How would you describe what I noticed.

Dec 23, 2023 at 12:25 AM Thread Starter Post #1 of 12

jinu117

Head-Fier
Joined
Feb 1, 2006
Posts
90
Likes
156
Location
California, USA
I've been A/Bing quite nice 3 headphones for little trying to nail down which one I want to keep. I can figure out which tonality I like (I actually found out I like most of tonality for it's own... but don't have budget to get multiple of them right now... or don't want to.. yet...)
I can definitely distinguish staging and imaging without problem. Bleeding, etc. However, there is something that is what I am thinking might be in staging side of story. There is this one headphone that is... bit strange. (Honestly more noticeable when A/Bing... not as much by itself).
It definitely has decently large staging, imaging position is quite good, but somehow, I feel like i am enclosed in somewhat smaller sphere. Funny thing is... it does project sounds pretty far out... almost 80-90% of the other two. But I feel like I am in much smaller space... like half or 1/3 of it for most of music.
Is there a word for this or how do you describe this?
 
Dec 23, 2023 at 12:43 AM Post #2 of 12
That is generally called soundstage, which means the perceived width, depth and height of the sound you hear in headphones. Soundstage with headphones will never match a good speaker system, and some headphones aren't good at this particular property, or may lack certain aspects. Open back headphones tend to have slightly better soundstage, though not always. I had a pair of Grado's with virtually no width or depth to their sound.

My best headphone for soundstage has a wide presentation, but not as much depth or height. So all this varies quite a lot.
 
Dec 23, 2023 at 1:52 AM Post #3 of 12
Hmm, without knowing the headphones to see if I've had the same experience, it's hard to say, but I think it's what I would call "forwardness" in the sound. It's like sound is being thrown towards me and pushed up against my face or something like that which makes the soundstage seem smaller than it actually is. It's like the evil twin of layering. If a few elements of the sound, like vocals or something prominent, are rendered too forward, then it detracts from the sense of space even if other parts of the song have good spatial distance.

The other thing that sounds similar to me is what I call a "lack of openness". It ties into forwardness but it's about how the notes trail off. A headphone with a bit more reverb tends to sound more open, like notes are dissipating into space and to me, that makes the sound more open, while notes that end without that decay or dissipation sound more "constricted". This is separate from actual imaging and distance, so a headphone can place sounds at a good distance, but if the decay is cut short, notes then sound stifled and not open.

Combining forwardness and closed-ness makes a headphone sound enclosed even if the actual soundstage isn't that small if I were to focus on any particular sound. I think for me, the Dan Clark Aeon 2 Noire demonstrated this unfortunate quality; the soundstage on that headphone isn't actually small, but the reverb was heavily damped, so it sounded un-open, and the vocals were emphasized with a forward quality, so it sounded constricted. In comparison, the Sony MDR-Z7M2 sounded much more open and unrestricted, even though on close inspection, it doesn't render sounds any further out than the Aeon; it's the "vibe" of the headphone that's different and more open.
 
Dec 23, 2023 at 2:13 AM Post #4 of 12
I think for me, the Dan Clark Aeon 2 Noire demonstrated this unfortunate quality; the soundstage on that headphone isn't actually small, but the reverb was heavily damped, so it sounded un-open, and the vocals were emphasized with a forward quality, so it sounded constricted. In comparison,

You really got me on this one. I was auditioning Dan Clark E3 and noticed this. The sound stage itself was very wide... I couldn't believe it was closed back sound... but it felt exactly un-open in a way. The other two were HE1000SE and Diana MR. Thanks! I guess I wasn't just imagining things :)
 
Dec 23, 2023 at 2:23 AM Post #5 of 12
You really got me on this one. I was auditioning Dan Clark E3 and noticed this. The sound stage itself was very wide... I couldn't believe it was closed back sound... but it felt exactly un-open in a way. The other two were HE1000SE and Diana MR. Thanks! I guess I wasn't just imagining things :)
Oh man, that's funny! It didn't occur to me that you would be demoing the E3, I was just talking from my own experience with the Aeon and how I learned to describe its sound and relating that to the descriptions you provided. I am planning on demoing the E3, but it seems from your comments that it still has at least some of that closed-ness that I found annoying on the Aeon.

Edit to add: The Dan Clark headphones sound like a room with heavy acoustic damping. Like a recording room or sound isolation booth. I've been in sound isolation booths for fan noise testing at work, and conversations with coworkers sound weird in those spaces. Their voices become oddly intense (kind of like vocals on a Dan Clark headphone), much more so than in an office room of the same size. I think our brains associate reverb with size, and since the Dan Clarks have less reverb than other headphones due to damping, they sound smaller than their soundstages would imply.
 
Last edited:
Dec 23, 2023 at 2:34 AM Post #6 of 12
Oh man, that's funny! It didn't occur to me that you would be demoing the E3, I was just talking from my own experience with the Aeon and how I learned to describe its sound and relating that to the descriptions you provided. I am planning on demoing the E3, but it seems from your comments that it still has at least some of that closed-ness that I found annoying on the Aeon.
I would still demo E3... I think I am bit biased with HE1000SE in there for that portion of feeling... HE1000SE sounds... extra airy and large to point of bit more what the music was.... (well, other than some starwars tracks... :P) All 3 of them are very enjoyable but a little bit in different way. I made a pick at this point but I would have been good with any of them to be honest.
 
Dec 23, 2023 at 10:30 AM Post #7 of 12
I've been A/Bing quite nice 3 headphones for little trying to nail down which one I want to keep. I can figure out which tonality I like (I actually found out I like most of tonality for it's own... but don't have budget to get multiple of them right now... or don't want to.. yet...)
I can definitely distinguish staging and imaging without problem. Bleeding, etc. However, there is something that is what I am thinking might be in staging side of story. There is this one headphone that is... bit strange. (Honestly more noticeable when A/Bing... not as much by itself).
It definitely has decently large staging, imaging position is quite good, but somehow, I feel like i am enclosed in somewhat smaller sphere. Funny thing is... it does project sounds pretty far out... almost 80-90% of the other two. But I feel like I am in much smaller space... like half or 1/3 of it for most of music.
Is there a word for this or how do you describe this?
It's near impossible to put a finger on something causing your feelings, because so much can and surely does play a part in it. The other trouble is how a given headphone can sound quite different to different listeners. In practice, you and I would probably have some differences at various levels, some feelings would be the same or similar enough that vague subjective description would match both experiences, but some things probably would be different. Mostly frequency response and some little subjective impact from time delay expectations (from a different distance between our ears). The end result can be as predictable and intuitive as differences in vertical placement from FR or a feeling of a more pin like sound source for brighter signatures, or small changes in panning from how we would interpret the same time delay differently. But that's only the basics of psychoacoustics where one change in isolation is well studied and understood. 2 might become a problem, 5 or 10 differences at the same time, even small but audible ones, and it's nearly chaos when it comes to predict how different people would interpret the sound.

If some headphones are closed back, there could be several guesses I could make, without any certainty that either one explains your experience(I'm the overconfident type ^_^) :
- closed back seems to affect some people because the lack of outside noises or the unnatural attenuation of them kills the idea that you're hearing free, unmuffled sound. The notion of enclosed sound becomes one possible explanation for the brain.
-closed back is likely to have low bleeding outside, sometimes with fully open headphones, they bleed so much, you even end up getting some of the reverb from nearby walls (they'd have to be rather close to you admittedly). I do not know if and when that is noticed by the brain, but of course it could then participate in a belief of real audio source in the room, giving more hope to a bigger perceived distance in your interpretation of the experience.
-The bass. My own experience with bass is something quite specific when it comes to headstage or soundstage or whatever we probably wrongly decide to call it. Certain amounts and quality of bass can give me a feeling of being immersed in the bass and I experienced that specific feeling as being fairly independent of the concept of pinpointing the location of instruments at some distance with much higher frequency content. I'd say instruments are somewhere, and the bass(certain types), is the matter all around me that can feel more or less massive and more or less surrounding. My guess and experience, from a statistically irrelevant number of headphones, has been so far that elevated distortions tend to disrupt my impression of that big bubble of bass everywhere. Sadly, I only had THD measurements, which is rarely the type of distortion we actually care about subjectively(unless it's absurdly big). So, correlating feelings and measurements is a dead end for me on this. It's just somewhat more likely for high THD in the bass to also manifest other distortions, so I keep playing the guessing game to satisfy my own ideas, but that's as far as I can go. Maybe it's BS:sweat_smile:.
I only mention it because your post made me think back on that particular feeling. Kind of about the impression of space, but also maybe not really about instrument placement and distance.

Oh man, that's funny! It didn't occur to me that you would be demoing the E3, I was just talking from my own experience with the Aeon and how I learned to describe its sound and relating that to the descriptions you provided. I am planning on demoing the E3, but it seems from your comments that it still has at least some of that closed-ness that I found annoying on the Aeon.

Edit to add: The Dan Clark headphones sound like a room with heavy acoustic damping. Like a recording room or sound isolation booth. I've been in sound isolation booths for fan noise testing at work, and conversations with coworkers sound weird in those spaces. Their voices become oddly intense (kind of like vocals on a Dan Clark headphone), much more so than in an office room of the same size. I think our brains associate reverb with size, and since the Dan Clarks have less reverb than other headphones due to damping, they sound smaller than their soundstages would imply.
We do use reverb for a lot of assumptions about room size and distances, but for the most part, the changes in reverb from a headphone to another are simply too small to match what happens in a room. How fast a driver stops moving is fast, even for big 'slow' dynamic drivers. And internal reverb inside a cup is also short because there is obviously not much distance to reach and come back from(very tiny room inside a headphone). The brain would not notice most of those, and if it did in extreme cases (not sure if it even happens, but I'm willing to keep an open mind), I would argue that there is no way the brain would mistake such small delays/distances for room size delays/distances.
I fully get what you're talking about as a subjective feeling, though. I just don't see actual reverb difference caused by a headphone as a likely explanation for it.
 
Dec 23, 2023 at 2:53 PM Post #8 of 12
Isn't "forwardness" just another way of describing the perceived depth of the sound? A constriction in the sound from that "direction"?

Perceived width has always been the easiest for me, and depth the hardest, or possibly, the least well presented in the headphones I've tried.

By the way, I've experienced soundstage that seemed right in my face, and above me, but the most common sensation of depth has been from above and behind me. What I've never experienced is sound that seems to come from below the level of my ears, at least, not in music. Anyone have that sensation? I suppose it could be done with binaural recordings.
 
Dec 23, 2023 at 6:56 PM Post #12 of 12
Isn't "forwardness" just another way of describing the perceived depth of the sound? A constriction in the sound from that "direction"?
For me, not exactly or not entirely. Something sounding forward isn't just about the depth of the sound source, but it's more of a composite metric combining spatial depth and the "intensity" or "directedness" of the sound. Those qualities add together to form forwardness, and I find that directedness compounds any lack of spatial depth, but a headphone can still be forward even if it has good depth. The Aeon 2 has good depth, but it's quite forward regardless. For me, that other metric of "intensity" or "directedness" comes mainly from how notes trail off.

I've used this analogy elsewhere, but those were in headphone-specific threads. I perceive it, by analogy, like a squirt bottle vs an aerosol can. A squirt bottle produces a tight stream of water, and when that stream hits something, it splashes and that's it. The aerosol produces a mist that slowly dissipates over distance and hangs in the air for a time. A forward sound is like the squirt bottle; there is sound, then that sound disappears. On, then off. An open sound is like the aerosol; there is sound, then that sound trails off over a moment. It's like there's extra reverb (though as castle mentioned, it's not actual reverb due to headphone earcup volumes being too small for any substantial reverb to occur), that that perception of reverb tricks the brain into having a sense of space around the sound.

Another analogy that I use to conceptualize what I perceive is the difference between a traditional light bulb in a lamp and a flashlight. An open sound is like placing a light bulb at a certain distance from you. That light radiates into the space. A forward sound is like replacing that light bulb with a flashlight with equal lumens and at the same distance, but pointed at you. That sense of directedness is separate from the spatial distance from the light source, but changes the feel of the space.

Returning to the Aeon 2, when I compare the distance of, say, vocals on the Aeon vs the Z7M2, they're actually about the same distance if I focus on the exact spatial depth of the sound source. The Z7M2 doesn't have larger soundstage or more depth than the Aeon, and the Aeon doesn't have less depth in positioning. But the Z7M2 always feels more open and relaxed than the intense and directed presentation of vocals on the Aeon. Hence, my perception is that the Aeon has forward vocals that are being shot at me while the Z7M2 has relaxed vocals that exist in a space around me.
 

Users who are viewing this thread

Back
Top