I mean it’s clearly more similar to the LCD4 lol
I’m was never in the market for those so how would I know. LOL
Well at least they are spec wise lol. If they can get to the performance of an lcd2 that would be impressive in my book. Would be even crazier if they could go higher
I have been in the headphone game for about five years now. Starting with the B&W P5 (gen 1), ATH-M50X and Senn HD598c’s. Then I started chasing detail. I now own several pairs of headphones and the pinnacle of clean and clear for me right now is the Beyerdynamic T5p.2’s. Whenever I use them after a break I am overwhelmed by the clarity. Everything is crystal clear.
But, I find them boring after an hour. I don’t know what the audiophile term is, but they lack soul to me.
They have, by far, the highest MSRP of any headphone in my collection. I bought them used and when I looked around Canada, the landed prices for new ones, with taxes, were $1,200.00 to $1,500.00.
My favourite overall headphones are my Grado GH2’s and my fun/out and about headphones are the Meze 99 Classic’s.
I have been thinking hard about a THX amp, but maybe I don’t need more transparency, neutrality and clarity.
Shane D
Well, assuming the goal is to hear as much as if you were there, hating this would mean basically hating music and live music anyway, so what’s the point, lol.
Sorry, I meant “compressed”, not like mp3 compression, but dynamics: The louder parts are quieter than real life, and the quieter parts are now louder than real life. So… compressed is basically a synonym of “hyper detail”, and that’s a problem, IMHO. Especially now, because we already have “better than human hearing” microphones, like we have “better than human eyes” cameras. So, hyper detail is what, like, the HDR version of audio? Eww. No, thanks, not for me.
Also, for anyone who already had the problem of “hearing too much detail”… Welcome to audiophile city, lol!
HDR is the opposite of compression. It’s an expanded color space. Compression in video would be similar to crushing the color space to over-saturate colors.
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Lol like how TV’s in stores and when you get them have their settings set to blow out colors to an unrealistic picture
Every HDR video I’ve seen over-saturates absolutely everything they can to make everything “pop”, which would be the video equivalent of using 1000$+ microphones for unrealistic, hyper detailed audio.
With shit like that, you start to think “mid-fi” is the new hi-fi, because overexaggerated detail is the opposite of fidelity.
I would say it depends on the signature of the microphone. Some mics work well for modern music with an emphasis on detail and a high end clean sound, and some aim for a overly thick and rich sound. Some are just fairly neutral with a decent realistic sound. Depends on the type of sound and vibe you want the track to have. I would say that’s more taking artistic liberties rather then doing it to appear better. Also depends on what you are actually recording and how you are doing it (vocals, instruments, the room, etc)
Yeah, I meant specifically “better than human hearing” microphones, chosen specifically for this stuff, as if everything was supposed to be ASMR or something. 
Well most microphones can be better then human hearing lol (in some ways)
That’s just based on your limited experience, then. HDR inherently is just a larger color space for colorists, editors, or directors to work in. It’s a video standard. What you’ve seen is likely the result of HDR demos designed to sell HDR… or displays that remap the HDR color space badly. Or badly calibrated displays.
HDR (also known as Rec2020) is a new color standard. Think of it more like comparing 16-bit 48khz audio to 32-bit 192khz audio. The difference is, visually it’s actually makes a difference to our eyes… but no display can cover the new rec2020 standard yet so they have to tone map the HDR output to whatever the display is capable of. If the TV does a bad job of it, it can look off. Inherently HDR should look the same as standard dynamic range for the MOST part, but with greater contrast capability when it’s called for and better color definition.
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Lol nice one with the 32 bit vs the rec2020 since neither are really available to consumers (and some pros)
This is just my experience working in the film industry and listening to people at the Top but a lot of Directors and DPs hate HDR because its often implemented without their input and tune the visuals for “fun” more than accuracy for the image.
“Accuracy” being the final theatrical image
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Just curious, how much input and say do directors and DP’s have on the final output quality for the actual editing and final video properties if that makes sense
There’s going to be growing pains for sure. It’s not used very well a lot of the time in the video-game space either. I think eventually Rec2020 will just replace Rec702 and everything will be mastered to it, then it won’t matter.
Depends on the deal they made with the studio before entering production. Some Directors get final cut rights. Others have to negotiate. There’s a long history of Directors losing the rights to the edit and the ensuing chaos. See Blade Runner, Kingdom of Heaven, Payback, Superman 2 and Brazil. Sometimes the movie actually benefits from the studios input (American History X) and so on. If you’re in TV and not like… Sam Esmail, you’re not much more than a crew wrangler and the Show Runner and producer control the edit entirely.
DPs work, especially good dp work, is harder to discern. Sometimes (rarely tbh) studios will take over and regrade a film (Payback, and Rock of Ages are two notable examples) Other times DPs bring a house style like Roger Deakins and the Hoyt Van Hoytema. A lot of the time DPs work best synergistically with their director it’s how Almost all the great John Carpenter films and Jurassic Park are done by Dean Cundey but his last film before relative retirement was… Adam Sandler’s Jack and Jill.
As for final mastering of image and edit. The director and DP will be there making inputs 9/10 times.
The absolute worst case scenario is Enemy Mine where they shoot 80 percent of the movie. Studio decides they dont like it Fire both the DP and Director and reshoot the entire thing from scratch.
Because movies take Soooo much effort to make (second only to animation lol) a lot of the DP stuff is set in stone in terms of planned look and shot choices well before production. So if the studio were to demand changes it would be in the preproduction phase.
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Eventually. Tv Manufacturers are currently in a Resolution war right now. Everyones fighting to be the first mainstream success for 8k with 16k around the corner.
Cinema Cameras are still doing it. Fighting over higher resolution and bigger sensor size and not color science or image quality, really with only BlackMagic and Arri abstaining from that.
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So size does matter??!?
My wife has been lying to me. SMH
