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AKG k701 bass - Page 2

post #16 of 21

"Point: I'd rather hear my gear than their gear."

 

Well, you're going to wind up hearing a combination of both. And since each recording adds color to some degree, who knows if the color your headphone adds will clash or compliment. You're safer with a relatively 'colorless' phone being more suitable to a wider variety of recordings, IMO. If you want to add the same color to every single recording, then be my guest. There's no 'wrong' or 'right' when it comes to subjective taste. I listen to a lot of acoustic jazz so I prefer tol go with as transparent as I can get. I've played and listened to enough live jazz to know what acoustic instruments sound like in real life. The microphones in the studio add a bit of color, the room, the monitors, etc. but a well recorded jazz piano still sounds darn close to a piano in real life.....and if it didin't I wouldn't want to have a different set of headphones to suit the color of each piano in each different recording!
 

"Our eyes are similarly calibrated. Our ears vary a great deal more." How do you know that I see green or red the same way you do?

As for the fact that we all hear differently....that's a given. I want to hear acoustic recordings that sound true to life with 'my' ears, not yours, so I pick a headphone or speaker accordingly.

 

Originally Posted by Mercuttio View Post

I've heard this argument many times before, and find it incredibly lacking. You're comparing apples to oranges, for start. Our eyes are similarly calibrated. Our ears vary a great deal more.

 

Second, have you heard modern recordings? We're not just going from Artist -> Headphones -> Ears here. The "music in itself" doesn't exist; it's been produced, molded, and modified on countless bits of equipment often with pitiful monitoring equipment. It's rarely 'as intended' and seldom made for those with high end equipment. And I'm not talking about just pop music here; I'm talking about darn near everything these days. It's naive to the process (a process I now have to participate in occasionally for work) to think that whatever comes on the disc is "pure music" plain and simple.

 

Point: I'd rather hear my gear than their gear. 

 

 

EDIT: I'm frequently reminded of a particular story from Sound by Singer in NYC. 50 Cent was in the store, and heard their RS1 a number of years ago. He loved it, and bought a pair for himself and every record producer that he was working with. Now, what are the odds that this has happened in other situations, and other people are mixing and using something as colored as an RS1 for their monitoring? Frankly, in that case, we have absolutely no idea as to the initial intent of the production. Should we buy the headphone we know was involved in specific circumstances each time? I won't lie, it's partially why I own a 271 MK II variant: I know that every Radiohead album for the past several years has been used in their production and I like to know that I'm listening to it as they heard it in the studio. But other cases? I'll color the music how I like it. I'm a hypocrite, I know.



 



 

post #17 of 21

I'd rather start with an accurate sound and color vs a colored sound trying to make it accurate.

post #18 of 21
Quote:
Originally Posted by Happy Camper View Post

I'd rather start with an accurate sound and color vs a colored sound trying to make it accurate.

 

 

Personally, I'm a fan of neutral-sounding cans (my default EQ with my K242s drops off in the mid-bass area and spikes the treble, so as to make the cans sound more neutral). However, depending on the genre of music I'm listening to, I may let the K242's naturally boomy bass and weak (I'm sorry for the word) treble show themselves; rock music has been too fatiguing for me lately, what with all the cymbal clashes and whatnot :))

 

I think that people should look for cans that naturally have frequency responses pleasing to them. EQ'ing should only really be resorted to when you want to modify the sound sig to suit other genres; in my case, my only pair of working cans (IEMs not included) are too warm-sounding for classical and too soft for rock, so I abuse foobar's EQing ability when listening to those genres XD

post #19 of 21
Quote:
Originally Posted by LizardKing1 View Post

One thing I never understood is why EQing is so badly seen on this forum. I know it's not the perfect solution, since you're forcing a headphone with a certain sound signature to reproduce music which has had some parts of it emphasized or de-emphasized, thus fooling the signature. It's a lie yes. But does it sound bad? Do most headphones respond badly to EQing? Or is it just audio ethics?

 

And if you had to EQ, would a regular media-player EQ be ok, like foobar's, or would you need a specific EQin program?

 

Sorry for threadjacking, but EQ was brought up and my curiosity burst.



Because many audiophiles don't understand how EQ works. They might have tried EQ and and inserted positive gain and got clipping and it was a bad experience for them, so they rule out EQ. In the loudspeaker world, EQ is a necessity for calibration.

To really hear the K701, I recommend the Objective2.

post #20 of 21
Quote:
Originally Posted by delusionist View Post



Because many audiophiles don't understand how EQ works. They might have tried EQ and and inserted positive gain and got clipping and it was a bad experience for them, so they rule out EQ. In the loudspeaker world, EQ is a necessity for calibration.

To really hear the K701, I recommend the Objective2.


Personally I dislike using EQ because it adds another processing step with potential loss of information/accuracy.

post #21 of 21
Quote:
Originally Posted by saintyoo View Post

I just got the k701's this monday and have burned them in for approximately 60 hours (using music/white/pink noise with periods of rest). I'm running these from my laptop->fiio e7-> vintage kenwood ka6004 (1970's i think)-> k701's. The first thing i notice is the harsh treble out of the box (which is going away with burn in), the huge sound stage ,and clarity. Another thing i noticed is that the 701's had a ton of bass, ALMOST at the same level as my pair of m50's but the bass had no impact and little control. I was puzzled since the 701's are notorious for being bass light and all of my eq settings were flat (or off). Out of curiosity I plugged the 701's straight into the e7's and there it was, the treble heavy, base light sound signature I was expecting. So obviously the old kenwood solid state had a very colored sound and provided loads of power to the 701's (meaning that half of the criticisms of the 701's are based on incorrect or non synergistic amping).


I originally bought the 701 mainly for analytical listening and planned on using the m50's for regular listening. The amp made the 701's a lot more musical so I found that I was using them even for easy listening and not just analytical listening (although the huge sound stage, as many stated do hinder in its ability to pull you into the music). However this created a whole other problem. The shine, the sparkle, the liquid clarity of the treble, although still there, was being overshadowed due to the coloration of the bass added by the amp. Now I do notice a little as burn in continues that the control of the bass is being refined.

I was going go with a e9/e7 combo in the near future but for now I'm stuck with the kenwood amp. Is the e9 just as colored as the kenwood or does it have a much more nuetral/flat sound? And if i do pair it with a e9 will the bass be too thin or just right. I'm really looking for neutrality/clarity and to bring out the 701's full potential without breaking the bank (the 701's are said to be somewhat like 10% bass lean). Can anyone think of any immediate solutions (not buying an amp, no modding ,no recabling) ?

Mind you i'm a poor college student.

Have considered that the 10 ohm E9 output impedance of your amp is interacting with the 62 ohm K701 impedance altering the bass response?
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