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A translation of an interesting article about where "Hi-Fi" is going - Page 2

post #16 of 28

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
post #17 of 28
Quote:
Originally Posted by castlevania32 View Post

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 ?

 

Obviously you haven't met Phiaton PS320

 

PS320-2.jpg
 

post #18 of 28
Thread Starter 

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.

post #19 of 28

 

There is a lot of truth in what he says. Makes me think back to my first days in high-fi in the 60's and 70's, started off with tube amps (that's all there was) and had a typical system in my teen years, in fact one that might be considered a classic 'vintage' setup these days (a Marantz 1060, Pioneer PL-12D, and larger Advent speakrs.) In the days of analog there was a significant difference in capability of various components at various price points, and even at the same price point. Careful selection was important and could make the difference between a good and great system, even with a similar price total.
 
Fast forward to today and the world of easily attainable +/- 0.1 dB 20-20,000 hz frequency response, 90 dB+ SNR, and zero wow, flutter, and rumble (what's rumble? :-). The fact is that there just isn't going to be much (if any) audible difference between equipment with specs like these. But you can't sell no difference so vendors and consumers alike go to painful ends to try to discern something, anything, to differentiate them, leading to the pretty amusing examples of this we see today. The last refuge is the physical transducer as there probably always will be differences there, it being the only remaining analog device in the chain. Well, amps operate in the analog domain as well, but as mentioned in the article those have gotten to be very good, to the point that the only differences are the imperfections.
 
So we are simultaneously both very fortunate to have very high quality (exceeding that which was physically possible at any price a few decades ago) for low prices, and cursed that this is turning hifi into a simple commodity purchase. But there will always be areas where superior knowledge will generate superior results so I think the hobby will always have a future.

Edited by ILikeMusic - 1/2/11 at 7:45pm
post #20 of 28
Quote:
Originally Posted by ILikeMusic View Post

There is a lot of truth in what he says. Makes me think back to my first days in high-fi in the 60's and 70's, started off with tube amps (that's all there was) and had a typical system in my teen years, in fact one that might be considered a classic 'vintage' setup these days (a Marantz 1060, Pioneer PL-12D, and larger Advent speakrs.) 

 

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.

post #21 of 28
Quote:
Originally Posted by InnerSpace View Post

 

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. :-)

post #22 of 28
Quote:
Originally Posted by ILikeMusic View Post



Quote:
Originally Posted by InnerSpace View Post

 

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"

post #23 of 28
Thread Starter 

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?

post #24 of 28
Quote:
Originally Posted by buffalowings View Post

I don't mess with my EQ because we all know Ipod's have a crappy EQ



Not anymore! (at least if you have a late-model Touch or iPhone.) Search for 'EQu'...

 

 

 

 

post #25 of 28
Quote:
Originally Posted by ILikeMusic View Post




Not anymore! (at least if you have a late-model Touch or iPhone.) Search for 'EQu'...

 

 

 

 



darn it...but i love my 160gb ipod classic no matter what, love having a dinosaur in my pocket (wink wink)

post #26 of 28
Thread Starter 

Dinosaur? The first thing that came into mind was "Someone go call Kirosia"...

post #27 of 28
Quote:
Originally Posted by castlevania32 View Post

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 ?

 

A twetter and a boomer?  None of my speakers have those!  :-P


 

Quote:
Originally Posted by InnerSpace View Post



Quote:
Originally Posted by ILikeMusic View Post

There is a lot of truth in what he says. Makes me think back to my first days in high-fi in the 60's and 70's, started off with tube amps (that's all there was) and had a typical system in my teen years, in fact one that might be considered a classic 'vintage' setup these days (a Marantz 1060, Pioneer PL-12D, and larger Advent speakrs.) 

 

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.

post #28 of 28

He's right for the most part. I wouldn't say that "distortion" is what modern hifi is about, though.


Edited by MrGreen - 1/3/11 at 6:07am
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