jsrtheta
Addicted to Fun and Learning
Thanks for the tip!Thisone is long out of production. I'd rather go for the Behringer Ultracurve Pro DEQ2496 (measured here) which can do many many (many) more things.
Thanks for the tip!Thisone is long out of production. I'd rather go for the Behringer Ultracurve Pro DEQ2496 (measured here) which can do many many (many) more things.
It would be great if increasing pring points were inversely proportional to compromise levels when it comes to audio equipment selection.I'm buying a new amp 1.5K-2K budget for music only and there is always a compromise at this price point. But the one thing I would not compromise on is tone control
It would be great if increasing pring points were inversely proportional to compromise levels when it comes to audio equipment selection.
But they are not.
There is science and there is adjusting to taste.
I'm (almost) sure that a person with perfect hearing, listening to a perfectly balanced recording in a perfectly "correct" listening space would not "need" tone controls.
At some point "high end" preamps stop offering tone controls claiming "signal purity".
Some of us saw it as a way to reduce design and manufacturing costs plus the added "benefit" of differentiation from the "low end units offering tone controls".
For me, no tone controls - no sale.
RME DAC does it. Also Buchardt speakers, I hear. (these are both variable and *automatic*, after calibration setting)It’s a bit puzzling to me that variable loudness hasn’t caught on as a common feature, especially given the modern infatuation with room correction tech like DIRAC. Simple bass and treble, or even 7 band equalizers, would seem outmoded versus using a room correction software WITH a variable loudness option.
I have not heard of anything doing this or maybe I am completely out of the loop. If anyone does know of such a capability I’d love to hear it. (P. S. I am a fan of variable loudness but I’ve not experienced much success using DIRAC)
Many Yamaha integrated and pre-amps have variable loudness and have for years. https://hub.yamaha.com/audio/music/louder-isnt-always-better/It’s a bit puzzling to me that variable loudness hasn’t caught on as a common feature, especially given the modern infatuation with room correction tech like DIRAC. Simple bass and treble, or even 7 band equalizers, would seem outmoded versus using a room correction software WITH a variable loudness option.
I have not heard of anything doing this or maybe I am completely out of the loop. If anyone does know of such a capability I’d love to hear it. (P. S. I am a fan of variable loudness but I’ve not experienced much success using DIRAC)
My use of tone controls depends on the source material, and is for my own enjoyment. The source material is what it is, so what kind of corrections do you have in mind?If you feel the need to compensate for treble and bass, then perhaps you'd better investigate what causes it. And correct it. This will give much better results than desperately turning knobs.
Of course there is a need for tone controls as I wrote in my post that you replied to: correct for (perceived) defects in the source material.I expressed my opinion on the need to use tone controls in the amplifier. While in the past, many years ago, it could be justified for objective reasons, today there is no such need. On the other hand, for subjective reasons (I like it), everyone can do what they want. Even use a triode single ended amplifier sowing beautiful harmonic distortion. Whatever one likes. I wish you pleasure in listening.
The 1st 4 words your post holds true for your entire train of thought, to say there is no need for tone control is only correct for you. There is a need for tone control IMO and many others that buy & sell amps.I expressed my opinion on the need to use tone controls in the amplifier. While in the past, many years ago, it could be justified for objective reasons, today there is no such need. On the other hand, for subjective reasons (I like it), everyone can do what they want. Even use a triode single ended amplifier sowing beautiful harmonic distortion. Whatever one likes. I wish you pleasure in listening.
I agree 100% - that gives me an idea for a new thread …Traditional tone controls were a good idea but had their limitations. The objections against them were crackpot nonsense.The Quad Tilt control was a firther sensoble. However, with perfect full range digital sources and more accurate speakers the imperfections of the room have come to the foreground. For that dsp room eq is really mandatory. I also greatly appreciate the fully adjustable dynamic loudness option on my RME ADI-2.
It doesn't even apply to vinyl playback. A decent, well made turntable–tonearm–cartridge combination isn't all that expensive.Two other pieces of perceived HiFi wisdom were
1. source first - spend disproportionality more on the front end. That is so backward in my experience , unless perhaps we are talking specifically about vinyl playback.
That's very true, and many manufacturers have tried to offer improved solutions to the frequency response equalisation problem.Traditional tone controls were a good idea but had their limitations.
Below is a diagram that shows the effects on frequency response offered by the classic QUAD tilt control. The single tilt control works on the low and high frequencies simultaneously, providing a bass boost–treble cut or a bass cut–treble boost. The rotation point of the tilt is at about 830Hz, and the boost/cut effects are limited to ±3dB at the frequency extremes.The Quad Tilt control was a further sensible improvement.