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Originally posted by Solude
Whether the crossfeed boosts the lows or reduces the highs, the result is the same. |
No, not even close to being the same. You're forgetting about the midrange, the upper mids, the lower treble, the upper bass, etc., etc., etc. There's a
very big difference between "boosting lows" and "reducing highs."
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The lows are higher than they are in the recording. Whether you prefer that is another topic, the fact remains that the signal has been molested. Audio design rule number one, DO NO HARM |
How do you define "harm?" Again, I don't think you understand what crossfeed does. The goal of a good crossfeed circuit is to make headphones sound more like a live performance or more like listening through speakers. In a live performance, or when listening to speakers, the treble response
is reduced due to many factors. Unless a recording was specifically mixed for headphones, headphones rarely provide the correct treble balance. In other words, what you may see as "treble reduction" can just as accurately be called "true to life treble." Some people don't like this tiny reduction in treble, and that's fine.
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I don't think you really understand what a crossfeed processor does if you think that it's useless on all but "heavily-panned old recordings." |
Simple fact of the matter is I have played with headphones on mid-fi equipment and found no reason to use crossfeed. |
Some people don't like crossfeed, that's fine. But your assertion that it's "useless on all buy heavily-panned old recordings" makes no sense and is clearly not true.
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The soundstage on my system does not gravitate towards left/right/centre. Playing DMB, Crash track 6, the opening drums are clearly placed both in width and depth correctly by the headphones. When I engage crossfeed the image falls apart overlapping drums onto each other. Those of us that play drums will recognise that we rarely overlap our drums, just makes rolls a little hard to pound out if your toms are layered instead of being inline |
This also shows how one's preference for crossfeed depends on one's preference for "soundstage." If you're standing on stage, right in front of the drum kit, the drum's soundstage is much wider than if you're sitting in front of the band. Personally, if I'm listening to a jazz drummer, I'm not on stage with him/her; I'm in the audience, taking in the whole band. With a
good crossfeed circuit, to me the soundstage is much more realistic and convincing. If you like extreme separation, crossfeed is not for you.