Recent content by Yannick Willox

Have you done double blind testing ?

Funnily I have been working on 2 different masters the last 2 days, with issues exactly in that region. You'd be surprised at the deviations between recording engineers in that region ...

I think many underestimate the importance of distortion and resonances. As I wrote before, our 4 completely different HD650 (even volume is quite far off with one of them) sound broken when switching from our Aeon Noire2 headphones. I cannot even imagine the Stealth being even cleaner than this...

I know, but the percentage of classical discs that suffer from this is not that much lower than pop/rock IME. the resulting problem is the same, and often the mastering studios or setups are the same or similar. Some speakers just do not belong in a mastering studio. I have some bad experiences...

My conclusion would be : 1. many mastering studio have a flawed speaker/room interface 2. many mastering engineers have ear damaging or. 3. They just have plain bad taste and or give in to financial pressure. and then some younger radio stations still find the need to compress and brighten...

Every time I hear a loud bright master, I put a simple EQ and the recording actually sounds fine. I wish those B&W mastering rooms would vanish ... It is somewhere in this thread. The sheer stupidity of equipping the control room with "polite" speakers to compensate for the bright string sound...

The aeon 2 noire are very clean, transients are extremely natural for a bright headphone. Thd is very low. If you play music with good transients, the headphone will not at all be blunted nor damped.

The big distortion peaks at 200 Hz and 2000 Hz are a giveaway ?

If FR were the whole story, I could record an entire orchestra with sm57 mics and eq the hell out of it. In that list, Sennheiser hd650 score 84 without EQ. Next to my aeon 2 noires they Sound like a broken toy. interestingly the noires score 90, above the stealth ? Seems like a very unreliable...

Concert tuning is between 442 and 444 these days … Mozart period instruments are mostly tuned at 430 Hz, even if the tuning was all over the place end of 18th. if I remember correctly, Steinway New York end of 19th century was around 450 or even 458 Hz. my colleague found a really nice end of...

I wonder if they exist. It is common knowledge that distorted sound sounds "louder". Logic dictates that a medium that adds more&more distortion as the (although limited) dynamic increases, it would give a louder impression on the loud parts. I often get the comment during soundchecks that the...

I have nothing against DIY. My DIY polys are 35 euro each. They are quite big and dirt cheap. But again, how is data misleading when the tests have been done at a well established facility ? I admit, the website seems to be quite disfunctional (black friday updates ?), but I am 100% sure...

I think you are being to harsh on GIK. I do not have any product of them, nor do I have any links. But I see posts by the owner of the company since more than a decade, and see their products and prices. the diffusers are questionable, but all the rest seems VERY cost effective. Before uttering...

More to the OP : https://www.realhd-audio.com/?p=78 some real world insights about tape… surely behaves like a “analogue” system, in the worst meaning of the word. I am happy I started out on 16 bit DAT ! We would record soft movements hot, to get extra resolution. Those were the days.

Interesting, thanks. It (the quote) then makes sence, as the Mola Mola dac has better than -140 dB of thd plus noise (maybe significantly, as it is the limit of measurement systems). That is awfully close to the point where you picked a number where analogue might become discrete. nice paradox !