[knowhatimean]

Interesting find this morning !
 
I hadn't used the 'stock' HD 800 cable for awhile so I put it back on this morning for a few hours!
 
This cable though it has a nice width & depth presentation definitely adds quite a bit of a "Hollowness" characteristic to the sound of whatever very dynamic music you happen to listen to.
 
Putting the ALO cable back on the sound gains a little more 'body' to it & a lot of that "has to be cavernously wide  at the cost of some players "image density" on the recording" coloration goes away! (Both of these hp cables are nothing more than "filters" that will allow
different sets of sound characteristics to come through)
 
As with anything else that matters to me, " actual content trumps image everytime ". For myself it's not ever close ! I'm finding out by the day, that there's just too many "Want's to be Audiophile" values that are fashionable but do little more than stand in the way to getting better sound !
 
Don't even get me started about the nonsense sound colorations people insist on referring to as "Air" (which there might be too much of between their "ears" if they believe that's what they're hearing, rather than an equipment generated sound to mimic 'liveness' in many equipment designs)
 
(OMG ! you mean soundstage information doesn't actually exist in "all" recording the way the HD 800 represents it ! "The Sky is Falling")
 
I wonder how long it will be before some "knuclehead" comes on to post "Some people just don't like "true sound" & my response would be "He,he,he,he,he....(You get the idea !)

 

[BobG55]

  Thks mate. Colorware really does a nice job
 
@Blackmore : I'm using this cable : http://www.ebay.com/itm/10-Sennheiser-HD800-Headphone-Cable-Balanced-or-Furutech-1-4-/171704394976 . Cheap, extremely well built and nice look & feel. One of my best purchase.

Bought the same XLR cable but for my HD6XX from the same guy.  Agree w/U Sorrodje, quote : " Cheap, extremely well built and nice look & feel. One of my best purchase."
+1

 

[knowhatimean]

  Kyno
I think I have a suggestion that might help you with getting moar ooomph.
 
Assuming you are running a s/w player that has dsp built in…
 
Try adding some low frequency boost using a parametric EQ with these numbers as starters…
 
Freq = 18 (15 to 18Hz is the range I use)
bandwidth (Q) = 0.18 (0.16 to 0.18)
gain = 4dB (3 to 4.5dB)
 
These of course can be adjusted up or down to suit
 
See if this helps add moar ooomph…
 
JJ

John, we're both aware of how significant of a change this boost can result in. To me (because this seems to affect changes universally with just about any dynamic recording I added this to) it points to some basic dynamic losses are occurring at production mastering stages as the recorded material is being processed !
 
Now my question (& it's more of a curiosity) ... Did you realize how significant of an effect this 'could' bring about , or did you come that realization as an after effect after playing a few of these files
 
(Sorry for being too lazy to "email" John ! ; Who knows maybe someone else will get something from this) (You can post it here or
email it back to me if you prefer)

 

[RUMAY408]

  Thks mate. Colorware really does a nice job
 
@Blackmore : I'm using this cable : http://www.ebay.com/itm/10-Sennheiser-HD800-Headphone-Cable-Balanced-or-Furutech-1-4-/171704394976 . Cheap, extremely well built and nice look & feel. One of my best purchase.

Out of Wisconsin, eBay rating 530+ 3-, cheap and great feedback now thats interesting

 

[koiloco]

  Interesting find this morning !
 
I hadn't used the 'stock' HD 800 cable for awhile so I put it back on this morning for a few hours!
 
This cable though it has a nice width & depth presentation definitely adds quite a bit of a "Hollowness" characteristic to the sound of whatever very dynamic music you happen to listen to.
 
Putting the ALO cable back on the sound gains a little more 'body' to it & a lot of that "has to be cavernously wide  at the cost of some players "image density" on the recording" coloration goes away! (Both of these hp cables are nothing more than "filters" that will allow
different sets of sound characteristics to come through)
 
As with anything else that matters to me, " actual content trumps image everytime ". For myself it's not ever close ! I'm finding out by the day, that there's just too many "Want's to be Audiophile" values that are fashionable but do little more than stand in the way to getting better sound !
 
Don't even get me started about the nonsense sound colorations people insist on referring to as "Air" (which there might be too much of between their "ears" if they believe that's what they're hearing, rather than an equipment generated sound to mimic 'liveness' in many equipment designs)
 
(OMG ! you mean soundstage information doesn't actually exist in "all" recording the way the HD 800 represents it ! "The Sky is Falling")
 
I wonder how long it will be before some "knuclehead" comes on to post "Some people just don't like "true sound" & my response would be "He,he,he,he,he....(You get the idea !)

 
Be careful there buddy.  I might be one of those knuckleheads!  I bought the HD800 just because I like the cool look.  Regarding "Air",   I have plenty of it already going out the right way daily.  

 

[pearljam50000]

Is anyone using the HD800 mainly for Rock and Metal?

 

[Kyno]

   
Have you had a chance to try different tube combos Kyno?  They really will change the sound quite a bit.  To my ears, hd650's are great with a 5998 and most decent 12au7s, but when I was still running my hd800's with my crack, I found I generally preferred, in terms of the power tube, standard, higher impedance 6080's and 6as7g's to my various lower impedance, higher gain 5998's, 7236's and 7802.  You sacrifice a little deep bass tightness for a little added fullness in midbass.  GEC 6as7g is quite nice if you happen to have one, but not worth breaking the bank for in my opinion.  I have a couple of $5 JAN chatham 6080's that I probably ran just as often as my GEC.  Sampling and selecting the right 12au7 is also significant.  FWIW, I like Tung Sol's (which are cheap) and Amperex with hd800's, but do not like the mullard or clear tops I have on hand quite as well.  Never did the e80cc mod so I can't comment on Tungsram.   
 
 
Sure.  Lots of people report this in the mod thread, and it depends on your amp and source as well.  I generally preferred my anax mod in place when pairing my hd800's with my crack, but found it wasn't necessary, and was more of a sonic detriment than a benefit, when I completed my mainline build (which has more refined trebles, cleaner transients and presumably, lower high order distortion.) 

Just got a few: 3 different 12AU7, a Tungsram ECC80, the stock 6080WA and a Tung-Sol 5998. I do prefer the 6080WA with the HD800, although I'm not well versed in tubes and the "WA" part may have an importance compared to your 6080's 

 

  Kyno
I think I have a suggestion that might help you with getting moar ooomph.
 
Assuming you are running a s/w player that has dsp built in…
 
Try adding some low frequency boost using a parametric EQ with these numbers as starters…
 
Freq = 18 (15 to 18Hz is the range I use)
bandwidth (Q) = 0.18 (0.16 to 0.18)
gain = 4dB (3 to 4.5dB)
 
These of course can be adjusted up or down to suit
 
See if this helps add moar ooomph…
 
JJ

 
Thanks for the input. I use foobar and SplineEQ32 if I want to EQ, but I fail to see how to enter your parameters in it. I'll look for another one, maybe the Get Pro-Q 2.
 
On a side note, I've also been listening to the T1. It's almost weird not to hear any harshness coming from it

 Mids are also very nice. That's a very different beast altogether, I like it, but I can't stand the sparkle in its signature past 20 minutes. Doesn't seem to be something you get rid of, I just don't know yet how much I can get use to it. Even though it's not a painful thing, it still makes me cringe rather quickly for now. The HD800 also has a kind of smoother/relaxing sound I prefer.

 

[johnjen]

snip
 
Thanks for the input. I use foobar and SplineEQ32 if I want to EQ, but I fail to see how to enter your parameters in it. I'll look for another one, maybe the Get Pro-Q 2.
 
snip

 
I should have been a bit more precise in my description of EQ, sorry about that.
 
It needs to be a parametric EQ rather than a fixed bandwidth EQ (1 octave, 1/3rd octave etc.)
 
If you would like additional info about this I can post up an online calculator that deals with more of the specifics (like the -3dB frequency limits based upon Q and center frequency etc.)
 
JJ

 

[Kyno]

   
I should have been a bit more precise in my description of EQ, sorry about that.
 
It needs to be a parametric EQ rather than a fixed bandwidth EQ (1 octave, 1/3rd octave etc.)
 
If you would like additional info about this I can post up an online calculator that deals with more of the specifics (like the -3dB frequency limits based upon Q and center frequency etc.)
 
JJ

 
Well, FabFilter Pro-Q 2 has the possibility to change the exact settings you wrote so I now see what you mean 

 
 
I just made a few comparisons, it sounds like an appreciable little change
 
The most I hear about the HD800 and test different things, the more it seems to be all about optimizing what's inside the big soundstage rather than fixing the wide signature, which brings something rather unique. I'm also starting to appreciate the relaxed sound, maybe it actually doesn't need too much oomph 

If I was to keep the HD800, I would certainly need to find way to smooth the treble though. That's the most delicate part for me. Every high note has a edge that makes me cringe a little.
 

 
My right ear hates me after this 

 

 

[62ohm]

Is anyone using the HD800 mainly for Rock and Metal?

 
The vast majority of my music collection is rock. And before you ask this on the other thread, for badly-recorded rock music the treble harshness of the K812 is excruciating while the treble of the HD800 stays clean.

 

[Clear Water]

   
Well, FabFilter Pro-Q 2 has the possibility to change the exact settings you wrote so I now see what you mean 

 
 
I just made a few comparisons, it sounds like an appreciable little change
 
The most I hear about the HD800 and test different things, the more it seems to be all about optimizing what's inside the big soundstage rather than fixing the wide signature, which brings something rather unique. I'm also starting to appreciate the relaxed sound, maybe it actually doesn't need too much oomph 

If I was to keep the HD800, I would certainly need to find way to smooth the treble though. That's the most delicate part for me. Every high note has a edge that makes me cringe a little.
 

 
My right ear hates me after this 

 

The audio you posted is on the bright side, but not cringeworthy for me.  What are your listening levels?

 

[johnjen]

  John, we're both aware of how significant of a change this boost can result in. To me (because this seems to affect changes universally with just about any dynamic recording I added this to) it points to some basic dynamic losses are occurring at production mastering stages as the recorded material is being processed !
 
Now my question (& it's more of a curiosity) ... Did you realize how significant of an effect this 'could' bring about , or did you come that realization as an after effect after playing a few of these files
 
(Sorry for being too lazy to "email" John ! ; Who knows maybe someone else will get something from this) (You can post it here or
email it back to me if you prefer)

 
To answer your question involves a couple of reference points that should be brought up first.
#1 Decades ago a friend and I stumbled upon a system that in effect ‘calibrated’ us both.  By that I mean we experienced a system that was so superior to anything we had ever even heard of, let alone actually heard.  It made a deep and lasting impression upon us both such that we both have been working to get back to that degree of musical enjoyment ever since.  It had bass that seemed to originate from the ground and permeated every instrument, every note, everything.
 
#2 I re-discovered the lowest frequencies that are on some tracks during my exploration of power cables.  Which led me to my current system and my desire to make sure these extreme bass frequencies were ‘available’ to be heard and experienced.
 
I knew from my ‘calibration’ experience that if this essential element were missing that I would never be able to recreate the effects of my original ‘calibration’ experience.  So I knew it was vital to make sure the extreme bottom end was ‘available’.
 
And this latest experiment of adding an extreme low frequency boost, required the use of DSP which wasn’t available using JRMC until I changed from using ethernet to the USB as the data path from my computer into the DAC.  And once the USB data path was at least ‘up to par’ with the ethernet path, THEN I could ‘play around’ with DSP.
 
Indeed the change from CAT7 to USB cables necessitated this low end boost, because the very bottom of the bottom did ‘dry up’ a tad.  Which I found ‘strange’ at the time and still do.
So I added the settings I have posted previously and the extreme bottom came back quite nicely.
 
As to “Did you realize how significant of an effect this 'could' bring about”, yes I did due to being ‘calibrated’ all those decades ago.
I realized back then and have reaffirmed it with my current system, that when the extreme bottom end is ‘allowed’ to come thru, all sorts of additional benefits come along with this capability.  It has been the focus of much of my experiments and a primary deciding factor in whether a change was actually an improvement or not.
In fact the Shunyata cables I now use didn’t ‘measure up’ to my DIY 'reference' cables that I had at the time in this one regard, even after many hundreds of hours of use.
Until I cooked them.  
Then after using them for many more hours, the bass did ‘measure up’.
 
And yes the mastering process in many cases does seem to ‘cut off’ much of the extreme bottom end. 
But when the very bottom end does present itself, it usually also affects the rest of the recording. Or as you put it “because this seems to affect changes universally with just about any dynamic recording”.  
The effect that the extreme low bass can have on every instrument can be easily heard IF the system is capable of presenting this extreme low frequency information in the first place.  
Put another way, if the system ‘gets out of it’s own way’ and lets this extreme low frequency info thru, every instrument indeed the entire recording benefits as a result.  
 
And it doesn’t just happen by plugging in this or that piece of gear.  
But it does require equipment that can ‘handle’ these extreme low frequencies in the first place along with the rest of entire system.
At least that hasn’t been my experience anyways.
 
And in this case a fairly small and seemingly innocuous boost of the very lowest frequencies can have very satisfying results.  
It wouldn’t seem so, at least on a cursory perusal.
But it’s easy enough to try to see if it is of any benefit, or not.
And it is as easily reversed if the results are unsatisfactory.
 
JJ

 

[knowhatimean]

Thank you,John ! We might be getting a little off track with all this, but the truth of the matter is if you have a set of headphones with the capabilities of the HD800 , why not explore the possibilities of raising the level of whatever your source material happens to be !
 
JRMC is a wonderful & (I'm finding) indispensable "Audio Tool" that has any number of adjustment parameters within it ! It allows you to adjust sound characteristics of what you're listening to , that you may have taken as "It is what it is" to something you may not have realized it could be ! I wonder how many people using JRMC are just using as their player ?
 
The funny thing is , I installed it as a music file processing center as I discovered during my download trial period, that I was able to do somethings with my music files that were absolutely adding enhancement to them with no artificiality. I would then place those files on hard drives which I move to my Auraliti PK100 digital file player. I'm pretty 'Old School' so I'm not a fan of using USB DACs,my DFP plays the files off of USB Drives but outputs them through a BNC to my DAC !
 
Is anyone aware of a way that I could interface JRMC onto my DFP ? It would a lot easier to be able to use the Parametric EQ in it"on the fly" rather than as "library tool" function on my files already on the drives !
 
.

 

[Kyno]

  The audio you posted is on the bright side, but not cringeworthy for me.  What are your listening levels?

 
Low to mid, my volume is usually more on the quiet side than high & grandiose. But year, even then, past 3 minutes on this track and my ear took a beating. I'm quite treble sensitive though. I remember someone asking over the Gustard H10 how was the pairing with the T1, someone else answer along the line of "just fine"... while I couldn't take it more than 30 minutes without my ears starting to bleed internally 

 

[Clear Water]

   
Low to mid, my volume is usually more on the quiet side than high & grandiose. But year, even then, past 3 minutes on this track and my ear took a beating. I'm quite treble sensitive though. I remember someone asking over the Gustard H10 how was the pairing with the T1, someone else answer along the line of "just fine"... while I couldn't take it more than 30 minutes without my ears starting to bleed internally 

If you're that sensitive to treble, maybe you should just try a simple notch filter on any parametric EQ.  Keeps all the nice qualities but eliminates the bleeding.