ALRAINBOW
Headphoneus Supremus
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Read below it's a great read. Part 1
Subject: [New post] Flat Stuff Part 1
New post on PS Audio
Flat Stuff Part 1
by Andrew Benjamin
PART I
As one who will not suffer poor execution and even less hype or foolishness, I wanted to make the following as fair and balanced as my earlier comments were. I think I had covered both sides of the bipolarity inherent in the subject under test in this comprehensive two part essay that deals not only with a product of unusual excellence, but with what other reviews fail to tell their readers: how to use such products profitably.
Meaning, how to get more out of the product than even the designer had attained.
Can one argue that your loudspeakers and or headphones contribute more or less 80% to the sound you hear? That does not mean that the source and power components are not contributory to what makes the whole better, or that you can’t mismatch these parts and get away with it. It merely suggests a counter to Ivor Tiefenbrunn (Linn Sondek) who was selling turntables to the tune of millions of dollars and told us that the source is the be all and end all. What he said was only partially, not wholly, true; and my thinking is that a return to the old wisdom covering this matter, meaning the opposite of Ivor’s words, are closer to reality.
The fact is, a $100,000 quality loudspeaker driven by $20,000 worth of quality electronics/front end will sound better than a quality $2000 loudspeaker driven by $10,000 (or 20K/100K) electronics/source components…keeping the proportion the same so to speak, even if multiplied tenfold. The formula works with headphones. The proportion more or less remains the same…however the cost of personal audio may be 1-5% total of an equivalent loudspeaker based system and more or less just as satisfying once we had accepted the limitations inherent in both. For loudspeakers, the room’s influence sabotages the best efforts in placement and performance; for headphones the lack of air flapping the bottoms of your pants and the luxurious frontal imaging will be missed. Other benefits however accrue to head cans and new software solutions for out-of-the-head listening are becoming available.[2]
Noted is the report that in 2013 the headphone/in-ear-monitor market ALONE had sales ten times the size of the entire high end audio market. That fact makes our New World Order worthy of noticing.
Noted that among high end headphones taken seriously by the cognoscenti, there may be no more than seven well-known brands with three to four sitting perched on the mountaintop; and among these there are no more than 3 to 5 models for each brand…or just one.
Noted that among headphone types (and I exclude armature-driven IEMs for the sake of space and another take) there are four brands that have reached the pinnacle; only one brand makes electrostatics, the others are so-called ‘ORTHODYNAMICS.’ Using a variant of ribbon and/or Maneplanar type drivers orthos employ an etched conductive pattern bonded to a thin mylar or a similar-kind material, a membrane or “diaphragm” stretched within a rigid frame, centered between perforated headers/stators for bipolar front and back radiation/operation. The exception is the Abyss, and it pays for the poor decision to go unipolar, see the mixed reviews and comments later.
We are speaking of the STAX (ES), The Abyss, Hi-Fi Man, Fostex/Denon and Audez’e (pronounced Odyssey), the subject of this essay.
Experienced reviewers will find that there’s no such thing as FLAT frequency response for any headphone out of the box. Frequency response is but one significant component of the performance “whole”, for which characteristic other characteristics are often mistakenly attributed. Meaning that a bright can can be interpreted as possessing more detail or more transparency. In the real world some cans are flatter than others, some are flatter in just a few areas. From earlier, we know that accurate frequency response mathematically translates into accurate pulse and phase response, making whole of what was possibly fractured before. More on this theme from this writer here Freq you too! ; here Freq you too part 2 ; here Freq you too part 3; from Paul McGowan here Whole matters; and Numbers 4, 6-9 at "The State of Flagships"[3]
All models in Audez’e’s line measure flat within the bandwidth of normal human hearing, says its maker, and it provides an individual chart for each can to prove it. Yet each sounds different, one from the other, and from other brand’s “flat-measuring” headphones, some of which will sound flatter at your ears than possibly the Audez’e…yet fall flat otherwise: Fostex for example. My purpose here is not to merely provide you with my impressions about how any headphone sounds, be it any of the brands mentioned, or my personal preferences. And yes Virginia, I have them too. The purpose here is to provide you with an overview and the means for how you could make any headphone perform waaaay beyond the potential the manufacturer built into it.
When I say that there’s no such thing as flat, I mean flat at your eardrums, not at the measurement mics. The ear cavity has enough variation between individuals to render each cavity a resonance chamber with its own peculiar characteristics, free of flatness and the possibility of measurement consistency. There’s a lot about measuring earphones we simply don’t understand and for which our designers merely guess at using trial and error means. Meanwhile, the legacy brands developed significant proprietary technologies over their history to reliably measure their products well; I speak of Shure, Sennheiser, Beyer Dynamic, Grado, Stax and a few others. The new guys on the block however, the aforementioned Audeze, HiFi Man and Abyss may have neither the capital, history, nor the equipment/lab space yet, to have matched the legacy brands’ labs infrastructure investments. What the new boys haven’t yet achieved financially, however, was balanced (pun intended) by their simple technology very astutely executed, backed by oodles of creativity, street smarts, drive and talent.
It is common knowledge that the new kids had surpassed the older brands by enough of a margin to have significantly marginalized them as of the date of writing this tome.
It should be clear at the outset that I have never heard a “flat” headphone or earbud. Or loudspeaker for that matter. I had heard flatter and flattest. Earlier I may have convinced myself I’m hearing flat; but today I know better that it’ll be up to moi to make flat what was earlier “bent” out of shape.
Every headphone, IEM and speaker system require careful ‘voicing’ for the room - and for the ear. Voicing can mean a lot of things (other than voicing at the design stage), but for our purposes it means altering frequency/phase response and crosstalk effects (for speakers positioning) or using DSP - parametric equalization and other mechanism - which, today is an absolute necessity to attain Audio Nirvana. So that one does not reinterpret my thoughts out of the context I am using them, I do not imply that ‘good sound’ cannot be obtained without DSP and/or other means, positioning, etc.; I mean that with DSP you will achieve better sound more often than not, a sonic gestalt that will be significantly clearer, more dynamic, transparent and detailed, with a closer connection to the music and the venue. Put another way, without DSP you will not even come close to mining your earphone’s potential. For more on DSP refer to i-Zotope’s Ozone Dithering Guide.[4]
Typical music playing (resampling) software includes “modules” to serving different purposes for manipulating the signal. Audivarna has them, Amarra and Pure Music too. For this review I chose Audiofile Engineering’s Fidelia (I also tried Audirvana). Because of its two easy to use features other than dither adjustments I mean, found on the interface and piggy backed onto the iZotope resampler code and its reputed top-quality sound, Fidelia was my choice. The first is its three band parametric equalizer (I wish it had more bands, but three is really enough for most purposes, so far adequate for mine.) The second is FHX, Fidelia’s proprietary adjustable phase angle and cross feed headphone module that I find indispensable for headphonista listening. To the best of my knowledge other software brands have not yet provided it its customers.[5] The last has a significant edge over other resampling software for me to stick with it for the here and now. Hopefully down the road Fidelia too will incorporate integer mode such as Audivarna’s; integer mode peels away another layer of, digging deeper into Core Audio in OSX.[6] Put it this way: you might feel excruciating withdrawal pains trying to switch away from FHX.
Crossfeed, the natural kind, occurs in reality, and arguably putting it back into the listening experience adds layers of spatial reality under normal headphone restrictions.
To understand flat better we need to have had experience with the sound of real instruments in real space….or a facsimile of, on good recordings. Accordingly, I chose recordings wherein instruments and voices familiar to most of us cover enough range to offer adequate insight into making DSP corrections by ear. Yes, the ear is good enough, perhaps better than any instrument that we now have that, if it could measure what flat might be at the eardrums at all or what we believe is flat – it can’t – it will still be subject to variable loudness levels and the masking that occurs at different/lower volume levels. As in, what we hear as ‘flat’ is connected to loudness (see Fletcher-Munson.)
You will know flat when you hear 2.31 minutes of the trombone intro into Mahler’s Third in D-minor 1B with Esa-Pekka Salonen and the LA Philharmonic …for you should hear each instrument interplay freely within the massed ensembles underpinning the full weight of this world class orchestra; the brasses shaking hands with the drawn basses as they fade out at the end of this memorable and sublime movement - one of my favorites. It’s simple: when you deviate from flat you lose information. Conversely, when you achieve flat frequency response you retain better transient, phase and dimensional response and more detail. And G-d is in the details, we all should know. The Chosen Ones:
Janos Starker cello; Gyorgy Sebok piano – Suites for cello: 24 bit download
Glen Gould – Goldberg variations: 24 bit download
Dick Hyman – From the Age of Swing: 24 bit download
Dunedin Consort – Brandenburg No. 3: 192/24
Harris-Hamilton Quintet – At Last: 24 bit download
John Sebastian/David Grisman – Satisfied: 24 bit download
Prokovief-Alexander Nevsky Op. 78, Reiner/Chicago: rip
Rutter Requiem – Turtle Creek Chorale/Dallas Symphony – Seelig: rip
Bartok –Dance of the Princess with the Wooden Doll; Dorati-LSO: fantastic rip!
10.10-300 CD rips and hi rez downloads not listed here
For the listening impressions go to Part II
Andrew Benjamin | January 28, 2014 at 5:05 pm | URL: http://wp.me/p1zeHt-3pl
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