You people are driving me mad.
There is so much mumbo jumbo in audio land, but the Equal Loudness Compensation is long standing verifiable science.
Being an old dog having used ’Loudness’, in many makers products, and the Chase RLC-1 I wrote about, I am well aware of the benefit of ’Loudness’ Compensation at low volumes.
The biggest improvement, for me, is to maintain proper level of Jazz bass players, which maintains ’involvement’ at low volume, without it, I find it becomes simply non-involving background music, musak if you will.
......................................
So many have equipment without balance, tone, loudness, .. ’PURE’ circuit paths, that the solution must be solved via add on equipment, the Chase unit the simplest for ANY setup. Optional use via tape or processor loops is ideal for the ’PURE’ crowd, however much newer equipment lacks in/out loops.
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
To suggest ’this’ speaker is best for low volume is a chase into a firey pit.
LOOK at the equal loudness curve, look/read, don’t ignore it because you lack features
https://en.wikipedia.org/wiki/Equal-loudness_contour
IF any speaker sounds very good at low volume, without using tone controls or some form of equal loudness compensation, then that speaker’s frequency response has to be terrible at normal or louder volume!
TERRIBLE. Imagine Stereophile reviewing speakers with a frequency response reflecting the equal loudness contour as factory produced normal sound level.
Imagine a speaker designer deliberately producing said frequency response, being proud of it!!!!!!!!!!!!!!!!!!!!!!!!
A bad joke!!!!!!!!!!!!!!!!!!!
