the variables but there are way too many. That is why each song sounds different. You stated also that every source and maybe every song sounds different? Every album is unique due to the thousands of chance random sound artifacts.
The source is pure as the software. Good medium, good hardware, now we try to get as close to that as we can and let each recording have it's good and bad points. Some recordings are more perfect than others. They are like photographs of sound time which live out their own sonic life, they have a course to complete.
Do you understand that music after being played is just filtered threw mechanical means to be played back at another time still eminating from the original source? This is why it still has the defects or character from the original time it was made. A snapshot of human life with all the character in place. That's what makes it music, as it eminates from the human being.
The LP/CD is just a way to hold it until it is replayed at another time.
Cables and all equipment add color. Color is way diferent than what EQ can change. Color is tone and frequency responce. This is also getting to the limits of our understanding of music. Mine anyway. LOL
OK, Lets talk about pace. Can an EQ change pace?
Each system is it's own sound signatue. They are very complex devices and people say that even if we built two with the exact same parts, chances are at times they still would not be exactly the same at reproducing sound. We build them and yes cables could be better for each recording. A bright cable for a dull recording, a dark cable for a bright recording.
The ongoing point here as far as headphones go is we want to be as close as we can to that source. Once the source starts to go sideways there is no way to pull it back on track.Why would we add one more filter in a sea of distortion?
The other frequencies get misplaced when EQ is done. There are no perfect systems only some with a flat responce, ones with good color and ones with bad color and every variation in between. The EQ is so close to our source that the basic unrealness ruins everything just like it started to ruin everything in the start in the studio. Somehow the whole spectrum of sound has to be replaced into the mix so we can hear the whole musical mechinism of music. That is the prime reason they use compression in addition that it sounds good on a three inch speaker in a car.
Even if our rigs add color, we like our own little fake world with pink glasses. The truth is still there as long as you are 3 inches from the source. When you distance yourself by adding filters things sound good at first. They are not real and loose the entertaining spice because they are just one more step away from reality.
Go get a simple 1/4 inch reel to reel. Get two microphones and place them ten feet apart. Record a small jazz or rock band with drum treatments and play it back with no EQ or processing and then we can talk.