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Originally Posted by DefectiveAudioComponent
Just putting my hand over the back opening of the baffle transforms the sound, like it's some kind of dough that can be shaped with the hands. Close it completely, and all bass dies... move the hands in different shapes and the sound just smoothly changes into a new shape...
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Quote:
Originally Posted by ujamerstand
I can relate that with the HE-5. Placing my hands over the cups sucks away the bass completely, make a gap between my fingers brings it back. In fact, I found that I enjoy the sound best with my hand forming a dome over the cups, with gaps between my fingers. Does away with some feeling of "spaciness", but none the less, its the sound I like better.
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You two have discovered my Open Palm Test for open-back headphones. What happens is your hand reflects lots of treble back into the phone and on into your ear. As it takes this reflex [that word again!] path, the soundwaves interfere with themselves, giving that odd, whooshy sound caused by comb filtering (ie, a comb-shaped frequency response curve is the result of this self-interference). Bass doesn't reflect so much because your hand is small compared to a bass wavelength-- the wave just bends around your hand and keeps going.
Real-World Conclusion: Reflections must be accounted for and controlled; if they are, you get handy little gimmes like the reflex dot. (..Do I hear booing?) If they aren't, you get excess treble, "echoey" (= combfiltery) sound, and yes, a diminution of the outside-the-skull imaging effect.
Quote:
Originally Posted by ujamerstand
I'm taking notes now! Could you recommended any books on this subject? It would be a nice summer reading.
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Skim any book written for recording engineers. They have to know a little bit about everything, and the books are excellent overviews of all the basic principles discussed here. From there you can move on to more specialized texts, but I'll warn you, there's not going to be much about headphone design-- you'll have to derive the existence of headphones from first principles. Right now I'm plowing through
Recording Engineer's Handbook by Owsinski (ow!), which seems good so far. Anything by John Eargle is worthwhile.
You could also see if any local colleges are teaching audio production showing the use of headphones in recording and, if they're brave, mixing (hint: get them to tell you exactly why headphones have historically been avoided for mixing). If you lived in St. Louis, you could take a class from my old radio colleague
Barry Hufker.