bkelly
100+ Head-Fier
- Joined
- May 26, 2002
- Posts
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- 0
Friends,
It's getting quite busy on this thread. Good, I think.
Let me answer everyone briefly.
MacDEF,
You're really getting onmy nerves. I usually am not mean in the slightest but in your case I may make an exception.
As you admit, it is painfully clear that you have never owned or extensively tested a pair of 590's. So your opinions are not even opinions but only vague impressions as far as I'm concerned. Nuff said about that
Regarding my "opinions" if you have something to say about something I said as fact that you can actually muster up an intelligent response to please go for it. Your attempts at just writing off everything I say as just my opinion is puerile nonsense (look it up if you actually have a dictionary, your constant misinterpretations of my comments makes me doubt it). I give you fair warning though, before you get all brave and start saying crazy stuff you should know that when it comes to music production I didn't just ride into town last night on a punkin'.
Fire away if you feel lucky.
Phil,
Your comments are a little different. Obviously you have some experience with this so my simplified explanations may be a little too simple for you. Never-the-less I stand my explanations as being essentially correct and in the end technically correct especially for the purpose of this discussion.
I don't know why anyone here is having trouble with the comment I made that the 600's compress the sound. Any audio device that surpress dynamic information can be said to be compressing it. Tubes do this and that is the term often used to descriibe the effect. However let use the word supress just for clarities sake. You've heard dull sounding drivers before. Would you not agreee that if the amplfiers were sending a full signal but all you heard was a the dull, lifeless result that the driver could be said to be surpressing the signal. That's all I said.
As far as the comments about compression go you are absolutely correct in your explanations of the uses for it. However, I will stick with my comment that it is used on the in the mastering process to makle everything sound like it all happened together (same place and the same time) is a qoute from Bob Ludwig who as you may know is arguably the most respected mastering engineer in history. At least one of them. I agree and the reason is simple. If you compress everything it tightens it up just as you explain and as a result it gives everything on the recording the same or a similar dynamic characteristic making it sound like it's all the same recording which I think you know, it's not. This is a simplified explanation but I think you know what I am talking about.
By the way, are you a guitar player?
Oh yes, I hate to hear compressors "cycling" on a record. I've got that problem with an old (unplayed) LP we are trying to move to CD. You can hear the program opening and closing in the background everytime it gets quiet.
Anyhow, your comments are appreciated. It's also good to have someone around familiar with the recording process.
Kelly,
I'm saving the best for last.
As I think you know I have a lot of respect for you and I give credence to a lot of thngs you say. I didn't buy the W2002 only because you sold yours. If you would have been satisfied with them I would have purchsed them with confidence. It's a fact, you are very, very picky but I love the effort you put into your listening experiences.
The mid-bass hump doesn't bother me so much but what does get on my nerves is how many 600 fans simply don't hear it. The one that does bug me is the upper mid recession. No one other than you has ever pointed this out that I know of and I'll add that it sounds grainy in this area too. This flaw is the one that is most responsible (the added soundstage is the worst) for my comments that instruments sound unreal to me on this headphone. Why I feel that the the pick attack, the string bowing and the stick hitting the drum is so suppressed.
As far as my amp goes I have several sets of highly disoreable tubes with it ("markl" description, I don't really know which ones are good) but it sounds so good I have not been morivated to start rolling the tubes. I've also heard that the Melos was not as sensitive to tube roiling as other amps are, anyway. If you have a different opinion I would be glad to hear it since I know you have both owned and like this model.
I need to go but I will be back tomorrow evening defending the good name of the Sennheiser HD590. I didn't intend to become the Patron Saint of the 590 but during my tenure I plan to see that this under-appreciated and well deserving model finally gets its just deserts.
Bifcake,
Your in the clear for awhile.
Love To One And All, (even MacDEF)
Brian, Patron Saint of the HD590
It's getting quite busy on this thread. Good, I think.
Let me answer everyone briefly.
MacDEF,
You're really getting onmy nerves. I usually am not mean in the slightest but in your case I may make an exception.
As you admit, it is painfully clear that you have never owned or extensively tested a pair of 590's. So your opinions are not even opinions but only vague impressions as far as I'm concerned. Nuff said about that
Regarding my "opinions" if you have something to say about something I said as fact that you can actually muster up an intelligent response to please go for it. Your attempts at just writing off everything I say as just my opinion is puerile nonsense (look it up if you actually have a dictionary, your constant misinterpretations of my comments makes me doubt it). I give you fair warning though, before you get all brave and start saying crazy stuff you should know that when it comes to music production I didn't just ride into town last night on a punkin'.
Fire away if you feel lucky.
Phil,
Your comments are a little different. Obviously you have some experience with this so my simplified explanations may be a little too simple for you. Never-the-less I stand my explanations as being essentially correct and in the end technically correct especially for the purpose of this discussion.
I don't know why anyone here is having trouble with the comment I made that the 600's compress the sound. Any audio device that surpress dynamic information can be said to be compressing it. Tubes do this and that is the term often used to descriibe the effect. However let use the word supress just for clarities sake. You've heard dull sounding drivers before. Would you not agreee that if the amplfiers were sending a full signal but all you heard was a the dull, lifeless result that the driver could be said to be surpressing the signal. That's all I said.
As far as the comments about compression go you are absolutely correct in your explanations of the uses for it. However, I will stick with my comment that it is used on the in the mastering process to makle everything sound like it all happened together (same place and the same time) is a qoute from Bob Ludwig who as you may know is arguably the most respected mastering engineer in history. At least one of them. I agree and the reason is simple. If you compress everything it tightens it up just as you explain and as a result it gives everything on the recording the same or a similar dynamic characteristic making it sound like it's all the same recording which I think you know, it's not. This is a simplified explanation but I think you know what I am talking about.
By the way, are you a guitar player?
Oh yes, I hate to hear compressors "cycling" on a record. I've got that problem with an old (unplayed) LP we are trying to move to CD. You can hear the program opening and closing in the background everytime it gets quiet.
Anyhow, your comments are appreciated. It's also good to have someone around familiar with the recording process.
Kelly,
I'm saving the best for last.
As I think you know I have a lot of respect for you and I give credence to a lot of thngs you say. I didn't buy the W2002 only because you sold yours. If you would have been satisfied with them I would have purchsed them with confidence. It's a fact, you are very, very picky but I love the effort you put into your listening experiences.
The mid-bass hump doesn't bother me so much but what does get on my nerves is how many 600 fans simply don't hear it. The one that does bug me is the upper mid recession. No one other than you has ever pointed this out that I know of and I'll add that it sounds grainy in this area too. This flaw is the one that is most responsible (the added soundstage is the worst) for my comments that instruments sound unreal to me on this headphone. Why I feel that the the pick attack, the string bowing and the stick hitting the drum is so suppressed.
As far as my amp goes I have several sets of highly disoreable tubes with it ("markl" description, I don't really know which ones are good) but it sounds so good I have not been morivated to start rolling the tubes. I've also heard that the Melos was not as sensitive to tube roiling as other amps are, anyway. If you have a different opinion I would be glad to hear it since I know you have both owned and like this model.
I need to go but I will be back tomorrow evening defending the good name of the Sennheiser HD590. I didn't intend to become the Patron Saint of the 590 but during my tenure I plan to see that this under-appreciated and well deserving model finally gets its just deserts.
Bifcake,
Your in the clear for awhile.
Love To One And All, (even MacDEF)
Brian, Patron Saint of the HD590