Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 6, 2012 15:59:14 GMT
Alex designed the Sennheiser HD600 and HD650 amongst other things.
This is what he thinks about cables:
All the sound tuning of our headphones is made with the original cables. These cables demands: low level of structure borne sound, good wearing comfort, non allergic, thousands of bending cycles and perfect sinal transmission. I think you may find third party upgrade cables that may sound different maybe better in your special signal chain and it is ok to buy it.
So he believes that other cables could sound different?
This is the guy that makes the headphones for Sennheiser!
I found that quite interesting.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 6, 2012 18:28:39 GMT
Just another subjectivist opinion, albeit a more informed one than many . OK, I'll spend the rest of the evening behind the sofa . Dave
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 6, 2012 19:48:07 GMT
Well actually Dave, it surprises me. That's exactly what he's said so he's leaving room for the idea that it can make a difference. I know Israel swears by the Blue stuff and routinely recables his headphones (beautifully).
I can't tell myself but perhaps I need two headphones side by side and go back and forth between a recable and standard just to see. It takes too long to change one and if it's done permanently, it's not possible to remember the sound.
Another interesting thing he said was about the HD25 having a steel cable. Swap it to the copper HD600 cable and it will be louder since copper is a better conductor than steel.
So that kind of reinforces the copper/silver theories that go around.
It's curious that the guy who actually makes them is open to the possibility of cables making differences. That's what really surprised me.
No-one challenged him either.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 6, 2012 22:04:16 GMT
Seeing that this question about headphone cable sound differences has reared it's head again, I will state that the only completely fair way to get a definitive result is to switch both ends of the cable and not just the amplifier end. I ran this by a very smart C.A. member from the Objective side, who has posted a lot of cable measurements in C.A. using Diffmaker and other methods. I don't want to start another very divisive thread, so if anybody is interested in what he had to say about the originally posted test, feel free to PM me. Alex
P.S. IF the RG search facilty wasn't damn near useless when going back much further than a year,resulting in a timeout, you would find posts by Leo, Miguel and others about recabling headphones.There is also a lot of good info about cup replacement in certain headphones using some classy wood cups, some with different dimensions too. IIRC, one of Miguel's favourites was Bubinga wood. There are also discussions by Mike and others about cup resonance deadening. In fact, my ATH W1000 have their cups dampened with some bituminous tape that Mike kindly sent me.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 7:14:53 GMT
I'm not meaning it to start another rumble.
It's one of those things I'm not able to easily hear but it could be because of the time it takes to switch.
I hated the fat cable I had once on my Senns. It made them very uncomfortable to wear. I didn't miss it when I took it off either.
It was just curious that the guy who makes headphones is quite open to the idea that it makes a difference and I know that Israel routinely changes cables on new headphones to Cardas.
Sent from my iPod using ProBoards app
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 7:28:26 GMT
Hi Ian I have been told that a foot difference in length will contribute about 100 picoseconds time shift or nearly so, and show up in difference testing. Not at 40dB gain levels, but down lower. I certainly would not dismiss what this designer thinks is quite possible. Alex
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 7:45:37 GMT
It's just nice to see one of the top designers in the world so open to the possibility of it being heard.
Also, the use of different materials (in this case steel) makes real differences to the volume!! (or sensitivity or impedance?)
Perhaps that also adds to cable differences too?
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 9:59:24 GMT
I'm not meaning it to start another rumble. <snip> It was just curious that the guy who makes headphones is quite open to the idea that it makes a difference and I know that Israel routinely changes cables on new headphones to Cardas. Sent from my iPod using ProBoards app Very Interesting! I also do not want to start a rant, since this is a very subjective topic, and as you know, I never, ever, wanted to do that! As both you and Alex know, I am one 'weird' guy, who thinks that he CAN hear the difference between cables. Most of my worthwhile headphones, including three filtered Superlux HD681 (one of which is my wife's - she also could tell the difference and a couple of years ago asked me to do hers as well) have been recabled with Cardas 4x24 cable and the more expensive Cardas rhodium plated stereo plug. I have on order the HE-500 headphones, which come with a plug-in Canare silver cable - it will be very easy to recable that one, since doing that doesn't require tearing apart the cans, and because it will be a little quicker to change cables back and forth, and rely on short term (about a minute) memory to detect a possible difference. A while ago I did this with my Senns HD600 and HD650, since they have both plug in type connectors, and at the time did hear a difference. Being a flutist, I recall participating in an experiment at the 1974 National Flute Convention before a large audience of flutists. The panel consisted of Donald Peck - Principal Flutist of the Chicago Symphony Orchestra, Bernard Goldberg - Principal Flutist of the Pittsburgh Symphony, Felix Skowronek - flutist with the Soni Ventorum Quintet, Dr. Coltman - Professor of Physics and a renowned expert on acoustics, and myself. The subject was the age-old controversy about whether the material made a difference in the flute tone quality. Donald Peck, who has played mostly on silver and platinum flutes was asked to talk about platinum; Bernard Goldberg, who mostly played on a gold flute, was asked to talk about gold; Felix Skowronek, who played mostly on a wooden flute, was asked to talk about wood, and myself, who has played on platinum, gold and silver, was asked to talk about silver; Dr. Coltman, who was not a professional flutist, but actually built his own invention, a flute with a special 'Coltman C-sharp key', which is a big improvement, did not believe that the material of which the flute is built makes a difference in the tone quality, and persistently argued that point of view. The blind test that Coltman had us do was to have each of us pro flutists play on three crudely made mouthpieces with extension tubes, each made of silver, copper, and wood, and asked the audience to distinguish between them. The results were inconclusive, and all over the place, and I argued that the test was flawed because the crudely made 'instruments' only played one note, and the presentation was not complete. A few people (one of them, my wife, who is also a fine flutist) were able to tell the difference, and were right on target, but they were a small minority. To make a long story longer (forgive me for being long-winded), when we talk about SQ, we are sailing in unknown waters. I recall playing in the Lincoln Center Philharmonic Hall with the Philadelphia Chamber Symphony, just three or four years after it was built, and designed by the cream of the acoustical engineering crop. The acoustics of that hall was a disaster - too much concrete under the stage. They tuned it and re-tuned it, tore down the stage several times in a row, but came up with the same problems. It just would not improve! In desperation, they finally brought George Szell, Music Director of the Cleveland Orchestra. He went on stage, clapped his hands several times, walked around the empty hall, clapping his hands, and the only words that he uttered were: "You called me too late!" Even though technology has come a long way to help music and music reproduction, especially on the electronic side, when it comes to the transition into analog -- sensation of sound, we step into the black art of acoustics. A few years ago I had a grant to research and build flute mouthpieces -- with today's techniques, and computer driven lathes and instruments, it is possible to make two mouthpieces that measure exactly the same, and are physically identical, but they do not sound identical! Why is it that with today's incredible technology no one has been able to make a violin that sounds as good as a Stradivarius, or a Guarneri? Many have tried, but failed. With all the science available today, acoustics is still a 'Black Art'! I know that all of the above may sound unrelated to the difference in cables, but even with all the electronics know-how at our disposal, there may be something we don't know, but are able to perceive regardless? Sorry to have gone off on a tangent, but I just want to leave some room for open-mindedness, and remember that music is an art, though helped by science in building better instruments, but still art nevertheless! Again, I don't want to start a flame here, and the thoughts expressed above are solely my own. Cheers! Israel Sent from my iPad
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 10:25:12 GMT
Hi Israel Thanks for contributing in this discussion. When 2 highly trained musicians, who are both Professors of Music make such reports, we need to take them very seriously. Like Ian , Israel has also reported hearing differences between comparison .wav files that I uploaded some time back. I didn't post anything about his results because they were done privately outside of an R.G. thread. What amazed me at the time,and still does, was that Israel is way older than I am, and that he still has such keen hearing abilities.I would be very interested to know Israel, if you find that high resolution music files sound better than normal CDs. I certainly do, but according to presently accepted theory, I shouldn't be able to do so, especially since I have industrial type hearing damage. Kind Regards Alex
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 10:39:26 GMT
I find Israel's post very interesting - from my point of view Israel, you do not post often enough - more of the same (or similar) please. I am happy on both sides of the subjectiveobjective fence - telling people that they cannot possibly hear what they claim to hear is tantamount to calling them liars - not my scene . But my background is in engineering and in particularly, measuring things, making changes and measuring them again. Until I got into audio I believed (because I never had reason to think otherwise) that we could measure every difference that making those changes made - I now suspect that may not be true in the case of trying to 'measure' sound - a black art indeed!! . Just my ramblings. Dave.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 14:02:18 GMT
Thanks Israel. Nice to see you having a say.
As you know, I'm an oboe player as well as a pop musician. (Such a tart eh?) I also worked with oboes made from ebony and plastic in the 70's or 80's. A BIG difference in sound. I did tests for a company in London called Boosey and Hawkes to see whether they were worth the effort. The plastic ones sounded TERRIBLE. I also tested plastic reeds would you believe? Useful for shows where you double on sax and quickly need to switch to oboe when a normal reed has dried up. Plastic ones work even dry so they are useful' but don't produce a great tone.
I very much believe you when you say you hear differences. I can't switch quick enough to tell but I think once you accept it' then a routine change like you do makes sense
You are excellent at it as well. I wish that I could make as good a job out of it as you! I'm all thumbs and have my right ring finger missing now. Broke the top section off.
I wish you were closer. I'd be pestering you for your soldering skills.
It is subjective but don't let that deter you. I'd like to see people free to say as they like without a verbal slapping.
So I don't doubt at all that you hear differences.
Lovely to hear you expressing yourself.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 18:00:58 GMT
Hi Israel Thanks for contributing in this discussion. When 2 highly trained musicians, who are both Professors of Music make such reports, we need to take them very seriously. Like Ian , Israel has also reported hearing differences between comparison .wav files that I uploaded some time back. I didn't post anything about his results because they were done privately outside of an R.G. thread. What amazed me at the time,and still does, was that Israel is way older than I am, and that he still has such keen hearing abilities.I would be very interested to know Israel, if you find that high resolution music files sound better than normal CDs. I certainly do, but according to presently accepted theory, I shouldn't be able to do so, especially since I have industrial type hearing damage. Kind Regards Alex Hi, Alex Thanks for your kind words! I do recall that you sent me some .wav files, and I reported to you what I heard at the time, but I don't recall whether I thought at the time if high resolution music files sounded better than normal CDs. Wouldn't the resolution of normal CDs depend on the sampling rate? And, here is something that I am not expert enough to know. By all theories, at my age I shouldn't be able to have such keen hearing (I hear an approaching car with a relatively silent engine a couple of blocks away from our quiet neighborhood, before anyone else can), and I myself agree, but in reality I do hear well, despite of having played in major orchestras that sometimes play pretty loud. At some occasions I was placed to sit in front of the trumpets, and believe me, the experience is painful. I always fought this, and even threatened to quit if the conductor would insist that I sat there, for fear that I could become deaf prematurely! In fact, since March of this year I have been through the wringer health-wise, after two major surgeries (one if them being open heart triple bypass), several physicians, after twice having to be shocked back to life, wanted to pull the plug on me, giving me only a 5% chance of survival. My wife vehemently fought them, and refused to let them do that! To make a long story longer, I managed to spit in their face, and defy the odds by surviving, and now, after three months of physical rehab, am back to my old self, with only some loss of energy, which am restoring with exercise. Luckily, my hearing is fully intact. I guess, I am weird, and refuse to act my age, though right now, I am fighting a nasty virus, but this is only temporary, and, thankfully, it has not affected my hearing. So, may I suggest that you accept, and enjoy your keen hearing, and let age be damned! It is only numbers! All the Best! Israel Sent from my iPad
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 18:12:54 GMT
I find Israel's post very interesting - from my point of view Israel, you do not post often enough - more of the same (or similar) please. I am happy on both sides of the subjectiveobjective fence - telling people that they cannot possibly hear what they claim to hear is tantamount to calling them liars - not my scene . But my background is in engineering and in particularly, measuring things, making changes and measuring them again. Until I got into audio I believed (because I never had reason to think otherwise) that we could measure every difference that making those changes made - I now suspect that may not be true in the case of trying to 'measure' sound - a black art indeed!! . Just my ramblings. Dave. Thanks for your kind words, Dave! Although I don't post as much as many others do here, I do read with interest the various discussions that interest me, and have learned a lot about the electronic side of music here. I also appreciate comments by Alex, Ian, Mike, Mick, Christian, and many others here... It is indeed a learning experience, and I enjoy it thoroughly! Cheers! Israel Sent from my iPad
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 18:43:54 GMT
Thanks Israel. Nice to see you having a say. As you know, I'm an oboe player as well as a pop musician. (Such a tart eh?) I also worked with oboes made from ebony and plastic in the 70's or 80's. A BIG difference in sound. I did tests for a company in London called Boosey and Hawkes to see whether they were worth the effort. The plastic ones sounded TERRIBLE. I also tested plastic reeds would you believe? Useful for shows where you double on sax and quickly need to switch to oboe when a normal reed has dried up. Plastic ones work even dry so they are useful' but don't produce a great tone. I very much believe you when you say you hear differences. I can't switch quick enough to tell but I think once you accept it' then a routine change like you do makes sense You are excellent at it as well. I wish that I could make as good a job out of it as you! I'm all thumbs and have my right ring finger missing now. Broke the top section off. I wish you were closer. I'd be pestering you for your soldering skills. It is subjective but don't let that deter you. I'd like to see people free to say as they like without a verbal slapping. So I don't doubt at all that you hear differences. Lovely to hear you expressing yourself. Hi, Ian Thank you for your kind words! It was interesting to read about your experience with plastic oboes, and reeds. In my research and experiments, I did use different materials to make headjoints out of materials such as Micarta, Hard Rubber, and Delrin. The flute headjoints sounded terrible, but a Delrin piccolo headjoint that I made was a killer! My wife liked it so much, that she used it for three years playing professionally. I also made flute headjoints out of white gold, red gold, copper, nickel-silver, and of course, silver. Nickel-Silver is a very interesting material for headjoints, and some of the ones I made from it are indeed great! Many of my students took them off my hands, and just love them. As a matter of fact, Wlliam Bennett, or WYB, whom you may know, plays on an old re-tuned silver Louis Lott flute with an old Nickel-Silver Bonneville headjoint, which he has modded as well. I recall trying that flute, and it was fantastic! So, my advice to the scientists, with all due respect, is: If you want to know if the material, which musical instruments are made of makes a difference in SQ, ASK THE MUSICIANS! In my opinion, the same goes for cables, and opinions will differ. Vive La Difference! I am all excited about having ordered my new HE-500 cans! But, according to several people who have them, after I hear them, I may not want to listen to any of my many other cans! I would hate to have to sell them, especially after having recabled them all! Oh, well! C'est la vie! Best Regards, Israel Sent from my iPad
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 20:52:44 GMT
Hi Israel I was more wondering if you had listened to some of the high resolution classical music from the likes of HDtracks,Linn Records and others. If nothing else, they bring the possibility of further improved dynamic range, and in some cases may be from the masters that the retail CD was downsampled from. Kind Regards Alex
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 22:39:42 GMT
Hi Israel I was more wondering if you had listened to some of the high resolution classical music from the likes of HDtracks,Linn Records and others. If nothing else, they bring the possibility of further improved dynamic range, and in some cases may be from the masters that the retail CD was downsampled from. Kind Regards Alex Hi, Alex No, I don't recall listening to any of the above, but would be very much interested in doing so sometime. Thanks for mentioning these! All the Best! Israel Sent from my iPad
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 23:13:45 GMT
Hi Israel I have very little high resolution material in Classical. Are you able to play 24/192 .wav files ? Kind Regards Alex
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 23:20:01 GMT
Hi Israel, thanks for making this thread as informative and thought provoking as you have, with regard to tone and material used in the construction of any musical instrument it would seem to me that many things would affect the overall tone. Even the way that the player holds the instrument, are the hands thin and bony or laid down with a fair layer of fat and flesh. I suppose that each material, whatever used, will have an optimum wall thickness at which that instrument will give of it's best. I can only talk for wood as that's where I've dabbled most. A few years back I built a guitar, (I've played it every day since) when I was sourcing the timber I found a very knowledgeable man who owned a sawmill in East Lothian he held a vast stock of Sycamore cut for Cello and Violin and gave me free range to pick a set of back and sides for my guitar. When I'd made my choice he walked me back through the stock picking out several sets and each time he struck the Sycamore with his knuckles and listened to its tone eventually offering the one he thought tonally superior to me. I also bought the Spruce for the top from him which of course went through the same knuckle treatment for tone only my knuckles did the tapping this time. When thinning down the Spruce top I had a set thickness which was dangerous to go beyond but could make the top more responsive to the vibrating strings and tonally better. Many woods are used in guitar construction each species has it's own signature sound. Regards, Alan
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 7, 2012 23:30:08 GMT
Hi Israel I have very little high resolution material in Classical. Are you able to play 24/192 .wav files ? Kind Regards Alex Alex, would that depend on the sound card of my computer? If so, I can check and see what resolution my sound card has. Regards, Israel Sent from my iPad
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 8, 2012 0:17:30 GMT
Hi Israel, thanks for making this thread as informative and thought provoking as you have, with regard to tone and material used in the construction of any musical instrument it would seem to me that many things would affect the overall tone. Even the way that the player holds the instrument, are the hands thin and bony or laid down with a fair layer of fat and flesh. I suppose that each material, whatever used, will have an optimum wall thickness at which that instrument will give of it's best. I can only talk for wood as that's where I've dabbled most. A few years back I built a guitar, (I've played it every day since) when I was sourcing the timber I found a very knowledgeable man who owned a sawmill in East Lothian he held a vast stock of Sycamore cut for Cello and Violin and gave me free range to pick a set of back and sides for my guitar. When I'd made my choice he walked me back through the stock picking out several sets and each time he struck the Sycamore with his knuckles and listened to its tone eventually offering the one he thought tonally superior to me. I also bought the Spruce for the top from him which of course went through the same knuckle treatment for tone only my knuckles did the tapping this time. When thinning down the Spruce top I had a set thickness which was dangerous to go beyond but could make the top more responsive to the vibrating strings and tonally better. Many woods are used in guitar construction each species has it's own signature sound. Regards, Alan Hi, Alan You are absolutely right about all of the above. Al things being equal, in addition to skill, the player's fingers have a huge influence on the tone quality produced on a stringed instrument, be it guitar, violin, viola or cello, or even mandolin, banjo and others. The famous, legendary Russian violinist David Oistrakh, with whom I played many years ago, while he was still alive, had very thick, fleshy fingers, and his sound on the Stradivarius violin was huge!!!! As big as a house!!! I recall an anecdote that I witnessed a few years ago, when he came to St. Louis to play the Tchaikovsky violin concerto with the St. Louis Symphony of which I was Principal Flute at the time. Bobby (to protect his identity, I am using a fictitious name), our concertmaster at the time (he passed away since), who had a slight figure and very thin, bony fingers, played with a rather thin, anemic sound on a cheap violin, which he jokingly referred to as a "Cigar Box". During a rehearsal break Oistrakh expressed interest in Bobby's violin, asked him what kind it was, and if he could try it. "Oh, it is just a cheap 'Cigar Box'", replied Bobby, as the two exchanged violins. Oistrakh then played on Bobby's "Cigar Box", and produced a huge lush sound, filling the hall with that same magnificent beauty of his Strad! Then Bobby tried to play Oistrakh's Strad, and ....... out came that tinny, puny, weak, and anemic sound, exactly the same as his "Cigar Box"!!! !!! This was all witnessed by the rest of us in the 100-member orchestra, and we all roared with laughter! Poor Bobby wanted for the earth to open up and swallow him alive! The above is just one example, showing that, as important as the quality of the instrument may be, it needs to be in the proper hands for its best attributes to be realized. Only in the hands of a master performer can this be truly realized, and brought to the fore. Cheers! Israel Sent from my iPad
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 8, 2012 9:06:57 GMT
Of course - with oboes, we can use either pads over the holes (like a saxophone) or have open holes similar to a recorder as well!!
However, it's a physical thing rather than electrical. With headphones, you can make the impedance change in a way via a physical thing - move the headphone around so that the impedance is physically changing.
I tried this recently with a PX100 and the sound differences are quite high. Move it further up you ear and the bass backs off and the treble comes up.
I think we tend to tune headphones to our ears via the bass though so we put them in the position where the bass is maximum.
I would love to pull my D2000 apart and recable them with Cardas myself, dampen the back down (and tighten the cups while I'm at it), but I'm too much of a chicken and would probably destroy them.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 8, 2012 10:00:49 GMT
Ian I bet that Mike would love to do that for you as an exercise in showing how to do it, with nice photos too . Mike is a whiz at that kind of thing, and it would make a very interesting topic for many members. Regards Alex
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 8, 2012 10:14:21 GMT
Hi Israel I have very little high resolution material in Classical. Are you able to play 24/192 .wav files ? Kind Regards Alex Alex, would that depend on the sound card of my computer? If so, I can check and see what resolution my sound card has. Regards, Israel Sent from my iPad Hi Israel. Yes, although most sound cards won't really do the best high resolution .wav files justice. Some stuff, like Barry Diament's "Americas"at 24/192, which was made with just 2 stereo microphones, NO compression or limiting, has a beatifuuly pure sound with no distortion and plenty of depth and separation.Try "Maria"from "Americas" on Barry's formats comparison page.The track "Maria" is based on the music of Suriname where my daughter in law and grandson was born. Barry's albums are specially burned to order on DVD, which can only be played on a computer, although they can also be burned as a DVD-A with the appropiate software. I presume you know that Barry Diament was behind many of the best known albums including "Linda Ronstadt-What's New", and "The Eagles- Hotel California." ? Barry is now also an R.G. member. Kind Regards Alex www.soundkeeperrecordings.com/format.htmP.S. My DAC can only go up to 24/96, so I have set my soundcard to output at 24/96. Even downsampled from 24/192 to 24/96."Americas" still sounds fabulous.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 8, 2012 13:14:13 GMT
<clip> I think we tend to tune headphones to our ears via the bass though so we put them in the position where the bass is maximum. I would love to pull my D2000 apart and recable them with Cardas myself, dampen the back down (and tighten the cups while I'm at it), but I'm too much of a chicken and would probably destroy them. Hi, Ian If you are not absolutely sure that the Cardas cable will change the D2000 to your liking, if I were you, may I suggest that you do the physical dampening first because it would be much easier to reverse. I hate to see you recable one of your favorite headphones, and if they do not turn out as you expected, then feel stuck with the recabled ones, which at that point would be hard-wired, and harder to revert to their former state. I would feel very bad if this happens, and that it would have happened because of my experience, which you may have taken as example. Every time I recable a new set of cans that require hard-wiring, I take a chance, and risk irreversibly damaging them, but I know that I only have myself to blame if something goes wrong, and am on my own! Needless to say that if after recabling you like the change and improvement, then I would be very happy. But, I don't want to feel responsible if the reverse turns out to be true. What impressed me with the D2000 before recabling was that the bass tended to be a little boomy. One of the first things I noticed after recabling with the Cardas, among others, was that the bass, to my taste, was tightened just the right amount, and I didn't feel the need to dampen it further for fear of losing some of it. As Alex suggested, Mike would be the person who can do this for you, but if I were you, I would make one change at the time. This way it will be easier to track cause and effect. Please take the above said as friendly suggestions, coming from a place of care, and not wanting to see you get hurt. Of course, I know that you are a person who makes his own decisions, and I don't want to influence you one way or another. Al the Best! Israel Sent from my iPad
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Oct 8, 2012 13:58:12 GMT
Hi, Alex
Thanks for all the information. I will look into this, log onto the website you sent me a link to, and try to play some of the samples.
If I can play these files properly, and am able to hear the SQ as you describe, I will plan to do some net surfing and find some non-down-sampled good classical recordings by top performers.
Best Regards, Israel
Sent from my iPad
|
|