Suggestion: Fewer topics or less discussion per show. Podcasts shouldn’t be two, three or four hours long. Most people don’t have that much time to listen each week.
My sweet spot for podcasts when the show is compelling – as The Noise Floor is – is 60 to 90 minutes.
Your mileage may vary, and maybe your metrics show more growth with longer pods. What do I know? … 
Agreed, one of the biggest travesties in modern remasters is going too far to remove tape hiss, it destroys the recording, every remastered version of Machine Head is a travesty when compared to the Vinyl, with the exception of the Japanese SACD version, which is at least close, because they left much of the hiss in. The OG CD release has lots of hiss too, but it’s got other issues.
That’s me, although a lot of my music isn’t an “audiophile recording.” I primarily focus on the music first, though; lyrics are in a distant second. Based on what the gang said in this past weekend’s podcast, I’m not the only one.
I think it would be really interesting to talk about how driver size can possibly have an effect on pinna interaction. A Reddit thread talking about how the HE-1 is the best headphone because ‘it measures flat and through use of its large driver does not need a baked in frequency response’.
https://www.reddit.com/r/headphones/s/6AGuBONKaW
Everything here sounds really wrong but I don’t know the technical reasons for it well enough to really explain why it sounds so wrong. Perhaps there’s some truth to it, but I just assume there’s not. Would be interesting to hear a more technical explanation for how this actually works and how driver size is actually relevant if at all.
Is audio uniquely vulnerable to subjective hallucinations like hearing “obvious” differences between cables and sources? What are unrelated hobbies y’all have with parallel subjective range, and why is (or isn’t) the audio hobby different?
Wondering about EQ. Seems like a comprehensive and contemporary discussion of How to’s and how not to’s is lacking. Selfishly, asking because I’m lost at where to start, but also seems like there’s a lot of talk about EQ, but not as much about the nuts and bolts of it. Perhaps not a sexy topic for discourse… Thanks for the show, watch every week!
We have a video on that here:
It’s a bit older but still relevant.
Perfect thanks! IDK why I was having a hard time finding this, I knew it must exist. Also that kicked the algorithm in gear so I’ve got a rabbit hole to explore now.
Just finished last weeks episode, thanks for another nice one 
A follow up question to the part where you discussed EQ, and how the cheaper measurement rigs might not be that helpful.
In your opinion, what would be a good measurement rig for the entusiast to get, and what skills are essential to learn, to get the most out of it? I basically want to be able to make reliable measurements for home usage.
Budget is 2-3K USD or less. Maybe that’s an unrealistic budget?
Looking forward to the next show 
Not to spoil too much, but I plan to do reviews of measurement rigs in the not-too-distant future, as well as educational content on how to use them. Stay tuned for that
On the Headphone Show’s channel or your own? 
Looking forward to that, for sure 
I’d like some discussion on whether you guys think manufacturers make new things sound specifically the way they do on purpose, or if they arrive at something tolerable (hopefully) and leave it there. Perhaps needing a new release for the sake of a new release, rather than actually making any meaningful improvements over previous designs. Perhaps for cost-saving measures. Contributions in the DIY space (obligatory Capra shoutout) have produced results as good as, if not better than huge companies with huge budgets and employees. Perhaps, the importance of designing something not just to sound good, but to be easily reproducible and mass-producable at that.
Perhaps something on how products most people agree are terrible, like in the most extreme case a hifiman audivina, even get released in the first place. Do companies let people test stuff before it releases to see if they actually like it? Or just trust in-house engineers to produce something good.
Mechanics vs Electronics
I more or less understand speakers, but not so much headphones and even less IEMs.
How does the physical design and component choice affect the sound and what role could or should electronics and digital choices play?
Not talking DAC/AMP but in the headphones. Crossover, other electronics.
I’m usually sleeping when you guys get into Spicy Hour:
Production quality (mixing and mastering) of music means more to musical enjoyment than the headgear we listen with. 
Could also be a discussion topic, on how, IMO, underrated this aspect of our hobby is.
With EQ and the patience to optimise, what would you nominate as the most cost effective dac / amp / heaphone(s) setup to achieve ‘high end’ sound. That is, with EQ, where is the bang-for-buck sweet spot?
Welcome to the forum.
I am not sure if this question is in the correct topic or not.
Are you suggesting this as a topic for the show or is it a question you are looking for advice on?
Would be interested to know more about HRTF variation in low frequencies vs high frequencies. For example, are frequencies between 100-2000hz less likely to have HRTF variation vs 5000-10000hz range? Can you rely on measurements in the lower part of the frequency range more for EQ-ing?
Yeah, we should talk about this more - maybe this is a good subject for a video actually. An HRTF is the response of an ear measured at the eardrum, but the pinna specific effects - the most significant variable - is going to be above 3khz. However that doesn’t mean there can’t also be variation from other factors like the canal, the head, and so on, and you’ll see some of that below 3khz as well. But those regions are A) less variable for HRTF, and B) less sensitive to positional variation provided all else equal for the coupling.
So the caveat there is that like… if you have a closed-back or otherwise high acoustic Z headphone, you’re going to get a lot more variation in the response lower down as well.
Yet another topic idea: Could Punch And Slam Be Measured?
Is punch and slam (also called dynamics) just a sudden air pressure change at the ear drum? If so, would it be possible to measure this pressure and compare different headphones with this measurement? Would a short sine wave signal suffice to produce these dynamics, or do we need to measure it with a different input?
Another idea: How Does Volume Affect The Harman Research?
If you listen to music at very low volumes or very high volume, is Harman still valid at all? For what kind of volume range is Harman best applicable?