kintsaki
500+ Head-Fier
Tyler says one thing about what he listens and another with his graphs despite the fact that HIiroaki told him repeatedly he is dead wrong.Hard to say: https://www.innerfidelity.com/images/HiFiMANHE5602014.pdf vs. https://www.innerfidelity.com/images/HiFiMANHE6.pdf. I see about the same 30 Hz and 300 Hz square-waves, so bass will have about the same signature, also the low-end roll-off is pretty similar too. I do see that HE-6 is brighter, but this might be an advantage after all, depending on who's listening.
Seems that you need to buy HE-560 now and tell us what you think.
Orthodynamics seem to present a resistive load but they do not. In fact they drive the output impedance of amps wild making it seem like a roller-coaster when graphed across the audible frequency range. In addition frequency response is half the story the other half is phase response.
RP is the (proprietary) regular phase response embodied in the Tx0 RP line for a very long time which is the main reason that live music is immediately recognized from recorded music.
Sony has been incorporating phase correction on their Walkmans since they introduced DSEE and Clear Sound with the S-master amp,
and so do most Pro amps such as the XTi 2 and most recently the the newly released XLS 2 series.
The Sony Walkman ZX300 and higher also offer a variety of RP corrections to be used to match music genres.
There are also software by BBE (Sonic Sweet Turbo offered as a VST plugin that can perfectly be hosted by JRiver) to deal with the RP
and the Coco's EQ's in the Reaper DAW software show you the affect on the phase based on the EQ settings (Reaper is by Justin Frankel the founder of Win amp).
The He- X V2 that provides high end flagship performance from s smart phone and is recommended to not be driven by high powered amps scales up considerably when driven by the XTi2. To properly drive orthos you have to cascade three amps in my case the Sony Pha-3 the ifi Micro DSD and the Crown XTI2 with its stupendous 500 dumping factor. When you do you will see that any Tx0RP destroys Audegy, Ether flow and Hifiman.
I would recommend you try the BBE software and Coco's EQ and multi-band compressors you may like them , you don't have anything to loose.
Tyler says one thing about what he listens and another with his graphs despite the fact that HIiroaki told him repeatedly he is dead wrong.
Orthodynamics seem to present a resistive load but they do not. In fact they drive the output impedance of amps wild making it seem like a roller-coaster when graphed across the audible frequency range. In addition frequency response is half the story the other half is phase response.
RP is the (proprietary) regular phase response embodied in the Tx0 RP line for a very long time which is the main reason that live music is immediately recognized from recorded music.
Sony has been incorporating phase correction on their Walkmans since they introduced DSEE and Clear Sound with the S-master amp,
and so do most Pro amps such as the XTi 2 and most recently the the newly released XLS 2 series.
The Sony Walkman ZX300 and higher also offer a variety of RP corrections to be used to match music genres.
There are also software by BBE (Sonic Sweet Turbo offered as a VST plugin that can perfectly be hosted by JRiver) to deal with the RP
and the Coco's EQ's in the Reaper DAW software show you the affect on the phase based on the EQ settings (Reaper is by Justin Frankel the founder of Win amp).
The He- X V2 that provides high end flagship performance from s smart phone and is recommended to not be driven by high powered amps scales up considerably when driven by the XTi2. To properly drive orthos you have to cascade three amps in my case the Sony Pha-3 the ifi Micro DSD and the Crown XTI2 with its stupendous 500 dumping factor. When you do you will see that any Tx0RP destroys Audegy, Ether flow and Hifiman.
I would recommend you try the BBE software and Coco's EQ and multi-band compressors you may like them , you don't have anything to loose.
Why does live music so sound much better:
When we listen to live music, all of the highs and lows reach our ears in the same relationship to each other as when they were created by the instruments. If this same live music were to be recorded and played back through a loudspeaker system, the loudspeaker would introduce frequency-dependent phase shifting. The inductance of the speaker's voice coil creates a stronger impedance as the signal's frequency increases, resulting in a time delay. Consequently, frequency components with large negative phase shifts (high frequencies) arrive at the listener's ear later than signals undergoing small phase shifts (low frequencies). The resultant signal is distorted in the time domain to the listener's ear. Audio material containing sharp transients (e.g., percussive and plucked sounds such as drums, guitar, piano and harpsichord, etc.) suffers the most from this phenomenon, making it seem unfocused, or mushy.
In order to address these problems inherent in basic loudspeaker design, BBE Sound, Inc. has developed a circuit that has two primary functions. The first adjusts the phase relationships of the low, mid and high frequencies. Since a loudspeaker's natural tendency is to add progressively longer delay times to higher frequencies, the BBE sound processing system adds progressively longer delay times to lower frequencies. This creates a kind of "mirror" curve to the time delay curve created by the speaker, neutralizing its phase distortion.
The second major element in the BBE system is the augmentation of the higher and lower frequencies. Loudspeakers tend to be less efficient in their extreme treble and bass ranges. Most sound-reproducing systems include a circuit for boosting high and low frequencies, showing an accepted awareness of the loudspeaker's efficiency problem. The BBE system, however, provides a dynamic, program-driven augmentation which combines with the phase compensation feature to restore the brilliance and clarity of the original live sound. The result is, as one professional journal phrased it, "The most hear able advance in audio technology since high fidelity itself!"
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