Originally Posted by chinesekiwi
I was one of the first in the world to have a prebuilt O2 Amp and I prefer the two-box option as it gives me options to only just use the DAC or headphone amp sections.
Bad photo was due to bad camera settings more than anything else lols. Audio Poutine ran outta the bling Gold case that I wanted
ODAC + O2 + HRTF
calibrated Toneboosters Isone = so beyond good.
Your HRTF settings (Head size, ear size) will
be different as the HRTF differs between people. I have a large head. The manual gives you a very good guideline to how to configure it properly.
The bump in bass is to compensate for the lack of bass impact in headphones comapred to speakers. Therefore you have to compensate about +4 dB from a balanced sounding headphone such as the DT880. the upper bass frequencies are bumpd by about +1dB as I want the frequency repsonse curve to be more like the beyerdynamic T1, which is the most scientifically balanced sounding frequency response wise (for headphones) + factoring margin of error in measuring.
Volume limited my F2K by -5dB so the bass boost doesn't digitally clip. Subjectivelly found .32 sec T60 reverb time to be the best sounding (close to the recommended .3 sec for a recording studio). Found .3 to be too 'dry' sounding. There isn't much, if any, frequencies below 35 Hz in music, even bassy music, so the rolloff is fine.
Set my Windows and F2K to 24 bit, 44.1 kHz as I volume limited and don't want to negatively affect sound quality. Bit depth only matters in sound quality when you use a digitally controlled volume control as lowering the volume sheds off bits. At about 13 bits bit depth (-18 dB using a digital volume control from 16 bit, 1 bit is about -6 dB) is where it affects sound quality (thus why you hear the difference between 8-bit and 16-bit music). Changing it to 24-bit output means I have the headroom to lower the volume digitally all I want without it affecting sound quality. It isn't because 24-bit is inheritly better than 16 bit. Also VSTs such as Isone operate in the 24-bit environment.
Can never go back to the two-blob effect (and thus imaging problems) of headphones.
The others, such as T60 reverb time, diffusion, is pretty easy stuff to find. Yay for science!
I'm not sure I agree with some of that. Isn't F2K a fixed internal bit depth of 32-bits, and you have no control over it, anything passing through is re-sampled to 32-bits, then internal affects applied (the applications volume (not windows or soundcard volume), any VST's or other effects) then re-sampled to your choice of output depth. The Isone (or anything else internal) operates at the host's internal bit depth, for me for example it's 64-bit. (I believe that would also effect your bits per dB calculations, different bit depths have different bits per dB values?)
Doesn't bit depth mainly effect dynamic range? Up sampling bit depth has no effect? For example for you playing a 16-bit file would go 16-bit > internal 32-bit > output 24-bit, you still can't add more dynamic range than the original 16-bit file offers?
Also 24-bit is inheritly better than 16-bit, and 32-bit better than 24-bit and so on, the "great debate" is if a human is able to distinguish the benefits at all beyond 16-bit.
Also can you lower a volume digitally without loosing quality? Aren't volume transformations applied at a certain bit depth? Your reducing the loudest possible sound (to some percentage of the full available bit depth) and the quietest possible stays the same (still one bit high) - Doesn't that reduce the dynamic range? Again the argument wound be if that reduction is perceptible.