Mnyb;568697 Wrote: 
> 
> But this one is somewhat more devious as it obviously does something to
> the signal (some bizarre things discussed here do not). So brace for an
> endless debate on wich trade-of in the filter sounds best .
> If one can here it that is....

As I said I've done it on other devices and can hear the difference.
For me the difference is not something that you can hear as a tonal
balance. It shows up in how hall ambiance (reverberation etc) are
perceived. In slow mode the reverberation seems more attached to the
room, its in the space around the performance. In "normal mode" the
reverberation seems like its attached to a piece of saran wrap around
the performers, rather than as part of the space around them. 

With music that was recorded with ambiance from the recording venue it
seems more natural, less "canned". Very "dry" multi-track studio
recordings will not see much of a difference with this. Close miked
multi-track recordings can still benefit from slow mode if judicious
reverberation was added to the mix. 

There is a down side. It DOES attenuate the very highest frequencies
somewhat and it does let through some aliasing. I find that the
aliasing shows up as a sort of roughness to the music, especially in
loud complex music. So the type of music you like to listen to can
affect how you feel about this.

Whether the pros are important enough to live with the cons are going
to vary from person to person. There DOES seem to be an age related
aspect to this. Younger people with better high frequency hearing tend
to be annoyed by the cons more than those with not so great high
frequency hearing. They usually can hear the advantages, but the cons
outweigh the pros. 

So the people that will like this the best will tend to be older people
who like to listen to simple acoustic music. 

Of course everybody should try it for themselves. 

PS, I'm definitely in the "older, no so great high frequency response"
set. You might want to take that into account.

John S.


-- 
JohnSwenson
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