Reading the OP again (I seem to recall coming across it a while ago before the latest festivities), I'm reminded of my futile attempts to debunk the "White-box M50" myth. I'll try again one more time. I'm not picking on you, ssrock64. I'm just pointing this out because I actually know where the myth came from. I'd like everybody to take a look at
this Headfonia article and read it
very carefully. I'll quote the relevant portion here:
Quote:
Originally Written on Headfonia
The difference is very interesting, and me and Hadi thinks that the different production batches account for more difference between the two headphones than the burn-in did. Although the burn-in makes the new headphone smoother and improves the technicalities slightly, the different production batch literally gives us two slightly different versions of the M-50 sound. I asked some other enthusiasts to listen to the two fully burned M-50s. Some people can notice the difference, and some other cannot. So clearly, we’re talking about very subtle things here. And yet the difference due to the burn-in is even more marginal than the production batch difference.
They are
not saying there are two
consistently different versions of the M50 design. What they are saying is that the
production batch,
NOT a redesign or consistent manufacturing difference, produced a
single sample that differed
slightly from their
existing single sample. Think about it. How difficult would it be to make sure every single product in every single production run sounded exactly the same? If it could be done at all (I'm not sure it could--just look at the trouble Audeze and Beyer have had in recent times), it would require a considerable amount of testing and very tight tolerances on production. All of this would be very expensive. Could Audio-Technica really be expected to put all that effort into a $150 mass market design? Certainly not! The "differences" mentioned are not the fundamental, instantly recognizable ones frequently cited on HF. The author makes it clear that if he didn't have both samples right next to one another, he probably couldn't tell the difference. This is consistent with expected differences between samples or production runs--small and subtle, not fundamental, differences.
Now look at the picture at the top of the article page. It's a white box. Search the page and you'll see no mention of "white." The author never made a point of it, and nobody in the comments did, either. What clearly happened is a Head-Fi'er (no clue who) skimmed the article, looked at that picture, and thought
wow, the new one sounds different, and my M50 came in a blue box. The white box ones must be different! From there, it's easy enough to convince yourself that if you hear
any difference at all, of course you hear the same difference everybody else did (confirmation bias). And, to be honest, until this whole business broke, how many people went around listening to lots of different M50s to see if they could spot a difference between them?
At the time I'm sure the author had no clue this paragraph would spawn a piece of heavily quoted M50 lore. There was no mention of white box M50s before or when this article was published because I remember reading it before ever coming across a mention of the issue. If the phenomenon were already attested, the picture would have jogged my memory and the first thing I would have thought was, "Hmm, I wonder if this supposed difference between box colors might have played a part in their testing." And if not me,
somebody would have brought it up in the comments.
Hopefully all this didn't come across as irritable or condescending or anything like that. To be honest, I don't really care what people believe because I didn't like the M50 all that much to begin with. I'm just fascinated at how a chance paragraph could generate this whole mythos. In a way, it proves that our now-departed Z-man was right about us to an extent.