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Best Studio Headphones
Feb 6, 2014 at 10:13 PM Post #91 of 601
tmraven said:
  The 10% thd probably goes a long ways in making the 1840 seem more warm in the lower end compared to what its FR says.  That's not a good thing though.  The IF measurements of the 1840 among other measurements show the upper-mids of the 1840 to be a little emphasized in the upper midrange too.
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Rubbish.
 
Feb 7, 2014 at 1:14 AM Post #92 of 601
kyle 491 said:
  LCD-2 is perceived as warm due to the shelf from 2k onwards. There is rapid drop from 1k to 2k, whereupon it maintains a reasonably steady level.
http://www.innerfidelity.com/images/AudezeLCD2.pdf. The shelf is less severe on later measurements and models, but still exists. I am familiar with acoustic instruments- these properties make certain acoustic instruments sound thin and lifeless.
 
 Look at the distortion graph on the same graph you posted. The reason why people complain about their "bass" is too distorted to qualify as bass. A headphone for studio work shouldn't have >5 % distortion from bass to mids.
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 That as well, but there is more to it - you can correct the shelf and yet you cannot remove the resolve it has in the mirange - whereas many feel that this accurate tracking of the midband is some sort of a coloration and "error" that cannot be EQ'd out.
 
I've played around with EQ for long enough to know that the original PX100s are more resolving than the famous HD650 up from treble down through mids.  The old Koss Portapros also does not show weakness here...I am suspecting a lot of the new offerings are weak here - regardless of how they voice the output.
 
I think it is a new and exciting time for audio in general, the bringing to light that the ideal speaker balance tilts downwards - I have done this with my speakers with an EQ for tilt exactly as described, and was unaware that this is actually the ideal response.  I started doing his after I got my HD650s.
 
At least one well know luxury car manufacture is following the straight vertical neutral school of thought.  Their upmarket fancy bang and olufson branded stereo even has motorised tweeter that pops up from the dash when turned on.  It sounds very nice and incredibly clear - but same old, same old - tilt the response downwards and once again the midrange resolve does not match the top end resolve.  Nothing new to talk about in car audio either.
 
I just fear that manufacturers will feel the need to tilt their reponses down ward without the realisation of how damaging this is to hi-fi if the midrange resolve is not brought up to match the top-end resolve (blame CD).  This excellent development in top-end resolve has far surpassed the development of drivers with midrange resolve.
 
Only once, have I ever walked in to a hi-fi shop and the music playing was just soul crushing, a full room of goodness in the midrange, supplemented by a non overpowering complimentary bass, a top end so extended and smooth but not overpowering, the incredible nature of that kind of ambience.  Naturally I never bothered checking which speaker was doing this as I had assumed, I will never be able to afford whatever it is that was playing.  Maybe I was wrong, maybe I can afford such a good system.  Maybe the corporate empire can make it affordable by people like me?
 
Feb 7, 2014 at 7:09 AM Post #93 of 601
tmraven said:
  I can't speak for mixing and mastering with them, but I definitely don't feel they're the most balanced of the HD series.
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Which one would it be, then? The HD600, which Tyll deems more neutral than the HD650? 
 
 
kierkes said:
 
Thanks for the link, Sinocelt! I remember seeing that graph now. It wasn't the treble spike that killed me; it was the lack of mid-bass. Takes me back to trying to mix with them, and knackering said mid-bass. It's safe to say that they're "flat, except for the parts that really screw a mix," haha. However, these flaws are the reasons I love tracking with them.
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You're most welcome, but ... which graphs/headphones are we talking about here? I've posted plenty. 
tongue.gif

 
 
sp wild said:
   
Only once, have I ever walked in to a hi-fi shop and the music playing was just soul crushing, a full room of goodness in the midrange, supplemented by a non overpowering complimentary bass, a top end so extended and smooth but not overpowering, the incredible nature of that kind of ambience.  Naturally I never bothered checking which speaker was doing this as I had assumed, I will never be able to afford whatever it is that was playing.  Maybe I was wrong, maybe I can afford such a good system.  Maybe the corporate empire can make it affordable by people like me?
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The room would have to be sound-treated, too. It ain't cheap.
 
Feb 7, 2014 at 10:20 AM Post #96 of 601
Yea I remember watching the entire series of that on youtube at one point.  He ends up going with the D2000 for his live sound headphones, but I can't imagine him sticking with it too long because it doesn't isolate for crap.  Also I'd say the HD600 is more neutral than the HD650-- minus a slight emphasis in the upper midrange and the obvious bass and treble rolloffs at the extremities. 
 
Feb 7, 2014 at 12:51 PM Post #97 of 601
tmraven said:
  Yea I remember watching the entire series of that on youtube at one point.  He ends up going with the D2000 for his live sound headphones, but I can't imagine him sticking with it too long because it doesn't isolate for crap.
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I enjoyed that series because of the fellow's carefree attitude (and his dislike for coiled cables), but he wasn't being precise. He was taken by D2000 because of the look and comfort, even though some of the others measured better.
 
Feb 8, 2014 at 7:43 AM Post #98 of 601
claritas said:
  I enjoyed that series because of the fellow's carefree attitude (and his dislike for coiled cables), but he wasn't being precise. He was taken by D2000 because of the look and comfort, even though some of the others measured better.
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According to his table at the bottom, "tonally close" was his main selection criterion, even if he took other criteria into account.
 
Feb 8, 2014 at 12:15 PM Post #99 of 601
Feb 8, 2014 at 1:50 PM Post #100 of 601
sinocelt said:
   
According to his table at the bottom, "tonally close" was his main selection criterion, even if he took other criteria into account.
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I know that's what he wrote in the chart, but I remember the video series. He was disappointed with the D2000's FR and it seemed obvious that he gave them a pass at one point because he liked the look and feel.
 
Feb 8, 2014 at 4:56 PM Post #101 of 601
john willett said:
   
 
The mics I use for piano are Sennheiser MKH 20, Sennheiser MKH 8020, Neumann KM 183-D, Neumann KM 131-D or Gefell M 221.
 
That particular recording was completely digital and made with the Neumann KM 183-D (mounted vertically as they were in the nearfield) - the recording session was originally written up on the Sound On Sound forum HERE.
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Mr Willet.  Thankyou for your insight, it was a most interesting read.  I find it most fascinating to learn and discover more about music.  So it goes, I have learned far more from the real professionals than anyone else.
 
I also wanna thank Lunatique - before I met him on this forum, I was getting extremely confused and disillusioned with head-fi in general...and now I know why.
 
redface.gif
 
 
PS: I can't wait to hear the new Sennheisser HD6 Mix.
 
Feb 8, 2014 at 11:37 PM Post #103 of 601
Feb 8, 2014 at 11:53 PM Post #104 of 601
I would use T1 or T50p from Beyerdynamic personally. Very even presentation once modded properly.
 
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