maverickronin
Headphoneus Supremus
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The diary entries of a little girl in her 30s! ~ Part 2
- Thread starter MuppetFace
- Start date
james444
Headphoneus Supremus
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Quote:
This coming from someone who owns the FI-BA-SS?
Quote:
It's funny, considering that those who questioned coherence in multi-BAs have been told over and over, that phase/time alignment is a problem that doesn't exist. Actually, "funny" isn't quite the right word.
Quote:
I'd be fine with that FR for mobile use, considering that isolation is probably not the best.
Quote:
+3, stay save.
This coming from someone who owns the FI-BA-SS?
Quote:
It's funny, considering that those who questioned coherence in multi-BAs have been told over and over, that phase/time alignment is a problem that doesn't exist. Actually, "funny" isn't quite the right word.
Quote:
I'd be fine with that FR for mobile use, considering that isolation is probably not the best.
Quote:
+3, stay save.
tomscy2000
Headphoneus Supremus
Quote:
I plead the fifth.
Seriously, though, Ultrasone is off the rocker. Insanity shouldn't be allowed for any company other than FAD.
Well, it wasn't a problem until Jerry Harvey rid the world of it.
It's actually funny how perfectly U-shaped that FR is... I'm sure it'll sound quite nice, though.
Yes, I made a joke earlier to a colleague that since I'm a west coaster, I wouldn't miss the east coast disappearing overnight. In retrospect, it wasn't such a funny quip.
This coming from someone who owns the FI-BA-SS?
It's funny, considering that those who questioned coherence in multi-BAs have been told over and over, that phase/time alignment is a problem that doesn't exist. Actually, "funny" isn't quite the right word.
I'd be fine with that FR for mobile use, considering that isolation is probably not the best.
+3, stay save.
I plead the fifth.
Well, it wasn't a problem until Jerry Harvey rid the world of it.
It's actually funny how perfectly U-shaped that FR is... I'm sure it'll sound quite nice, though.
Yes, I made a joke earlier to a colleague that since I'm a west coaster, I wouldn't miss the east coast disappearing overnight. In retrospect, it wasn't such a funny quip.
ardgedee
Headphoneus Supremus
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Can't tell if those decorations are glued on or if they're actually part of the acrylic cap.
I'd mostly be afraid of the little decorations getting chipped off every time I try to insert or remove the IEMs. And then nightmares about the bits getting stuck in my ear canal.
I'd mostly be afraid of the little decorations getting chipped off every time I try to insert or remove the IEMs. And then nightmares about the bits getting stuck in my ear canal.
ardgedee
Headphoneus Supremus
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We're south of Sandy here, and have still had unseasonably cold, windy rainy weather for a couple days. Most of my siblings are in the hurricane's path; only one of them have checked in with an all-clear since Sunday, so I'm a little worried.
veyrongatti
Headphoneus Supremus
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ardgedee
Headphoneus Supremus
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Quote:
Phase rotation is a real issue, particularly in complex speakers with many crossover points with high-order bandpass, which most big-ticket custom IEMs effectively are. High-order bandpass circuits can induce weird and hard to control phase shifts, though most IEMs I've seen use a combination of crossover electronics and acoustic filters. I don't know if acoustic filters can induce phasing.
On the other hand... The distance from the back to front of a custom IEM might only be 20mm if it has deep canal insertion, and a 20kHz sound wavelength is 17mm. I estimate the longest sound guide tube in my new customs is about 30mm -- the earpiece is about 20mm long from tip (it inserts deeply into the ear canal) to the inside back plate) -- the tube goes up the ear canal and bends around parallel to the back plate before joining the driver -- and these are unusually large earpieces. I don't know how well you can compensate for phase rotation by fiddling with tube lengths, and affecting signal coherence (eg, the timing due to sound having to travel farther) at anything short of ultrasonic frequencies has to be negligible. This is unlike full-sized speakers, where the curved surfaces of various drivers spaced centimeters apart can make it challenging to ensure all frequencies in a sound pulse can reach the ears nigh-simultaneously, and is why multi-driver speaker companies like Dynaudio and Wilson tend to towering monoliths with narrow profiles and staggered arrays designed to beam towards a relatively small sweet spot in the room.
Well, it wasn't a problem until Jerry Harvey rid the world of it.
Phase rotation is a real issue, particularly in complex speakers with many crossover points with high-order bandpass, which most big-ticket custom IEMs effectively are. High-order bandpass circuits can induce weird and hard to control phase shifts, though most IEMs I've seen use a combination of crossover electronics and acoustic filters. I don't know if acoustic filters can induce phasing.
On the other hand... The distance from the back to front of a custom IEM might only be 20mm if it has deep canal insertion, and a 20kHz sound wavelength is 17mm. I estimate the longest sound guide tube in my new customs is about 30mm -- the earpiece is about 20mm long from tip (it inserts deeply into the ear canal) to the inside back plate) -- the tube goes up the ear canal and bends around parallel to the back plate before joining the driver -- and these are unusually large earpieces. I don't know how well you can compensate for phase rotation by fiddling with tube lengths, and affecting signal coherence (eg, the timing due to sound having to travel farther) at anything short of ultrasonic frequencies has to be negligible. This is unlike full-sized speakers, where the curved surfaces of various drivers spaced centimeters apart can make it challenging to ensure all frequencies in a sound pulse can reach the ears nigh-simultaneously, and is why multi-driver speaker companies like Dynaudio and Wilson tend to towering monoliths with narrow profiles and staggered arrays designed to beam towards a relatively small sweet spot in the room.
tomscy2000
Headphoneus Supremus
Well, I meant to say that manufacturers (including JH) were content to say, "Yes, there are tiny little timing and phase differences, but you'll never hear them!" back in the day, and now, he's saying, "Oh yes, it makes a world of a difference!" Yes, high-order crossovers definitely induce phase shifts, of which I fail to understand how it can be corrected by a waveguide. Also, the space constraints you mentioned are very valid as well.
C.C.S.
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How much do these phase shifts affect the sound of something like a custom IEM, though? I've heard about some people having issues with coherency on models from a few years ago, but with most of the newest customs out there, things seem to have improved and I don't hear about it as being a significant problem anymore. Or, at least, it isn't talked about as much as it used to be. Have things already improved a bit in this area with most custom IEMs or was the problem relatively subtle to begin with?
ardgedee
Headphoneus Supremus
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I find it interesting that Sennheiser repeatedly cites problems with coherence as the principle reason why they never use multiple drivers in their headphones and earpieces. They tend to be quite serious about their engineering and avoid pseudoscientific design rationales. The chambers and ports around the single driver in the 800 IEM would split the distances various waves travel by a greater amount than various driver ducts would, so I'm not quite sure what's up in that regard. And it does lead me to wonder whether there is more to Jerry Harvey's claims than I'm giving him credit for.
Mostly it makes me realize that I know less than I think I know.
Mostly it makes me realize that I know less than I think I know.
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Quote:
Some would say that you have now taken the first step towards wisdom, with this realization.
Some would say that you have now taken the first step towards wisdom, with this realization.
MuppetFace
A Special Snowflake
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Dear Diary,
The fall season is here finally where I live, and the temperatures have mercifully abated somewhat. My heart goes out to those people on the east coast in the path of Sandy; the hurricane season is often tumultuous here near the Gulf, so I can sympathize.
I told myself I'd never start a diary entry off talking about the weather.
I've been devouring Slavoj Zizek's new book, Less Than Nothing, which is more or less his Summa. At some 1000+ pages it's quite an impressive tome, but Zizek has a penchant for engaging his audience and making the topics he treats therein appealing. When I was an undergraduate and still keenly interested in psychoanalysis, Zizek was more or less my master (and through him, Lacan). I even considered myself a Lacanian for a spell. While I've since distanced myself from his philosophy, I still find myself returning to his latest endeavors, almost like a repetition compulsion appropriately enough (and in this sense, the more I distance myself from it, the more I probably am a Zizekian!). Personally, I prefer his earlier work which focused more on ideology and had more of an Althusserian bent to it.
In December I'll be giving a series of lectures, a prospect that is at once both exciting and terrifying. The subject is a general overview of the readings of Hegel in the 20th century by Kojeve, Adorno, Zizek, etc. and the (im)possibility of orthodox theology appropriating Hegel.
* * * * * * *
My Liquid Lightning should be shipping out this week, and I'm quite anxious to hear it again, as I've been missing it quite a bit ever since sending the demo unit off to another head-fier. As I mentioned previously, I placed a down payment on the BHSE as well; I've been working with Justin to get custom colored plates--- seafoam green, to be exact. My favorite color. Now if Craig would finally open up his pre-order list for the Electra, my electrostatic amp trifecta will be complete.
With regard to my current setup, I'd like to pair down my collection of amps to three or four on the electrostatic front: the LL, BHSE, Electra, and either my current KGSS or possibly a KGSSHV (having spoken to some folks, professional builds of the later may be on the horizon). For dynamics, I'm aiming toward a single pair: a PX4 tube amp (the Balancing Act most likely, though I have something of an unhealthy fixation on the Apex Pinnacle) and a solid state megalith (preferably a single box solution like the Cavalli Liquid Gold or the new Luxman P-700u to replace my two-box Rockhopper build of the Beta 22).
I'm also going to spring for a DAC upgrade at some point, and I've got my eye on the Resolution Cantata, Resonessence Invicta, and NAD M51 as possibilities.
Ultimately, my plan is to have the seafoam BHSE aka Green Hawaii in my bedroom, while the solid state LL and LAu will be in the office / study. The two Eddie Currents will go in my primary listening room along with my other gear: turntable, redbook player, integrated amp (Audio Space Ref. 3.1 ...?) and transformers.
A major impetus behind the streamlining of my collection is next year's move that will be forthcoming. My future living arrangements are still somewhat nebulous at this point, so I don't want to commit to anything too over-the-top like a set of floor speakers until after I have a better idea of how things are going to materialize. Plus the prospect of moving a ton of gear isn't very appealing. By the time the Electra and BHSE are ready to ship, I'll probably be at the new address anyway.
* * * * * * *
Aside from that I'm still waiting on the new Jecklins to be finished. I haven't received any requests for the remainder of the cost, so they still seem to be a ways away. Also waiting on my FAD Heaven VI order to ship.
The ESW11LTD is available for pre-order at some importer sites now, and it's really too expensive to recommend to others once shipping is factored (and prior to that, TBH). Still, as a collector of wooden ATs I had to bite. I've also got the Stax SR-002 / SRM-002 on order. Really looking forward to it.
The gear-related question I'm most struggling with ATM however is whether or not to go for the FitEar Monet. I can use a proxy to have my ear impressions sent to FitEar, so that's not the primary concern, though I must again reiterate my intense aversion to the custom fitting process. The biggest issue for me is the price I was quoted for the Monet: roughly $2200 USD. I know FitEar's customs are always uber-expensive, especially when the import costs are factored into the equation, but...
Yikes.
Then there's the new Ocharaku Flat-4. Not sure what has been done relative to the original Flat-4 regarding its internal build, but the new version has a wood housing and comes in a fancy wood box. That's pretty much the only difference from what I can tell (though I may very well be mistaken). Despite this, the new Flat-4 is roughly $900 USD. That's a lot more than I was expecting, especially as the "old" Flat-4 was around $500 USD. Apparently this new model is going to be extremely limited and not distributed widely due to its costs. Why am I having flashbacks of the Muramasa VIII? LOL.
I know much has been said about the current audio market's trends, but I feel the need to reiterate that I'm not particularly keen on the way things are going. Prices continue to climb, and companies are justifying the price hikes more in terms of exclusivity---of materials, manufacturing, distribution---than ever before. I feel as though the only real innovation going on in the market is in IEMs and DACs.
I, for one, am glad that small companies are producing interesting products. I also appreciate that R&D costs are extremely high, and smaller companies can't really recoup those costs like larger ones, and so they end up charging more for their products. Plus a lot of it is hand-assembled. I get that.
However I also can't help but feel as though some of these companies feel justified in charging so much because the audiophile market is ripe and audiophiles seem like they'll buy anything and pay anything for it. There is something to be said for working within constraints and setting a certain upward bound on what is acceptable. Say you've got a new $5000 headphone. Now, instead of saying "this is unacceptable" and either a.) trying to budget more carefully or b.) taking more of a profit hit and recouping it later in some other way, I see certain manufacturers throwing in headphone stands and display boxes to "justify" the price. Or saying it's limited to only 1000 examples. Or saying it's made with wood from the rainforest or has nano-composite this or that in its drivers.
Of course, part of me also likes when companies pull out all the stops and design something truly incredible. I've certainly expressed my fondness for statement products time and again. The unfortunate thing is, a lot of these uber-expensive products AREN'T that great. They aren't "no compromise" so much as compromises wrapped up in a fancy hyperbolic packaging and extruded into the market. The other problem is a sort of trickle-down effect: while the summit-fi stuff is obviously only targeted at a niche within a niche within a niche, it seems like that opens up a wider space between that tier of absurdity and more budget friendly stuff: that ever present yet difficult to define "mid-fi" zone. That space then gets filled, and the upward bound of it keeps shifting. Prices in general seem to be climbing which true innovation seems to be waning.
Obviously, there's only so much you can do in audio, and the innovations don't really move at the speed of certain other product sectors. It doesn't need to however. A lot of vintage gear still sounds impressive. I think innovation could be best felt as trying to make existing technology cheaper, rather than simply repackaging stuff in fancier and fancier clothing.
IEMs and DACs seem to be an exception, as I said.
And yes, as a collector I'm conflicted about the market. There are many facets I like engaging in this hobby, though as a whole my perspective seems to be changing, and I seem to be shying away from the pure collection and accruement aspect of things.
XoXo
The fall season is here finally where I live, and the temperatures have mercifully abated somewhat. My heart goes out to those people on the east coast in the path of Sandy; the hurricane season is often tumultuous here near the Gulf, so I can sympathize.
I told myself I'd never start a diary entry off talking about the weather.
I've been devouring Slavoj Zizek's new book, Less Than Nothing, which is more or less his Summa. At some 1000+ pages it's quite an impressive tome, but Zizek has a penchant for engaging his audience and making the topics he treats therein appealing. When I was an undergraduate and still keenly interested in psychoanalysis, Zizek was more or less my master (and through him, Lacan). I even considered myself a Lacanian for a spell. While I've since distanced myself from his philosophy, I still find myself returning to his latest endeavors, almost like a repetition compulsion appropriately enough (and in this sense, the more I distance myself from it, the more I probably am a Zizekian!). Personally, I prefer his earlier work which focused more on ideology and had more of an Althusserian bent to it.
In December I'll be giving a series of lectures, a prospect that is at once both exciting and terrifying. The subject is a general overview of the readings of Hegel in the 20th century by Kojeve, Adorno, Zizek, etc. and the (im)possibility of orthodox theology appropriating Hegel.
* * * * * * *
My Liquid Lightning should be shipping out this week, and I'm quite anxious to hear it again, as I've been missing it quite a bit ever since sending the demo unit off to another head-fier. As I mentioned previously, I placed a down payment on the BHSE as well; I've been working with Justin to get custom colored plates--- seafoam green, to be exact. My favorite color. Now if Craig would finally open up his pre-order list for the Electra, my electrostatic amp trifecta will be complete.
With regard to my current setup, I'd like to pair down my collection of amps to three or four on the electrostatic front: the LL, BHSE, Electra, and either my current KGSS or possibly a KGSSHV (having spoken to some folks, professional builds of the later may be on the horizon). For dynamics, I'm aiming toward a single pair: a PX4 tube amp (the Balancing Act most likely, though I have something of an unhealthy fixation on the Apex Pinnacle) and a solid state megalith (preferably a single box solution like the Cavalli Liquid Gold or the new Luxman P-700u to replace my two-box Rockhopper build of the Beta 22).
I'm also going to spring for a DAC upgrade at some point, and I've got my eye on the Resolution Cantata, Resonessence Invicta, and NAD M51 as possibilities.
Ultimately, my plan is to have the seafoam BHSE aka Green Hawaii in my bedroom, while the solid state LL and LAu will be in the office / study. The two Eddie Currents will go in my primary listening room along with my other gear: turntable, redbook player, integrated amp (Audio Space Ref. 3.1 ...?) and transformers.
A major impetus behind the streamlining of my collection is next year's move that will be forthcoming. My future living arrangements are still somewhat nebulous at this point, so I don't want to commit to anything too over-the-top like a set of floor speakers until after I have a better idea of how things are going to materialize. Plus the prospect of moving a ton of gear isn't very appealing. By the time the Electra and BHSE are ready to ship, I'll probably be at the new address anyway.
* * * * * * *
Aside from that I'm still waiting on the new Jecklins to be finished. I haven't received any requests for the remainder of the cost, so they still seem to be a ways away. Also waiting on my FAD Heaven VI order to ship.
The ESW11LTD is available for pre-order at some importer sites now, and it's really too expensive to recommend to others once shipping is factored (and prior to that, TBH). Still, as a collector of wooden ATs I had to bite. I've also got the Stax SR-002 / SRM-002 on order. Really looking forward to it.
The gear-related question I'm most struggling with ATM however is whether or not to go for the FitEar Monet. I can use a proxy to have my ear impressions sent to FitEar, so that's not the primary concern, though I must again reiterate my intense aversion to the custom fitting process. The biggest issue for me is the price I was quoted for the Monet: roughly $2200 USD. I know FitEar's customs are always uber-expensive, especially when the import costs are factored into the equation, but...
Yikes.
Then there's the new Ocharaku Flat-4. Not sure what has been done relative to the original Flat-4 regarding its internal build, but the new version has a wood housing and comes in a fancy wood box. That's pretty much the only difference from what I can tell (though I may very well be mistaken). Despite this, the new Flat-4 is roughly $900 USD. That's a lot more than I was expecting, especially as the "old" Flat-4 was around $500 USD. Apparently this new model is going to be extremely limited and not distributed widely due to its costs. Why am I having flashbacks of the Muramasa VIII? LOL.
I know much has been said about the current audio market's trends, but I feel the need to reiterate that I'm not particularly keen on the way things are going. Prices continue to climb, and companies are justifying the price hikes more in terms of exclusivity---of materials, manufacturing, distribution---than ever before. I feel as though the only real innovation going on in the market is in IEMs and DACs.
I, for one, am glad that small companies are producing interesting products. I also appreciate that R&D costs are extremely high, and smaller companies can't really recoup those costs like larger ones, and so they end up charging more for their products. Plus a lot of it is hand-assembled. I get that.
However I also can't help but feel as though some of these companies feel justified in charging so much because the audiophile market is ripe and audiophiles seem like they'll buy anything and pay anything for it. There is something to be said for working within constraints and setting a certain upward bound on what is acceptable. Say you've got a new $5000 headphone. Now, instead of saying "this is unacceptable" and either a.) trying to budget more carefully or b.) taking more of a profit hit and recouping it later in some other way, I see certain manufacturers throwing in headphone stands and display boxes to "justify" the price. Or saying it's limited to only 1000 examples. Or saying it's made with wood from the rainforest or has nano-composite this or that in its drivers.
Of course, part of me also likes when companies pull out all the stops and design something truly incredible. I've certainly expressed my fondness for statement products time and again. The unfortunate thing is, a lot of these uber-expensive products AREN'T that great. They aren't "no compromise" so much as compromises wrapped up in a fancy hyperbolic packaging and extruded into the market. The other problem is a sort of trickle-down effect: while the summit-fi stuff is obviously only targeted at a niche within a niche within a niche, it seems like that opens up a wider space between that tier of absurdity and more budget friendly stuff: that ever present yet difficult to define "mid-fi" zone. That space then gets filled, and the upward bound of it keeps shifting. Prices in general seem to be climbing which true innovation seems to be waning.
Obviously, there's only so much you can do in audio, and the innovations don't really move at the speed of certain other product sectors. It doesn't need to however. A lot of vintage gear still sounds impressive. I think innovation could be best felt as trying to make existing technology cheaper, rather than simply repackaging stuff in fancier and fancier clothing.
IEMs and DACs seem to be an exception, as I said.
And yes, as a collector I'm conflicted about the market. There are many facets I like engaging in this hobby, though as a whole my perspective seems to be changing, and I seem to be shying away from the pure collection and accruement aspect of things.
XoXo
333jeffery
100+ Head-Fier
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MF, you should try the Gungnir/Mjolnir combo from Schiit. It's quite exquisite sounding for a bargain price.
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Quote:
I am under the impression that the Monet is a niche product (well I suppose you can argue that everything from FitEar is niche) mainly targeted at the anime/manga fan demographic. I could be wrong but that's my understanding. Does that help you decide whether to go for it or not?
The anime/manga fan demographic is unusually large here in Japan, home of this type of media as it is. I'd be surprised if the Monet had a big market outside of Japan if it's mainly designed to reproduce that niche genre of audio.
I am under the impression that the Monet is a niche product (well I suppose you can argue that everything from FitEar is niche) mainly targeted at the anime/manga fan demographic. I could be wrong but that's my understanding. Does that help you decide whether to go for it or not?
The anime/manga fan demographic is unusually large here in Japan, home of this type of media as it is. I'd be surprised if the Monet had a big market outside of Japan if it's mainly designed to reproduce that niche genre of audio.
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