i have a simple question, why arent there headphones with multiple drivers ? Like a twetter, a boomer, and everything a speaker has, but integrated in the earcup ?
Edited by castlevania32 - 1/2/11 at 9:32am
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i have a simple question, why arent there headphones with multiple drivers ? Like a twetter, a boomer, and everything a speaker has, but integrated in the earcup ?
I guess it's just plain difficult to play with the phase interference inside the little cups. It's already hard enough for multi-BA IEMs.

Me too - same era, roughly the same kind of gear, no doubt the same aspirations. We were coming out of the straightforward "High Fidelity" period, and we were all heading for the same goal, more or less - the uncolored reproduction of the original sound, the straight wire with gain, or however else it was expressed.
But - and here's where I disagree with the writer - the recording industry lost the "High Fidelity" memo around that time. We've had 40 years of increasingly hard, bright, brash, forward and compressed recordings since then. It has gotten ludicrously out of hand. A 1960s engineer wouldn't even recognize what's being released these days.
So - purely out of self defense - I reserve the right to color my sound just as much as it takes to make listening fun again. I'm completely unapologetic about bending the curve back toward what it ought to be. And who is to say I'm wrong? As an end result, why is the faithful, undistorted reproduction of awful software "better" than some careful compensation? I want the audio reaching my ears to sound like decent practices were involved in its production, and I'll get there any way I can.

So - purely out of self defense - I reserve the right to color my sound just as much as it takes to make listening fun again. I'm completely unapologetic about bending the curve back toward what it ought to be. And who is to say I'm wrong? As an end result, why is the faithful, undistorted reproduction of awful software "better" than some careful compensation? I want the audio reaching my ears to sound like decent practices were involved in its production, and I'll get there any way I can.
I couldn't agree more. I always get a chuckle out the EQ threads where someone will invariably state that they want to hear the track 'as the recording engineer intended', as if there's necessarily some kind of high standard there worth preserving. When a good job was done I leave it alone (simply because it doesn't need my help) and when a crappy job was done I fix it, with no remorse. If the original sucks then it's also going to suck with gain. :-)


So - purely out of self defense - I reserve the right to color my sound just as much as it takes to make listening fun again. I'm completely unapologetic about bending the curve back toward what it ought to be. And who is to say I'm wrong? As an end result, why is the faithful, undistorted reproduction of awful software "better" than some careful compensation? I want the audio reaching my ears to sound like decent practices were involved in its production, and I'll get there any way I can.
I couldn't agree more. I always get a chuckle out the EQ threads where someone will invariably state that they want to hear the track 'as the recording engineer intended', as if there's necessarily some kind of high standard there worth preserving. When a good job was done I leave it alone (simply because it doesn't need my help) and when a crappy job was done I fix it, with no remorse. If the original sucks then it's also going to suck with gain. :-)
I don't mess with my EQ because we all know Ipod's have a crappy EQ not because I'm trying to hear it as "the engineer intended"
EQ is for adjusting the final sound signature to your liking. We lot aren't in pro-audio business (correct me if I'm wrong) where they have freakin' response compensation right on the speakers.
Even if your source and amp (DAC maybe) has perfectly linear response, you still need to take into account the fact that synergy is a factor. HeadRoom graphs show some variations in terms of impedance vs. frequency, but that's a reference. So listen as the engineer wanted? What if he wanted bloated bass?
darn it...but i love my 160gb ipod classic no matter what, love having a dinosaur in my pocket (wink wink)
Dinosaur? The first thing that came into mind was "Someone go call Kirosia"...
A twetter and a boomer? None of my speakers have those! :-P


Me too - same era, roughly the same kind of gear, no doubt the same aspirations. We were coming out of the straightforward "High Fidelity" period, and we were all heading for the same goal, more or less - the uncolored reproduction of the original sound, the straight wire with gain, or however else it was expressed.
But - and here's where I disagree with the writer - the recording industry lost the "High Fidelity" memo around that time. We've had 40 years of increasingly hard, bright, brash, forward and compressed recordings since then. It has gotten ludicrously out of hand. A 1960s engineer wouldn't even recognize what's being released these days.
So - purely out of self defense - I reserve the right to color my sound just as much as it takes to make listening fun again. I'm completely unapologetic about bending the curve back toward what it ought to be. And who is to say I'm wrong? As an end result, why is the faithful, undistorted reproduction of awful software "better" than some careful compensation? I want the audio reaching my ears to sound like decent practices were involved in its production, and I'll get there any way I can.
ILikeMusic: Hey! I've got a 1040, and I pulled it out for the first time in four months yesterday! Testing it before selling it, 'cause I don't really use it very often - and a little Dayton DTA-1 displaced it as a desktop amp.
Better looking than it sounds though, I think. Not quite as clean as later solid state amps, but nice and warm in signature (there we go back to that debate). Great headamp though. I do hate those speaker terminals so though....
InnerSpace:
Couldn't have said it better myself. Actually, I'm surprised to find myself using EQs for rather bright (but otherwise excellent) bookshelf speakers lately. It's not something I would have done in the past, but it's amazing what a difference it makes.
He's right for the most part. I wouldn't say that "distortion" is what modern hifi is about, though.