Here's the problem. Let's take a headphone with some nasty treble peak, say the DT 990, and try and see where the peaks actually fall in the frequency range of musical instruments. Usually such headphones produce some harsh effect with high-pitched instruments such as violins, piccolo, etc. Looking at the frequency range of most acoustic instruments (attached), I see that none of those could ever possibly produce a note within the given peaks. Why then the treble harshness?
Even the 3k mid bump of HD 600 is at the extreme end of piccolo register. And this is still considered the mids! Why then are the treble peaks of DT 990, T1, HD 800 a problem?
Here's the problem. Let's take a headphone with some nasty treble peak, say the DT 990, and try and see where the peaks actually fall in the frequency range of musical instruments. Usually such headphones produce some harsh effect with high-pitched instruments such as violins, piccolo, etc. Looking at the frequency range of most acoustic instruments (attached), I see that none of those could ever possibly produce a note within the given peaks. Why then the treble harshness?
Even the 3k mid bump of HD 600 is at the extreme end of piccolo register. And this is still considered the mids! Why then are the treble peaks of DT 990, T1, HD 800 a problem?
Those are fundamental frequencies. The harmonics will be higher (2x, 3x, etc.) and the relative loudness of the harmonic content greatly affects the sound (in fact, it's a good part of the reason why different instruments sound differently).
Those are fundamental frequencies. The harmonics will be higher (2x, 3x, etc.) and the relative loudness of the harmonic content greatly affects the sound (in fact, it's a good part of the reason why different instruments sound differently).
A lot of musical instruments put out more energy as harmonics than fundamentals.
Not all of the harmonics produced by musical instruments are precise multiples of the fundamental.
By altering the loudness of harmonics, and which harmonics are produced, you can make a musical instrument sound like something completely different.
Some instruments put out like 10th and 20th harmonics and above. Measurable output @ 100 KHz should be no surprise. Doesn't mean we necessarily hear it, but it can be there.
All right then. Let's take a look at another table. Here it shows the extra range of the instruments with the overtones they produce (Notice how some instruments extend more than others). This answers my question about the HD 600 bump, but the DT 990 peak is still at the extreme end of it all and technically shouldn't be a problem.
All right then. Let's take a look at another table. Here it shows the extra range of the instruments with the overtones they produce (Notice how some instruments extend more than others). This answers my question about the HD 600 bump, but the DT 900 peak is still at the extreme end of it all and technically shouldn't be a problem.
Just because someone posted it doesn't make it right.
It is pretty well known that a person with good hearing, wide range recordings and listening via a good monitoring system can hear the effects of brick wall filtering in the 10-12 Khz range. The ability to hear a brick wall low pass filter goes away for almost all situations someplace around 16 KHz.
I can't quite get that out of the chart above, so while its an improvement over its predecessor, IME it is not really good enough.
Just because someone posted it doesn't make it right.
It is pretty well known that a person with good hearing, wide range recordings and listening via a good monitoring system can hear the effects of brick wall filtering in the 10-12 Khz range. The ability to hear a brick wall low pass filter goes away for almost all situations someplace around 16 KHz.
I can't quite get that out of the chart above, so while its an improvement over its predecessor, IME it is not really good enough.
If this was a chart showing the effects of global warming or something like that, I would be more inclined to inquire about where it's coming from and how the data was put together. I have little reason to doubt the accuracy of a chart like this. If you know exactly what's wrong with it, I'd love to know.
If this was a chart showing the effects of global warming or something like that, I would be more inclined to inquire about where it's coming from and how the data was put together. I have little reason to doubt the accuracy of a chart like this. If you know exactly what's wrong with it, I'd love to know.
If this was a chart showing the effects of global warming or something like that, I would be more inclined to inquire about where it's coming from and how the data was put together. I have little reason to doubt the accuracy of a chart like this. If you know exactly what's wrong with it, I'd love to know.
What's wrong with it, is exactly what I said. We know for sure that there are often audible overtones in music and recordings going up to well above the approximate 12 KHz limit that is shown.
How do we know?
If we do level-matched time-synched frequency response matched DBTs comparing musical recordings brick wall filtered at 12 Hz to those going on up to 20 KHz (and beyond), we often find audible differences. If we move the brick wall up to 16 KHz then it is a lot harder to hear differences, but it still occasionally happens. If we compare 24/96 recordings brick wall filtered at 22 Khz to those that are not, any possible differences are very, very hard to hear if they are heard at all.
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
