DairyProduce
100+ Head-Fier
- Joined
- Jun 22, 2011
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Wouldn't some people prefer a certain sound signature though? e.g. boosted bass so EDM will be more enjoyable.
Wouldn't some people prefer a certain sound signature though? e.g. boosted bass so EDM will be more enjoyable.
I dont want to drag this too far OT but preferable reproduction isnt simple about FR - second and third order distortion also plays a role in how sound is perceived (check out Nelson Pass's article on this on his website). If you think it is simply a matter of flat FR, let the guys at Harman Industries know that they are wasting their time in linking subjective preferences to objective measurements, and all they have to do is map the Fletcher-Munson curve onto headphones and they are done.
This whole "make it a flat perceived FR curve and everyone will love it" is a little too simplistic.
Now, back to the PM-1s. My own ship out of the US today and get in by Monday - I'll only be able to get them next Thu...
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I've been using the PM-1 for months with no change in the sound at all. Even from sample to sample there is very little difference.
If you folks want a headphone that meets the standards of "perfection"... audibly flat response, inaudible levels of distortion, plenty of dynamics... the PM-1s are it. I would bet that you could take a good digital EQ and make them sound pretty much like any other brand or model of headphone at normal listening volumes.
In theory, there are a million different aspects of sound reproduction. But all aspects are not created equal. Frequencies are what we actually hear. Balancing them properly is the lion's share of the battle. Lousy headphones might have problems with distortion, but once you reach a certain quality level, distortion isn't an issue any more. The importance of timing issues are greatly exaggerated. And although there might be differences in dynamics, most headphones are liable to be worse in that regard than the PM-1s, not better.
Specs are a useful way of getting an idea of how something sounds, particularly the frequency response curve. But you have to know how to read it, and the specs have to have been measured fairly. A lot of manufacturers cheat their specs in one way or another.
Hardly.
Beyond 13-14kHz, there really isn't anything to hear in music anyway. The last octave of sound (10kHz-20kHz) is basically a buffer zone. It's too high to be perceived as a musical note, so it exists only as noise. The only thing you're liable to hear up beyond where the PM-1s roll off are upper harmonics in cymbal crashes that are very faint and masked by the loud crash below anyway. Zilch. Nothing. Nada. If you're going to worry about anything, worry about the six other octaves in the range of human hearing. Those are the ones that count.
This is a perfect illustration of what I was talking about... reading specs as abstract numbers without understanding what those numbers mean to the sound.
Well here is another spec that most people here aren't aware of... For people with normal human hearing (not damaged), sound is pretty much the same for everyone. I've seen charts that measure the sensitivity to specific frequencies on multiple people, and they don't vary more than 4 or 5dB. Listening to music, a difference like that would be barely noticeable.
Good sound is good sound. If something has a flat response, low distortion, a low noise floor and a wide dynamic range, it's high fidelity sound and it will sound natural to everyone.