Comparativa Auriculares

Playback
because music matters
GUIDE TO
R-0
G-0
B-0
R - 188
G - 190
B - 192
R - 132
G - 89
B - 20
Full-Size Headphones
Sponsored by HIFIMAN
contents
Sponsored by
Playback Full-Size Headphones Reviews
Introduction
Headphone Buying Tips from Playback
Choosing Between Over-the-Ear vs. On-Ear Headphones
Choosing Between Open-Back vs. Closed-Back Headphones
On the Horizon: New Headphones Headed Our Way
Playback Noise Cancelling

Headphone Reviews
Audio-Technica ATH-ANC7b
Beats By Dr. Dre Studio
Creative Aurvana X-Fi
Denon AH-NC732
JVC HA-NC250
Sennheiser PX 450
Sony MDR-NC500D
Models Under $200

Denon AH-D1001
NuForce UF-30
Shure SRH440
Urbanears Plattan
Models From $200 - $650
AKG K702
Audio-Technica ATH-A700
Beats By Dr. Dre Solo HD
Beyerdynamic DT-880 PRO
Beyerdynamic DT-990 Premium
Grado RS2
Grado SR325is
Sennheiser HD 650
Sennheiser RS 180
Shure SRH840
Ultrasone PRO 2500
Models Over $650
Audio Technica ATH-W5000
Beyerdynamic T1 Tesla
Denon AH-D5000
Grado GS1000
Grado PS1000
HiFiMAN HE-5LE
HiFiMAN HE-6
Sennheiser HD 800
Ultrasone Limited Editon 8
2 Playback Guide to Full-Size Headphones
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
Playback

because music matters
GUIDE TO
R-0
G-0
B-0
R - 188
G - 190
B - 192
R - 132
G - 89
B - 20
EDITORIAL
PUBLISHER
Jim Hannon
EDITOR-IN-CHIEF
Chris Martens
SENIOR Editor
Tom Martin
CONTRIBUTING WRITERS
Neil Gader,
Associate Editor, The Absolute Sound
Arnie Williams, Playback
creative
CREATIVE DIRECTOR
Torquil Dewar
Art director
Shelley Lai
production manager
Aaron Chamberlain
designer
mikki Bullock
corporate office
NEXTSCREEN, LLC, Inc.

CHAIRMAN & CEO
Tom Martin
VP/GROUP PUBLISHER
Jim Hannon
advertising
ADVERTISING REPS
Cheryl Smith
(512)-891-7775
Marvin Lewis
MTM Sales
(718)-225-8803
Scott Constantine
(609)-275-9594
To sign up for Buyers Guides
alerts, click here
Address letters to the Editor:
Playback Guide,
4544 S. Lamar #G-300,
Austin, TX 78745 or
cmartens@nextscreen.com
2010 NextScreen, LLC
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
INTRODUCTION
elcome to the Playback Guide to Full-Size Headphones. Interest in high-quality, highperformance headphones is growing fast and for all the right reasons. After all, great
headphones arguably offer more musical enjoyment and sonic refinement per dollar
than any other class of audio product, which may be why unprecedented numbers of audiophiles
and music lovers are making headphones their personal hi-fi systems of choice.
As always, our aim is not so much to tell you what to buy, but
rather to make you aware of options and to equip you to make
savvy, well-informed choices. With this thought in mind, we
open the Guide with four articles we think youll find useful:
Headphone Buying Tips from Playback (a short, sweet list
of essential usability factors and performance parameters to
bear in mind when shopping for headphones).
Choosing Between Over-the-Ear vs. On-Ear Headphones
(a cogent discussion of the pros and cons of both popular
headphone formats).
Choosing Between Open-Back vs. Closed-Back
Headphones (a careful look at the benefits and tradeoffs of
these two major design themes).
On the Horizon: New Headphones Headed Our Way (14
headphone manufacturers give you a sneak peak at soon-tobe-released new models).
Searching for great

Headphones lets
you experience the
thrill of the hunt...
Recognizing that many listeners want candid, professional

guidance in sorting through available options, this Guide to
address two important classes of headphones:
Noise-Cancelling Headphones (geared for listeners who
previous page
prize sound quality, but who require headphones with active

noise-cancellation features that will enable them to listen in
noisy and potentially distracting environments). This Guide
includes expert reviews of seven active noise-cancelling
models ranging in price from $200 to $400.
High-Performance, Full-Size Headphones (geared for
listeners who have made sound quality their highest priority,
and who typically will be able to enjoy music in fairly quiet
listening environments. Listeners seeking headphones in
this class are often seeking sound quality thatapart from
headphonescould only be achieved through extremely
costly loudspeaker systems). This Guide provides expert
reviews of 24 high-performance models ranging in price
from $59 to $1499. As youll soon discover, there are excellent
options to fit almost any budget.
We hope you have as much fun reading this Guide as we
did preparing it, and that it takes you forward in your quest for
better sound. Enjoy.
Chris Martens,
Editor, Playback
www.avguide.com
TABLE OF CONTENTS
NEXT page
Headphone
Buying Tips from Playback
Chris Martens
s long-term Playback readers know,

our policy is to treat all headphones
regardless of price or typelike the
serious high performance audio components
they truly are.
When we listen to headphones in the course
of doing review work (or to consider as models
we might want to buy for our personal use),
there are certain points we typicallly consider
and qualities we invariably look for. We would
like to share these with you in hopes of helping
you make good, informed choices that will, we
hope, lead to years of musical satisfaction.
First, Three Very Important

Questions to Ask
1. How will you power your headphones?
Some of the headphones in this Guide can
be powered directly from an iPod, iPad,
iPhone or other personal digital music players,
while other should ideally be driven by good,
powerful, high-performance headphone amps
(whether they are portable or desktop units).
Before you make any purchase, ask yourself
how you want to power your new phones. If,
for example, you dislike the idea of lugging
around a portable amp, then it doesnt make
sense to look at models that require such
amps. You get the picture.
2. Where will you use your headphones?
Some headphones lend themselves to on-the-
go listening, while others do not. Similarly, some

designs are suitable for use in relatively noisy
environments, while others mostly intended for
use in quieter listening spaces. Carefully think
through your real-world requirements before
making any final decisions, and make sure you
pick a model that can fit the kind(s) of listening
you hope to do.
Its important to ask

yourself how much
performance you
really need, want, and
are willing to pay for.
3. How much performance do you really want?

The standard answer to this question is
as much as I can get, but in practice the
question is subtler than you might think.
Be aware that, in headphones as in sports
cars, high performance can sometimes be a
double-edged sword. Understand that the
very same qualities that enable certain highend headphones to reveal the subtlest aspects
of recorded music can also make them expose
even minor flaws in your ancillary equipment or
music. Our point is to be careful what you ask
for, because todays best headphones can be
incredibly revealingfor better or for worse.
Think that point over carefully as you weigh the
pros and cons of different models.
About Playback Reviews

As a general rule, Playback reviews are
not written with a shootout mentality, in
part because we believe that listeners are
individuals who have different needs and
musical preferences, so that typically, there is
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
Headphone
Buying Tips from Playback
no one right choice or best product.
Instead, we hope youll consider our reviews
as fact-finding missions where the goal is to
explore the sonic character of each headphone
under review, talk about the strengths and
weaknesses of each model. In a broader
sense, our reviews also aim to give readers
an idea of what levels of performance can be
achieved at various price points (though as
you will soon discover there are exceptional
performers in almost every price bracket).
Essential Qualities to Look For
Tonal BalanceThe ability to produce

smooth, evenly balanced bass, mids, and
highs, with nothing exaggerated, and nothing
left out. In particular, we look for neutrality; that
is, the ability to faithfully reproduce the sounds
captured in your recordings (for better or for
worse) rather than imposing a particular sonic
color or flavor on the sound.
ClarityAccurate reproduction of transient

sounds and musical texturessuch as
the sound of a pick on guitar strings, the
shimmer of cymbals, or the subtle echoes or
reverberations heard within recording spaces.

Details matter, so that we look for headphones
that can resolve even the most subtle, socalled inner details.
DynamicsThe ability to reveal contrasts

between loud and soft passages in music
without audible stress or strain. Also, we look
for headphones that can capture very subtle
low-level variations in dynamic emphasis, such
as the way a singer uses vibrato or momentary
inflections to add impact to a particular
musical phrase.
Comfort/FitDoes the headphone

accommodate a wide range of listeners
and fit easily on your head without applying
too much (or too little) pressure? Does the
headphone feel secure on your head, or does
it perhaps feel as if it might slip off? Finally,
does the phone enable you to relax and
listen, or does it distract you (or make you feel
claustrophobic) in some way?
IsolationSome people prefer phones

that block out external noises, while others
previous page
NEXT page
like phones that let them hear household

sounds (e.g., doorbells, phones ringing, family
members calling out, etc.). To help you find
models that will fit your preferences, well
indicate whether the phones under review offer
high or low levels of noise isolation.
$$$
ValueAre you getting your moneys worth?

Ask this question early and often, because
high prices dont necessarlily guarantee the
best performance. Now more than ever we all

appreciate products that deliver lasting value.
Dare to be DemandingDont stop looking

until you find headphones that fully satisfy your
personal standards for musical realism. After
all, thats the whole point of choosing high
performance headphones in the first place.
Choosing Between
Over-the-Ear and On-Ear Headphones
Tom Martin
here is a saying in the world of photography to the effect that the best camera is the
one you have with you. The underlying point is that if a camera is too big or too heavy
and you leave it in your hotel room or your car, you cant take a picture at all, so all those
fancy features go for naught. A similar thought might apply to headphones, modified to the best
headphone is the one you have on. In the case of headphones, sound quality matters a lot, but so
does usability. Lets compare on-ear and over-the-ear headphones with the latter in mind:
Over-the-ear headphones
generally offer:
Better isolation from external sounds
Higher comfort for the outer ear
Greater security (less of a feeling that
the headphone might slide off)
Potential sense of ear claustrophobia
(an unpleasant feeling of being shut in)
Greater weight and size
On-ear headphones generally offer:

Smaller size, lighter weight, andin some casesavailable, built-in cell-phone mics/controls
Avoidance of ear claustrophobia
Less pressure on top of head and around the ear
Potentially uncomfortable pressure on the outer ear
Lower isolation from ambient noise
Of course all of these parameters can vary quite a bit from headphone to headphone, but you may
want to try several pairs of each just to develop a general sense of which are acceptable.
Sonically, it is quite hard to generalize about over-the-ear headphones compared with on-ear
headphones. There are many makes and models of each, and manufacturers offer models with a
variety of sonic characteristics. We would say that bass response is generally different between
the two types, with over-the ear headphones more likely to deliver correct bass depth and weight.
Finally, we should consider that many on-ear headphones are designed to be driven by
portable players or small amplifiers. By contrast, more than a few over-the-ear headphones are
comparatively power-hungry and thus require robust headphone amps to sound their best.
AKGs over-the-ear
K702 headphone
features appropriately
large earcups.
NuForces UF-30
headphone is a light,
compact, on-ear design.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
Choosing Between
Open-back and Closed-back Headphones
Tom Martin
their intentionally thin driver diaphragms in

enclosure frames that, by design, are open
to your ears (on the inside) but also open
to the world at large (on the outside). Noise
permeability is an inevitable by-product of
these designs. Closed-back headphones, by
Usability Differences:
Usability differences are fairly easy to
contrast, have solid plastic, wood or metal
characterize. Generally, open-back
driver housings to help provide additional
isolation from external sounds.
headphones allow more external sounds to
pass through to your ears than do closedLike all generalizations, however, this one
back headphones. This should come as no
has its limits. Specifically, it is important
surprise, since open-back models suspend
to understand that the seal between the
headphone and your head
can also a pathway for
external sounds. Consider
this: a closed-back
headphone that fits loosely
will offer no more isolation,
and perhaps less, than
an open back headphone
with a good circumaural
seal.
All of this matters
because external sounds
are noise sources. Those
external sounds could
come from office workers
talking, urban street
sounds, jet engines, studio
musicians, or merely an
Audio-Technicas ATH-W5000 Raffinato
HVAC system in operation,
is a classic closed-back design
but in all cases noise is
xperienced listeners generally feel that

there are two major differences between
open-back and closed-back headphones:
sonic differences and usability differences.
noise. Whether it is obvious or subtle, noise is

not only a distraction, but it also reduces your
ability to hear low-level sounds as instrumental
notes decay. This is not simply a matter of
audiophiles splitting hairs, because noise
can dramatically impede your ability to hear
subtle sounds that would ideally help convey
the vibrancy and ambience of the music. In
addition, higher levels of background noise
make it more likely that youll crank up the
volume to restore a sense of dynamics, but at
the risk of potential hearing damage.
Sonic Differences:
When it comes to sonic differences, two
are commonly mentioned. Closed-back
headphones are thought to sound more closed
in and compressed, though we would hasten
to point out that there is as much variation
in this aspect of sound between models of
headphones as there is between closed-back
and open-back designs in general. Let your
ears be the guide there.
Closed-back headphones also can have
more resonant sounding bass. Generally
this means youll hear more powerful but
potentially less articulate bass, but In some
designs it could mean the oppositei.e., more
lightly balanced bass (perhaps as a way to
camouflage the additional resonances).
Finally, we should note that all of Playbacks
top-rated headphone designs are open-back
previous page
HiFiMANs open-back HE-6

features an open-weave mesh
on the back side of its earcups
designs. This may be coincidence or it may be
that open-back design is technically superior.
It may also mean marketing departments are
simply catering to customer tastes, knowing
many headphone enthusiasts assume (or
believe) that sonic differences generally work
in favor of open-back designs. Whatever the
reason, judging solely on overall sound quality,
the best-performing headphones Playback has
tested thus far are open-back designs.
www.avguide.com
TABLE OF CONTENTS
NEXT page
on the horizon: new headphones headed our way

Chris Martens
elow, 14 leading headphone manufacturers
Audeze
www.audeze.com
Audeze Audio Research Labs LCD-2 Planar
Magnetic Headphone
The LCD-2 is the top of the line Planar Magnetic
Headphone from Audeze Inc. Each component of
the LCD-2 has been purpose-built with one goal in
mind: to create the most gorgeous sound possible. It
combines leading edge technology and development
with knowledge, feedback and suggestions gleaned
from an on-going dialogue with sound engineers and
audiophiles. With extremely fast response, the LCD-2
reproduces every single detail in any recording with
amazing clarity. The retail price is $945.00 and the
LCD-2 available direct from the manufacturer.
give Playback readers a first look at new

full-size headphones that are soon to be
released, or that recently have been. Enjoy.
Audio-Technica
www.audio-technica.com
Audio-Technica ATH-W1000X Closed-Back
Headphones
Audio-Technicas ATH-W1000X high-end overear headphones combine refined sound quality
with luxurious design. Black cherry wood ear cup
housings not only given an elegant appearance,
but offer natural properties that contribute to the
headphones superb audio reproduction.
Highlights include large-aperture 53 mm drivers
with neodymium magnets, plus a unique floatingmount, 3D Wing-Support system that automatically
adjust to any wearer. The signal cable is a special
tangle-free design that features a thermoplastic
elastomer jacket and PCOCC conductors.
The headphones provide smooth and extended
frequency response (5Hz 42,000 Hz) and promise
a natural tonal balance with audiophile sound quality
(Pricing to be announced, availability early 2011).
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Beats Pro by Dr. Dre
www.beatsbydre.com
Beats Pro by Dr. Dre from Monster
The Beats Pro by Dr. Dre headphones combine
sophisticated construction and sonic technologies to
deliver the power, durability and sound isolation that
until now has been lacking in professional headphones.
Tailored for use by producers, engineers, musicians
and DJs both in studio and onstage, Beats Pro
headphones feature a variety of ambient noise-isolation
capabilities, allowing users to hear their music clearly,
even in the noisiest environments. Built from strong yet
lightweight aluminum, with tough all-metal hinges for
rugged use on-the-go, Beats Pros flip up ear cups let
DJs monitor the room without taking the headphones
off. (MSRP: $449.95)
Beyerdynamic
www.beyerdynamic.com
Beyerdynamic T5p Headphones
With its recently released flagship model, the high-end
T1 headphone (see the full-length review in this Guide),
Beyerdynamic succeeded in achieving what many
considered to be impossible: a quantum leap in terms
of sound quality and audiophile sound processing. The
results: a full series of Made in Germany engineering
accomplishments with the new T1 driver. which offers
an intrinsic magnetic flux density of 1.2 Tesla (a feature
only available from Beyerdynamic). This provides the end
user with unequalled headphone performance. Tesla
technology is now available with the T1, T5p and T50p
models. With the new full size T5p portable headphone, the
Tesla innovations are now available for mobile use.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Denon
www.denon.com
Denon AH-A100 100th Anniversary Headphones
Denons luxurious AH-A100 headphones are part of the
100th Anniversary Product Collection, a limited specialedition product line that offers discriminating consumers
an opportunity to become a part of Denons century-old
legacy of innovation and craftsmanship. Handcrafted
and sporting striking, piano-finished mahogany ear cups
that enhances the headphones natural tonal balance, the
AH-A100 features a high-grade driver for superior sound
quality, newly designed skin-soft ear pads and headband,
as well as a luxurious storage case. For high-quality audio
performance, the AH-A100s feature the classs largest
50mm (1.97) diaphragm with Acoustic Optimizer for
dynamic, clear sound. (MSRP: $499).
Head-Direct
www.head-direct.com
Head-Direct/HiFiMAN HE-6 Orthodynamic Headphones
Head-Direct is proud to introduce the hand-built HiFiMAN
HE-6 orthodynamic headphone as its flagship model. The
HE-6 features a gold diaphragm, and a highly efficient
magnetic-circuit to help make the headphone easier to
drive. Orthodynamic designs combine some of the best
aspects of both dynamic and electrostatic headphones.
Like the best electrostatic models, orthodynamic designs
have lower distortion than conventional dynamic phones,
yet like traditional dynamic designs the HE-6 can be driven
by regular headphone amplifiers (whereas electrostatic
phones often require costly dedicated amplifiers or adapter
boxes). (MSRP: $1199; available in late October, 2010).
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Koss
www.koss.com
Koss ProDJ100 Headphone
This fall, Koss Corporation, the US-based high fidelity
stereophone innovator released the highly anticipated
ProDJ100. The full-size ProDJ100 is designed for DJs
and music enthusiasts alike. Strength, function and
great sound, is how Koss describes the flexible, spun
metal stereophone that folds flat and swivels 180 for
single-sided DJ applications. Soft isolating ear cushions
cradle the ears while creating an extremely comfortable
seal that helps block outside noise. Whether youre a DJ on
the move or looking for the perfect full-size stereophone,
the Koss ProDJ100 is the answer. The Koss ProDJ100 is
available now, priced at $79.99.
Moon Audio
www.moon-audio.com
Moon Audio Custom-Modified High-End Headphones
Moon-Audio is an authorized dealer for many popular
brands of high-end headphones including AKG, AudioTechnica, Beyerdynamic, Denon, Grado, HiFiMAN,
Sennheiser, Ultrasone, and more. The company also
specializes in developing high-performance headphone
signal cables.
Moon-Audio proudly offer both standard and customized
versions of many top-tier models, with modifications
that include retrofitting extremely high-quality singleended, balanced, or portable signal cables fitted with
connection plugs to suit almost any application. (See
the accompanying photo of Moons Dragon Series VI
headphone, which is a modified Beyerdynamic DT-990.).
Moon is also developing detachable cable solutions so
that, whatever connection opportunity may arise, users will
have a solution with a simple swap of the cable.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Phiaton
www.phiaton.com
Phiaton MS 400 Moderna Series Headphones
Phiatons Moderna Series MS 400 headphones are an
entirely new class of luxury listening solution that combines
an adrenaline rush of bold styling, opulent red accents
and world-class sonic performance. Also available in sleek
black, the MS 400s are built for extreme strength, and this
strength is matched by an ultra lightweight, carbon graphite
fiber design (the same material found in many luxury autos,
watches and other products) that offers unprecedented
durability. Phiaton has taken the concept even further by
encasing the carbon in a high polymer enclosure. The result
is better resonance, rich bass, full-bodied midrange, and
sparkling high notes. (MSRP: $249).
Sennheiser
www.sennheiser.com
Sennheiser HD598 Headphones
Sennheisers new HD 598 open, dynamic headphone
combines style and sound quality at the highest level. The
attractive, high-end headphone features cream-colored
surfaces, dark wood grain effect and glossy metallic trim.
Sennheisers specially developed E.A.R. (Eargonomic
Acoustic Refinement) technology ensures a top-quality
stereo sound experience. Powerful neodymium magnets
and proven Duofol diaphragms guarantee natural, lifelike
reproduction of even the finest musical details.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Sony
www.sonystyle.com
Sony DR-GA500 and DR-GA200 PC Gaming Heaphones
Sonys new DR-GA500 and DR-GA200 PC gaming
headphones are ideal for PC gamers looking to enhance
their experience with premium audio and improved comfort
during game play. The DR-GA500 utilizes Sonys Virtual
Phones (VPT) technology and Dolby Pro Logic IIx decoding
to create virtual 7.1 channel surround sound, resulting in an
ideal audio environment. The signal processing hardware
of this flagship model is contained in a small external unit.
Sonys new PC Gaming headsets will be available this
month for about $200 and $80, respectively, at the Sony
Style Website and retail stores, and at other authorized
retailers nationwide.
Ultrasone
www.ultrasone.com
Ultrasone Edition 10 Headphones
Ultrasones long awaited open-backed headphone is
herethe Edition 10. With Zebrano wood ear cup inlays,
Ethiopian sheepskin leather ear cup pads, Titanium plated
drivers, Kevlar coated cables and a limited number of
2010 units available. Ultrasones Edition 10 represent the
companys most lavishly appointed and highly coveted
specialty headphones ever created. The Titanium-plated
40mm drivers have been specially tuned for open back
headphones and feature a 10% more powerful magnet
for enhanced sound pressure levels. The Edition 10s are
balanced input ready and feature the companys patented
S-Logic for reduced sound pressure levels. (MSRP: $2,749).
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Urbanears
www.urbanears.com
Urbanears Plattan Plus Headphones
The newest Urbanears headphone is the Apple exclusive
Plattan Plus. Available in an array of stylish colors, the
Plattan Plus offers superior sound quality, noise isolation,
and a 3.5mm jack compatible with all Apple devices. It
also has a remote and mic to allow users to answer calls
while playing their favorite tunes. The Plattan Plus will be
available in Apple stores for $60.
V-Moda
www.v-moda.com
V-Moda Crossfade LP Headphones
Developed by renowned artists, DJs and producers, these
fashionable and luxurious V-Moda over-ear headphones
deliver juicy sound. Highlights include:
Durable yet lightweight frame features the revolutionary
and signature V design
Patented 50mm dual-diaphragm high-definition drivers for
vibrant and immersive sound
Plush memory foam ear cushions reduce ambient noise
and allow for hours of comfortable wearing
Long (69 in.) audio cable with 3-button remote and highfidelity mic for adjusting volume, controlling playback and
more
Jet-black exoskeleton case for transporting in style
Available in White Pearl, Phantom Chrome, Gunmetal
Black, Nero, and Rouge
The V-Moda Crossfade LP is available at Apple stores,
Best Buy, Radio Shack, Amazon.com and other fine
retailers worldwide. (MSRP: $249.99).
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
Playback
noise
cancelling
headphone
reviews
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
noise cancelling headphones

go to: noise cancelling headphones | full-size headphones
Audio-Technica
ATH-ANC7b
Chris Martens
overview
ver a year ago Playback published a series of reviews of active

noise-cancelling headphones, collectively called the Sounds of
Silence, and one of our favorite models at the time was AudioTechnicas Quiet Point ATH-ANC7. Though it was neither the most
expensive nor the most elaborate of the designs we sampled, the ANC7
represented one of those less is more scenarios where everything about
the headphone just plain worked as intended, giving excellent levels
of noise reduction and very refined sound without any fuss, bother, or
superfluous gongs or whistles. From off-the-record conversations I had with
manufacturers of competing noise-cancelling phones, I learned the AudioTechnica had attracted their attention, too (so that some regarded the ATHANC7 as a worthy competitive benchmark to try and surpass).
Now, however, Audio-Technica has replaced the ATH-ANC7 with an
updated model called the ATH-ANC7b ($219.95) that is said to offer
incremental improvements vis--vis the original model. Since the audio
universe is littered with examples of products that supposedly offer
improvements but that in fact sadly represent steps backward, I decided to
withhold judgment until I heard the ANC7b in action. Having now lived with
the new model for several months, Im pleased to report that it really does
take meaningful steps forward from the original ANC7, yet with no increase in
retail price and no sonic downsides whatsoever. In short, the ATH-ANC7bs
motto could well be, All gain with no pain, which certainly works for me.
And as with the original ANC7, the new model represents a simple, elegant
Consider this active noise-cancelling

headphone if:
you want one of the most sophisticated
and musically satisfying noise-cancelling
headphones on todays marketone that
combines very significant levels of noise
reduction with the kind of sonic refinement
approaching the sound of todays higherquality passive headphones.
Look further if:
you want the very highest levels of noise
reduction possible (or perhaps multiple
noise reduction algorithms each optimized
for handling different kinds of noise) and are
willing to trade away some of the AudioTechnicas sonic sophistication to achieve
that goal. But that said, be aware that no
other noise-cancelling headphone we have
yet tried offers a better overall combination
of noise cancellation and sonic excellence.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

solution that works to deliver unexpected
levels of quietude with genuinely sophisticated
sound.
When you get right down to it, active noise
cancellers have to balance a delicate and
difficult design set of design tradeoffs. To
remove background noises, they must produce
sounds precisely calculated to cancel out
environmental noises from without, while at
the same time reproducing the finer points and
nuances of well recorded musicall without
skipping a beat. Its a tall order to fill, yet one
that Audio-Technicas ATH-ANC7b addresses
with rare grace and sophistication, which is
what makes this headphone so special.
FEATURES:
40mm drivers with neodymium magnet
structures.
Headphone operates in passive mode in the
event of battery failure.
Detachable signal cable means the
headphone can be used for noise
reduction only.
Quiet Point noise-cancellation circuitry
promises 20 dB of noise reduction, while
reducing environmental noise by up
to 90%.
Compact, fold-flat design that allows
earcups to swivel in both vertical and
horizontal axes.
Powered by single AAA battery with
projected battery life of 40 hours.
SONIC CHARACTER
The ATH-ANC7b improves upon the already
very good sonic qualities of the original ATH-
ANC7 in several noteworthy ways. To supply

some background context for my remarks, let
me mention that I described the original model
as offering a slightly warmer-than-neutral
sound with a touch (but only a light touch) of
midrange forwardness. By comparison, the
ATH-ANC7b offers more neutral voicing with
slightly deeper and more robust bass and more
extended highs working to balance out the
original designs midrange strengths. The result
is a more evenly balanced sound from top to
bottom.
As with the original ATH-ANC7, the ANC7b
does a remarkably good job of capturing the
sometimes very subtle distinctions between
good, better, and best recordings, giving the
listener insights into delicate textural and
transient details in the music. Let me be very
clear on this point; more so than any other
noise-cancelling headphone that Ive yet
heard, the ATH-ANC7b could pass for a highquality passive (that is, non-noise-cancelling)
headphone, which is saying a mouthful.
The fact that it can deliver this kind of sonic
sophistication while also eliminating tons of
background noise is what makes the AudioTechnica so desirable.
Ive used the Audio-Technicas in a number
of different environments, but would observe
that they can seem almost revelatory in
two very different settings: genuinely noisy
environments, such as jetliners in flight, and
seemingly quiet environments, such as the
interiors of homes where the only apparent
noise sources might be HVAC equipment in use
or the soft sounds of a television in a distant
room. In both cases, the Audio-Technicas
Ratings
AUDIO-TECHNICA ATH-ANC7b
10
knock background noise levels way, way

down, so much so that you may marvelas
I have at timesover how much quieter and
more relaxing things seem once the QuietPoint
circuitry is engaged.
One very real improvement in the ANC7b
involves its noticeably quieter amplifier circuit
vis--vis the earlier ANC7. Of the original model
I wrote that listeners could hear a faint bit of
amplifier hiss when the noise cancellation/
amplifier circuit is switched on. With the new
model, that hiss is essentially gonea small
touch, true, but one youll appreciate every time
you use the headphones with volume levels
turned down low.
MUSICAL EXAMPLE
One of my favorite test records is Tim Ries
intricate and exquisite Stones World The
Rolling Stones Project, Vol. 2 [Sunny Side], in
previous page
specs/pricing
tonal balance

clarity

dynamics

comfort/fit

noise isolation/cancellation

ease of use

value

Accessories: two detachable signal

cables (1m and 1.6m, -inch adapter,
airline adapter, carrying case with built-in
accessory pouch,
and a AAA battery.
Frequency Response: 10 Hz - 25kHz
Weight: 7.4 oz.
Sensitivity: 109 dB/mW
Impedance: 300 Ohms
Frequency response: 10 Hz 25 kHz
Warranty: 1 year, parts and labor
Price: $219.95
AUDIO-TECHNICA U.S., Inc.
(330) 686-2600
audio-technica.com
which Ries and a brilliant cast of musicians

create world music/jazz reinterpretations of
some of the Rolling Stones greatest songs.
A particular favorite is Ries explosive Latin
take on Under My Thumb, which positively
froths and sizzles with dynamic energy.
What makes the track a tough test for any
headphone is the fact that it combines densely
layered instrumentation, complete with wildly
syncopated Latin percussion and bass, a
blistering horn section, rollicking keyboards,
and vocals fairly dripping with attitude and
machismo (as in, Yeah, Mommy, I got you
where I want you/under my thumb.).
Most phones stumble on this track, at
least to some degree, either making it sound
www.avguide.com
TABLE OF CONTENTS
NEXT page

go to: playback noise cancelling headphones | playback full-size headphones
compressed, muddled, or indistinct, or
perhaps all of the abovebut not so with the
Audio-Technica ATH-ANC7b. It just wades
right in and owns this track in all of its glorious
dynamic richness and detail. The ANC7bs
capture, for example, the elastic bounce of
the bass and the slightly off-kilter rhythms (and
counter-rhythms) of the percussion instruments
that drive the song forward, while doing a
spectacular job with the horn section. Indeed,
brass instruments have that just right touch
of bite as notes first begin, yet without any
edginess or underlying glare. Best of all, the
ATH-ANC7b seem to breathe with the music,
letting the dynamics flow without exaggeration
but also without any apparent compression. As
a result, the Audio-Technicas make it easy to
be drawn deep inside the musica claim not
all noise cancelling headphones could make
with a straight face.
COMPETITIVE ANALYSIS
One of the other strongest competitors for a
best of breed noise-cancelling design would
be Sonys flagship MDR-NC500D digital noise
cancelling headphone ($399.99), so that I felt
it would make for an apt comparison with the
ATH-ANC7b. Heres how I would draw the lines
of comparison.
The Sony uses a so-called Artificial
Intelligence system to select from among
three different digital noise reduction
algorithms to choose the one thats most
appropriate for the listeners environment.
This level of adaptability arguably makes
the Sony the all-around champ when it
comes to noise reduction (especially in tricky
environments that have lots of low frequency
noise). Interestingly, though, the results

achieved by Audio-Technicas much simpler
QuietPoint technology do not fall all that far
behind the Sonys.
The Sony offers two power options: a
rechargeable onboard Lithium Ion battery, or
an outboard conventional battery pack. While
the Sony solution exudes a certain measure
of techno-coolness, it is also inherently
complex (given the outboard battery pack,
whose wiring is surprisingly intricate, the
charger for the Lithium Ion battery, etc.). By
comparison, the Audio-Technicas single
AAA battery seems a much simpler way to
go (and you can easily stuff a few spare AAA
batteries in the accessory pouch without
taking up much room). SIn the Audio-
COMFORT FACTOR/ACCESSORIES
The ATH-ANC7bs come with a good mix of
accessories including: a detachable signal
cable, a -inch adapter, an airline adapter, a
carrying case with built-in accessory pouch,
and a AAA battery to get you started.
The ATH-ANC7b is light, compact, and
comfortable, applying firm (but not overly firm)
clamping pressures. Still, after about a 1 -2
hour listening session, you may find youre
ready for a break. The earcups are on the
smallish side, so that some listeners might find
them just slightly confining, though I personally
found them to be an almost perfect size.
previous page
Technicas case, simpler is indeed better.

In terms of sheer sonic sophistication
and purity, both designs are very good
performers, but if push came to shove I
would give the nod to the Audio-Technica
because its sound seems more effortless,
natural, and unforced, whereas there are
moments where the Sony can sound just
slightly processed in its presentation. Sonic
purity is one of the hardest things for any
noise-cancelling headphone to achieve, and
it is one the ATH-ANC7bs greatest strengths.
BOTTOM LINE:
With the ATH-ANC7b, Audio-Technica has
taken one of Playbacks favorite noisecancelling headphone designs and made it
even better, first by giving the ANC7b more
evenly balanced and extended voicing, and
second by fitting the headphone with an even
quieter amplifier/noise reduction circuit. This is
a delightfully simple and easy to use product
that offers a great combination of effective
noise reduction and sonic sophistication.
www.avguide.com
TABLE OF CONTENTS
NEXT page

BEATS BY
DR.DRE STUDIO
Chris Martens
ore than three years in development, the

Beats by Dr. Dre Studio headphones are
the result of a three-way collaboration
between artist and producer Dr. Dre, Interscope
Geffen A&M Chairman Jimmy Iovine, and the
engineering team at Monster Cable. Described
by Monster as high definition powered isolation
headphones, the Studios have set for themselves
the ambitious goal of providing a brand new level
of headphone audio performance with extreme
clarity, deep bass and full power which had been
lacking in conventional headphones. Do they

succeed? In many respects they do.
Features
40mm drivers.
Active noise isolation circuitry said to reduce
environmental noise by up to 14 dB.
Detachable signal cable allows the headphones
to be used purely for noise cancellation.
Mute button lets listeners temporarily suspend
playback to focus attention elsewhere.
overview
Consider this headphone if:
you want a headphone that is exciting and
dramatic to listen tothough with tonal balance
that is more colorful than accurate. This is
one of the few headphones that can capture
the deep, throbbing bass you might hear in a
club. Note that this headphone that can serve
as a headset for music-enabled cell phones.
Gorgeous industrial design, too.
Look further if:

you want maximum noise cancellation (the
Beats Studios do an adequate but definitely
not great job in this area). Also look further if
youre a fan of natural, neutrally balanced sound
(the Studios deliver an intense, almost hypervivid sound, but in the process they take some
liberties with tonal balance that you may or may
not appreciate in the long run).
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Multi-color power-on light indicates battery
status: red = batteries are good, amber =
batteries are due for replacement.
iSoniTalk cable (included) with built-in mic
and call-answer switch enables the Studios
to serve as a headset for music-enabled cell
phones (iPhone, Blackberry, etc.).
Gorgeous industrial design developed by
Robert Brunner.
ACCESSORIES
Gold-plated mini-jack-to-1/4-inch adapter.
Detachable signal cable (with high-quality
Monster Cable wiring, of course).
iSoniTalk headset adapter cable.
Cleaning cloth with Aegis Microbe Shield
Padded travel case.
SONIC CHARACTER
From the moment you first power them up,
the Studios sound dramatic, exciting and
evocativethough not necessarily accurate.
To explain what I mean, lets look at what the
Beats do with bass, mids, and highs in music.
For the most part the Studios bass is
powerful and well definedjust what youd
what. But as notes descend lower, the Beats
begin adding an extra measure of va-vavoom low-end punch, whether the music calls
for it or not. This coloration sometimes sounds
exciting, but can also make music sound
inappropriately bass-heavy at times.
In the midrange, the Studios have plenty
of definition and clarity, but they tend to pull
middle frequencies back in the mix, making
them sound slightly subdued or withdrawn
Ratings
specs/pricing
tonal balance

clarity

dynamics

comfort/fit


ease of use

value

0
BEATS BY DR. DRE STUDIOS

Accessories: As listed in review.
Frequency response: 20 Hz - 20kHz
Sensitivity: 110dB
Impedance: Not specified
Battery Power: Two AAA batteries
Weight: Not specified
Price: $350
10
relative to bass and highs. But higher up, in

the upper midrange/lower treble region, the
Beats reverse course and actually push higher
frequency sounds forward in the mix. As a
result the sounds of cymbals, guitar fingering
and picking noises, high notes on pianos,
and vocal sibilance fairly jump out of these
headphones. While this treble boost initially
seems to enhance clarity (and can potentially
help enliven dull-sounding MP3 tracks), it
also puts a bright, penetrating edge on higher
quality recordings, which can prove fatiguing
over the long haul.
The Studios offer a modest amount of noise
cancellation (or powered isolation, to use
Monsters term), but noise reduction isnt really
this headphones strong point. Drama and
excitement is.
previous page
Monster Cable
(877) 800-8989
beatsbydre.com
monstercable.com
MUSICAL EXAMPLES
Put on The Lesson from bassist Victor
Wootens Palmystery [Heads Up] and youll
hear a jaw-dropping slapnpop-style bass
guitar solo thats tailor made to show off the
things the Studios do well. Wooten slaps low
notes with the side of his thumb, creating
profoundly punchy low-frequency thumps,
then tucks his fingers under the basss high(er)
strings and snaps them upward, releasing
hard, bright, percussive counterpoint notes.
Adding to the mix are bright handclap- and
castanet-like rhythm accents. The whole
song works because both the low bass notes
and brighter accent notes fall in regions
that the Beats emphasizes, and the effect is
spectacular, though perhaps overly bright.
But listen to the opening of The Difficult
Kind from Sheryl Crows The Globe Sessions
www.avguide.com
TABLE OF CONTENTS
NEXT page

[A&M] and the downside of the Studios
becomes apparent. The song opens with
Crows voice accompanied only by an electric
guitar, and through the Beats two things
happen. First, the twang of the guitar becomes
unnaturally aggressive, drawing attention
away from the vocals. Second, the overtones

of Crows voice get pushed so far forward
that, as she sings higher up in her range, her
voice sounds progressively more imbalanced,
strident, and shrill. The point is that the voicing
of the Studios complements some tracks, but
not others.
COMFORT FACTOR
The Studios large earcups and plush earpads
make them super-comfortable, even for long
listening sessions.
EASE OF USE
The Studios are extremely easy to use, and
we found their easy-access Mute button a
touch we wish other self-powered headphones
offered. The iSoniTalk cable is a welcome
feature for those who wish to use the Beats
with music-enabled cell phones; its a feature
that no other noise cancelling headphone in
this Guide includes.
BOTTOM LINE
The Beats By Dr. Dre Studios sound dramatic
and exciting, but not necessarily accurate.
They can seem terrific one moment, but
become somewhat overbearing the next,
depending on whether their colorful voicing
matches well with the track youve chosen.
Because this headphones voicing is not
neutral, I recommend a try-it-before-you-buy-it
approach to see if the Studios characteristic
sound suits your tastes on a broad range of
musical material.
previous page
www.avguide.com
NEXT page
NEXT page

CREATIVE LABS
AURVANA X-FI
Chris Martens
he Aurvana X-Fi is Creative Labs

premier headphone, both for audiophile
and noise-cancelling applications.
Unlike most of the headphones in our survey,
however, the Aurvana X-Fi not only provides
switch-selectable noise-cancelling functions
but also offers two other user-selectable sound
enhancement modes. The first is the X-Fi
Crystallizer mode that, according to Creative,
restores the detail and vibrancy to your
compressed music and movies through a
process where highs and lows are intelligently
enhanced. The second is the X-Fi CMSS 3D

mode that is said to expand stereo MP3s and
digital movies into virtual surround sound.
FEATURES
40mm drivers with neodymium magnets.
Active noise cancellation circuitry said to
reduce environmental noise by up to 20 dB.
Headphones can continue to function in
passive mode should battery power run out.
Detachable signal cable allows the
headphones to be used purely for noise
overview
you want a model that provides superb noise
cancellation and a smooth, natural, evenly
balanced sound. Sonic resolution and detail
are very good, too, though not quite best
in class. Also consider this model if youd
like to sample its X-Fi Crystallizer and X-Fi
CMSS 3D sound enhancement modes
modes that will suit some (but not all) tastes.
Look elsewhere if:

you crave a vibrant, dynamically alive sound
that is rich in low-level sonic details; while
the Aurvana sounds very good, its strongest
competitors narrowly edge it out in terms
of sonic performance. Also look further
if youd rather not pay for digital sound
enhancement modes youre not inclined
to use.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

cancellation with no audio.
Illuminated on/off switches for power, noise
cancellation, X-Fi Crystallizer mode, and X-Fi
CMSS 3D mode.
Thumbwheel-type volume control.
ACCESSORIES
Gold-plated mini-jack-to-1/4 adapter plug.
Airline adapter plug.
Detachable signal cable.
Extension audio cable
Padded travel case.
SONIC CHARACTER
Before I discuss the Aurvanas signature
sound, let me point out that its noise
cancellation circuitry is simply first rate. In
noisy environments this headphone is quiet
with a capital Qas good as the best Ive
ever heard.
Sonically, the Aurvana X-Fi is an
accomplished all-rounder that offers
wonderfully neutral voicing and a smooth,
evenly balanced presentation that is easy
to listen to for hours on end. The X-Fi also
Ratings
specs/pricing
tonal balance

clarity

dynamics

comfort/fit


ease of use

value

0
Creative Labs Aurvana X-FI

Sensitivity: 105dB
Impedance: 420 ohms
Battery Power: Two AAA batteries
Weight: 8.6 oz.
Price: $300
Creative Labs Inc.
(408) 428-6600
us.creative.com
10
provides very good levels of detail and clarity

without ever sounding edgy, sterile, or
artificially vivid. While the best competing
models offer slightly deeper bass and more
expansive highs, plus a somewhat greater
sense of sonic purity, focus and resolution,
the Aurvana can hold its own in all those
areasand without adding impressionistic
colorations.
I had mixed reactions to the X-Fi Crystallizer
and CMSS 3D modes. As advertized, the
Crystallizer mode adds a measure of extra
bass punch and treble snap that can help
perk up severely compressed or dull-sounding
tracks. The tradeoff, however, is that the
mode also tends to undercut the Aurvanas
ordinarily smooth sound, making higher quality
recordings (especially uncompressed tracks)
sound artificially pumped-up and brash.
The X-Fi CMSS 3D mode struck me as more
previous page
of a gimmick than a genuinely useful feature.

It imparts a spacey, phase-shifted, and slightly
brittle-sounding pseudo-surround effect whose
appeal quickly wears thinlargely because it
robs the Aurvana of some of its characteristic
smoothness and unforced clarity. My advice:
Try out the CMSS 3D mode when youre in
the mood for sonic novelties, but turn it off for
serious music listening.
MUSICAL EXAMPLES
Stormy Monday from the late Eva Cassidys
Live At Blues Alley [Blix Street] makes a perfect
showcase for the Aurvana X-Fis strengths. The
track has a hearty, energetic, recorded-beforea-live-audience feel that the X-Fis capture
quite effectively. Two notable high points are
Cassidys heart-wrenchingly intense vocals
(which can, through some headphones, sound
a little raw at times) and a blistering electric
www.avguide.com
TABLE OF CONTENTS
NEXT page

guitar solo heard midway through the song (a
solo that, though wonderful, can sometimes
sound a little too blistering for its own good).
But what impressed me was the way the
Aurvana X-Fis caught the energy and punch
of the performances while at the same time
taming (yet not erasing) their occasional rough
edges. The Aurvana X-Fi finds a sweet spot
of sorts where it reveals the good qualities
in well-made recordings while tempering the
flaws in less-than-perfect tracks.
the last word in terms of resolving low-level

textures and details. The X-Fi Crystallizer and
CMSS 3D modes are, perhaps, an acquired
taste; I did not find them appealing over the
long haul, but I can see how others might.
COMFORT FACTOR
Though it is neither the lightest or smallest
headphone in this survey, the Aurvana X-Fi is
supremely comfortable thanks to capacious
earcups and earpads that offer a just-right
blend of cushioning and support.
EASE OF USE
The Aurvana places all user controls (four
switches and one volume control) on its rightside earcup. On one level this is convenient
because it allows one-hand operation, but
it also means the noise cancellation, X-Fi
Crystallizer mode, and X-Fi CMSS 3D mode
switches are packed side-by-side, which
can be a bit awkward for the fumble-fingered
among us.
Bottom Line:
The performance fundamentals of Creatives
Aurvana X-Fi headphones are excellent, with
noise cancellation as a particular strength (this
is a headphone Id want to have along on a
really noisy plane flight). Core sound is smooth,
rich and natural, though perhaps not quite
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

DENON AH-NC732
Chris Martens
n this review Ill take a look at Denons latest entry in the noisecancelling headphone marketplacethe AH-NC732 ($300). Unlike
many of the noise-cancelling headphones reviewed in this Guide,
the AH-NC732 is a light, compact, on-ear model (most of the other
competing noise-cancellers Ive sampled have been over-the-ear
models).
The little Denon comes with a useful though by no means extravagant
set of accessories, and while the AH-NC732 tips the scales at a feathery
5.1 oz., its soundas youll discover in a momentmost certainly packs
a heavyweight punch
FEATURES:
40mm drivers with neodymium magnets.
Denon Acoustic Optimizer circuit is said to improve sound quality while
cancelling up to 99% of ambient noise.
Lightweight (5.1 oz.), collapsible design with rigid, vibration resistant
aluminum connector cover.
High-grade protein leather-covered earpads with low-repulsion
urethane foam ear cushions said to provide enhanced comfort for
longer listening sessions.
Detachable signal cable allows the headphones to be used purely for
noise cancellation with no audio.
ACCESSORIES
Gold-plated mini-jack-to-1/4-inch adapter plug.
27.5-inch and 59-inch detachable signal cables (different lengths for
different listening settings).
Padded travel case.
overview
you want a light, simple-to-use, on-ear
noise-cancelling headphone that offers
very good noise suppression and sound
quality, with a pleasing mix of clarity and
neutral tonal balance tempered by a justright touch of natural warmth. The Denons
can collapse to fit in very small spacesor
to be packed up in their compact carrying
case (included).
Look elsewhere if:
you would prefer the somewhat different
feel and potentially better acoustic isolation
that over-the-ear headphones might afford.
Also look further if you want a headphone
that offers switch selectable sound
enhancement or simulated surround sound
processing modes.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

SONIC CHARACTER
Denons AH-NC732 is one of the betterbalanced noise-cancelling headphones Ive
encountered, combining much (though not
all) of the clarity and sonic transparency of a
headphone such as Audio Technicas ATHANC7b (reviewed elsewhere in this Guide)
with the natural, uncolored tonal balance of a
headphone such as Creative Labs Aurvana
X-Fi (also reviewed in this Guide). Extreme
highs are just slightly rolled-off, but not to a
terribly noticeable degree (in fact, I think some

listeners would interpret those slightly subdued
highs as freedom from edginess and glare).
Two particularly appealing aspects of the AHNC732 are its solidly weighted bass (some
of the best Ive heard from an on-ear design)
and its gentle, just right touch of natural
warmth, which makes the headphone sound
inviting and engaging. At 105dB, the Denons
sensitivity is decent, but falls 4-5dB below that
of the class leaders, meaning youll need to
Ratings
specs/pricing
tonal balance

clarity

dynamics

comfort/fit


ease of use

value

0
Denon AH-NC732
Sensitivity: 105dB
Impedance: 40 Ohms
Battery power: One AAA battery
Weight: 5.1 oz.
Price: $300
Denon Electronics (USA), LLC
(201) 762-6500
usa.denon.com
10
turn up your iPod to get optimal output from

these phones. But overall, the AH-NC732
offers a pleasing mix of virtues.
The AH-NC732s active noise cancellation
circuit is quite effective, though I felt its on-ear
design offered slightly less acoustic isolation
(that is, the ability to block out rather than
cancel out incoming noise) than some of the
better over-the-ear models Ive tested.
MUSICAL EXAMPLE
Put on Split Window from jazz/bluegrass/
country bassist Viktor Krausss debut album
Far From Enough [Nonesuch] and the Denons
will immediately reward you with a warm,
rich rendition of the brooding and highly
atmospheric track. Through the AH-NC732s
Krausss opening acoustic bass solo has an
appropriately deep, sonorous growl while the
bass drum that provides a rhythmic foundation
previous page
for the song has near-ideal low frequency

weight and punch. Later, higher percussion
instruments join in, followed by Bill Frisells
haunting electric guitar, which picks up and
then carries the melodic theme, putting forth
evocative lines that float like question marks
above the bass and percussion commentary
going on below. The Denons do a fine job of
expressing the lush and sumptuous vibe of
the track, and especially of expressing the
soulful, melancholy lilt of Frisells guitar. But
that said, the headphones also come up a
bit short in that they cannot quite capture the
finely filigreed treble percussion and guitar
details and harmonics that can and should
give this track an air of mystery, suggesting a
giant, wide-open recording space. The good
news, here, is that the AH-NC732s strengths
are compelling and self-evident, while its
shortcomings are relatively minor sins of
omission.
www.avguide.com
TABLE OF CONTENTS
NEXT page

COMFORT FACTOR
The AH-NC732s are extremely light, compact,
and very comfortable, although the feel of onear headphones may not suit all tastes. The
seal that the Denons achieved on my ears
was good, but perhaps not quite as good
as that of some of the better over-the-ear
models Ive tried. The trade-off, of course, is
that the Denons weigh roughly 2-3 oz. less
than competing over-the-ear models doa
difference you can really notice over time.
EASE OF USE
passive mode if battery power runs out, though

I found that sound quality was much, much
better when the phones were powered up.
BOTTOM LINE
Because its overall sound is well balanced and
clearer than most, Denons AH-NC732 is easy
for us to recommend, especially for listeners
who will appreciate its compact, lightweight
design. In particular, this Denon does a better than average job of cancelling out ambient
noise while offering solid and well-defined bass
and smooth, revealing mids.
The AH-NC732 offers simple, foolproof, singleswitch operation. There is also a back-up,
previous page
NEXT page

JVC HA-NC250
Arnie Williams
y favorite coffee hangout

and Wireless hotspot is in a
college town and so attracts
the raucous crowd youd expect. I
like to go for a 16-oz. triple latte and
then sit with my laptop and surf the
net while I plug into my selection of
iTunes favorites. But frankly, between
Becky at the next table talking loudly
on her cell about her disastrous date
with Bernard and Mr. tattooed-andpierced wanna-be rocker humming
and, gasp, actually singing bits from
his in-progress Goth-inspired downer
song lyrics . . . well, it can be a bit
disorienting, to say the least.
Thats why when Editor-in-Chief
Chris Martens asked me if I wanted
to evaluate JVCs HA-NC250 noise
canceling headphones, I jumped at
the chance. The blurb on the product
box said the NC-250s cut out up to
85 percent of ambient noise. Wow, I
thought: 85 percent less of Becky and
Tattoo Boy. Sign me up!
By the way, youll want to check
out the reviews in this section of
noise cancellers, including those from

Audio-Technica, Creative Labs, Beats
by Dr. Dre, Sennheiser, and Sony. In
my opinion, the JVCs compare most
closely with the Beats by Dr. Dre Studio
headphones within this test group.
FEATURES
40mm drivers
A
ctive noise-reduction circuitry that
claims an 18dB reduction
(at 150Hz)
O
n/Off button and detachable cable
(note that the headphones do block
out some noise even without noisecancellation circuitry activated)
Cushioned ear pads
ACCESSORIES
H
andsome zipper/canvass carrying
case with inner zip-bag for adapters
Gold-plated 1/4-to-mini adapter
T
wo-prong-to-mini airplane adapter
plug
Detachable cable
Earphones twist to fold flat
overview
Consider this headphones if:
you find your iPod ear buds produce
anemic sound and your desktop PC
or Mac speakers just dont come near
producing a satisfying sonic envelope
and/or you find yourself often sipping
lattes at your favorite (but noisy) Internet
caf and cant seem to shut the racket
out. (The JVCs also work well with higherend audio gear.)
Look further if:
you actually like listening in on loud
conversations nearby. Also look
further if you want more sophisticated
earphone features, such as digital sound
enhancement modes or more elaborate
noise cancellation circuitry. (For digital
enhancements, however, you can cheat
by using add-on software programs such
as iWOW.).
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Ratings
used to inhabiting. I didnt take them on a

plane ride (were in the middle of an economic
downturn, dont you know), but Id venture
to say that theyd do swell in cutting out your
chatty neighbors life story while you tune in
to the in-flight movie or audio selections. I
also tested them with standard DVDs on my
Macs video player, and they performed well
in that environment, too, given that I live in a
noisy household. For high-end stereophiles,
however, pricier (and more neutrally voiced)
earphones may be the way to go.
tonal balance

clarity

dynamics

comfort/fit


ease of use

value

0
MUSICAL EXAMPLES
SONIC CHARACTER
If you can visualize a smiley face (and who
cant), you have a pretty good diagram of the
frequency response curve of the HA-NC250.
This headphone likes bass and it also gloms
on to high voice and upper instrumentation.
The middle frequencies, however, seem a
little subdued. But even with this shortcoming
(and many wouldnt necessarily call this
a shortcomingespecially those whose
tastes favor the frequency extremes over
the middle ranges), the JVCs perform well in
many application settings. For example, they
win hands-down in comparison to standard
earbuds for an iPod (I tested them with an
iPod Nano; worth the price of admission
alone if standard earbuds are your current
iPod gateway). They also perform well with a
laptop in the kind of noisy environments Im
10
Did you know that Dirty Harrys (aka Clint

Eastwood) son Kyle is a talented jazz
composer and skilled bassist (both standup,
electric, and fretless electric)? I often use Kyle
Eastwoods Paris Blue [Rendezvous] as a test
disc because its content spans the enitre audio
spectrum, and well, because I like it.
The ambling laid-back tune Sulferino has
a nice cross-range medley of electric piano,
fretless bass, and sax, with the whisper of
brushed snare and cymbals underpinning the
ensemble to make this track a good test for
full-range headphones (and speakers). The
electric piano has delicate runs in the middle
range, the sax soars up high, and the fretless
bass holds down the bottom end. The HANC250s handled the upper and lower extremes
well, but less so the middle frequencies. And
the whispers tended to get lost. Even so, I
found myself listening to this track again and
again and enjoying the experience each time.
Perla Batalla singing Bird on a Wire from
the soundtrack of the Leonard Cohen tribute
DVD Im Your Man [Verve Forecast], is a nice

test song for midrange frequencies. Batallas
full-bodied alto, complete with a touch of
vibrato edginess, evokes the kind of sadness
Cohen meant for the song to convey when
he wrote it. Ive heard that vibrato edge given
more definition by other headphones. On
the other hand, when Batalla soared high, as
she does at the end of the piece, and when
some of the higher chords of the simple guitar
accompaniment came along, both the singers
voice and the guitar chords rang true, helping
to make the listening experience enjoyable.
COMFORT FACTOR
The ear pads of the HA-NC250s dont
completely envelop your ears, which I like
because it avoids that kind of sweaty, suctioncup feel you get with some phones. The
soft foam pads allow extended use without
pronounced ear fatigue and the headphones are
so light you might forget youre wearing them.
EASE OF USE
Once youve assembled the NC250s, they
couldnt be easier to use. But there is one
small catch: the JVCs battery compartment is
hidden beneath one of the earpads, meaning
youll have to remove the pad every time you
install a new battery. Getting the ear pad off
the enclosure in order to insert the battery isnt
for the faint of heart. OK, its not that bad, but
enough of a challenge to deserve a mild ding
in the ease-of-use category.
BOTTOM LINE
JVC HA-NC250
Frequency Response: 8 Hz - 24kHz (power
on)
Noise Reduction: 18dB at 150Hz
Sensitivity: 102dB/1mW (power on)
100dB/1mW (power off)
Power Supply: AAA Battery (DC 1.5V) x 1
Battery Life: Approx. 50 hours (using
Alkaline AAA battery); Approx. 20 hours
(using Manganese AAA battery)
Cord Length (detachable): 3.9 feet
Weight: (incl. battery) 5.30 oz.
Warranty: One year, parts and labor
Price: MSRP $200 (Half that on some
discount Web sites)
JVC Americas
(800) 252-5722
jvc.com
and all that some folks may need, especially

if most of their listening is done through an
iPod or a laptop in noisy settings. In fact, the
ability to fold the earphones flat and the nice
reinforced case make them an easy product
to transport unscathed into some bustling
environments (think college kids gone wild).
But if your musical tastes call for high levels
of detail and definition, or more neutral tonal
balanceespecially in the critical middle
frequency band, then you may want to move
up to a more sophisticated model, perhaps in a
higher price range.
The JVC HA-NC250s are decent performers
previous page
specs/pricing
www.avguide.com
TABLE OF CONTENTS
NEXT page

SENNHEISER
PXC 450
Chris Martens
he German firm Sennheiser is a fierce competitor in all segments

of the headphone and earbud marketplace and the PXC 450
is the companys flagship noise-cancelling model. From the
moment you first unpack these phones you begin seeing and sensing
various visual and tactile cues that remind you of their German heritage.
Theres a certain fineness of fit and finish about the PXC 450sa
precision in the way their ear cups fold out and click into position before
usethat is reminiscent of the detail touches you might find on a fine
German automobile. Whats more, the PXC 450s leverage Sennheisers
NoiseGard 2 circuitry and wealth of know-how accumulated through
decades of experience in building award-winning audiophile
headphones. That said, the PXC-450 is also one of the most expensive
noise-cancelling phones in this Guide. Does its sound justify its price?
overview
you simply like objects that evince oldschool Germanic precision, fit and finish.
Also strongly consider the PXC 450 if
you think youd enjoy a headphone that
offers decent sound and good noisecancellation capabilities in active or Normal
mode, but that shifts gears when used
in passive or Bypass mode to behave more
like a serious audiophile headphone.
FEATURES
Look elsewhere if:
you want a headphone that sounds its
best with noise cancellation circuitry turned
on (frankly, the PXC 450 sounds best in
passive mode). Also look further if you seek
maximum bang for your bucks; though
undeniably well made, the PXC 450 carries
a premium price for what it is and does.
Earcups provide patented adaptive baffle damping, while drivers

incorporate Duofol diaphragmsboth features said to enhance
sound quality.
Proprietary Sennheiser NoiseGard 2.0 technology is said to eliminate
up to 90 percent of environmental noise.
Headphones can continue to function in passive mode should battery
power run out.
Detachable signal cable allows the headphones to be used purely for
noise cancellation with no audio.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

TalkThrough mode temporarily amplifies
room sounds and the sound of your
voice, allowing users to participate in inroom conversations without taking off the
headphones.
Control switches for Volume -, Volume
+, TalkThrough, headphone On/Off, and
NoiseGard 2.0 Normal/Bypass.
LED status indicator: red = headphone on,
flashing red = battery needs replacement,
green = talk-through mode engaged, LED off

= headphone is in passive mode.
ACCESSORIES
Gold-plated mini-jack-to-1/4-inch adapter
plug.
Detachable signal cable.
Padded travel case.
Ratings
specs/pricing
tonal balance (noise-cancelling on)

clarity

dynamics

comfort/fit


ease of use

value

0 1
Sennheiser PXC 450

Sensitivity: 108dB
Impedance: 750/150 ohms (active/passive)
Battery Power: One AAA battery (but note,
unit is supplied with two batteries)
Weight: 8.5 oz.
Price: $400
10
SONIC CHARACTER
What we have here, really, is a tale of two
headphones in that PXC 450 exhibits two
different sonic personas, depending on
whether it is used with its noise-cancelling
circuit turned on or off. Used with the
NoiseGard 2 circuit turned on, the Sennheisers
exhibit tonal balance that seems skewed in
a subtle way, with bass that is somewhat
recessed, mids that are about right, and highs
that are just slightly too prominent. The net
effect is of a headphone that offers bright,
crisp clarity but that is lacking somewhat in
terms of natural warmth and appropriate bass
weight and punch.
But flip the NoiseGard 2 switch to its
Bypass setting and a different sonic persona
emerges. In a subtle but significant way bass
comes forward in the mix, while highs pull
previous page
Sennheiser Electronic Corp.

(860) 434-9190
sennheiserusa.com
back just a bit, leaving you with sound that is

better balanced and more musically rewarding
overall. Unlike any of the other noise-cancelling
phones in this Guide, the PXC 450 actually
sounds better in passive mode than when its
noise cancellation circuitry is turned on.
Noise cancellation is very good, but not quite
up to the standards set by the best phones in
this survey, in part because the NoiseGard 2
circuit allows a bit more high-frequency noise
to come through than the best systems do.
MUSICAL EXAMPLE
One of the coolest records Playback has
reviewed in recent months is the Conspirare
(Craig Hella Johnson and Company of Voices)
performance of Tarik ORegans Threshold of
Night [Harmonia Mundi, SACD]. One of my
favorite compositions (and one of the choirs
www.avguide.com
TABLE OF CONTENTS
NEXT page

favorite concert pieces) is the third movement
of ORegans Triptych, entitled Tryptych
III. From Heaven Distilled a Clemency. The
composition takes an at once serious and yet
joyous and enthusiastic look at our inevitable
transition from the here to the hereafter, so
that the choir and its accompanying orchestra
simply swing on the piece. The Sennheisers
did a fine job of presenting small treble
details and textures that revealed the smooth,
powerful unity of Conspirares ensemble
singing, an area where the choir excels. But
at the same time, the PXC 450s lost some
of the desirable swinging quality of the
piece, because their tonal balance undercut
the propulsive thrust of the lower voices and
strings, robbing the piece of vital energy.
On this track and many others, I felt the
PXC 450s sounded better balanced (that is,
richer and more full-bodied) once their noisecancellation circuit was set to Bypass mode.
set of raised nubs so to make them easier to

identify and use by touch alone. Finally, the
NoiseGard 2 Normal/Bypass switch is buried
under one of the ear cup hinges, meaning you
have to take the phones off to access the
switch; a more accessible location would be
better.
BOTTOM LINE
We had mixed reactions to the PXC 450. The
core, passive sound quality of the headphone
is very, very good, but that sound quality took
a subtle but audible turn for the worse once
the NoiseGard 2 circuitry was engaged. The
NoiseGard 2 circuit, for its part, does a good
but certainly not state-of-the-art job of noise
reduction. While the PXC 450s apparent buildquality is very high, I dont think that fact fully
justifies the headphones steep asking price.
COMFORT FACTOR
The PXC 450 is a relatively large headphone
(the ear cups are bigger than most) with thick,
cushy ear pads. I found the Sennheisers
extremely comfortable, but I am a relatively big
guy, which means the PXC 450s big ear cups
werent a problem for me. I could see how
individuals of smaller stature might find the
Sennheisers a bit bulky.
EASE OF USE
The PXC 450s many flush-fit control switches
and buttons look cool, but they arent easy to
use from an ergonomic perspective. I would
suggest that Sennheiser give the switches a
previous page
www.avguide.com
NEXT page
NEXT page

SONY MDR-NC500D
Chris Martens
onys MDR-NC500D noise-cancelling

headphone is chockfull of advanced
technologiesso much so that youll need
to read the manual to appreciate all it can do. For
starters the headphone offers true feedback-type
noise-cancelling, where noise-sensing microphones
are located inside the headphone ear cups, not on
the outside as in most designs. This approach is
said to yield superior noise cancellation. Sony uses
a sophisticated DSP-driven system to compare
audio and noise signals and then to apply noise
filters and EQ as needed. Whats more, when the
headphone is first powered up, an AI (artificial
intelligence) circuit analyzes noise and then selects
one of three available noise filters to achieve
optimal noise reduction for the given context.

Add in high-tech drivers and amplifiers and
youve got one of most advanced noise-cancelling
headphones yet built, or at least thats the theory
But how does it work out in actual practice?
FEATURES
40mm dome-type drivers with neodymium
magnets.
BTL (bridged transformer-less) amplifier is said
to produce a powerful sound with a wide
dynamic range.
Unique feedback-type noise reduction system
places noise-sensing microphones inside the
headphone ear cupsnot on the outside as in
overview
you want noise-cancelling headphones that can
apply specific noise filters for different listening
environments (airplanes, trains/buses, offices/
study rooms). Also consider the MDR-NC500D
if you seek a lively, highly dynamic sound, but
with a certain amount of bass enrichment.
Finally, check out this Sony for its its built-in,
rechargeable Lithium-ion battery.
Look elsewhere if:

you seek optimally accurate tonal balance (the
Sony puts out a little too much bass to qualify) or
maximum clarity and transparency (the Sony is
good in both departments, but some competitors
do even betterand for less money). Note that
there is some learning curve involved in figuring
out how to tap the Sonys many advanced
features.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Ratings
tonal balance

clarity

dynamics

comfort/fit


ease of use

value

0
10
most other noise-cancelling designs. The

feedback-type design is said to be more
effective and to have greater perceived
impact than other, more traditional types of
noise cancellation systems.
Sonys proprietary AI (Artificial Intelligence)
noise cancellation circuitry, used in
conjunction with DSP-driven equalization, is
said to eliminate up to 99% of environmental
noise. The AI system can automatically
invoke, or users can manually select, any of
three noise cancellation modes:

- NC Mode A (for use in airplanes),

- NC Mode B (for use in buses or trains), or

- NC Mode C (for use in offices or study
environments).
Detachable signal cable allows the
headphones to be used purely for noise
cancellation with no audio.
Headphones come with built-in, rechargeable
Lithium-ion batteries (charger included), plus
a back-up external battery pack powered by
two AA batteries.
Monitor mode lets listeners temporarily
suspend playback to focus attention
elsewhere.
Control switches for headphone On/Off, AI
On/Reset/Mode Select, monitor mode On/Off
ACCESSORIES
G
old-plated mini-jack-to-1/4-inch adapter plug.
Airline adapter.
Two detachable signal cables (.5M and 1.5M).
AC charger for Lithium-ion battery.
Back-up battery pack (2 x AA) with
detachable signal/power cable.
Padded travel case.
36 Playback
THE PERFECT
Guide
VISION
to Full-Size
GUIDE TO AVRs,
Headphones
Controllers & Amps
previous page
specs/pricing
Sony MDR-NC500D
Sensitivity: 102dB
Impedance: 40 ohms
Battery Power: Built-in Lithium-ion battery,
or two AA batteries in external power pack
Weight: 6.9 oz.
Price: $400
Sony Electronics
sonystyle.com
SONIC CHARACTER
This headphone offers a lively, expressive
sound with serious dynamic clout, and it
deliversover most of the audio spectrum
pleasingly neutral tonal balance. The only
deviation from accuracy occurs down in
the bass region, where the MDR-NC500D
consistently pushes low frequency notes too
far forward in the mix (a characteristic some
might enjoy, but others might find overbearing).
The Sony offers good measures of clarity and
detail, though it is narrowly edged-out in both
respects by at least one other headphone in
our Guide (namely, the Audio-Technica ATHANC7b). Noise cancellation in highly noisy
environments is as good as Ive ever heard,
but the MDR-NC500D also offers the benefit
of being able to apply different noise filters for
different listening contextsa feature no other
headphone in this Guide offers.
www.avguide.com
TABLE OF CONTENTS
NEXT page

go to: noise cancelling headphones | playback full-size headphones
MUSICAL EXAMPLES
Tim Riess Stones World [Sunnyside], as
reviewed in Playback Issue 14, is a superb
world music/jazz adaptation of some of the
Rolling Stones most evocative songs and as
such it makes a good test disc. One of my
favorite tracks is the exuberant Puerto Rican
rendition of Under My Thumb where a redhot Latin rhythm section sizzles and drives the
song forward with wildly syncopated beats.
The Sonys do a great job with the track, partly
because they cleanly delineate the voices
of the various instrumentsespecially the
percussion instrumentsand partly because
they capture the unstoppable, locomotivelike energy and dynamic drive of the whole
rhythm section. The only catch is that the Sony
makes the electric bass and low percussion
instruments, which play a big role in the mix,
sound excessively prominent. Fortunately, this
bass-forward characteristic isnt too distracting
on Under My Thumb, but it sometimes can
be on other kinds of material.
pushbutton switch, the other a slide switch),

and especially to understand how to operate
the multi-mode AI noise cancellation control.
Be aware, too, that the headphone provides
separate jacks for its audio signal cables and
power/charging cables.
BOTTOM LINE
Sonys MDR-NC500D is a headphone
Playback is proud to recommend despite
its tendency toward a bass-forward sound,
because it is in so many other respects a
wonderful headphone. It is fun to listen to,
sounds dynamically alive, is well-balanced over
most of the audio spectrum, and offers much
better than average clarity and detail. Throw
in the fact that the Sony offers the highesttech noise cancellation circuitry around, plus
the convenience of rechargeable Lithium-ion
batteries, and youve got a winner.
COMFORT FACTOR
The Sonys are light and compact, and
provide a very good seal over your ears. The
outboard backup battery-pack cable is a bit
cumbersome to use, though, partly because
the headphone end of the cable has two plugs
(one to supply power, the other for audio
signals) and partly because the 2 x AA battery
pack is relatively heavy.
EASE OF USE
It takes a bit of learning to master the Sonys
Monitor mode and On/Off switches (one is a
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
Playback
full-size
headphones
under $200
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
full-size headphones under $200

DENON AH-D1001
Chris Martens
he AH-D1001s are among the lightest and

smallest headphones in this Guide and for
this reason are among the most comfortable.
They are arguablyone of the few phones in this
group light, compact, and sensitive enough to be
worn comfortably outdoors and on the go. As it turns
out, the Denons are alsoone of the least expensive
phones in this sub-$200 group. Truth to tell, we
originally requested Denons more expensive $350
AH-D2000, but that model was unavailable for review
in our timeframe, so that the PR folks suggested we
try the much less costly AH-D1001s instead. I worried,
at first, that the little Denons might not be able to run
with the big dogs, but they soon put my concerns to
rest, proving themselves to be real overachievers
and a very good deal.
FEATURES:
Light, thin, responsive 40mm micro-fiber driver
diaphragms.
Earpiece design features an Acoustic Optimizer
said to adjust the sound pressure in front of and
behind the diaphragm.
Driver motors feature neodymium magnets.

Connecting cables that use oxygen-free copper
conductors.
ACCESSORIES
Soft fabric carrying bag.
1.7-meter extension cable with oxygen free
conductors.
Mini-jack-to-1/4-inch adapter with gold-plated
jacks.
SONIC CHARACTER
The AH-D1001s may not sound quite as big,
revealing, or transparent as the top $200-$650
models,but they are so well-balanced you would
never think of them as having shortcomings at all
unless you compared them side-by-side with much
higher priced phones. The Denons deliver a smooth,
suave, sophisticated midrange sound supported by
warm, nicely weighted bass. Highs are reasonably
clear and extended, but trade off the Nth degree
of definition and resolution in order to achieve a
pleasing quality of natural sweetness.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

MUSICAL EXAMPLE
BOTTOM LINE
The Denons sounded downright seductive

on Marilyn Mazur and Jan Garbareks aptly
named Joy Chant from Elixir [ECM]. The
AH-D1001s refined midrange did a great job
of revealing the bouncing, exuberant sound
of the steel drum-like percussion instrument
highlighted on the track, while also giving
Garbareks light, dancing sax lines plenty of
room to play. While high percussion may not
have quite shown as much treble detail and
air as on the premium price phones, the
presentation was still very satisfying. Beyond
trying to reproduce the sound of instruments in
a strict, accuracy-oriented sense, the Denons
strive (successfully) to capture their overall feel
or vibe.
But the Denons can really rock out, too, as
I discovered when I put on Reckoner from
Radioheads In Rainbows [ATO Records]. The
track opens with a potent, expressive drum
kit pattern that the AH-D1001s rendered with
energy and snap. More importantly, though,
they captured the songs giant, almost
otherworldly soundscape, which gives the
sense that the song is being performed in a
garage the size of an Olympic gymnasium.
Denons AH-D1001 is a delightful headphone

that combines sonic prowess with great
versatility, comfort, and value. Though not a true
top-tier performer in any one area, the Denons
get close enough in all areas to make things
interesting and at a more than fair price. One
final point: the Denons are so easy to drive that,
in a pinch, you could power them directly from
an iPod (though only at moderate volume levels).
COMFORT FACTOR
The light, compact AH-D1001s are among the
most comfortable phones in this Guide. One
small caveat is that their earpads are covered
in a faux leather material that does not wick
away perspiration the way fabric covers do.
Denon AH-D1001
Design: Circumaural, closed-back,
dynamic headphones (note: Denon
literature describes these as onear headphones, but in fact theyre a
circumaural design).
Sensitivity: 103dB@1mV
Impedance: 32 ohms
Weight: 6.3 oz.
Price: $150
(201) 762-6500
usa.denon.com
last word:
Ratings
A $150 headphone that in many

ways runs with the big dogs.
Suave midrange, nicely weighted
bass, sweet highs.
Very light and comfortable.
In a pinch, an iPod can drive
them (to moderate levels, at
any rate).
Great value.
tonal balance

clarity

dynamics

comfort/fit


value

0
10
previous page
specs/pricing
Not as transparent-sounding as
more costly open-back models
from the next price class up, but
still in the hunt.
www.avguide.com
TABLE OF CONTENTS
NEXT page

NuForce
UF-30
Tom Martin
he Playback editors have come to

respect the designs weve reviewed from
NuForce. Their amps and D/A converters
consistently offer good value. Not only that,
NuForce seems to have a guiding vision that,
in a short phrase, might be captured as sonic
clarity top to bottom.
Recently, NuForce sent us their UF-30
headphones. In keeping with the NuForce
value orientation, these retail for $59. They are
lightweight, on-ear headphones designed for
mobility, since they fold up and store neatly
in a small oval case that actually offers some
protection from the bump and grind of city life.

The UF-30s claim to fame is the use of
driver technology licensed from Ultrasone.
Ultrasone is a somewhat below-the-radar
German headphone company, whose costly
but exquisite Edition 8 model left a serious
positive impression on us. The UF-30s, like
the Edition 8s, use a patented Ultrasone
technology called S-Logic. While it sounds like
something digital, S-Logic in fact involves the
acoustics of using an offset driver to make the
headphones sound more spacious and less
in your skull. Ultrasones Edition 8 retails
overview
Consider this headset if:
you want headphones with a balanced sound
and good bass and treble detail.
Look elsewhere if:

you need maximum refinement and
smoothness in the midrange.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

for around $1500, though, so having similar
technology in a $59 headphone is interesting
to say the least.
SONIC CHARACTER
The UF-30s provide a sound that immediate
strikes you as detailed and perhaps just
slightly bright (emphasizing the treble range).
This sense of detail holds up in the midrange,
where guitars and voices are very articulate.
Even the bass is tight, with excellent rendition
of plucked bass lines.
Most people notice overall balance of bass,
midrange and treble more than any other
characteristic of headphones and speakers,
so it is useful to talk about this in detail. With
the UF-30, on some tracks this top-to-bottom
balance seems very good, while on others the

bass seems somewhat reticent. In the case of
the UF-30s, I came to think that this happens
because the mid-bass is well balanced and
controlled, but the headphones dont have
much deep bass. As a result on real bass
corkers, the UF-30s sound less balanced
than they do on more normal material. In my
experience youre going to have to pay a lot
more to get (good) deep bass, so this isnt a
huge loss. Still, if big punchy bass is one of
your fervent desires, look elsewhere.
I was impressed with the efficacy of the
S-Logic technology. The UF-30s do a nice job
of moving the sound outside of your head,
whereas many headphones make you feel
like singers and guitarists have replaced your
Ratings
specs/pricing
(compared to similarly-priced headphones)
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

0
NuForce UF-30 Headphones

Accessories: carrying case
Frequency Response: Not Specified
Weight: 85 grams
Sensitivity: Not Specified
Impedance: 35 ohms
Price: $59
NuForce Inc.
(408) 890 6840
nuforce.com
brain. Now, to be clear, S-Logic doesnt put

the band or orchestra in front of you, as they
would be you heard them in a live setting.
Instead, S-Logic simply creates of pleasant
sense of the sound coming from the outside
world.
For $59 you get a very usable sound with
the UF-30s, but you dont get perfection
(heck, for $1500 you dont get perfection).
You should know about the limitations of
the UF-30, not because theyre knock out
factors in general, but in case one of these
is of critical importance to you. With the UF30, the treble is clear and very listenable, but
to live up to the sound of live music it could
be smoother. Lower midrange seems slightly
under-represented, with the result that some
instruments sound clear, but thin. Acoustic
guitar strings, for example, come through
previous page
10
beautifully on the UF-30s, but the resonant

body sound is reduced in volume. Small issues
to some, more important to others.
One final note is that the UF-30s are onear headphones. As a result, they do little to
isolate the listener from outside sounds. This is
not ideal in an airplane, but in an office it can
be an advantage if you need to hear people
address you. In addition, the design of the UF30 seemed ideal to me for quick removal and
replacement.
MUSICAL EXAMPLES
On Neko Cases song Dirty Knife [Fox
Confessor Brings the Flood, Anti], the bass to
treble balance is excellent and instrumental
definition is quite good, particularly on the
electric bass. Cases voice, however, shows a
bit more shrillness than normal. Through the
www.avguide.com
TABLE OF CONTENTS
NEXT page

UF-30, voice and instruments have very low
grain, which often is not the case with a lot of
headphones in (or even above) this price class.
On Nora Jones Chasing Pirates from
The Fall [Blue Note], top to bottom balance is
lovely, with solid rendition of the bass guitar.
That said, the track Young Blood from the
same album seems a little light in the bass,
even though string definition is very good.
Lucky Gilchrist from The Unthanks Heres
the Tender Coming [Rough Trade] shows how
the UF-30s midrange voicing can reduce vocal
resonances, making the singers sound slightly
distantalmost as if they werent really in the
same room where the rest of the recording was
made. At the same time clarity is superb.
Le Bien et Le Mal from Souad Massis
Deb [Wrasse] reveals a similar pattern where
the UF-30s sounds clear, but where the body
sounds of Massis acoustic guitar are reduced
(or recessed) to some degree.
COMPETITIVE COMPARISON
Given the relatively low price of the UF-30s,
let me help place it in context by comparing it
both to similarly priced and to more expensive
headphones that will likely be familiar to our
readers.
more balanced though with a lower treble

emphasis. The Grados, while comfortable,
are not quite up to the comfort level of
the UF-30, which is so light that it almost
disappears.
Thanks to low weight and light ear pressure,
the UF-30s can be worn for long periods
almost without noticing them. They also fold
up to fit in a travel case, though the earpads
dont swivel from side-to-side (as the earpads
on some headphones do) so that even when
folded up the UF-30s remain a few inches
thick. This means the included NuForce case
is somewhat larger than the cases for some
competing headphones. The case is molded to
offer more protection than average.
BOTTOM LINE:
NuForces UF-30 is a clear and comfortable
headphone with a lively sound. Apart from
a bias toward the treble, errors are mostly
subtractive, which is an advantage helping the
UF-30s to be quite listenable.
The Shure SRH440 is a little more expensive,

and offers a similarly midrange and treblefocused sound. But the Shures are smoother
while sacrificing some of the lively sense of
the UF-30s.
The Grado SR60i is about the same price
(on the street), but is more midrange
forward, while the UF-30s sound perhaps
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Shure
SRH440
Tom Martin
layback was suitably impressed

when we reviewed Shures SRH840
headphones last year. The 840s set
a benchmark for under $250 headphone
performance, though of course Grado phones,
for very different sonic reasons, also hold a
warm spot in our value-oriented hearts. When
Shure recently introduced the even lower
priced SRH440, at roughly 60% of the price of
the 840s ($125), we wanted to get them into
the lab as soon as we could.
The 440s are difficult to distinguish from the

big brother 840s, since they have the same
look, same driver size, same impedance and
the same magnet technology. The 440s are a
bit more sensitive at 105db/mW (vs. 102dB for
the 840s). This means that they should work
with some portable devices that have limited
output. The 440s have closed backs, though
the fit is loose enough that these might not be
ideal if isolation from external sounds is what
you want.
overview
you want headphones with a clear and
clean tonal balance with good rendition of
detaileven if that comes at the expense of
somewhat light or bright sound.
Look elsewhere if:

you prefer a sound that is either neutrally
balanced or tilted somewhat toward the
warm end of the spectrum, or if you demand
the punchiest dynamics on wide bandwidth
music.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

In any event, Shure doesnt go overboard in
hyping the 840s or the 440s, perhaps because
they let the products do the talking?
SONIC CHARACTER
The SRH440 offers a sound that can be
immediately beguiling and involving. This is an
important achievement, and one that may work
well for many listeners. Like every headphone
weve heard, the SRH440 has its limits, and
in the case of the Shures these are obvious.
But before we discuss shortcoming, lets first

catalog this headphones strengths.
Clarity without edginess is tough to achieve,
but the 440s pull it off. They sound very flat
from about 1000 Hz up to around 10khz, which
means that instrumental overtones are rich and
the sound of acoustic spaces is highlighted.
Dynamics avoid splashiness, though I would
say that the 440s sound a bit overly crisp from
time to time.
The 440s also sound smooth from the mid-
Ratings
specs/pricing
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

0
Shure SRH440
Accessories: mini-plug to phone plug
adapter (screw on)
Weight: 11.2 oz.
Sensitivity: 105dB@1mW
Impedance: 44 ohms
Price: $125.00
10
bass up to the lower midrange. Bass can

sound slightly reticent, but most instruments
have their fundamentals present and
accounted for.
The issue, if there is one, is that the range
above about 1khz is elevated compared to the
bass and lower midrange. This is particularly
noticeable on vocals, where singers often
sound a bit light or thin. This discontinuity
isnt very big, so the results remain musically
involving, but this isnt the most neutral
headphone you can buy. Interestingly,
neutral tonal balance is a strength of the
SRH840, so give Shure a gold star for market
segmentation.
One pleasant side effect of the SRH440s
balance is that music often sounds lively and
rhythmic on these headphones. Combine that
with excellent clarity and lack of harshness and
you have an engaging choice that isnt perfect
but is musical.
previous page
Shure Incorporated
(800) 257-4873
shure.com
MUSICAL EXAMPLES
On Alison Krauss and Union Stations song
Never Got Off the Ground [Alison Krauss
& Union Station Forget About It, Rounder],
Alisons voice occasionally gets into a range
where there is some slightly sibilant stridency
from some other headphones, but where the
440s sound clear and smooth. Through the
Shures, Alisons voice, which is pretty light to
begin with, sounds a bit too thin in comparison
with the real thing.
On Kate Rusbys Sweet Bride from 10
[Pure], we have another singer whose voice
sounds a bit younger and less mature through
the Shures than in real life. I really enjoyed this
track on the 440s, though the sound wasnt
quite accurate. It almost sounded like an older
recording captured on vinyl, though in fact this
is a modern (2003) CD.
Another example of information reproportioning comes on the Brandi Carlile
www.avguide.com
TABLE OF CONTENTS
NEXT page

song Turpentine [The Story, Columbia],
which opens with an acoustic guitar that is
beautifully clear with excellent attack. But you
might also notice that, through the SRH 440s,
this small guitar is presented as mostly having
string sounds, but with the deeper, fuller,
lower-frequency sounds of the instruments
body de-emphasizedso that there is much
less body sound than on a real guitar.
On Jack Johnsons On and On [Universal]
the song Dreams Be Dreams has a solo
bass that can and should be powerful and
well defined. On this track, some headphones
deliver a rendition that sounds very much
like what one hears from a bass on stage,
so this is a good test of balance, dynamics
and resonance control. The Shures dont get
the rising edges of the bass notes quite right
and so deliver less bass power and depth
than is fully realistic. Even so, the sound is
nevertheless tight and controlled.
Given the relatively lower price of the
SRH440s, it may help to place it within
both similarly priced and more expensive
headphones:
Shure SRH440 vs. Grado SR60i

The Grado SR60i is just a bit less expensive
(on the street), and comes from a design
philosophy that seems to parallel the
approach Shure has taken with the 440s.
The Grados have a mid-range emphasis as
compared to a mid-treble emphasis on the
Shures, which means the Grados sound
richer but perhaps not as lively (though the
Grados will never be accused of sounding
dead).
The SRH440s are very comfortable, largely
because the ear cups are soft and the
clamping force is low.
The SRH440s come with a three-meter cord
and a phone plug/mini-plug.
BOTTOM LINE
Shures SRH 440 is a clean sounding
headphone that delivers admirable smoothness
and a lively, dynamic sound that is reminiscent
of classic vinyl.
Shure SRH440 vs. Shure SRH840

The Shure SRH840 is more expensive, and
offers a more linear and extended sound,
especially in the bass and lower midrange.
It isnt obvious that the 840s give up
anything, but of course the tonal balance of
the 440s does tend to keep the focus on the
midrange and lower treble.
previous page
www.avguide.com
NEXT page
NEXT page

Urbanears
Plattan
Chris Martens
ot long ago I wrote a blog about

a recent discovery of mine: the
Urbanears Plattan headset/on-ear
headphones, priced at $59.99. In my blog, I
said the Plattans reminded of the first set of
really good headphones I ever ownedthe
classic Sennheiser HD414s that arrived on
the scene way back in the 1970s. In truth, you
could draw a number of parallels between
the two products, because the Urbanears,
like their precursors, the HD414s, are
affordably priced (even for college students
on tight budgets), sound better than they
have any right to for the money, and offer an
unmistakable touch of style. Back in the day,
you could personalize your HD414s by buying
foam earpads for them in various colors, but
Urbanears ups the ante in two ways: first,
by constructing the Plattans of astonishingly
upscale materials, and second, by offering
them in fourteen different colors.
Of course, beauty is as beauty does, but the
attractive Plattans offer a warm, sophisticated,
and compelling sound, which means their
overview
you want a product that offers very good
sound quality, great flexibility, and a pleasing
sense of Scandinavian design--all at a very
modest price. Consider the Plattan if you
respect designs that have chosen their point
of compromise well--almost always erring in
the direction of flattering the music, rather
that deliberately and ruthlessly highlighting
its rough edges.
Look elsewhere if:
you dont really need or want the Plattans
iPod/iPhone/cell phone-friendly features. If
youre willing to invest another $20 or so, you
can potentially get more sophisticated sound
with an option such as Grados SR-60i,
though it will mean sacrificing the Plattans
cool headset features and collapsible design.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

appeal runs more than skin deep. While they
are not, by any stretch of the imagination, stateof-the-art contenders, their sound is rich and
evocative, flattering most types of music you
might choose to play. In turn, their sonic sins,
per se, are mostly those of omission meaning
that the Plattans have both a welcoming and
also somewhat forgiving quality,sp that they
have an almost uncanny knack for revealing the
good stuff in most recordingseven those that
tend to be a little rough-edged.
But two of the slickest aspects of the
Plattans, which are very much 21st-century
products, involve their iPod/iPhone/cell-phone
friendly design. First, the Plattans are very
sensitive and can be driven to satisfying volume
levels by iPod or cell-phones without the use
of outboard amplifiers of any kind. Second, the
Plattans can function not only as headphones
but also as headsets, because they incorporate
a handy inline mic module with a built-in send/
end button. Third, though the Plattans are
full-sized on-ear headphones, they offer an
ingenious collapsible design that lets them fold
up into a compact, fist-sized package for inpocket carrying.
For those of you unfamiliar with Urbanears,
let me mention that the firm is based in
Stockholm, Sweden, but manufacturers its
products in China in order to contain costs. Its
one of those serendipitous marriages where
the consumer gets to enjoy Scandinavian
design and sonic sensibilities coupled with the
precision and cost efficiencies that have, of late,
made Chinese manufacturing options (or at
least well-executed variations on that theme) so
popular. By way of introduction, allow me quote
from the Plattan owners guide, which reads,

Urbanears is a collective out of Scandinavia,
motivated by a common interest in global
relationships and shared involvement in the
relevance of the living brands. Urbanears
promotes a deeper connection to color, form,
and people while providing the freedom to
transcend individuality and unify the sound
experience.
Urbanears makes headphones that fit your
everyday life. With a legacy in functionality, we
supply the perfect listening device for anyone
with a pocket full of music and a wish to make
the most of it
We designed Plattan to be the perfect
classic headphone, utilizing innovative functions
and performance with todays technology. It is a
full size headphone allowing for rich, secluded
sound. You can fold it down to the size of your
fist for maximum mobility. Plattan also comes
with a zound plug on the earcap, allowing for
a friend to plug in and enjoy your music.
FEATURES
Low impedance 32 Ohm 40mm drivers
represent an extremely easy load for iPods,
etc., to drive.
Includes in-line microphone module
with built-in send/end button said to be
compatible with Nokia, Blackberry, HTC and
iPhone.
Headband design affords good range of size
adjustments and incorporates distinctive
earcup hinges that allows the headphone to
fold down to a fraction of its size.
Very high quality materials are used
throughout. For example, all plastic parts
Ratings
Urbanears Plattan
10
Note distinctive Zound Plug in the base of the

upper earcup
Accessories: two extension cables (one

with a four-conductor plug for use with
Nokia cell-phones, one with a threeconductor playback only plug for use
with earlier-generation playback devices).
Weight: Not specified.
Sensitivity: 112 dB/mW
Impedance: 32 Ohms
Frequency response: 20 Hz 20kHz
Warranty: One year premium replacement
warranty
Price: $59.99
Urbanears/Zound Industries AB
urbanears.com
use special soft feel materials that impart

an upscale feel. Earpads are upholstered in
what we presume is faux leather, done up
with incredibly finely detail stitching. The
Plattans padded headband is covered in two
types of fabric: a close weave on the outside
for sleek good looks, coupled with a coarser
weave in the inner surfaces to help hold the
headphone in place as the wearer moves
around. The consensus among Nextscreen
staffers was that the Plattans look far more
costly than they really are which speaks
volumes for the Urbanear teams attention to
details.
The Plattan is supplied with a 47-inch signal/
mic cable that is fabric covered.
previous page
specs/pricing
tonal balance

clarity

dynamics

comfort/fit (varies from user to user)

sensitivity

value

For those who have always wished for a

clean and simple mechanism through which
two listeners could enjoy an iPod (or cellphone) simultaneously, the Plattan provides
an answer in the form of its Zound Plug.
The Zound Plug is, quite simply, a 3.5mm
audio signal pass-through jack mounted
on the Plattans right-side earcup; via the
Zound Plug, you can daisy chain two
set of headphones to be driven by one
source device. Its an idea so simple and so
ingenious that youll wonder why someone
hasnt thought of it before now.
The Plattans come with two small extension
cords, one optimized for the special fourconductor plug used for most music-capable
www.avguide.com
TABLE OF CONTENTS
NEXT page

Nokia cell-phones and the other designed to
provide a basic three-conductor playback
only plug. Urbanears points out that most
playback-only devices will work just fine with
the Plattans standard four-conductor plug,
but that some older devices may require
the three-conductor plug, which is why it is
included.
Offered in fourteen different colors: white,
grey, dark grey, black, red, chocolate
(medium brown), yellow, sallad (an intense,
bright green, and yes, they spell sallad with
two Lsgo figure), army (olive drab), ocean
(medium blue), light blue, navy (dark blue),
purple, and pink.
of the limited power output of the iPod or of

cell-phones. More so than most mid-priced
designs Ive sampled, the Plattan seems to
work well within the iPods constraints, rather
than constantly making you wish you had
sprung the extra cash needed for an outboard
headphone amp. In this way, the Plattan is an
example of good, solid, practical real-world
design at its best.
The only noteworthy sonic drawback of the
Plattans, though a drawback some listeners
might potentially regard as a plus overall, is the
fact that the highest upper midrange and treble

frequencies are somewhat rolled off. While
this characteristic is not, strictly speaking,
accurate, it does have the side-benefit of
softening raw or rough-edged recordings (of
which there are far too many these days) to
a point where they become more listenable.
Accuracy mavens may be a little disappointed,
but music lovers will, I think, find this minor
flaw very easy to listen through.
SONIC CHARACTER
Three specific qualities define the sound of
the Plattans. First, they offer rich and warm
though perhaps just slightly forward-sounding
mids. This characteristic gives the Plattans an
engaging and sophisticated feel, since they
seem able to tease out a fair amount more
midrange detail and nuance than most other
low-to-mid-price headphones can.
Second, the Plattans serve up taut yet very
nicely weighted bassespecially mid- and
upper bass. While the Plattans cant plumb
the subterranean low-frequency depths the
way that certain state-of-the-art contenders
can (were talking about phones ten or twenty
times the Plattans cost), they more than hold
their own within their price class, offering
plenty of oomph for bass guitars, kick drums
and the like.
Third, the Plattans are dynamically
responsive, so that they really make the most
previous page
MUSICAL EXAMPLES
One of the very best live blues recordings Ive
ever heard is Long John Hunters Lets Set the
Time from Untapped Blues Festival: 2004 Live!
[Bluestopia]a track that, for the most part,
plays right into the strengths of the Urbanears
Plattans. Part of what makes the track click
with the Plattans is the unmistakable energy
and bounce of a live performance where a
well-rehearsed band has latched on to a tight
groove and is working it for all it is worth. The
dynamic liveliness of the Plattans really helps,
here, letting the material breathe in a natural
way, by allowing the bass guitar, drums, and
initially choppy guitar riffs to propel the song
forward with tremendous force and vitality.
The Plattans midrange and bass prowess
plays its part, too, doing a nice job of capturing
the saturated and slightly overdriven sound
of the guitar amp, the deep and very well
controlled growl of the bass, and the incisive
pop of the snare drum keeping time. Long
John Hunters voice is handled well by the
Plattans, too, so that you can hear and feel
not just the general shape of his notes and
phrases, but also the attitude with which
theyre delivered.
The only drawback is that some of the
high harmonics of the various instruments
(especially the cymbals, which are extremely
well-recorded on this track) and of Hunters
voice sound overly subduednot so much
unclear, but simply too recessed in the
mix. This is, of course, due to the Plattans
characteristic upper midrange and treble
rolloff. Still, I think this flaw is far preferable to
that of headphones that exhibit the opposite
www.avguide.com
TABLE OF CONTENTS
NEXT page

problem: namely, hard, biting and
overly prominent mids and highs.
Generally speaking, sins of omission
are much easier to overlook than sins
of commission, which tend to intrude
on the music in more overt ways.
COMFORT/ACCESSORIES
As noted above, the Plattan are
supplied with two small accessory
extension cords, one providing
a special four-conductor plug as
required by some Nokia cell-phones,
and the other providing a threeconductor playback only plug as
needed for use with some earliergeneration playback only devices.
On the whole, I found the Urbanears
Plattans very comfortable to wear
for extended periods of time. The
faux-leather earcup pads are very
comfortable, and the clamping
pressures provide a just-right blend of
low pressure with adequate grip.
The only caveat I must point out
is that is that the Plattan headband
design allows earcups to swivel in the
vertical axis, but not the horizontal
access. To achieve a good fit, then,
some listeners need to rock the
Plattan headband strap either far
forward or far to the rear in order to
get the earpads to seal firmly on their
ears, which can be a bit of a pain.
For this reason, I would suggest
that Urbanears look into adding a
horizontal swivel feature to improve
previous page
this already very good design.
Perhaps one the Plattans nearest
competitors will be the popular and
critically acclaimed Grado SR-60i,
which, at $79.99, sells for about a
third again more than the Plattans do.
Heres how that comparison plays out:
While both headphones arguably
offer a slightly midrange-forward
sound, the SR-60i offers better
balance overall, with better upper
midrange and treble extension, and
somewhat more resolution.
The Plattan offers a somewhat
warmer and slightly darker sound
overall, with very well-integrated
bass.
The Plattan is the more sensitive of
the two designs, making it great for
use with iPods/iPhones, etc.
The SR-60i design allows better
overall fit (because the earcups
can swivel both vertically and
horizontally), though the Plattan is
still quite comfortable.
The SR-60i offers any color
you want as long as its black
styling, where the Plattan comes in
multiple colors and exudes a sleek,
Scandinavian design vibe.
The Plattan provides clever and
very useable iPod/iPhone friendly
features, including headset
functionality and the handy Zound
Plug, where the SR-60i does not.
BOTTOM LINE:
The Urbanears Plattan would make
a great first headphone for an iPod/
iPhone/cell-phone user who wants
vastly better sound quality than
stock earbuds can provide, yet who
doesnt have a huge amount of money
to spend. The Plattans are solid
performers, cleverly conceived and
executed (with real-world features
that actually work), and both styling
and apparent build quality that make
them seem more expensive than they
really are.
www.avguide.com
TABLE OF CONTENTS
NEXT page
this section
brought
to you by
NuForce
Playback
full-size
headphones
$200 $650
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
full-size headphones $200 $650

AKG K702
Tom Martin
layback has reviewed quite a few headphones this year with

a focus on well-known or highly touted models from major
manufacturers. Continuing in this vein, we wanted to get the AKG
K702 into the lab because, as the successor to the K701, it has a strong
reputation to live up to and comes from a venerable manufacturer.
The K702 is a new addition to the Austrian manufacturers Pro line,
though it is basically an improved version of the much-loved K701
(some say the main purpose of the re-design has been to change the
headphones color so it shows less studio dirt). In the high-quality
headphone market, the K702 claims uniqueness in its use of flat wire
technology along with a patented Varimotion 2-layer diaphragm driven
by neodymium magnets. In keeping with modern marketing practice little
suggestion is made by AKG about how these things might impact the
sound delivered by the K702s, other than to make a nod to accuracy,
agility and spaciousness. One understandable feature is the easily
removable cable, allowing upgrades or length changes as needed. The
K702 also has several features aimed at ensuring comfort, an area where
technology often offers more hope than realitybut which work in this
case, as we shall see.
Like many other headphones, the K702 is an open back designa
feature that clearly makes them less suitable for use on airplane or in an
office. Some listeners, however, insist that open-back headphones are
consistently more natural sounding.
So, we have here a (slightly) new headphone based on a storied, time-
previous page
overview
you want headphones with an even tonal
balance, just a touch of warmth in the treble
and you want to avoid the edgy or harsh
sound that often comes with headphones
that emphasize transparency at the
expense of sonic rough edgesrough
edges that the AKG simply doesnt have.
Look elsewhere if:
micro-dynamic detail is at the top of your
list of sonic desires, or if your musical
needs demand the punchiest dynamics.
www.avguide.com
TABLE OF CONTENTS
NEXT page

proven design. But how does it fare in the rigors
of the Playback lab?
SONIC CHARACTER
The K702 offers a sound that manages to
seem almost faultless to the casual listener.
This is an important achievement, and one that
bespeaks smart design choices that may work
well for many listeners. Like every headphone
weve heard, the K702 has its limits, but first
lets catalog some of its superb performance
attributes.
The core strength of the K702 is the artful
frequency balance that AKGs engineers have
delivered. The K702 sounds very flat from
about 150hz up to around 10khz, which means
that instruments in a band or orchestra are
consistently reproduced in proper relationship
to each other. Not only that, but also most
instruments sound natural on an individual
basis.
Just as important, the K702 seems to
roll off the upper treble very slightly. This
characteristic might at first glance seem a
drawback, but in practice it may in fact be a
blessing in disguise. Lets face it; a lot of music
signals are a bit distorted or noisy in the treble
region, so that it is not necessarily a bad thing
for a headphone to de-emphasize those flaws.
AKGs choice fits well with the realities and
quality limitations both of modern recordings
and of some D/A converters. In short, the
K702s reproduce treble problems in music or
associated equipment, but without rubbing
your face in them.
In addition to their slightly warm upper
frequency balance, the K702s sound very well
controlled and damped on transients. Cymbals

or guitars rarely sound ragged or splashy,
while vocals sound unfailingly smooth. This
could be characterized as low distortion (thats
certainly how it sounds), an important quality
made even more important because it yields
excellent instrumental separation. That sounds
kind of analytical and geeky, but it means
complex music doesnt get all congested and
muddled.
At the same time, this smooth, wellcontrolled transient behavior also points, at
least indirectly, toward two limitations of the
K702. First, micro-dynamics, while not exactly
MIA, are less vividly reproduced than they
are with some competing headphones, such
as the similarly priced Grado 325is or more
expensive Sennheiser HD800s. The result is
that the sense of the acoustic space in which
the instrument or band is playing can get lost,
as can the small but significant sonic details
that give music its character and life-like feel.
It is tough to say whether this loss, or the
gain from the sense of low distortion is more
important. Ideally one would like both, though
over the long haulassuming one has to
choosethe AKG approach makes sense.
Next, when we come to macro-dynamics,
were also in an area where the K702s are
good but not great. On drums, power guitar
and vocal swells, the K702 sound reasonably
lively judged against reproduced music we
often hear, but they dont quite capture the
punch of the real thing (and there are other
headphones that get closer). The 702s can
sound reticent in the bass, which may be the
reason for these observations.
Ratings
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

0
AKG K702
Accessories: mini-plug to phone plug
adapter (screw on)
Weight: 8.3 oz.
Sensitivity: 105dB@1V
Impedance: 62 ohms
Price: $539.00
10
These limitations are mainly subtractive,

so without direct comparison to other
headphones you might not notice them.
Thats because the even tonal balance and
smoothness of the K702 sounds realistic, and
the K702s lack the obvious distortions that
shout, This isnt real music. Given that many
headphones do have additive or distracting
distortions, this fact alone might make the
K702 a top choice for many listeners.
MUSICAL EXAMPLES
Never Got Off the Ground [Alison Krauss
& Union Station Forget About It, Rounder],
Alisons voice occasionally gets into a range
where there is some slightly sibilant stridency
from some other headphones, but K702s
sound clear and smooth. Maybe too smooth,
because in the introduction to that song, Jerry
Douglas Dobro sounds too much like a guitar
previous page
specs/pricing
AKG Acoustics US
(818) 920 3212
akg.com/personal
(then click on AKG Pro on the bottom right)
lacking the full resonator ring and attack that is
intrinsic to the Dobro.
On Betty Oliveros Neharot Neharot (Kim
KashkashianNeharot, ECM), the chamber
orchestra sounds like it is recorded in a
studio, with very clear and lovely sounding
instruments, but little sense of the acoustics
of the recording venue. But in fact this piece
was recorded in the Himmelfahrtkirche (Im not
making this up), a church in Munich. If youve
been in European churches, you will know
well that they typically offer rich, resonant
acousticsnot the comparatively dead,
studio-like sound the K702s presented on this
track. You might not miss the acoustic cues
the AKGs have omitted (again, we are talking
about subtle, subtractive errors) because the
orchestra itself sounds lovely (or pained as the
case may be).
www.avguide.com
TABLE OF CONTENTS
NEXT page

Another example of information loss comes
on the Brandi Carlile track Turpentine [Brandi
Carlile The Story, Columbia], which opens
with an acoustic guitar (a Collings 01SB) that is
rendered clearly but with the emphasis mostly
on string sound. In short, the AKGs give you
less body sound than you would hear from
a real guitar, meaning you miss out on some
of the resonance and the ringing sound of
the top of the instrument. Later in that song
a cello enters and once again we hear more
string, with fewer low-level body and overtone
components than youd hear with live sound
(or than you can hear on this recording through
some other headphones).
Going back to Forget About It, the song
Maybe has a solo bass drum that can be
startlingly powerful and well-defined. On this
track, some headphones deliver a rendition
that sounds very like what one hears from
a bass drum in a concert hall, minus the
pressure in the gut. The AKGs dont really get
the rising edge of the drum thwack quite
right and so deliver less bass power and
depth than is fully realistic or technologically
possible. Even so, the sound through the
K702s is rewarding enough that you might not
miss the sonic information thats been left out
until you hear headphones that come closer to
the absolute sound. But remember this: those
hypothetically more revealing headphones
wont always sound as smooth or well
balanced as the K702s do.
Assuming you are looking at the K702 as a
reference headphone, my comments, below,
previous page
may help to place the AKGs in context with

respect to higher, lower, and similarly priced
headphones:
The Shure SRH840 is less expensive, and
offers a similar sound (in terms of basic
smoothness and level of information
retreival). The K702 is a bit more evenly
balanced, but slightly less dynamic.
The Grado 325is is similarly priced (on the
street), but sounds rather different. The 325is
has a mid-range emphasis that means it
is less evenly balanced than the K702, but
offers more micro-dynamic detail and macrodynamic punch.
The Sennheiser HD800 is substantially more
expensive. It offers more micro-dynamic
detail, deeper bass and similar smoothness.
But the HD800 can sound a little uneven in
the treble.
The K702s are very comfortable. The ear cups
are big and the clamping force is low. The
headband adjusts the earcups automatically
to fit your heada feature that worked well in
our tests.
The K702s come with a ten foot cord and a
phone plug/mini-plug.
Note: The K702s are relatively inefficient.
This is a headphone that simply must be used
with a high-quality amplifier to get the best
results.
BOTTOM LINE:
AKGs K702 is a very well balanced headphone
that delivers admirable smoothness and
warmth without obvious artifacts.
www.avguide.com
TABLE OF CONTENTS
NEXT page

AUDIO-TECHNICA
ATH-A700
Chris Martens
udio-Technica describes its mid-priced

ATH-A700 headphones as a models
designed to deliver audiophile-quality
acoustic performance with full, rich balanced
bass. At $299, the ATH-A700 is less expensive
than many of the phones in this group, and it is
alsounlike many of the phones weve tested
in this price bracketa closed-back design,
meaning that its earcups are fully enclosed, not
vented. Given these differences in price and
technology, I wanted to see how the AudioTechnicas would compare and now that Ive
heard the ATH-A700 in action, Im especially
glad we invited it to the party; it acquitted itself
very wellespecially so in light of its price.
FEATURES
Closed-back design with Double Air Damping
System said to promote deep bass.
Proprietary, large-aperture 53mm drive units
with neodymium magnets and voice coils
wound with copper clad aluminum wire.
Oxygen free copper, cloth-sheathed
connecting cord with gold-plated jacks.
Self-adjusting 3D Wing Support Housing
promotes comfortable support.
ACCESSORIES
Gold-plated mini-jack-to-1/4-inch adapter.
SONIC CHARACTER
Though a bit bright-sounding straight from
the box, the ATH-A700 quickly loosened up
and settled into a rich, engaging, and slightly
warmer than neutral sound that complements
most types of music. Bass is full-bodied
without being overblown, while mids and
highs are smooth, expressive and quite clear
soundingalmost as open sounding as those
of the top-tier $500+ phones weve sampled.
Importantly, the ATH-A700 is exceptionally
easy to drive, meaning it doesnt demand a
particularly powerful headphone amplifier.
One further point: the comfortable sound of
the ATH-A700 combines with unusually good
physical comfort and fit in a synergistic way,
making you want to listen to these phones for
hours at a stretch.
MUSICAL EXAMPLE
Producer Gunther Pauler has made some
spectacular sounding records for the German
Stockfisch label, and one of my favorites is
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

last word:
Smooth, nearly neutral tonal
balance provides a touch of
natural warmth.
Surprisingly good clarity and
robust, punchy bass.
Very comfortable and extremely
easy to drive.
Good value.
Not the last word in terms of
absolute transparency, though
not too far off the standards of
the best open-back designs.
ATH-A700s sometimes create the
sensation of pressurizing your
earsespecially on loud, low
bass notes.
Sara Ks jazz-inflected folk album Hell or High
Water [Stockfisch, SACD]. The album opens
with the track Stars, which highlights Sara
Ks airy-sounding yet also full-bodied voice
backed by closely micd acoustic guitars,
delicate South American flutes, chimes,
percussion, and bedrock-solid fretless
electric bass. The ATH-A700s hit this track
out of the proverbial ballpark for two reasons.
First, they are clear enough to capture the
articulate, breathy quality in Sara Ks voice,
yet they also offer sufficient warmth to reveal
the deeper, richer body of the voice down
below the breathy overtones (something not
many headphones can do so well). Second,
the Audio-Technica offers an across-theboard quality of richness that draws out
the intense tonal colors and textures of the
Ratings
headphone seem to float in an optimally

comfortable position. One small caveat: AudioTechnicas earpads are covered in faux leather
material that squeaks a bit as you move and
that does not wick away perspiration the way
fabric earpad covers do.
tonal balance

clarity

dynamics

comfort/fit

isolation

value

0
BOTTOM LINE
backing instrumentsespecially the growling

bass, which sounds potent and positively
subterranean at times.
Like all closed-back headphones, the ATHA700s can sometimes pressurize your ears
(especially on loud, low bass passages), and
they will occasionally remind you that they
enclose your ears in what is an essentially
sealed chamber. But unlike some closedback designs Ive tried, the Audio-Technica
never gave that oppressive, trapped-insidea-diving-helmet sensation. Instead, it rests
lightly around your ears while gently but firmly
blocking out most room noises.
10
The oh-so-comfortable ATH-A700s are

eminently likable headphones whose just
slightly warmer-than-neutral tonal balance
sounds fine on well-recorded material while
making the phones at least somewhat
forgiving of less-than-perfect records. The
Audio-Technica offers surprisingly good
clarity, too, while serving up bass that is
robust and punchy. Though not the very last
word in transparency, the ATH-A700 comes
surprisingly close to the better $500+ phones
and for hundreds less. Note: the easy-to-drive
ATH-A700 can even be driven by an iPod,
though only to moderate levels.
Audio-Technica ATH-A700
Design: Circumaural, closed-back,
dynamic headphones
Impedance: 64 ohms
Weight: 10.2 oz.
Price: $299
Audio-Technica U.S., Inc.
(330) 686-2600
audiotechnica.com
COMFORT FACTOR
Audio-Technicas 3D Wing Support Housing
makes the light ATH-A700s one of the most
comfortable headphones Ive ever worn. The
Wings are a set of two padded, articulated,
flaps that can tilt in two directions to conform
to the contours of your head, making the
previous page
specs/pricing
www.avguide.com
TABLE OF CONTENTS
NEXT page


Tom Martin
he Playback editorial staff has been

increasingly impressed with the
efforts that Monster is applying to its
burgeoning line of headphones and earphones.
The Monster Turbine Pro Copper Edition and
Miles Davis Tribute in-ear models in particular
have captured our attention. Meanwhile,
the Beats By Dr. Dre headphone line has
been entertaining, if not exactly the thing for
maximum accuracy.
Recently, Monster sent us the Beats Solo
HDs, which are on-ear headphones priced just
under $230. On ear headphones slot into the
market between full circumaural (surrounding
the ear) headphones on one hand and in-ear
phones on the other. Some people find that
circumaural models feel oppressive. They may
also find in-ear headphones uncomfortable
or too hard to insert and remove (especially
in an office). On-ear headphones have neither
of these problems, and so they have their
proponents and a niche in the market. In
addition, on-ear designs can be much more
compact than full-sized headphones, making
them more suitable for use when traveling.
In keeping with the mobile usage them,
Monster has designed the Solo HDs to be
driven by a portable music player or phone.

They also have Monsters ControlTalk
system to integrate phone and music usage.
ControlTalk provides music playback control,
including volume, play/pause and tracking, as
well as a microphone. This feature works with
iPods, iPhones and some Blackberrys.
Monster claims that the Solo HD is designed
for highly accurate music reproduction.
Titanium coated drivers are employed, and
a good level of sound isolation is claimed.
We admit to having some doubts about
headphones co-branded with a rap star, even
one with extensive studio production credits.
But, proof is in the listening not the label on
the box.
SONIC CHARACTER
The Solo HDs provide a sound that can be
characterized as smooth, warm and inviting.
If you listen to them without comparison to
other headphones you might conclude that
there is little room for improvement. This
unobtrusive aspect of the Solo HDs can be a
big deal if you listen to a lot of music, because
it equates to a lack of listener fatigue. However,
like every headphone weve heard, the Solo
overview
you want headphones with a
warm, relaxed sound yet you
dont want to give up much
in the way of resolution or
balance.
Look elsewhere if:
you need maximum detail
and ambience, or if you
demand the punchiest
dynamics on wide bandwidth music.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

HDs have limits, and in the case of the Beats
these are subtle, but may be very important to
music lovers.
First lets catalog the strengths of the Solo
HDs. As we noted in our recent review of
the Shure SRH440s, clarity without edginess
is tough to achieve. The Solo HDs focus
resolutely on controlling edginess while
sacrificing only a bit of clarity. Thats because
they have excellent instrumental separation
and thus avoid the musically disastrous
muddle that can be imposed by some
headphones in this price range. Add to that
a tonal balance slightly tilted to the bass end
of the spectrum (imparting a slightly warmish
sound) and you have a musical presentation
that matches what many people can intuitively
connect with the experience of live music.
The Solo HDs also lack the more obvious
frequency balance bumps and plateaus of
some of the competition, which is very helpful
in avoiding distracting unnaturalness.
A more analytical exploration of the tonal
curve reveals a few small issues. First, some
of the sense of smoothness results from a
small upper midrange dip. This makes voices
sound a little closed in at times. Second, the
mid and upper treble seems slightly rolled off.
This means that cymbals, for example, dont
shimmer as much as they do in live music.
More importantly, it removes some of the
sense of ambience from well-recorded music.
Finally, bass on the Solos lacks the ultimate
articulation and depth. Balance is good and
the sound isnt bloated, but definition and
impact arent quite up to the sound of the
real thing.
The beauty of all this is that were mostly

talking about small subtractive errors that
dont really annoy. Of course, what is minor
to one listener can be aggravating to another,
so youll have to judge this for yourself. But,
importantly, the nature of the Solo HDs errors
is unobtrusive. The downside here is that
music sounds somewhat less dynamic than
you might hope for, though not so diminished
in this regard as to be even remotely boring.
We would add that the warmish frequency
balance is beneficial in the real world for
masking external sounds. Put another way,
headphones without this balance often sound
amusical and overly lightly balanced when
heard in the noisy environs of an airplane or on
the street.
Ratings
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

0

Accessories: carrying case
Frequency Response: Not Specified
Weight: Not specified
Sensitivity: Not Specified
Impedance: Not Specified
Warranty: One year, parts and labor.
Price: $229
10
Monster Cable Products Inc.

(415) 840 2000
monstercable.com
beatsbydre.com
MUSICAL EXAMPLES
On Jen Chapins song Visions [Jen Chapin
Revisions, Chesky], the bass to treble balance
is excellent and instrumental definition is
quite good. Chapins voice, however, seems
overdamped and so we dont get the feeling
of being present with the singer in a real room.
The voice and instruments evince very low
grain, which you realize is not the case with a
lot of headphones (which have a slight feathery
distortion when played at very low levels).
On Beth Ortons Worms from Comfort of
Strangers [Astralwerks], top to bottom balance
is lovely and well proportioned. That said, here
we have another singer whose voice sounds
a bit hooded if you listen carefully. This is a
studio recording, to be sure, but when you
hear the modulated attack of the snare drums
through the Solo HDs you realize that the
previous page
specs/pricing
www.avguide.com
TABLE OF CONTENTS
NEXT page

transient edges of sounds are being
slightly polished off.
Another example of information
management in the service of
smoothness comes on the Radiohead
song Paranoid Android [OK
Computer, Capitol], which opens with
an array of high frequency sounds that
could easily be harsh and gritty, but are
not on the Solo HDs. You can argue
about the artists intent here, but the
Solos make the track very listenable
and clear with excellent instrumental
separation.
On Jack Johnsons On and On
[Universal] the song Dreams Be
Dreams has a solo bass line that
can be (and should be) powerful and
well defined. On this track, some
headphones deliver a rendition that
sounds very like what one would hear
from a real bass on stage, so this is a
good test of balance, dynamics and
resonance control. The Solos present
the bass in balance with the rest of
the instruments, but they dont get the
rising edges of the notes quite right and
so deliver less bass power and depth
than is fully realistic. In short, some
definition has gone missing.
headphone that has earned a reputation

as a bit of a giant killerthe Grado
SR60i.
COMFORT FACTOR/
ACCESSORIES
Below, well try and put the

performance of the Solo HDs in context
by comparing them first to a strong,
like-priced competitorthe Shure
SRH840, and then to a less expensive
previous page
Solo HD vs. Shure SRH840

The Shure SRH840 ($200) is nearly
the same price as the Solo HD, and
makes for a useful comparison.
Overall, the SRH840 offers a more
linear and extended sound, especially
in the bass and upper treble.
It isnt obvious that the SRH840s give
up anything, though the tonal balance
of the Solos may be preferable in
noisy environments (and the on ear
design may be preferred as well).
in fact low enough that they may not be

ideal for use in workout situations.
The Solo HDs fold up and can be
carried in the small cloth case that
is included. A detachable 52 cord
terminated with mini-plugs is also
included.
BOTTOM LINE
Monsters Beats by Dr. Dre Solo HD is a
smooth, low distortion headphone that
delivers admirable warmth. Errors are
mostly subtractive, which leads to an
inviting musical experience.
Solo HD vs. Grado SR60i

The Grado SR60i is much less
expensive, both in terms of MSRP
and street pricing, but comes from a
very different philosophical camp. The
Grados have a mid-range emphasis
and a quite lively sound.
By comparison the Solo HDs seem
more balanced, warm and smooth.
The Grados are on-ear headphones
but with an open design that provides
less isolation than the padded
coupling that the Solos offer.
The Solo HDs are comfortable within

the obvious limitation of putting
pressure on the outer ear. The ear cups
are soft and the clamping force is low,
www.avguide.com
TABLE OF CONTENTS
NEXT page

BEYERDYNAMIC DT-880 PRO

Chris Martens
eyerdynamic has been building

headphones and microphones
since the company was founded in
Berlin in 1924, and today the semi-openback DT 880 PRO headphone is amon
the top models in the firms lineup. In a
sense, the DT 880 PRO combines design
elements of two sister models, the closedback DT 770 PROs and the open-back DT
990 PROs (also reviewed in this Guide).
For this reason, many knowledgeable
enthusiasts consider the DT 880 PRO
a best of two worlds design ideal for
listening at home. As Beyerdynamic
puts it, the DT 880 PRO combines
the strengths of open, transparent
headphones with those of more powerful,
closed headphones.
FEATURES
Semi-open-back design featuring what
Beyerdynamic terms an innovative bass
reflex system.
Spring steel headband.
3-meter coiled connector cable.
Gold-plated connector jacks.
Soft, velour-covered earpads.
ACCESSORIES
MUSICAL EXAMPLES
C
anvas-covered, heavily padded carry
case.
G
old-plated mini-jack-to-1/4-inch
adapter plug.
As I listened to the DT 880 PROs, I found

myself enchanted by their tonal neutrality,
accuracy, and versatility; they bring a
balanced, even-handed presentation that
complements musical material of all kinds.
For example, they have enough definition,
dynamic moxie, and punch to handle the
crunchy opening electric bass and guitar
lines and deliberately raucous vocals of
the title track of Nick Caves Dig, Lazarus,
Dig!!! [Anti Records]. Yet they can turn on
a dime to capture the suave sonorities
of the London Symphony Orchestra
as it creates a foundation above which
violinist Hilary Hahn crafts sweet, soaring
solo lines in her performance of Vaughan
Williams The Lark Ascending [LSO/Colin
Davis, Deutsche Grammophon]. No matter
what kind of material I chose to play, the
DT 880 PROs rarely put a foot wrong.
One small shortcoming I noted,
however, was that the DT 880 PROs
generally could not capture extremely lowlevel details or the sense of high-frequency
air surrounding musicians as well as the
best phones in this class do. But even so,
SONIC CHARACTER
My first and most lasting impression of the
DT 880 PROs is that they offer wonderfully
smooth, neutral tonal balance, meaning
that theyre very honest phones that
show you how recordings really sound,
without adding colorful embellishments
of their own. This is the sort of phone
where its easy to get lost in the pure,
clear sound of individual instrumental
and human voices. The Beyerdynamics
also offer quite good levels of clarity and
resolution, although they do fall a couple
of clicks short of the best models in this
this price bracket in terms of absolute
openness and transparency. One caveat I
should mention, though, is that the power
hungry DT 880 PROs required much
higher amplifier volume settings than other
phones before they would truly sing.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

specs/pricing
Beyerdynamic DT-880 Pro
Design: Circumaural, semi-open,
dynamic headphones
Frequency response: 5 Hz -35kHz
Impedance: 250 ohms
Weight: 10.4 oz.
Price: $380
Beyerdynamic, Inc.
(631) 293-3200
beyerdynamic.com
these phones offer a good measure of clarity

and great overall balance.
COMFORT FACTOR
The DT 880 PROs offered better than average
comfort. Hint: take time to adjust the DT 880
PROs sliding earpiece carriers to achieve a
comfortable, relaxed fit. When you get the
earpiece positioned right, you should feel very
little pressure on the sides of your head.
BOTTOM LINE
The DT 880 PRO is a very well balanced
performer that offers neutral tonal balance, an
enchantingly pure sound, and a measure of
clarity that falls only a few clicks short of the
performance of the best $500+ models. But
plan on buying a gutsy headphone amp if you
want to hear these phones sound their best.
tonal balance

clarity

dynamics

comfort/fit

isolation

value

0
10
last word:
Smooth, accurate, neutral tonal
balance.
Imparts a pleasing quality of
sonic purity.
Very good (though not quite bestin-class) clarity.
Not the last word in ultimate
openness, though using a stout
headphone amplifier improves
perceived transparency.
Notably power hungry; wimpy
headphone amps need not apply.
previous page
Ratings
www.avguide.com
NEXT page
NEXT page

Beyerdynamic
DT-990 Premium
600 Ohm Audiophile
Version
Chris Martens
ntil Beyerdynamics mighty T1 Tesla arrived on the

scene, the DT-990 Premium ($369) was one of the
firms top two audiophile models (the other model
sharing on of the top slots was the DT-880 PRO, reviewed
elsewhere in this guide). Now that Ive heard the DT-990
in action, I can see how it earned its place on the team,
though it is significantly different in character from the DT880 PRO. How is it different? As it happens, Beyedynamics
Consumer product catalog gives some interesting clues to
help answer that question.

In describing the DT-880, the catalog emphasizes that the
headphone offers very neutral sound (or as the original
German puts it, the DT-880s sound is Sehr klangneutral),
which is exactly the case. The DT-990, on the other hand,
is characterized as offering analytical and high-resolution
sound and as providing strong bass and treble. While I
think Beyerdynamics assessment is directionally correct, it
also inadvertently puts up flags of caution for audiophiles
overview
you want an exceptionally light, comfortable, and
beautifully made open-back headphone, one that
sounds open, alive, and very revealing (in the best
sense of that word).
Look elsewhere if:

you require tonal balance that offers textbook neutrality,
or if you require a closed-back or semi-closed-back
headphones (if those are your priorities, the DT-880 PRO
is the better choice).
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

that arent necessarily warranted.
For most audiophiles in the US, the term
analytical is a pejorative one that implies
a cold, sterile, and perhaps edgy sound that
sucks all the beauty, life, and warmth out of the
music. But for German audiophiles, I believe
that the term analytical (or Analytische) has a
different and much more positive connotation;
it suggests you have a product that enables
you to hear how all the elements of a piece
of music fit together, so that you come away
with a deeper understand of what youve just
heard. Seen in that light, the DT-990 is indeed
analyticalor as American listeners might put
it, revealing. But it also offers, as youll see in
a moment, a wonderfully open and dynamically
alive sound.
For this test we tried, at Beyerdynamics
recommendation, the 600-Ohm Audiophile
Version of the DT-990, and found its sound
beautifully controlled and precise.
SONIC CHARACTER
First, as mentioned above, the DT-990
Premium is a very revealing (or analytical)
headphone, and I think this has much to do
with the fact that it may be one of the most
fine-grained dynamic headphones in its
price class.
Grain is a tricky concept for some
audiophiles, so let me provides an analogy
to help explain the term as I use it here.
Consider two movie projection screens, one
with a comparatively coarse, sand-like texture
(where, from up close, you might actually be
able to see small grains of reflective material),
and the other with an almost perfectly smooth
matte texture. Now consider how a projected

image might look on the first screen and then
on the secondespecially when viewing from
up close. With the coarse-grained screen
you would reach a point where, while the
image was still discernible, so too would
be the comparatively rough texture of the
screen. With the second, more fine-grained
screen, textures would basically fade into the
background so that you could focus all your
attention on the image.
Sonically speaking, the DT-990 is like that
fine-grain screen, so that soundseven very
subtle, low-level sounds that might ordinarily
get buried in the playback mixsuddenly
unfold against a grain-free background and are
made plain as day. This factor alone makes the
DT-990 a joy to hear.
Second, the DT-990 has an open and
dynamically alive sound, which I feel sets it
apart from the DT-880. Except when driven by
very powerful amplifiers, the DT-880 can have
an ever-so-slightly constricted sound (as if
its not being fed with quite enough power to
really throw back its head and sing properly).
By contrast, the DT-990, perhaps because it is
an open-back design, has a more expressive
character that takes large-scale dynamic shifts
in stride while also effortlessly revealing subtle
small-scale shifts in dynamic emphasis.
The tonal balance of the DT-990 is not,
strictly speaking, neutrally balanced. The
headphone does, as Beyerdynamics literature
suggests, offer strong bass and treble, which
will lead many to pose this question: just how
strongly are the bass and treble emphasized?
The answer is that the DT-990s two regions
Ratings
Beyerdynamic DT-990 Premium 600-Ohm

Audiophile Version
Accessories: as above.
Frequency response: 5 Hz 35kHz
Weight: 290 grams
Sensitivity: Not specified
Impedance: 600 ohms
Price: $369
10
of tonal emphasis are both relatively tasteful

and not garishly exaggerated. As a result, the
DT-990s bass, though somewhat forward
sounding, is consistently taut, punchy and well
controllednot loose, boomy, or overblown.
Similar, the DT-990s extreme highs (roughly
10kHz and up) are upturned in response, but
for the most part sound smooth and sweet
not edgy, strident, or brittle.
While proponents of strict neutrality (and
under most circumstances I am one) might
ultimately choose a headphone other than
this one, I think prospective buyers would
do well to listen to the DT-990 with an open
mind, and then to decide how they feel about
its frequency response characteristics. After
I listened to the DT-990 on a few favorite
recordings, I personally found its sound quite
easy to embrace.
previous page
specs/pricing
tonal balance

frequency extremes

clarity

dynamics (noise-cancelling on)

comfort/fit

sensitivity

value

Beyerdynamics Inc. USA

(631) 293-3200
beyerdynamic.com
north-america.beyerdynamic.com
MUSICAL EXAMPLES
To appreciate the subtlety, purity and
openness that the DT-990 brings to the party,
listen to I Cry Everyday from Shelby Lynnes
Suit Yourself (Capitol). This record offers
myriad small but significant sonic details, and
the DT-990s fine-grained sound enabled it
to capture all (or nearly all) of them in a very
revealing way. On the track Ive referenced,
for example, Shelby Lynne uses occasional
vocal overdubs and the DT-990 offers enough
resolution to show that the textures of the
overdubs are similarbut not identicalto the
main vocals (among other things, the amounts
of reverb used are, I think, slightly different).
Similarly, the DT-990 lets you hear the delicate
and relatively high-pitched sounds of the kick
drumhead ringing for a split-second after the
drum has been struck. But one of the coolest
www.avguide.com
TABLE OF CONTENTS
NEXT page

details is the initially faint sound of an organ
that enters the track at about the 1:30 point.
Even with the organ playing at very low levels,
the Beyerdymanic phones showed that even
sustained notes were not absolutely constant
in pitch, but rather were gently modulated in a
very subtle way. These are the kinds of subtle
sonic delights you can expect to hear on a
regular basis if you acquire a set of DT-990s.
To hear the DT-990s regions of tonal
emphasis in action (and in a good way), check
out Wasting Time from Jack Johnsons On
and On [Universal]. The track opens with Adam
Topol establishing a punchy beat on his kick
drum (supplemented with snare accents),
while Merlo Podlewski soon joins in to add a
big, rubbery, elastic-feeling reggae-inflected
bass line. The DT-990s enhanced (but subtly
enhanced) bass makes both the kick drum and
especially the electric bass sound rightrather
than like anemic imitations of themselves.
But an element of even greater sonic beauty
enters the mix during the choruses of the song
as Topol tastefully inserts gentle timekeeping
beats played on his ride cymbal. The sound
of the cymbal is strangely uplifting and, as
it shimmers and glows under Topols steady
beats, it seems to elevate the whole mood of
the song. The DT-990s touch of upper treble
emphasis serves, here, to make the sustained,
ringing/singing qualities of the ride cymbal
more lifelike and compelling, and without
veering into edginess or harshness.
models in its class, let me compare it to two

noteworthy competitors I had on hand: the
Grado SR325i and the Sennheiser HD650.
COMPETITIVE COMPARISONS
Beyerdynamics DT-990 Premium ($369) vs.

Sennheiser HD650 ($649.95)
The MSRP of the Sennheiser HD650 is
To give readers some idea of how the DT-990

Edition stacks up in comparison with other
Beyerdynamics DT-990 Premium ($369) vs.

Grado SR325i ($295)
The Grado carries an MSRP that is roughly
$75 lower than that of the DT-990.
The DT-990 is significantly lighter and more
comfortable that the also open-back but onear SR325i. The primary difference is that the
SR325i provides mid-size earcups that are
made of a relatively stiff foam material, and
uses higher clamping pressures than the DT990. By comparison, the DT-990 seems a real
featherweight, and one whose earcups are
very soft, compliant and finished with a plush
material that wicks away moisture.
The SR325i offers Grados signature
midrange, which sounds simply gorgeous,
though the SR325i does seem somewhat
rolled-off at both frequency extremes. By
comparison, the DT-990s midrange is no
less revealing and evocative than the Grados
is, but it positively excels at the frequency
extremes (though its response is elevated
in almost exactly the same areas where the
Grado seems rolled off).
The net result is that the DT-990 comes
across as the more well rounded, do-all
performer that conveys more musical
information overall, and for only a bit more
money.
roughly $280 higher than that of the DT990a gap that narrows somewhat at the
street pricing level.
The HD650 weighs more than the DT-990,
but otherwise offers comparable comfort.
Build quality for both these German-made
phones is exquisite.
The HD650 offers levels of resolution and
openness comparable to the DT-990, with
notably more neutral tonal balance. This
superior tonal balance is, I think, what the
Sennheisers higher cost buys you. By
contrast, the DT-990 does show its two
signature tonal balance elements; namely,
somewhat elevated bass and upper treble
response.
One subtle sonic difference between the two
phones is that the Sennheisers upper mids
and highs can sound a bit overly analytical
at times, whereas the DT-990s upper mids
and (admittedly emphasized) highs tends to
sound sweet and pure most of the time.
Both products are good mid-priced offerings,
so that which you choose will mostly be
determined by your budget (given that the
DT-990 is a fair amount less expensive) and
tonal balance preferences (given that the
HD650 is the more neutral-sounding design).
ANCILLARY EQUIPMENT
For the bulk of my tests I used HiFiMANs
tube-powered EF5 headphone amplifier, but
also did some listening through the CEntrance
DAC/Port combination USB DAC/USBpowered headphone amp.
Source components included a Musical
Fidelity kW SACD player and A5 CD player,
previous page
plus a Nottingham Analogue Systems Space

294 turntable/Ace-Space 294 tonearm fitted
with a Shelter 901 MkII phono cartridge and
fed through a Fosgate Signature phono stage.
When using the DAC/Port, as above, I listened
to CD quality WAV files from a Windowsequipped laptop.
The DT-990 is extremely light and comfortable,
and it offers beautiful fit and finish. Those
who like highly personalized products may
want to note that Beyerdynamic offers a
program called DT-990 Manufaktur whereat
extra costyou can order you DT-990s in
customized colors and finishes.
The DT-990 ships in a well-padded,
rectangular leather case. The headphone
comes standard with a mini-jack plug, and with
a threaded, screw-on phone plug adapter
(which was already installed on our review
samples).
BOTTOM LINE:
Beyerdynamics DT-990 premium is a very
fine mid-priced headphone, and one that
offers plenty of sonic resolving power and a
compelling quality of dynamic expressiveness.
The DT-990 does provide touches of bass and
upper treble emphasis that some will enjoy, but
that will not suit every taste. Those who favor
strict neutrality in tonal balance but otherwise
appreciate the signature, high-purity sound
that Beyerdynamic headphones provide might,
however, prefer the firms DT-880 PRO.
www.avguide.com
TABLE OF CONTENTS
NEXT page

GRADO RS2
Chris Martens
he RS 2 is the number four model in Grados

headphone lineup, but among headphone
aficionados it enjoys a reputation for capturing much
of the essential goodness of the moreexpensive, top-tier
Grado models (the RS1, GS 1000, and PS 1000), yet at a
more accessible price. The RS 2 is an open-back, on-ear,
dynamic (that is, voice-coil driven) headphone. Grados
higher-priced models are famous for their engaging, wideopen midrange sound, smooth highs, and taut bass, and
the RS2, which Grado describes as a miniature RS1,
followed right in their sonic footsteps. Thought the RS2 is
one of the lighter headphones in its class, it certainly proved
capable of heavyweight sound.
SONIC CHARACTER
FEATURES
MUSICAL EXAMPLES
Open-air design with tube-shaped earpiecesor as Grado

would call them, air chambershand crafted from solid
mahogany.
Drivers feature low-mass polymer diaphragms,
neodymium magnets, and UHPLC (ultra high-purity, long
crystal, oxygen-free copper) voice-coil wires.
Left and right drivers matched to with .05 dB (wow!).
UHPLC connecting-cord wires.
Foam earpads.
The RS2 is one of those headphones that can reveal in an

instant the difference between recordings that are truly well
made versus those that merely pretend to be. One track
that falls squarely in the former category is Split Window
from bassist Viktor Krausss Far From Enough [Nonesuch],
which opens with a delicious and evocative acoustic bass
solo but then moves on to include soaring and highly
atmospheric accompaniment from Jerry Douglas (on lap
steel guitar) and Bill Frisell (on electric and acoustic guitar).
Tying all the elements together is some exquisite percussion
work from Steve Jordan, featuring delicate press rolls on
a snare drum punctuated with occasional soft kick drum
accent notes. The RS 2s give you an up-close, zoomedin view of the upper register of the bass and let you savor
ACCESSORIES
In what may be the ultimate statement of purist simplicity,
the Grado RS 2s come with no accessories at allnot even
a mini-jack adapter.
If I were grading the RS2, Id give it a V for vividness.

When I listened to music through these phones, I
sometimes had the uncanny sense that my brain had been
magically hard-wired straight into the mixing console. The
glory of this headphone is its pure, ultra-lucid midrange
sound, which sweetly melts upward into silky smooth, finely
textured highs. Bass is taut, dynamically alive, and offers a
good measure of natural warmth, but is somewhat reticent
relative to the mids and highs. This is a highly detailed
headphone, though never in a showy, hey-look-at-me
sense; instead, small textural and transient details just
happenwithout undo effort, drama, or sonic histrionics.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

the timbres and reverb tails of the guitars and
percussion instruments. What really sets the
RS2 apart, though, is a quality of breathtaking
openness and intimacy, through which the
phones pull you deep into the inner details of
records, making musicany kind of music
much more enjoyable.
However, on the same track, I found the
RS2s somewhat underplayed the lower
registers of Krausss bass as well as the
deep, low frequency thwomp of Jordans
periodic kick drum notes. My point is that
while the RS2s achieve a tight and lively bass
sound, they typically do not deliver the fullest
measures of low-frequency weight and power.
This slight degree of bass-shyness is the RS2s
only noteworthy sonic shortcoming, though it
is a comparatively minor one.
COMFORT FACTOR
As one of the headphones in this class whose
earpads rest directly on the ear, rather than
fitting around the ear, the RS2 falls about midpack in our test group in terms of comfort. But
though the Grados earpads do feel a bit stiff,
that factor is offset by the fact that the RS2s
are quite light and dont put much pressure on
your ears.
see what new sonic discoveries you can make.

How much resolution do these things offer?
About as much as a $16,000+ pair of speakers
I recently had in my home for review. Thats
amazing.
last word:
Remarkably vivid, vibrant and
engaging midrange.
Sweet, silky-smooth highs and
taut, lively bass.
Gobs of resolution and inner
detail.
Truly breathtaking openness
Ratings
specs/pricing
tonal balance

clarity

dynamics

comfort/fit

isolation

value

0
Grado RS2
Design: Over-the-ear, open-air, dynamic
headphones
Impedance: 32ohms
Weight: 9 oz.
Price: $495
10
Grado Laboratories, Inc.

(718) 435-5340
gradolabs.com
Slightly bass-shy/midrangeforward tonal balancecould use

more low-end weight and punch.
Slightly stiff feel of over-the-ear
earpads takes some getting
used to.
BOTTOM LINE
The RS2s slightly bass-shy/midrange-forward
tonal balance wont be to every listeners taste,
but once you put these babies on and let them
work their sonic magic, you may findas I
didthat youre willing to overlook minor tonal
imbalances. Youll be too busy murmuring the
word wow, and dragging out favorite discs to
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Grado SR325is
Tom Martin
ost audiophiles whove been around for a while

retain fond memories of at least one Grado
product. Over the years, the Brooklyn-based
company has carved out a niche in phono cartridges and
headphones that combine musical excellence and value. At
the same time, that musicality often gets associated with a
certain Grado sounda sound that sets Grado apart from
other companies, and is held in reverence by Grado fans.
The SR325is is the top of Grados entry-level Prestige
line. While that almost sounds contradictory (tall short
people?), it helps to remember that Grados reputation is
built on delivering high performance products at entry-level
prices. The Prestige line starts with the $49 iGrado, but
really hits its stride with the justly famous SR60i at $79. In
such company, the SR325i has the premium price of $295.
We were naturally curious to see what Grado could do
with all that financial headroom, given that their $79 effort
is pretty darn good. Weve previously reported on Grados
higher end GS1000 and RS2 efforts at $1000 and $500
respectively (both reviewed elsewhere in this Guide).

The SR325is is an open back headphone, which makes
it less suitable for noisy environments or offices where
you dont want to disturb others. Technically, the SR325is
seems straightforward, but as usual God is in the details.
Grado pays attention to the basics of getting the diaphragm
mass and compliance right so that bass response is
solid and highs are extended. They also emphasize the
importance of diaphragm and enclosure design to minimize
and control resonances. Beyond that, the SR325is has
a voice-coil wound from ultra-high purity, long crystal
(UHPLC) oxygen free copper. Grado claims that ultra-high
conductivity copper yields the clearest transmission and
lowest coloration possible. Grado applies very high power
neodymium magnets to provide maximum efficiency and
better dynamics. Drivers in the SR325is are pair-matched
to within .05 db. All metal work for the SR325is is machined
from a special non-resonant, very hard alloy using a special
Grado process.
overview
you want headphones with excellent transparency but
you want to avoid the edgy or harsh sound that often
comes with seemingly transparent headphones.
Look elsewhere if:

you need state of the art performance at the frequency
extremes or if you need/want closed-back phones due
to your environment or as a matter of preference.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

The SR325is is an interesting headphone
given its provenance, but can it compete with
offerings from Sennheiser, or for that matter
Shure or even Grado itself?
SONIC CHARACTER
The thing that immediately strikes you about
the 325 is the clarity and smoothness of the
midrange. For those not raised from birth on
audiophile Kool-Aid, I should be clear that this
observation carries more weight than might

be readily apparent. The fundamental tones
of most instruments are in the mid-range. Get
the midrange right, and youre 80% of the way
home, though in praactice this is something
much easier to say than it is to do. Check out
my Sennheiser HD 800 review for a discussion
of a high-end headphone that struggles just
slightly in this area. And, yes, I am saying
you can validly compare and cross shop the
SR325is and the HD 800 (assuming your goal
is musical accuracy).
The mid-range clarity of the SR325is shows
up in its natural portrayal of the tonality and
timbres of individual instruments. When we
think of tonal balance in an audio product, we
sometimes mean that overall bass/midrange/
treble evenness that allows a band or orchestra
to sound right. But it is also very important
for audio products to render the distinctive,
signature voices of individual instruments
well. This latter idea is a critical test of smooth
and balanced midrange, because thats where
most instruments produce sound.
Take the voice of an acoustic guitar as an
example. Fundamentals on acoustic guitars
range from about 80hz to 3khz, and most
of what we hear, including overtones is in
the 200Hz-4kHz range. This is a midrange
instrument (so are voice, cello, clarinet, etc). I
listened to track after track of acoustic guitar
recordings on the 325s, and was impressed
with how natural the sound was, particularly
the way the body sound and overtones were
clearly defined and in balance.
Thats all well and good, but we also
want a headphone to be able to play large-
Ratings
Grado SR325is
Accessories: None
Weight: unspecified
Sensitivity: 98dB (1mv input)
Impedance: 32 ohms
Price: $295
10
scale recordings, not just solo or ensemble

material. Fortunately, handling more complex
music is another strength of the SR325is. My
listening notes are full of references to the
excellent sense of instrumental separation
the headphones give. In other words, when
youre listening to a band, you not only hear
the overall mix, but can also pick out the
contributions of each individual performer,
just as you can when listening to a good
live performance. In short, the 325s deliver
both smooth response and low distortion
throughout the midrange.
When it comes to overall frequency balance,
I found the 325s to be somewhat chameleonlike. The Grados sometimes seemed slightly
forward in the midrange, and on the light side
in the bass and upper treble. No sooner did I
make this note than Id play something with
powerful bass and be surprised at how solid
the low frequencies of the 325 could be. After
going over lots of recordings, my conclusion
previous page
specs/pricing
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

Grado Labs, Inc.

(718) 435-5340
gradolabs.com
is that the bass, mid-range and treble are very

well balanced, but that the 325s sound as
if they have a slightly n-shaped response
curve (in other words, the levels of low 40Hz
frequencies fall slightly below 1kHz mid-band
frequencies, as do high frequencies above
10kHz). This would contrast with, say, the
Denon AH-D5000s, which have a definite u
shaped response curve (where the levels of
1kHz frequencies fall below those of sounds
in the 40Hz or 10kHz range). At the very
highest and lowest frequency extremes (20Hz
and 20kHz, respectively) the 325s frequency
response continues to show a slight degree
of rolloff. But let me emphasize that these
broad response shapings dont consistently
come across as light bass or mellow treble
in the case of the 325, since in truth they are
not dramatically far off from the ideal of flat
or dead-neutral response. Instead, these
www.avguide.com
TABLE OF CONTENTS
NEXT page

shapings tend to make you feel that the 325s
sound more clear and natural, rather than
rich or extended.
Given this discussion of tonal balance, I
want to comment on treble performance.
Every headphone I have tried has some issues
in the treble range. The issue with the 325 is
that it can occasionally sound a little splashy
or sibilant. This can make the 325s sound a
tad brighter than my comments above might
indicate. I felt this was a smaller issue with
the 325s than iwith most headphones, but it
is a point to bear in mind. At times this may
simply be a matter of the 325s revealing quite
well what is on the recording, but sometimes
there is a slight peakiness to the sound. Still,
the 325s sound both better balanced and
less uneven that the Sennheiser HD 650s
or the Denon AH-D5000s, both very good
headphones that sell for nearly twice the
Grados price.
Finally, I like to consider the overall
vividness of a headphone, which is ability of
the headphone to make music sound intense
and realistically alive. The 325s are quite
good in this regard, thanks to their excellent
transparency and natural midrange frequency
balance. They dont have quite the slam on
some macrodynamic material that, say, the
Denons mentioned above have, but overall the
vividness of the 325s is very good.
MUSICAL EXAMPLES
Stay [Alison Krauss & Union Station Forget
About It, Rounder], Alisons violin has a superb
sense of body, overtones and string/bow
texture. Kim Kashkashians viola on Three

Arias from Neharot [ECM] is similarly well
balanced and clear.
Going back to Stay, Alisons voice,
which is rather light, occasionally gets into
a range where there is some slightly sibilant
stridency from the 325s. Fortunately, this is
low enough in level that it isnt too distracting,
something I cant always say about competing
headphones.
Later on Forget About It, the song Maybe
has a solo bass drum whack that is startlingly
powerful and well defined on the 325s.
This is, given the air pressure limitations of
headphones, a rendition that sounds very
much like what one hears from a bass drum in
a concert hall. I commented on this same drum
when I reviewed the Ultrasone Edition 8s. The
Grados, at one fifth the price have a little less
bass power and depth than the Ultrasones,
but they better definition, which is high praise
indeed.
On Brandi Carliles song The Story, from
the album of the same name [Columbia], we
get to see how well the 325s hold up with
power pop. The impressive thing here is that
with drums, guitars (acoustic and electric),
bass, and vocals going full tilt, we still can hear
each instrument distinctly.
The Grado SR325is merits comparison
with a wide range of headphones. Here are
a few samples to give you an idea of how
competitive we found the 325 to be:
When you step up from the Grado SR60i to
the SR325i, you get a more refined version
of the Grado sound, with deeper bass and a

smoother mid-range and treble presentation.
The highly regarded Shure SRH840 provides
a closer price point alternative. The Shures
seem more extended in the bass and about
as well balanced, but lack the Nth degree
of transparency and openness of the Grados.
The Sennheiser HD 650 is more costly than
the Grados. It has a warmer sound with
more powerful response at the frequency
extremes, but arguably offers less overall
transparency and smoothness than the
SR325is. With many amps, the Sennheisers
could be considered the more polite and
forgiving headphone.
The Grado ear cups are spongy, so the metal
driver housings touched my ear. Fortunately
clamping force is low, so this isnt painful.
Over time, I did develop a pressure point that
required moving the 325s around. I thought
they were comfortable for about an hour.
The SR 325is comes with a one-meter cord
and a phone plug. If youre using them in
portable mode (with an adapter), or next to a
PC, thats good; for everyone else an extension
cord is in order. With an extension cord, I didnt
like the fact that the plug would sometimes fall
off my lap, yanking the headphones sharply.
I didnt find the SR325is to be particularly
amplifier sensitive, though I slightly preferred
the sound of the 325 with a solid state amp
(Luxman P200) vs. a tube amp (Woo WA22)..
BOTTOM LINE:
Grados SR325is is a transparent headphone
previous page
that seems to have been voiced by musicians.

This headphone will make you think very hard
about why you would spend more, particularly
if musical accuracy is your goal and if
frequency extension isnt at the top of your list
of needs.
www.avguide.com
TABLE OF CONTENTS
NEXT page

SENNHEISER HD 650
Chris Martens
ntil the release of the impressive new HD 800

flagship model, the HD 650 was for many years
Sennheisers premier audiophile headphone, and
its heritage as a top-tier product really shows. Sennheiser
has been building very high-performance open-back
headphones for years, so in a sense the HD 650 is an
evolutionary design that leverages insights and knowhow gleaned from the classic HD 580 and the critically
acclaimed HD 600. Even so, Sennheiser says the HD 650
breaks new ground by offering a sound that captivates
your senses where you used to be a mere observer and
that allows total immersion in an ocean of music, and I
would agree.
FEATURES
Drivers matched to within 1 dB.
Driver magnet structures optimized for low distortion.
Acoustic metal mesh damping elements help control the
entire surface of the driver diaphragm.
Low mass aluminum voice coils promote faster transient
response
Phones come with a detachable, Kevlar-reinforced
connecting cord with oxygen-free copper connectors.
ACCESSORIES
Tasteful, flip-open presentation case.
-inch-to-mini-jack adapter with gold-plated jacks
SONIC CHARACTER
When you first put on the HD 650s you might feel a little
like Indiana Jones discovering lost treasure because the
Sennheisers manage to dig up delicate, extremely lowlevel textural and transient details that most other phones
simply miss. Tonal balance is almost perfectly neutral and
dynamics are highly expressive andwhere appropriate
explosive. If theres any downside to this headphone,
it might be a tendency for upper mids and especially
highs to sound analytical at times, meaning the HD 650s
occasionally expose rough edges in records that other
phones would probably gloss over.
Note, however, that the HD 650s sound is highly amplifier
dependent. It can sound lively and transparent with some
amplifiers (e.g., the HiFiMAN EF5), but overly subdued with
others (e.g., the PS Audio GCHA).
MUSICAL EXAMPLES
As you might expect, the HD 650 proves particularly
rewarding when listening to well-recorded material thats
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

last word:
Highly transparent sound, from
top to bottom.
Tons of definition, with excellent
resolution of low-level details.
A great do-all headphone with no
significant weaknesses.
We got your gold standard right
here
Expensive, but worth it.
Finicky listeners might find highs
sound more analytical than
sweet
HD 650s grip your head more
firmly than most other phones do.
rich in textural detail. A perfect example

would be Holly Coles performance of the Tom
Waits song Take Me Home from Temptation
[Metro Blue]. The track opens with Cole softly
whispering here we go to her sidemen
before the music beginsa detail the HD
650s rendered with exceptional clarity. As
the whispered phrase fades away, the song
quickly expands and unfolds as bassist David
Piltch and pianist Aaron Davis join in. The
acoustic bass is recorded at high levels that
can be tough to handle, but the HD 650s kept
the low end perfectly but powerfully under
control. What really floored me, though, was
the way the Sennheisers nailed the subtlest
of inflections in Coles voice, making the
whole track come alive in the process. The
Sennheisers consistently provided an up-
Ratings
Sennheiser HD 650
Design: Circumaural, open-air, dynamic
headphones
Frequency response: 10 Hz - 39.5kHz
Impedance: 300 ohms
Weight: 9.2 oz.
Price: $500
10
close-and-personal view of the music.

Sometimes, though, this means getting more
detail than you bargained for. On You Were
Always There from Lyle Lovetts My Baby
Dont Tolerate [Lost Highway], for example, the
HD 650s reveal that both Lovetts voice and
Russ Kunkels cymbals are so closely micd
that their sound can momentarily become
hard-edged and aggressiveproblems that
other phones wont always expose (probably
because they cant). My point is that the HD
650s are sonic truth-tellers, at times almost to
a fault.
COMFORT FACTOR
At first I found the HD 650s squeezed the
sides of my head much more firmly than other
phones did, but after experimenting with the
Sennheisers sliding earpiece arms, I eventually
found a position that was more relaxed, yet
not overly loose. Hint: if the HD 650s grip your
head too firmly, try lowering the earpieces. \.
previous page
specs/pricing
tonal balance

clarity

dynamics

comfort/fit

isolation

value

Sennheiser Electronics Corporation

(860) 434-9190
sennheiserusa.com
BOTTOM LINE
The HD 650 must be considered one of the
benchmark productsif not the outright
gold standardin it price class, because
it does all things well while exhibiting few if
any weaknesses. While there are a handful
of phones that can perhaps outperform
the Sennheisers in one or two areas, few if
any offer a more balanced and refined set of
sonic virtues overall. Indeed, the HD 650s
only shortcomingif you can call it thatis
a tendency to sound almost hyper-revealing
at times, owing to its accurate but slightly
analytical-sounding highs. But its better to
have too much clarity than not enough, right?
www.avguide.com
TABLE OF CONTENTS
NEXT page

Sennheiser
RS 180
Tom Martin
ll other things being equal, Id guess most

of us would rather have wireless than
wired headphones. It is pretty obvious that
cords get in the way, cords require you to remove
headphones to get up and find an old CD, and cords
restrict your dance moves. Of course, cords are
so much a part of headphones that we dont think
about the limitations they impose. Sennheiser has,
however, thought about it, and theyve produced
a broad range of wireless designsten different
designs in all, to cater to various budgets and tastes.
Are these a valid alternative to their wired brethren?
FEATURES
The Sennheiser RS 180 under review here is the top
of Sennheisers RS line of wireless headphones, and
seems to be the model most oriented to accurate
musical reproduction. The RS line uses RF (Radio
Frequency) wireless signals to transmit sound from
a source (CD player, iPod or PC with DAC and line
out) to the headphones. Sennheiser claims that the
RS 180s work up to 100 meters from the transmitter
(a small vertical box that sits next to your source). In
practice, I found the RS 180s worked up to about 75
feet, which is still substantial in the context of most
normally-sized rooms.
overview
Consider this wireless headphone if:
you crave the freedom of movement a wireless
headphone offers, but also want a balanced, lowcoloration sound.
Look elsewhere if:

you want the last word in clarity and bandwidth, or
if you prefer to fine-tune your headphones via amp
selection.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

The RS 180 wireless headphone system
utilizes Kleers uncompressed digital wireless
audio transmission technology, operating at
2.4 GHz. The transmitter can serve up to four
pairs of headphones, so you can listen to
movies or music with friends. The transmitter
module also serves as both a headphone
stand and charger. The input to the transmitter
is analog, via a supplied cable terminated with
RCA male connectors. The connector on the
transmitter is a 3.5mm stereo mini jack, so you
could also connect the line out of an iPod with
the appropriate cable or docking station.
The RS 180 headphones themselves have
controls for mute/power, volume and balance,
so that you dont have to return to base for
these adjustments. The controls are on the
right earcup, and seem to have been designed
without reference to actual human bodies.
The buttons are on the bottom of the earcup,
which pretty much forces thumb operation
(or contortionist use of the right hand fingers).
But even my smallish thumb was much larger
than the buttons, making accurate operation a
bit difficult. Not only that, but the combination
mute/power button is between volume up and
volume down, which invites scenarios where
you accidentally silence and/or turn off the
RS 180s, when in fact you wanted to raise
or lower volume. Recognizing that the power
button also doubles as a mute button makes
its position seem more logical, but even so
Id rather have it in a different place. After
some use you get more adept at running the
controls, but they require more thought than is
ergonomically ideal.
Incidentally, we asked Sennheiser to
comment on the placement of the RS 180

controls and here is their reply. The button
layout was placed where it is after years of
feedback from customers who used the RS
130 and RS 140 and complained that, when
leaning back in an easy-chair, the volume knob
hit the chair and was raised or lowered without
the user desiring the change. Although the
layout is on the underside of the headphone,
it best prevents the controls from being
accessed accidentally.
While on the subject of ergonomics, I
found the earcup design to have moderate
pressure and good long-term comfort. The
headband, however, is a bit stiff and needs to
be readjusted periodically.
Okay, enough hardware description,
alreadywhat about the sound?
SONIC CHARACTER
Lets get right to it: these are pretty darn good
headphones, wireless or wired. Unlike many
headphones, the RS 180s sound basically
balanced across the broad frequency range.
By that I mean that bass, midrange and
treble are presented at roughly even levels in
comparison with live music. Many headphones
have an obvious bass or treble boost, or a big
dip somewhere in the midrange. Sometimes
this is euphonic, sometimes not, but in any
event the RS 180s avoid these issues.
Treble smoothness is the second aspect
of the RS 180s performance that I found
laudable. Cymbals are rendered cleanly with
good definition. Vocal sibilants are kept in
check, too. I would say that upper treble is
somewhat down in level, but this is far from
Ratings
Sennheiser RS 180
Frequency response: 18 Hz 21 kHz
Transducer: open, dynamic
Ear coupling: circumaural
Impedance: 32 ohms
Weight: 204 g
Signal-to-Noise Ratio: 85 db
Wireless Range: 100 m
Price: $379
10
the worst coloration youll hear on headphones

(including those costing many times what the
RS180s do).
I think most people would also enjoy the
bass that the RS 180s deliver. Mid-bass is
ample without being bloated and string and
drum definition is quite good. You dont get the
sense that the lowest octave is as strong as
the rest of the bass range, but like the upper
treble, this probably wont be of maximal
consequence for many listeners.
In the midrange, I liked the RS 180s better
than many other Sennheisers. Balance within
the midrange seems mostly even, and this is
key. Vocals sound smooth with a level a clarity
that wont have you wondering why things
sound muffled.
With all those good qualities in mind, the
RS 180s dont strike me as state of the art.
At this price, you shouldnt expect that, but
it may help to know how they deviate from
perfection to determine if theyre likely to be
previous page
specs/pricing
treble

midrange

bass

soundstaging

dynamics

value

Sennheiser USA
(860) 434-9190
www.sennheiser.com
your cup of tea. First off, the RS 180s arent

the most vivid or dynamic headphones youll
hear. You get the feeling that youre listening
to music through a thin, almost unnoticeable
veil. This is usually a function of limited
microdynamic depth. You also get the feeling
that the headphones are holding back a bit to
avoid losing control. It reminds me somewhat
of the difference you hear between a good
headphone amp and a great one. The balance
mostly remains the same, but on the great amp
everything just seems more there without any
deleterious side effects.
Id also say that the bass performance could
offer more definition and clarity. You might
not notice whats missing, of course, until
you listen to better (and likely more costly)
headphones, because the RS 180 bass is
quite good.
www.avguide.com
TABLE OF CONTENTS
NEXT page

The great thing about these Sennheisers is
that you have to look to find the flawsthey
dont hit you over the head. And with a
list price of $379, which for all intents and
purposes includes a headphone amp, the RS
180s offer a good value. Grado (SR 325is)
and AKG (K 702) offer headphones at around
this price point on the street that are quite
different as well as very good (more midrange
focused, more vivid). Shure offers a less
expensive and superb headphone (SRH840),
which has broad similarities to the RS 180s.
But all these headphones need an amp, so
the price difference isnt what you might think,
and in some cases favors the Sennheisers.
And of course none of these conventional
headphones is wireless.
MUSICAL EXAMPLES
instrument well, which is impressive, but you

cant hear into all of the musics subtleties.
On Paavo Jarvis brilliant rendition of the
Beethoven Third Symphony [RCA Red Seal],
the orchestra has lovely warmth, with bass and
cello admirably balanced against the active yet
smooth strings. The definition of instrumental
lines is also well preserved. The only issue
you might have is that the hall sound is a bit
diminished.
BOTTOM LINE
The Sennheiser RS 180s have fundamental
sonic strengths and relatively subtle
weaknesses. As such they would be very
competitive with wired headphones in their
price class. Since they add to this sonic
package the undeniably useful wireless feature,
they must be considered a special value.
On Shelby Lynnes You Dont Have a Heart

from Suit Yourself [Capitol], the drive and
punch of the rhythm section comes through
pretty well and instrumental separation is
good. Vocal and guitar clarity is slightly
shaded.
On Times Like These from Jack Johnsons
On and On [Universal], the bass is warm
without covering up the rest of the mix at all.
The bass has a good sense of air, with some
loss of definition and depth. On Gone from
the same album, the cymbals sound clear and
very clean, but there is more sense of stick
and less of shimmer than one would hear
from live cymbals.
On the power pop in No Good in Goodbye
from Jewels Sweet and Wild, the whole mix
seems slightly distant. You can hear each
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

SHURE SRH840
Chris Martens
any Playback readers associate the name

Shure with high performance microphones
and in-ear headphones, but the Niles, ILbased company has recently entered the market for
high-performance over-the-ear headphones with
a lineup consisting of three models. Playback was
fortunate enough to obtain a sample of the flagship
model of the group: the SRH840, which sells for $200.
The basic specifications for the SRH840 seem
straightforward enough. It is a mid-weight (318 gram),
closed-back, circumaural (over-the-ear) headphone
with 40mm dynamic drivers that feature neodymium
magnets. Shure says of these drivers that they are
designed to deliver reference-quality frequency
response and are optimized for studio recording and

critical listening. Earcups are carried on collapsible
arms that allow the headphones to fold up to fit neatly
within their included drawstring carry bag.
Although many consumers would consider $200
headphones expensive, the fact is that among very
high-performance models the price of SRH840s falls
near the lower end of the scale. Knowing this, we were
curious to see how the SRH840 would fare in direct
comparison not only with like-priced competitors but
also when evaluated against the standards set by
headphones in the $400+ range (or even beyond). The
short answer, we soon discovered, is that Shures new
top model not only holds its own versus higher priced
overview
you crave the sound of $400+ headphones, but have only
about half that amount to spend. For $200, these Shures
sound fully competitive with phones in the $400+ class
better than some, not quite as good as others, but always
in the hunt. The SRH840 is sensitive, offers a rich and
vivid yet well-balanced sound (with perhaps a touchbut
only a light and tasteful touchof mid-bass emphasis),
explosive dynamics, and an uncanny ability to sound at
once highly detailed, yet smooth.
Look elsewhere if:

you want to reach for the absolute heights of sonic
openness, transparency, and neutrality. While the SRH840
comes surprisingly close to true top-tier performance, the
fact is that, if you are willing to push the envelope (and
your wallet) far enough, there are even higher levels of
headphone performance to be had at the top end of the
scale. But at the $200 level, the SRH840 is a steal, pure
and simple. Its all the headphone many listeners will ever
need or want.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

competitors but also surpasses them in many
respects. In short, Shures SRH840s offer
terrific value for money and are high-end earopeners, extraordinaire.
SONIC CHARACTER
One of the most striking qualities of the Shure
SRH840 is that it sounds more sonically
refined, revealing, and involving than its
price might lead you to expect. Three areas
where this is readily apparent involve overall
resolution and definition, bass performance,
and dynamics. Lets briefly examine each of
these points in turn.
Resolution and definition: many
headphones in the $200 class are wellbalanced performers that generally sound
good, but that fall just a bit short of
expectations because they somehow lose
(or perhaps gloss over) certain essential lowlevel textural and transient details that could
potentially help pull us deep inside the music.
But few such limitations apply when listening
to the Shure SRH840s. Instead, they dig
deepera lot deeperthan other headphones
in their price class to retrieve small, delicate
bits and pieces of musically relevant
information
In practice, this means you hear the edges
of transient sounds more clearly through
the Shures while also enjoying a clearer
presentation of essential textures and timbres
of instrumental and human voices. True, the
Shures will expose overly hot or harshsounding recordings for what they are, but on
the whole these headphones do a remarkable
job of revealing details while preserving an
underlying quality of smoothness. Some

pundits say there can be no gain without
pain, but the SRH840s prove them wrong by
showing it is possible to enjoy low level sonic
details without subjecting yourself to painful
edginess, etching, or glare.
Bass: the SRH840s are exceptional bass
performers, combining low bass extension,
excellent bass pitch definition, and sheer lowend power and weight (when the music calls
for it). Ive heard many headphones that give
you one or two of these bass attributes, but
rarely have I heard ones that combine all three
as effectively as the Shures do. The only caveat
I might mention is that the SRH840s exhibit
a touch, but only a very light touch, of midbass emphasis relative to strict neutralitya
characteristic that, in my view, is musically
grounded and that can, on many recordings,
enable headphones to sound truer to the overall
feel of live music or of studio performances.
Dynamics: many headphones, even some
quite high-priced models, have a slightly
compressed sound that seems to quash
dynamicsespecially subtle low-level
variations in dynamic emphasis within or
between notes. I attribute this, first, to the fact
that some phones are relatively insensitive
or otherwise difficult to drive, and second, to
the fact that some phones cut corners on the
quality of the signal cables they provide.
But when it comes to revealing dynamic
contrasts, the Shures enjoy several
advantages: theyre very sensitive (102dB/
mW), extremely easy to drive, and come
with cables equipped with pure, oxygen-free
copper conductors (just like those used in
Ratings
Shure SRH840
10
more costly headphones). Perhaps as a result

of all three of these advantages, the Shures
seem, in a sense, to expand the apparent
dynamic range of many recordings, making
both large and small-scale dynamic contrasts
stand out in sharp relief.
MUSICAL EXAMPLES
To hear the terrific clarity of the SRH840s in
action, I put on Just Her Weekend Flingthe
first track from Ludwig Berghes gorgeous
(and pristinely recorded) jazz album Weekend
[Moserobie Jazz]. The track features Berghe
on piano and sidemen Daniel Fredriksson on
drums and Mattias Welin on bass. The song
unfolds slowly, giving each of the highlighted
instruments plenty of room to breathe, allowing
the listener time to drink in and savor each
instruments voice. What floored me was the
way the SRH840 effortlessly revealed even the
smallest intricacies and details of timbre, giving
previous page
specs/pricing
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

Type: Closed-back, over-the-ear

(circumaural) headphone
Driver complement: 40mm dynamic driver
with neodymium magnet assemblies
Accessories: mini-plug to phone jack
adapter, 9.8-foot extension cord, spare
earcup pads, carrying bag.
Frequency Response: 5 Hz - 25 kHz
Weight: 318 grams
Sensitivity: 102dB/mW
Impedance: 44 ohms
Price: $200.00
Shure
(847) 600-1212
shure.com
an incredibly intimate view of the performance.

I could hear, for example, the sound of
Fredrikssons brushes gently rustling over
the matte-textured head of his snare drum,
creating an ethereal percussion wash against
which the rest of the song could unfold.
Similarly, I could take in the crisp, sure-handed
percussive beauty of Berghes note choices
and hearto borrow a phrase coined by my
colleague Jonathan Valin at The Absolute
Soundthe action of the piano at work (that
is, the subtle, almost subliminal sound of keys
actuating hammers, hammers striking strings,
strings beginning to vibrate, and vibrations
setting in motion rich resonances within the
frame and case of the piano, and so forth).
www.avguide.com
TABLE OF CONTENTS
NEXT page

The effect was not unlike hearing a piano from
very close rangeperhaps from only a few feet
away. Finally, the Shures showed the masterful
restraint of Welins bass playing, revealing the
way he caressed and held individual notes,
rather than succumbing to the temptation
to overcomplicate things. My point is that
the Shures give you an accurate insiders
viewindeed, almost a performers viewof
high quality music recordings, which is exactly
what you would want a monitoring headphone
to do.
To evaluate the Shures bass performance, I
played the very demanding third (Landscape:
Lento) movement of Vaughan Williams
Sinfonia antartica [Bakels, Bournemouth;
Naxos], which features tympani, concert bass
drums, and a pipe organ. I have heard this
recording many times through superb fullrange loudspeakers and through systems
equipped with world-class subwoofers, but I
dont think Ive ever heard it better rendered
than through the SRH840s. Heres why. The

movement presents low frequency instruments
played both delicately and vigorously and at
high and low volume levels, in the process
exposing listeners to a very wide range of bass
timbres and pitches. Speakers often have a
hard time keeping up with the demands of this
track and room interactions can be a problem,
too. Through the Shures, however, I had the
sense of hearing the bass content of the track
as it was meant to soundlow key in some
passages and almost overwhelmingly powerful
in others, yet always presented in perfect
control with clearly delineated pitches, even on
the lowest organ pedal notes. This is how bass
was meant to be enjoyed.
Finally, to test the dynamic clout of the
Shure, I tried an old favorite: the track You
And Your Friend from Dire Straits On Every
Street [Warner Bros.]. This track, more than
many, shows how dynamically compressed
most hi-fi systems sound and, in contrast, how
dynamically expressive the SRH840s can be.
Through most systems Mark Knopflers guitar
sounds smooth and lush on this track, but also
a bit subdued relative to the sound of a real
electric guitar. Through the Shures, however,
one has the eerie but very exciting sensation
of being hard-wired directly into the pickup
circuitry on Knopflers guitar. Some notes are
indeed smooth and creamy-sounding, but on
others you can hear Knopfler dig in just a bit,
making the leading edges of notes explode
with bursts of energy. Similarly, you can hear
variations in the way Knopfler bends notes,
gently pulling some to higher pitches while
sharply tugging others upward in a way that
previous page
imparts a vigorous howl of expression. The

point, I think, is that the Shures offer you
extra measures of expressiveness that make
dynamic contrasts sound vivid and alive
leaving lesser hi-fi systems and headphones
sounding somewhat faded or washed out
by comparison.
The SRH840s feature generously-proportioned,
leather-covered earcup pads that help
distribute the headphones moderate clamping
forces for long-term wearer comfort. Another
plus is a wide, padded headband that helps
distribute the weight of the Shures across a
broader area at the top of your head.
The Shures come with a high-quality 9.8-foot
extension cord with a bayonet-type locking
lug that cinches the cable firmly to the body of
the left earpiece. Other accessories include a
gold-plated, threaded mini-jack to phone jack
adapter, a spare set of earcup pads, and a
leatherette drawstring-type carrying bag.
BOTTOM LINE
Shures SRH840 is a wonderful general
purpose headphone that is good, not just for
the money (though it is certainly that), but also
in a broader sense. These headphones set a
benchmark in terms of value for money. To do
better, youll have to spend much, much more.
www.avguide.com
TABLE OF CONTENTS
NEXT page

ULTRASONE
PRO 2500
Chris Martens
ltrasone is a German firm that makes headphones for DJ, hi-fi, and
professional applications, though it is perhaps best known in the
United States for its pro-series models. I debated whether to sample
one of the hi-fi- or pro-series models for this survey, but ultimately settled
on the firms flagship professional phones: the PRO 2500s. I was influenced,
admittedly, by the following teaser description found on the Ultrasone Web
site:
You prefer open-back headphones? The PRO 2500 model provides, due
to its open-back design, the most airy sound within the complete PRO line.
Accuracy and the finest sound reproduction is guaranteed.
FEATURES
Open-air design with MU-metal-shielded earpieces said to reduce
electromagnetic radiation by up to 98 percent relative to conventional
headphones.
Titanium-plated drive units.
S-Logic Natural Surround technology, which is said to help create the
illusion that has sound moved out of your head and into the room around
you, and that Ultrasone claims to allow a reduction of sound pressure
levels by up to 40 percent (34dB) for the same loudness sensation,
thus promoting safer hearing.
Easy-to-switch, velour-covered earpads.
Extensive set of accessories, as noted below.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

specs/pricing
ACCESSORIES
Heavily padded, canvas-covered PRO-series
carrying case.
3-meter straight connecting cord
~3-meter coiled connecting cord
-inch-to-mini-jack adapter
Spare pair of speed-switch earpads.
S-Logic demo CD.
Ultrasone Pro 2500

Design: Circumaural, semi-open, dynamic
headphones with MU-metal shielding for
ultra-low emissions.
Impedance: 40 ohms
Weight: 10.4 oz.
Price: $389
SONIC CHARACTER
The Ultrasone PRO 2500 produced what I
think many listeners would consider a big
sound, and exhibited considerable sonic
potentialalbeit potential I felt was not fully
realized. The PRO 2500 offers excellent bass
some of the deepest and most powerful bass
Ive heard from any headphoneand lively
upper midrange response that is generally
clear, but that sometimes sounds excessively
splashy on hard transients. The weakness
of the design, however, is that its overall tonal
balance is considerably more uneven than that
of many other phones in this price range. As
a result, bass and upper mids sound overly
prominent, while lower mids and extreme highs
tend to sound somewhat recessed.
MUSICAL EXAMPLES
Take Me To The River from Eva Cassadys
Live At Blues Alley [Blix Street Records] shows
both the strengths and weaknesses of the
PRO 2500. The song opens with a spectacular,
plunging electric bass glissando, which the
Ultrasones reproduced with real gusto (when
you hear that bass fire up, youll want to
jump out of your seat and boogie). And when
previous page
Ultrasone Inc.
(951) 678-9091
ultrasone.com
Ratings
tonal balance

clarity

dynamics

comfort/fit

isolation

value

0
10
www.avguide.com
TABLE OF CONTENTS
NEXT page

Cassady belts out the familiar opening line of
the songI dont why/I love you like I do
the upper register of her voice falls within the
PRO 2500s upper midrange emphasis region,
so that her vocals at first sound powerful and
dramatic.
But as the song unfolds and Cassady starts
to draw upon the lower register of her voice,
problems cropped up. The PRO 2500s made
the lower register of Cassadys voice sound
somewhat subdued and withdrawn, which
is really not how the record should sound.
At the same time, the Ultrasones made
the ride cymbal pings that pace the songs
chorus seem overly brash and splashy, while
paradoxically rolling off the cymbals delicate,
silvery, high-frequency overtonesagain, not
the way this record should sound.
My conclusion is that the Ultrasoness very
real sonic strengths are undermined by the
unevenness of their tonal balance, which
last word:
Excellent bass performance.
Upper mids are lively and
expressive.
Ultra-low emission design gives
users peace of mind.
Thoughtful accessories add value
makes listening to the phones a bit of an

unpredictable sonic roller coaster ride.
COMFORT FACTOR
The PRO 2500s offer very comfy earpads, but
nevertheless fell about mid-pack in terms of
comfort for two reasons. First, the phones
feel heavier than their specifications would
suggest and carry a good bit of their weight up
highin the headband. Second, the headband
is not padded across its full width, but only
in a 34-inch wide strip in the middle, which
concentrates pressure on the top of your head.
BOTTOM LINE
The bass and, to a degree, the upper mids of
the Ultrasone PRO 2500 show great promise,
but uneven tonal balance keeps these phones
from realizing their full potential. Even so, the
PRO 2500s manage to produce a big, bold
sound. We applaud Ultrasones pioneering
efforts to reduce electromagnetic radiation
and to minimize the need for excessive volume
levelsboth steps taken in the interest of
consumer safety
Tonal balance is too colored;

bass and upper mids overly
prominent, lower mids and highs
too recessed.
Upper mids, though expressive,
can sound overly splashy
at times
previous page
www.avguide.com
NEXT page
NEXT page
Playback
full-size
headphones
over $650
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page
full-size headphones over $650

overview
Audio-Technica
ATH-W5000

you want a closed-back
headphone with an emphasis on
transparency and instrumental
separation, while retaining a
basically balanced sound
Tom Martin
s long-term Playback readers know, we

are in the midst of a program to review
top-tier models from all the wellrespected headphone manufacturers, and
thus far we havent yet tested a top model
from Audio-Technica (though weve covered
several other A-T models, as you can see
from the table of contents for this Guide). In a
way thats fitting because the Audio-Technica
brand lies somewhere away from the center
of the radar screen. Nonetheless, AudioTechnica has long-standing expertise as a
headphone manufacturer and has won a loyal
following among those in the know.
Naturally, we chose A-Ts top-of-the-line
modelthe ATH-W5000 Raffinatofor
this test. Nominally this model is priced at
$1199.95, but you should check actual street
pricing before crossing these off your list,
even if you are shopping in the $600 range.
FEATURES
The ATH-W5000 Raffinato offers some
special features in keeping with its elevated

positioning:
The earcups are made of Ebony wood.
Leather earpads
Neodymium magnet systems
Eight nines oxygen-free copper voice coils
Double Air Damping System for deep bass
reproduction
Those of you whove read my reviews in
the past will know that Im skeptical about the
ability of reviewers and consumers to relate
these feature lists to sound quality (years
spent in E.E. and systems labs will do that to
you), so well leave the technology behind and
get on with listening.
Associated Equipment
For this round of tests, I used the Esoteric
DV-60 universal player as a source, and as
always I ran the players DAC in PCM>DSD
mode since previous testing has revealed
that to be the highest resolution mode for the
Esoteric. The DV-60 was connected to a PS
previous page
Look elsewhere if:

you place unbending priority
on frequency extension and/or
smoothness
www.avguide.com
TABLE OF CONTENTS
NEXT page

Audio GCHA amp and a Grace m902 amp/DAC
via Audioquest Sidewinder interconnects. All
the electronics were connected to a PS Audio
Power Plant Premier on a dedicated 20 amp
line.
SONIC CHARACTER
With the A-T 5000s your initial impression is
one of balanced transparency. You generally
feel that youve moved a step closer to the
music with these headphones. It is almost like
moving closer to the stage, not because the
music gets louder, but because instrumental
delineation improves just as it does when you
are able to listen from up close.
The A-T 5000s also have good macro tonal
balance. What I mean by this is that bass,
midrange and treble are present in about the
right amounts. I would add that the 5000s
have what Ive described in the past as an
n shaped perceived responselow bass
and upper treble are reduced and mid-range
is slightly emphasized, at least relative to the
sound of live music.
Over the course of my listening tests, I
noticed a possibly endearing quality behind
the A-T 5000s sense of balance. Across most
of the midrange the 5000s sound quite vivid
(delivering even octave-to-octave balance
without major dropouts). When you switch
to other headphones (I used the Sennheiser
HD800s and the AKG 702 for this part of
the test), the other headphones may seem
roughly as well balanced, though they often
(almost always) sound as if something is
missing in the midrange. In contrast, the 5000s
sound quite present, maybe even forward,
in the upper mid-range and quite flat in the

remainder of the mid-band. This forwardness
is a smidgeon too strong (youll hear elevated
levels of midrange and upper midrange
energy, at least with some amps) but it gives
an excellent sense of transparency, albeit with
some loss of naturalness. I think that a little
extra midrange energy (as observed in some
Grado headphones and in these A-Ts) is less
distracting from the sense of musical realism
than is the reduced (or slightly recessed)
midrange common on other phones (e.g.,
some Sennheisers). You may feel the opposite
(this is not an issue of taste, per se, but more
about how you perceive sonic realism triggers
and inhibitors).
The 5000s also have excellent instrumental
separation. You hear each instrument clearly,
even when listening to bands that featured
complicated layers of instruments all playing at
once.
A few areas of the 5000s performance are
small issues for me. The most obvious of these
is the A-Ts bass definition. Bass is served up
in adequate quantities, but there may be some
peaks, dips or resonances that make plucked
bass instruments sound less clear than they
do in real life. In any event, this is what I heard
with the PS Audio GCHA headphone amp (44
ohm output impedance). With the Grace m902
(1 ohm output impedance), however, problems
with upper bass definition were significantly
mitigated. Bass sounded pretty tight through
the 5000s, though at times it seems too
lightweight (you may wish to read my AVguide.
com blog about amps and headphones for
clarification on this). Frankly, the deep bass of
Ratings
Audio-Technica ATH-W5000 Raffinato

Accessories: hard shell carrying case
Weight: 12.1 oz.
Impedance: 40 ohms
Price: $1199.95
10
the 5000s is never a strong pointbecause

these phones just tend to roll off the deep
bass.
I also sense that treble frequencies arent
quite as extended as with some other
headphones (and in real music). You notice
this most on cymbals, where the 5000s simply
dont quite have the air or extension of the real
thing.
Finally, I get the sense that the A-Ts have
some kind of dynamic distortion, meaning that
on loud passages, the 5000s simply sound
like they have a little bit of harmonic distortion
somewhere in the upper midrange or treble
region. This correlates with the headphones
upper-midrange prominence (remember, the
5000s do sound a little midrange forward), so
that I think they emphasize certain overtones,
which can make vocals sound a tad sharp.
MUSICAL EXAMPLES
On Brandi Carliles Good Morning Lullabye
previous page
specs/pricing
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

Audio-Technica U.S., INC.

(330) 686-2200
audio-technica.com
from The Story [Columbia], I found that

each instrument in the band could be heard
clearly through the 5000s, which in this postmodern mix is an accomplishment. The ATs
render the kick drum/bass combo as a tight
accompaniment, but these instruments dont
have the slam or depth that they would have
when heard live in concert. Brandis voice,
which has an edge when she cranks it up to
11, still sounds a little too brittle when shes
just belting out vocals at about level 9.
On Dire Straits When It Comes to You
from the CD On Every Street [Warner Bros],
the overall impression is of admirable clarity.
The only real issue is that cymbals are a bit too
splashy. This track also shows the sensitivity
of the 5000s to amps: the bass isnt quite as
defined as one would like with the PS Audio
amp, but with the Grace 902 things resolve
nicely at the cost of some desirable bass power.
Listening to Darden Smiths Midnight Train
www.avguide.com
TABLE OF CONTENTS
NEXT page

the distinction lies in the listeners perceptions
of realism triggers and inhibitors.
A headphone like the Sennheiser HD 800
has better mid-treble definition and a more
natural amount of energy. Fortunately, this is
a subtractive error on the part of the 5000s,
and so it doesnt really annoy or grate. At the
other end of the spectrum, the low bass on the
A-Ts never seems as extended as it does on
the Sennheiser HD 800s (or the bass champ
Denon 5000s).
On the other hand, on the A-Ts most
instruments sound natural and open
something that the Sennheiser HD 800 cant
always pull off because the HD 800s have a
dip in the upper midrange that affects the tonal
qualities of voices and many instruments. At
the same time, the HD800 generally sounds
more relaxed.
from the unfortunately hard to find After All

This Time [Darden Music], the A-Ts ability
to sound natural shines through. Many other
headphones either sound more confused or
imbalanced on this track (and others with a
moderate amount of instrumental action). By
contrast, the A-Ts keep the pace up without
introducing distracting distortions.
ATH-W5000 vs. Sennheiser HD 800
I mentioned above that the A-Ts have an n
shaped perceived response curve. In contrast,

consider the Sennheiser HD 800s, which have
less relative midrange output, and more low
bass and upper treble. I would characterize the
HD 800s as having a very slightly u shaped
curve. The HD 800s sound warmer and more
distant as a result, and offer much better deep
bass. This will be immediately obvious to most
listeners and I think could form the basis for
viewing one as more accurate than the other
(note that the average deviation from true flat
response might in fact be identical for both
ATH-W5000 vs. AKG 702

The A-Ts and the AKGs share an n shaped
perceived response curve and thus are broadly
similar. That said, however, the A-Ts are more
about midrange clarity, while the AKGs major
in smoothness. In particular, the ATH-W5000s
upper-mid/lower treble range doesnt seem
quite as smooth, something you notice on
vocals. The AKGs sound more relaxed, but
less exciting, because they have a less forward
midrange.
The 702s and the W5000s share a somewhat
lightweight bass quality. The bass isnt bad,
but it sounds like there is a mild roll off below
100 Hz. The A-Ts are more sensitive to amps
on this score, which could be a virtue or a vice
depending on your interest in fine-tuning via
previous page
amp selection.
Dynamically, the W5000s seem more alive.
At the same time, they let the instruments
stand out in the mix. If you like hearing detail,
and without being punished for it, youll prefer
the A-Ts. If you like the band or orchestra to be
a unified fabric, you might prefer the AKGs.
The Audio-Technica 5000s are mostly
comfortable, with a few reservations. First,
they have very light pressure, and so feel like
they might slip off. Theyre not ideal if you
dance to the music. Second, the earpads
partially rest on your outer ear (at least they did
with my ears). This puts some pressure on the
outer ear, which you feel after a while.
The 5000s come with a very nice hard shell
carrying case. For the home, I dont know
why youd need this, but if you travel with
headphones, it could be useful.
BOTTOM LINE:
When a reviewer gets analytical about a
product the reader can often come away with
the sense that the product is damned with
faint praise. That certainly wouldnt be the
right for Audio-Technicas ATH-W5000s. These
are very good headphones whose strengths
in some ways they show up limitations of
competing models, and without making the
listener suffer a host of tradeoffs while theyre
at it. Like every headphone weve tried, the
ATH-W5000 does have weaknesses, but even
so I think a lot of people would come away
from a comparison session choosing the A-Ts
as their favorite all-around headphones.
www.avguide.com
TABLE OF CONTENTS
NEXT page

Beyerdynamic
T1 Tesla
overview
you are frustrated by the obvious
imbalances of lively sounding
headphones and are equally
frustrated by the tepidness of
headphones whose balance
sounds neutral but whose overall
presentation sounds strangely dull
and lifeless. The T1s offer the best
combination of midrange neutrality,
vividness and transparency weve
heard.
Tom Martin
eyerdynamic recently introduced

a new top-of-the-line headphone,
called the T1 Tesla. These showed
great promise when we heard them at CES
2010, so naturally we phoned the people
at Beyerdynamic and asked for review
samples. Weve had our test T1s for about
a month, and have engaged in extensive
listening tests.
Priced at $1295, the T1 is a semi-open
back design. The T1 involves several
departures from Beyerdynamics standard
practice. The driver is an entirely new
design, with a multi-layer diaphragm,
machined metal structure, and new
magnetic geometry. The drivers are also
placed at an angle to the ear, a strategy
weve also seen with the Ultrasone Edition
8 and the Sennheiser HD800. The idea
there is to capture some of the outer ear
reflections that one experiences with live
music and loudspeaker. But in the case
of the T1, interestingly, Beyerdynamics
engineers say their objective in the offset

driver placement was to avoid creating
reflections from the outer earthe
opposite of the objectives of other offset
designs, it would seem. The earpads have
been designed to reduce reflections as
well.
Beyerdynamic says the new transducer
in the T1 is the first model to break through
the one-tesla level of magnetic flux density
(hence the T1 designation for this model).
Measured in tesla (T), magnetic induction
is an indicator of the strength of the
magnetic system in headphones (or other
dynamic drivers). Beyerdynamic claims
this system generates currently unequalled
impulse performance. While they dont
go into much detail, a stronger magnetic
structure could allow a somewhat heavier
and therefore stiffer driver design.
At our request, Beyerdynamic also
loaned us its new A1 headphone amplifier,
which is said to be ideal for the T1s. While
Look elsewhere if:

maximum low bass extension or
the ultimate in bass definition are
paramount among your needs.
At the other end of the audio
spectrum, note that while the T1s
treble balance is generally accurate
the headphones can sometimes
emphasize (or overemphasize)
certain treble transientsa quality
that some listeners wont mind, but
that others will.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

we used other headphone amps during our
testing, we did make ample use of the A1
and youll find comments on this combination
below as well.
SONIC CHARACTER
Over time, I came to view the Beyerdynamic
T1s as the most satisfying headphones
weve had in the lab to date, at least with
the amplifiers we normally use. However, the
T1s take a while to appreciate so it is worth
understanding this conclusion. Even more
important, since my satisfaction isnt really
relevant to you, it is worth understanding what
the T1s do well do see if that might be your
cup of tea/coffee/wine/water.
My experience is that the frequency
response variations of even top-of-the-line
headphones are generally significant. These
become obvious over time, though it takes
many recordings to show off the entire range
and to form a basic impression of this aspect
of a headphones character.
Overall, the T1s sound very slightly warm,
in part because they have ample but not
excessive bass output, but also because
vocalists seem to be placed a little farther back
on the stage than they do with many other topflight headphones. Along with this impression
goes the observation that the T1s do not
emphasize treble in a way that would make
you call them bright. If anything, you hear less
low-to-mid treble energy than on other top
headphonesa quality that contributes to the
sense of a somewhat warm sound.
We have to consider these remarks in the
context of the absolute sound (the sound of
live music). In that context, Id say that the T1s

are actually pretty close in overall balance to
what you hear live. In this regard they seem
more accurate than the lightly balanced AKG
702s or Audio-Technica ATH-W5000s, or the
bass-heavy Denon AH-D5000s. The Shure
SRH840s, the Sennheiser HD 800s, Grado PS
1000s and the Ultrasone Edition 8s, while not
balanced in quite the same way as the T1s,
are all at a macro level trying to do something
similar to what Beyerdynamic is up to.
But bear in mind that the comments above
are about overall bass/midrange/treble
balance. We also have to consider deviations
within the narrower portions of the frequency
spectrum (particularly in the midrange region
from from about 200 hz to around 8 kHz).
Midrange deviations in the dont necessarily
register as problems with overall tonal balance,
but they can lead to colorations that affect
the sounds of many common instruments.
Thus, achieving smooth, uncolored midrange
response can be more important to a realistic
presentation than overall tonal balance.
As you might expect from this preamble,
the T1s do offer terrific midrange smoothness
meaning that their levels of coloration
especially on revealing instrumental
materialseem lower than in most competing
headphones (even quite good ones such ast
the AKGs, Shures, and Ultrasones mentioned
above). The big point is that the T1s have few
if any significant midrange dips or peaks that
would constantly remind you that you arre
listening to recorded music.
That said, lets acknowledge that no
headphone is perfect, so that the T1s do
Ratings
Beyerdynamic T1 Tesla Headphones

Accessories: padded presentation case
Weight: 350 g (12.3 oz)
Sensitivity: 102 dB (1 mw input)
Impedance: 600 ohms
Price: $1295.00
Beyerdynamic
(800) 293-4463
www.north-america.beyerdynamic.com
10
exhibit minor deviations from neutrality in a

few places. First, there is a bit of upper bass
emphasis that can lead to some smearing
of plucked bass, for example. Second, there
appears to be a very slight upper midrange
depression that smoothes out vocals
(especially female vocals) a little too much.
Finally, the treble region probably has a tiny
peak that emphasizes some transients more
than others.
There is, of course, more to life than
frequency response. The magic of the T1s
comes from their basically balanced and even
presentation combined with a high level of
transparency and vividness, which istrust me
on this onea pretty tough order to fill.
Vividness requires good dynamics, and
the T1s succeed here while retaining a sense
of control. Transparency requires excellent
handling of low-level signals, and again the
previous page
specs/pricing
tonal balance

frequency extremes

clarity

dynamics

comfort/fit

sensitivity

value

T1s come through. And, because these

characteristics are inter-related, the excellent
micro-dynamics that come from the T1s good
low level signal handling also contribute to
a sense of vividness and aliveness when the
music is full of subtle expression.
While Ive praised the vividness of the
T1s, I should add that the T1s dont sound
as lively as some other headphones do. If
thats confusing, consider that each of these
ostensibly more lively-sounding headphones
achieves apparent liveliness at the expense of
one or more colorations. What the T1s do so
well is to sound vivid without sounding ragged
or exaggerated in any way.
In thinking about how the T1s combine so
many good properties, I came to think that
the T1s are rather low distortion devices. This
sense is conveyed as an overall smooth and
fine-grained character. Instruments just seem
www.avguide.com
TABLE OF CONTENTS
NEXT page

more of a piece and less made up of bits
than they do through many other headphones.
MUSICAL EXAMPLES
On Mary Blacks By The Time It Gets Dark
[By The Time It Gets Dark, Gift Horse], the
vocal is slightly recessed (set back in terms of
the image plane) but clear. Adding to the sense
of clarity is the observation that the overall
sense of continuousness (or lack of graininess)
is very, very good.
On Alison Krauss Forget About It [Forget
About It, Rounder] the intro electric bass is
deep and airy. But then on her New Favorite
[Alison Krauss + Union Station Live, Rounder]
the drum skin sounds good but not great (a
little thick, as if there is a resonance in the midbass).
On Brandi Carliles Caroline [Give Up The
Ghost, Columbia] the cymbals are less bright
but cleaner than on the Sennheiser HD 800
(which is a bit splashy). The T1 gets more of
both the metal ring and better shimmer
during the decay, whereas HD 800 mostly
captures just the initial crash.
On The Decembrists The Tain [The
Tain, Kill Rock] we have a very complex mix
where the T1 shows excellent instrumental
separation. The bass drum is a little low on
impact, but the snare drum is spot-on.
The Beyerdynamic T1s sound different from
most of the other high-end headphones weve
had in the lab recently (mainly the Sennheiser
HD 800, the Ultrasone Edition 8, the AudioTechnica ATH-W5000, the Grado PS1000, and
the AKG 702). I suspect the T1s are something

special because they seem to combine the
strengths of many of these competing models.
The T1s seem to be quite balanced, like the
Ultrasones or the Sennheisers. They seem
to be low in coloration like the AKGs and the
Ultrasones. They seem very transparent, like
the Audio-Technicas and Grados, and they
seem to have wide bandwidth, almost like the
Denons and the Sennheisers.
The colorations of some other high-end
headphones are noticeably larger than those
of the T1s by comparison. The upper midrange
dip on the Sennheiser HD 800s, for example
is quite a bit larger than the one I hear on
the T1s. The treble blip of the T1s is tiny in
comparison more aggressive one you can hear
on the Denon AH-D5000s.
Similarly, the Ultrasone Edition 8s and
the Shure SRH840s sound at least as wellbalanced as the T1s, neither can match the
sense of transparency that the T1s deliver.
The AKG 702s also have excellent midrange,
but dont offer either the bandwidth or the
transparency of the T1s.
Since there are winning musical attributes of

each of these models, it is worth remembering
how far we are from reproducing the absolute
sound via headphones. For example, you
have to remember that there is no common
agreement among headphone engineers on
what constitutes flat frequency response as
perceived by the listener. This leads to widely
varying frequency response curves among
models designed by competent engineers.
Such a situation doesnt exist in, say, the field
of amplifier design. But every time we write
about the resulting deviations from the sound
of live music, several readers write in horror
that for this price, these should be perfect!
I suppose lots of things (cars, cameras,
relationships, software, etc) should be perfect,
but they arent in practice, and thats certainly
true of headphones. And to give credit where
credit is due, high-end headphones cost no
more than what a fairly basic pair of speakers
would. They key point is that, given inevitable
deviations from perfection in any real product,
the listener has to judge what combination of
attributes gives the best approximation of live
music at a price he/she can afford.
ANCILLARY EQUIPMENT
For this test session, I used the Esoteric DV-60
universal player as the source. Cables were
Audioquest Sidewinders. AC power came
from a dedicated 20-amp circuit via PS Audio
Power Plant Premier and Shunyata Python CX
AC cables. The primary headphone amp was
the Grace m902, which has very low output
impedance (1 ohm) for a headphone amp.
The sound did not change a lot when I
previous page
switched to the Beyerdynamic A1 headphone

amplifier. The A1 has a 100 ohm output
impedance, which is on the high end of the
spectrum of available amps. The fact that the
m902 and the A1 sounded broadly similar
is a testimony to the benefits of the high
impedance of the T1 headphones. With a high
and relatively flat impedance curve, the T1s
will exhibit less variation in sound from amp to
amp. Normally, this is a very good thing (I dont
have to put in as many your mileage may
vary comments), but also it means listeners
have less of an opportunity to fine-tune the
T1s sound by subsituting different amplifiers.
While the all around comfort of the T1s isnt
bad, it isnt their strength either. I thought the
headband padding was too thin, leading to a
pressure point on the top of the skull. You can
shift the band to address this, but still, this
seems like an unnecessary miss. The earcups
are also smallish in diameter, so you may have
some pressure on your outer ear. This is not
a big deal in my experience, but it is not a
perfect situation, either.
The T1s come in a fancy metal box. The
attached cable is 3 meters long and terminated
with a phone plug.
BOTTOM LINE:
Beyerdynamics T1 is that rare and elusive
brilliant all-roundera headphone that
does everything well. Other headphones may
outperform the T1 in one area or another, but
you will be hard pressed to find better overall
performance.
www.avguide.com
TABLE OF CONTENTS
NEXT page

Denon
AH-D5000
Tom Martin
enon is a storied company with a

historically interesting technical
position stemming from its early
partnership with Columbia Records. Denon
was both a recording company and a
hardware producer from its early days. This
kind of business integration arguably makes
sense, with Sony as the current exemplar of
the approach (accomplished via acquisition).
In the U.S. key companies like RCA were
not able to sustain excellence across such
a wide front, but Denonat least from the
perspective of audio enthusiastshas
created some very high quality products
over time. This was especially true of phono
cartridges and other products related to
recording and LP production.
It is hard to say whether the ongoing
recording arts culture at Denon is
responsible for the AH-D5000, but the
idea seems credible since Denon has built
something special in these headphones.
At the specification level, the AH-D5000s
appear to be conventional headphones

with a twist or two. They are closed-back,
over-the-ear types, with 50mm drivers.
Things depart from convention slightly
when we get to the driver material, which
is microfiber. And the driver housings are
made of mahoganya material Denon
references for its favorable qualities for use
in musical instruments (a reference that
apparently appeals to the Japanese but
seems inscrutable to more logic-constrained
Westerners who think of musical instruments
and audio transducers as fundamentally
different kinds of objects).
Despite this minimal story line, the AHD5000s have developed something of a cult
following. Ill try to shed some light on why
that is so in this review.
SONIC CHARACTER
The most obvious, hit-you-over-the-head
aspect of the 5000s is their bass. The 5000s
have strong bass that goes unusually deep
overview
you long for headphones with
rich, musical bass and yet refuse
to give up mid-range and treble
transparency. Vivid, engaging tonal
colors are the AH-D5000s greatest
strength.
Look elsewhere if:
small colorations offend you,
or if you cannot tolerate even
small traces of high frequency
brightness.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

for a headphone. After weeks with
the AH-D5000s, Id say they have
a bass bump, as judged against
live sound. But so far Id say it
is also a pretty artfully judged
bass bump that doesnt get in
the way of the music. Compared
with headphones (many) that are
somewhat reticent in the bass, the
Denon version of bass generates
a sense of life and punch that is
welcome on a lot of material. Put
differently, if you like bass and
feel cheated when speakers or
headphones sound a little rolled
off, then the Denons could be your
cup of tea.
To be clear, while the sound can
get a little heavy on the bottom
with the AH-D5000s EQ curve,
the bass doesnt get thick and
inarticulate. Bass boost can be
more articulate in headphones
because you arent dealing
with (as many) unpredictable
resonances. You can hear this in
the Denons, which have much
better bass definition than would a
high-end speaker with some lowend boost. These are bass-lovers
headphones.
Id also hazard to say that
without some judicious bass boost
a headphone just cant sound as
real as great loudspeakers can.
Something in a headphone has
to substitute for the lack of slam
Ratings
Denon AH-D5000
Accessories: Mini-plug to phone jack
adapter
Weight: 370 grams
Impedance: 25 ohms
Price: $699.95
(201) 762-6500
usa.denon.com
10
and the whole-body sense moving air that you

get in fromlive music or from a good stereo
system. I think Denon might have taken things
just slightly too far in the bass domain, but
that may be preferable to not taking things
far enough (a common error in headphone
design).
So, the 5000s are special because they
have intelligently and musically tuned bass.
But that wouldnt be nearly enough, if the
midrange werent equally good. But it is. The
midrange on the Denons is relaxed, clear and
well-balanced. In particular, Denon doesnt roll
off the upper mid-range as some other models
in this class do. The result is that the 5000s
sound more open and life-like than competing
headphones such as the Sennheiser HD 650s.
Overall, the treble is well-balanced with the
mid-range and bass. There is, however, a midtreble edge that occasionally grates, though
previous page
specs/pricing
tonal balance

frequency extremes

clarity

dynamics

comfort/fit

sensitivity

value

only slightly. It shows up less as a shift in

overall tonal balance, but rather as a tendency
to make sibilants and high frequency transients
a little sharp sounding. This doesnt happen
on all transients, which is what makes
me believe the issue is in a pretty narrow
frequency band. Some modern recordings
accentuate this, so the fault isnt entirely with
Denon. Nonetheless, this tendency to make
certain treble transients a little too hot is in
my view the make-or-break issue that will
determine whether these headphones are for
you (or not).
As you might expect, very neutral-sounding
headphone amplifiers (such as the Luxman
and PS Audio units that I had on hand for this
review) tend to expose both the Denons midtreble strengths and weaknesses. It is possible,
however, that different and less neutral amps
could optimize the Denons sound by softening
treble transients to some degree.
www.avguide.com
TABLE OF CONTENTS
NEXT page

To keep things in perspective, bear in
mind that the AH-D5000 is all about serving
up a sound characterized by rich and vivid
tonal colors. The minor sonic excesses Ive
described above may well be the price you
pay to enjoy the concommitant richness and
vividnessa tradeoff many listeners will, I
suspect, happily embrace.
The other issue that Id raise is that the AHD5000s have a slight tendency to divide music
into Bass/Midrange/Treble segments. Each
region sounds good (mostly), but overall this
presentation isnt entirely natural. Classical
lovers may notice this more than lovers of
other musical styles.
The AH-D5000s present an interesting
contrast to the Sennheiser HD 800s, which are
also reviewed in this Guide. The Sennheisers
major in naturalness (sonic errors dont
call attention to themselves and the overall
sound is relaxed and smooth), but have some
subtractive errors that mean they arent the
most vivid (fresh; intense; alive) headphones
on the market. The HD 800s are good in
the vividness department, but not great.The
Denons, on the other hand, are quite vivid,
though at the expense of naturalness at times.
The Denons colorations are small enough that
you would say they are good (but not great) in
terms naturalness and overall accuracy.
MUSICAL EXAMPLES
On Mary Blacks song Trying to Get the
Balance Right, from By the Time It Gets
Dark [Gift Horse], Marys voice is very clear.
The accompanying acoustic guitar is plucked
emphatically on the initial beats of the chorus,
and the treble edge I mentioned above results

in the guitar sounding a little more metallic
than it should. You can hear a similar, slightly
unnatural effect on Alison Krauss and Union
Stations song Maybe [Alison Krauss &
Union Station Live, Rounder/UMGD]. The
AH-D5000s handle the voices transparently,
but the chorus of that song has a multi-part
harmony where the differences between voices
yield overly pronounced overtones and/or
ringing.
By contrast, though, I found that on Paavo
Jarvis version of the Beethoven 3rd Symphony
[RCA Red Seal] the Denons had a very
listenable treble presentation with good clarity.
The cellos were, however, under-emphasized a
bit. In this case one might say the sound was a
little cool, though thanks to the strong bottom
end, the sound isnt thin.
The AH-D5000 ear cups are soft and the
clamping force is very low. As a result these
phones are comfortable for long listening
sessions (because they dont aggravate
pressure points). However, the Denons
are slightly heavy so that the headband
occasionally needs to be shifted.
BOTTOM LINE:
Denons AH-D5000 is a very musical
headphone, but one that is somewhat
coloredalthough in beguiling ways. Careful
selection of ancillary source and amplification
components will be necessary for best results.
previous page
www.avguide.com
NEXT page
NEXT page

GRADO GS1000
Neil Gader
iddle me thisname a speaker system

that comes with its own built-in
listening room. Give up? The answer
is any set of headphones. Whether they are
closed-back models that fully enclose the
ear for the ultimate in isolation or open-back/
on-ear designs, which allow room sound
and ambience to mingle with your music,
headphones are not as simple as they look.
As with a great set of speakers, youll hear
the recorded signal plus the ambient cues of
a miniaturized soundspace complete with its
own acoustic boundaries, reflection patterns,
and time delays. These issues couldnt have
been more vividly illustrated than during the
time I spent road-testing the Grado GS1000
headphonesfirst with its own headphone
amp, the RA1, and later with the Cayin HA-1A
headphone amp.
Although it shares family similarities with
its high-performance stablemates, the RS1
and RS2, Grados next-to-the-top-of-the-line
GS1000 is an open-back, dynamic headphone
whose drivers, driver housings, and ear

cushions are unique to the model.
THE ROLLS ROYCE OF

HEADPHONES?
Its big and retrothe Rolls Royce Phantom of
headphones with colossal wooden ear pieces
that contain vast air chambers. The foam ear
pads are a completely new cushion-design
for Grado and they dont just rest upon your
ears as supra-aural (that is, on top of the ear)
pads do. Rather the earcups and pads are
circumaural, enclosing the entire ear like a pair
of hollowed-out coconut shells. The genuine
leather headband is large and adjustable and
distributes weight evenly and comfortably
across the top of the head. The transducers
are wound with Ultra High Purity Copper
(UHPLC)the same wire material used in the
Y connecting cord with 1/4-inch stereo plug. A
fifteen-foot cable extension is included, along
with a 1/4-inch to 1/8-inch adapter for portable
players.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

The sonic character of the GS1000 (with
RA1 headphone amp) is unmistakably Grado,
meaning that, as with its fine series of movingmagnet phono cartridges, theres a prevailing
warmth factor, a rich cushion of sound that
stretches from the midbass well into the
upper mids. The treble is detailed with a slight
push forward in the presence range between
25kHz. This adds articulation to vocals and
a bit more transient pop to Telecaster solos

and rim shots, but doesnt turn aggressively
etchy. The sound of the cello (Kol Nidre, Bruch,
Wispelwey [Channel Classics]) in many ways
encapsulates the GS1000s signature. Its
dark and ripe and the area in the immediate
proximity of the instrument seems filled with
air, an attribute that underscores the powerful
box resonances of the cello. Theres a laid-
back presentation to the Grado that is neither

unpleasing nor overstated.
The GS1000 is big on bass, and its
particularly appealing in lower-level listening.
But it also feels like its been contoured
to sound its best at lower, more civilized
volumes. Definition and dynamics can quickly
thicken when the volume is punched up into
rock-concert territory. Frankly, true low-bass
reproduction never really sounds entirely
natural over the majority of headphones
Ive used. Its an issue that goes beyond
specifications to the seat-of-the-pants reality
of bass reproduction in a large hall. The
reduction in concert hall realism is partly due
to the psychology of listening in our head
versus our instinctive familiarly with the direct
and reflected information that we encounter
everyday. Theres the sense in a headphone
that the air in the long, long wavelengths of
deep bass doesnt entirely miniaturize for the
short throw distances between the transducer
and eardrum, so what you hear in a headphone
is a greater proportion of the overtones of the
fundamental rather than the fundamental itself.
MIND EXPANDING SOUNDSTAGES

By far the GS1000s most alluring traitthe
carrot that kept pulling me back in to listen
to just one more recordingwas its mindexpanding soundstage. Its a stage that
extends well outside the ears boundaries.
Not just limited to the proscenium of a stage,
it takes in the wings, as well. And it has a
defined height and depth component that adds
to the realism. This expansive soundstage I
think is directly related to a lack of enclosure
previous page
specs/pricing
Grado GS1000
Type: Vented diaphragm, wooden air
chamber headphone, with circumaural
ear cushion
Transducer: Dynamic
SPL 1mV: 98dB
Impedance: 32 ohms
Driver matched dB: 0.05dB
Price: $995
Grado Labs
(718) 435-5340
gradolabs.com
artifacts or resonances. Many headphones

confine the sound between what sounds like
hard reflective surfaces, like the walls of a
small untreated room. This is a problem that
dogs an otherwise highly midrange-neutral
headphone like the AKG K501. The GS1000,
on the other hand, is closer to a large welldamped hall. The music seems to be traveling
towards the listener the way we experience it
live, as opposed to sounding mainlined into
your ear drum. This factor is perhaps the most
seductive aspect of the GS1000 and separates
it from many of its competitors.
Adding the Cayin HA-1A into the mix was
an exercise in unalloyed hedonism. Never
at a loss for gain, the HA-1A also offers the
pleasure of switching between triode and
ultralinear settings, which, when shuttling
www.avguide.com
TABLE OF CONTENTS
NEXT page

among musical genres, grows habit-forming.
Triode became my preference for orchestral
music. The sound it conveyed was smoother,
the mids a bit warmer, and the string sections
more continuous and layered. For the bass
punch and midbass dynamics that underpin
most rock recordings, ultralinear was the
easy choice. Two recordings remastered
to SACD exemplified this none-too-subtle
difference. The opening drum vamp during
Murder By Numbers (Synchronicity, The
Police [A&M]) can be incredibly forceful and
on a conventional playback system should
compress your stomach and box your ears on
the downbeat. A great set of headphones
even one as bass-strong as the Gradocant
body slam like a full-range loudspeaker, but
ultralinear mode provided plenty of pop and
drive. Triode mode attenuated this impact
and energy and reduced the thrust of Stewart
Copelands fiendishly manic playing into
something akin to a Howdy-Doody drumkit.
Another comparison, but at the other end of
the tonal spectrum, was the shimmering hi-hat
last word:
Mind-blowing soundstages
especially so for a headphone.
Articulate, but never aggressive.
A welcome touch of natural
warmth with powerful bass.
Comfortable for long sessions.
A little too dark and ripesounding for its own good?
Dynamics and definition can
thicken at high volumes.
and hard-panned cymbals that play non-stop

through Elton Johns Someone Saved My Life
Tonight (Captain Fantastic and the Brown Dirt
Cowboy [Island]). They are more liquid and
nuanced in triode modemore finely wrought
than the slightly etchy character they have in
ultralinear mode.
The Grado RA1 headphone amplifier is a
specialist, built with a knowledge of Grado
designs that other head-amp companies arent
privy to. This gave it an advantage with the
GS1000. In contrast with the Cayin, the Grado
RA1 controlled the bottom end of the GS1000
better than the Cayin, without reducing the
characteristic richness of the GS1000. If I
had to guess, it sounded as if the RA1 was
in effect EQing the GS1000 and making it
a more neutral component. The Cayin, on
the other hand, increased micro-dynamic
detail and dimensionality and opened up the
soundstage considerably. In a nutshell, the
Grado amp made the GS1000 a more tonally
accurate unit, even if, taken on the whole, the
Cayin brought out more emotional excitement.
The Grado is a bargain. Its also the perfect
choice for high-end road warriors who demand
portability without compromise. However, for
flexibility with an assortment of headsets, the
adjustable, stay-at-home, and oh-so-sexy
Cayin is pretty hard to beat.
There is one other ancillary issue that is often
not given enough attention. Since headphones
are essentially worn like an article of clothing,
its important to take the time to audition them
at length for comfort. Like a crummy pair of
shoes, ill-fitting headphones, no matter how
good they sound, are ultimately going to sit
in a drawer collecting dust if you dont like

wearing them. The GS1000s are certainly
comfortable and distribute their weight lightly
over the ears, but the full-coverage foam
ear pads can get warm during extended
listening. Anticipating this, Grado offers
other replaceable and less restrictive ear-pad
designs.
BOTTOM LINE
The Grado GS1000 is a luxury headphone
built for comfort and long listening sessions. It
may not be a mastering engineers choice for
the nitpicking precision of studio work, but for
sinking into a favorite chair and enjoying a visit
with a beloved symphony, headphones dont
sound or feel much better than this. Caveat
emptor: The GS1000s are utterly habit-forming,
so audition at your own risk.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Grado PS1000
Tom Martin
aving recently reviewed the Grado SR

325is for Playback, which I thought
were exceptionally good headphones,
I was thrilled when Grado offered a chance
to review their maximum supreme PS1000
headphone ($1695). Given what Grado does
at the $300 price point, I was curious in this
review to see what they could deliver at 5X
the price.
Like other Grados, the PS1000 is an open
back headphone. That clearly makes them less

suitable for use on airplanes or in an office.
Some listeners, however, insist that open-back
headphones are consistently more natural
sounding.
Technically, the PS1000 seems relatively
simple and straightforward, but many an
unassuming audio product has proven to be
spectacularly accurate. Grado has paid much
attention to the driver housings, which consist
overview
you want headphones with excellent
transparency and tonal balance and you
want to avoid the occasionally edgy or harsh
sound that often comes along as part of
the package with other headphones that
promise very high levels of transparency.
Look elsewhere if:

macro-dynamic slam is at the top of your list
of sonic desires, or if you need closed-back
phones due to your environment.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

of an inner mahogany section and an outer
frame of a very hard metal alloy. Actually to call
it a frame is a misnomer, because this hunk of
metal resembles a puck more than anything.
Grado also says they worked long and hard to
get the air chamber behind the drivers properly
shaped to minimize transient distortions. That
is a claim well return to. Finally, the engineers
on the PS1000 project utilized new, even more
pure, copper in the drivers and the supplied
cables.
We have here a seemingly simple headphone
from a value-oriented maker, but at a premium,
high-end price. Can it compete with top-tier
offerings from Sennheiser, Ultrasone, or even
from Grado themselves? Lets see what this
test revealed.
SONIC CHARACTER
Lets start with the elements of the PS1000
that make it the real deal and a contender
among the very best, because this is a very
fine headphone to be sure. It isnt perfect (no
headphone is), and Im going to eventually
offer some criticisms. So, I want to be sure
readers understand Grados achievement here,
which is impressive indeed.
The bugaboo of most headphones lies in the
treble region. If you look at the target frequency
response curve (the one that psychometricists
say sounds flat or balanced or accurate to
the human ear), youll see that it isnt flat. And
youll see specifically that the target curve
calls for a pretty big response rise in the treble
region. Im not a headphone designer, but Im
guessing that this target curve isnt that easy
to hit. I also suspect the curve is old and not
exactly right. Moving beyond speculation, I am

an audio equipment reviewer, and I can say
from experience that almost no headphones
seem to hit the curve. The Grado PS1000
comes as close as anything Ive heard to
getting the treble region right.
This means, first, that the treble region
sounds balanced. The PS1000s have a treble
region that seems appropriate (measured
against the sound of live music) in relation to
the midrange. Thats good, though I think this
is the easiest item on the treble checklist.
To have great treble, though, one also has to
make headphones whose treble response is
smooth and very evenly balanced up. This is
where most headphones fall apart, to a greater
or lesser degree, because they will have subtle
(or not so subtle) dips and/or peak somewhere
within the treble region. It can take a while to
hear these repsonse deviations, because some
driver resonances are in a very small region
and thus arent triggered by most music (or
you miss it in the mix). Well, folks, Im here
to say that the Grado PS1000s have fewer of
these treble problems than most of the other
headphones Ive heard. On disc after disc the
PS1000s treble simply sounds clear, and the
tonality of each instrument comes through.
That is, each treble-heavy instrument sounds
like itself. Sounds easy to pull off, but it isnt.
Finally, treble performance needs to be
clean, with good dynamics. The PS1000s
come through here as well, by offering a very
low distortion treble sound. You particularly
notice this via the superb instrument-toinstrument separation on offer here. Grain,
hash and noise are missing, so you just hear
Ratings
Grado PS1000
Accessories: Extension cord
Frequency Response 5 Hz - 50kHz
Weight: n/a
Sensitivity: 98dB (1 mw input)
Impedance: 32 ohms
Price: $1695.00
Grado Laboratories
(718) 435 5340
www.gradolabs.com
10
the instruments. Micro-dynamics are well

done too, so that the decay of voices and
instruments can be heard very easily.
A note of caution is in order, though. Many if
not most modern D/A converters have treble
problems, particularly with transient sounds,
and as you might expect the PS1000s can and
do expose the splashy/hashy treble sounds
that some modern digital source components
produce. Conversely, standard issue DACs
you may not be sufficiently refined for you to
fully appreciate the treble achievement of the
PS1000.
Happily, the PS1000s refined treble
qualities extend right on down into the midrange. Instrumental separation is excellent,
and instrumental tonality holds up well. One
indicator of the midrange excellence of the
PS1000 hits you when you notice that there is
almost no discernable discontinuity between
previous page
specs/pricing
tonal balance

frequency extremes

clarity

dynamics

comfort/fit

sensitivity

value

the midrange and the treble. While many

headphones use a single driver and thus have
no mechanical discontinuity, this doesnt
prevent them from having sonic flavors that
differ across these frequency regions. Not so
with the PS1000s.
When we come to macro-dynamics, though,
we get to an area where the PS1000s are good
but not great. On orchestral tuttis and power
guitar the PS1000s never put a foot wrong,
but in this conservative approach they also
dont quite capture the punch of the real thing.
I did use my two favorite headphone amps
with the PS1000s, and found that the all-tube
Woo Audio WA22 yielded better results largely
because it allowed these dynamics to breathe
a bit more. With great headphones ancillary
equipment will matter.
That said, I think that the transition to the
bass region and that bass performance in
www.avguide.com
TABLE OF CONTENTS
NEXT page

general is the weak spot of the PS1000s, and
is partly if not mostly responsible for my less
than complete endorsement of their macrodynamics. Grado has built a slightly warm bass
balance into the PS1000, which is musical if
not precisely accurate. Bass instruments are
present and accounted for in the mix, so the
the balance between band members generally
sounds right. But bass transients can seem
a little soft at times, as if there is a resonance
somewhere in the bass region, or perhaps
there is an upper bass dip. The bootom line
is that, if you are a bass detail fanatic, these
might not be the optimal headphones for you.
Finally, as readers of my past reviews will
know, I like to consider the overall vividness
of a headphone, which is ability of the
headphone to make music sound intense and
realistically alive. The PS1000s are quite good
in this regard, thanks to their excellent microdynamics and ability to render complex mixes
without getting muddy or confused. They dont
have the slam on big material that some
phones do, and their transient sounds are well
controlled (some might say overly controlled),
so the sound isnt as exciting as some
competitors. Nonetheless, the transparency of
the PS1000 creates a sense of realism that, for
may listeners, will get to the soul of music.
MUSICAL EXAMPLES
Stay [Alison Krauss & Union Station Forget
About It, Rounder], Alisons voice, which is
rather lightly balanced, sounds remarkably
clear and distortion free through the PS1000s.
By contrast, many competing phones exhibit
slightl (or perhaps not so slight) touches

of sibilant stridencywhen reproducing Ms.
Krauss voice.
For a sense of the instrumental separation
that the PS1000s can deliver, go no farther
than Rodrigo Y Gabrielas version of Stairway
to Heaven [Rodrigo Y Gabriela, ATO Records].
As a bridge out of the slow intro gets going,
there is a lot of fast chord work happening on
acoustic guitars and through the PS1000s
you can hear every string clearly. In fact, the
Grados sound on this track was so amazing
that I had to play it twice.
Going back to Forget About It, the song
Maybe has a solo bass drum whack that
is startlingly powerful and well definedor
at least can be if your headphones are up to
the task (though the air pressure limitations of
headphones may limit ultimate dynamic impact
to some degree). Even so, some headphones
deliver a rendition that sounds very like what
one hears from a bass drum in a concert hall.
The Grados, however, dont really get the rising
edge of this drum whack quite right and so
deliver less bass power and depth than is fully
realistic.
On Icky Thump from The White Stripes
album of the same name [Warner Brothers/
WEA], the pounding drum/bass combo sounds
damped enough through the PS1000s that it is
more a bumping beat than a pounding force.
No offense to Grado, but when Jack White
pounds or hammers, the PS1000s struggle to
keep up.
competitor. Some key differences between the

PS1000 and the HD 800s are noted below:
The HD 800s are a little more accurately
balanced in the upper midrange, while lower
midrange body on the PS1000s seems more
natural.
The HD 800s are slightly brighter than the
PS1000s, though the difference is relatively
small.
The PS1000s have somewhat more mid-bass
than either live music or the slightly reticent
HD 800s.
The HD 800s seem to have better deep bass.
The PS1000s have smoother yet more
detailed treble.
The PS1000s are slightly softer or more
damped sounding; they are also more
forgiving of bad recordings (a strength of
both models, actually).
The PS1000 ear cups are very big and the
clamping force is low. I thought the Grados
were comfortable for long periods, though they
are heavy, which means they might aggravate
pressure points after very long listening
sessions. If you move around, the PS1000s
weight can make them feel tippy.
The PS1000s come with a one-meter cord
and a phone plug. Grado also includes an
extension cord.
BOTTOM LINE:
Grados PS1000 is a well-balanced headphone
that excels at reproducing the details and
subtleties of music.
The Sennheiser HD 800 is an obvious direct
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

HiFiMAN HE-5LE
Planar Magnetic
Headphones
Chris Martens
ver the past year or so weve seen

the arrival of a new uber-class of
high-end headphones such as the
Beyerdynamics T1 Tesla, the Grado PS1000,
and the Sennheiser HD800s. These are all
great phones, but one catch is that all three
cost well over a thousand dollarsa price

point that may place these models beyond
reach for some listeners. But what if someone
made a technically innovative headphone that
could go toe-to-toe with these acknowledged
class leaders, but for a bit less than half
overview
you want to explore true top-tier headphone
sound quality at a price that falls comfortably
below $1000. The HE-5LE offers balanced
and effortlessly extended frequency
response, with an exceptional degree of
sonic transparency and detail. Unlike some
phones that convey an aura of detail but
at the expense of an artificial layer of treble
sheen, the HE-5LE offers resolution
without unpleasant artifacts that detract from
the music.
previous page
Look further if:

you favor light, compact, and relatively
easy-to-drive headphones. The HE-5LE
is comfortable, but also relatively large
and moderately heavy. Look further too if
you require a headphone that offers good
isolation from external noises (or that does
not put much sound into the room when in
use). The HE-5LE is an open-back design
that lets room noises through, and that can
faintly be heard from the outside when it
is in operation.
www.avguide.com
TABLE OF CONTENTS
NEXT page

the price? Well, someonein this case, the
firm HiFiMANhas done just that with an
impressive product called the HE-5LE Planar
Magnetic Headphone ($699). $699 is not, of
course, chump change, but for the level of
performance on offer in the HE-5LE it is an
undeniable bargain.
HiFiMAN is a Chinese firm headed by a
gentleman named Fang Bian, who is a highend headphone enthusiast extraordinaire.
Accordingly his company makes a range
of performance-oriented headphones and
headphone-related products, including the
HE-5LEs, various headphone amplifiers,
specialty headphone cables, several very cool
high-end personal digital music players, and
a range of in-ear headphones. In this country,
HiFiMAN products are sold through a related
distribution company called Head Direct
(www.head-direct.com).
Most of todays top-tier headphones use
ultra-high quality piston-type drivers, where a
traditional voice coil powers a circular (often
cone or dome-shaped) diaphragm. This is a
time-proven approach and one that can give
superb results. Still, some might argue that
one weakness of traditional dynamic drivers
is that the voice-coil motor is attached to the
diaphragm only near its rim, so that driving
forces can notfor obvious reasonsact
upon the entire surface area of the diaphragm.
In the HE-5LE, HiFiMAN tackles this
issue head on by using a planar magnetic
(or so-called orthodynamic) driver that is
conceptually similar to the planar magnetic
drivers used in Magnepans famous
Magneplanar loudspeakersbut that is of
course executed on a much smaller scale.

In an orthodynamic driver, the diaphragm is
a thin, light membrane whose entire surface
is covered with a conductive coating whose
conductors are arranged in a specific
pattern. The conductive driver membrane is
in turn suspended near an array of magnets
arranged so that, when an audio signal is fed
to the driver, the entire diaphragm surface is
alternately pulled toward or pushed away from
the magnet array. In theory, the benefits of this
approach are twofold. First, the diaphragm can
be very light and responsive (lighter than the
voice coil/diaphragm assembly of a traditional
dynamic driver). Second, driving forces
act over the entire working surface of the
diaphragm, potentially offering more precise
control with greater freedom from unintended
resonance or vibration.
Is there a catch to the orthodynamic
approach? Apart from the cost and complexity
entailed in building orthodynamic drivers, one
drawback is that planar magnetic drivers tend
to be less sensitive than dynamic drivers.
HiFiMAN addresses this fact forthrightly,
stating that, potential customers have to be
aware that the HE-5LE is not easy to drive.
It will not be used on most portable devices
such as an iPod. Customers need to have a
decent headphone amplifier with a powerful
output to drive the HE-5LE to get its full
potential. But assuming you power planar
magnetic headphones with an appropriate
amp, performance potential is very high. For
our listening tests, we used HiFiMANs own
recommended EF5 tube-powered headphone
amp ($399).
Ratings
tonal balance

frequency extremes

clarity

dynamics (note: performance in this area is
amplifier dependant)

comfort/fit

sensitivity

value (the phrase off the charts comes
to mind)
SONIC CHARACTER
More so than many headphones, the HE-5LE
Accessories: as above.
Frequency response: 10Hz 60kHz
Weight: 402 grams (without cables) (12.3 oz)
Sensitivity: 87.5 dB (1 mW input)
Impedance: 38 ohms
Price: $699
10
Interestingly, the HE-5LE is not the first

orthodynamic headphone that HiFiMAN has
made. Instead, it is the direct successor to
the firms earlier HE-5 model. According to
HiFiMAN, differences include a driver coating
(that) has been made thinner with the aim
of improving bass frequencies, while driver
cups are now made of plastic with a hexagon
mesh. The signal cable is a removable design
with gold-plated, threaded connectors, so that
users can experiment with cable upgrades,
if they wish. On paper, the HE-5LE certainly
sounds promising, but what is it like in real
life? Let me simply say it is one of the finest
headphones Ive heard at any price, and a
remarkable performer for the money.
previous page
HiFiMAN HE-5LE Planar Magnetic

Headphones
HiFiMAN/HEAD DIRECT
(347) 475-76733
hifiman.us
head-direct.com
specs/pricing
offers very wide-range frequency response. In

practice, this means two things. First, up high,
the headphone delivers a full measure of treble
detail and easily captures the elusive sense of
high frequency air surrounding instruments.
Second, down low, the headphone is simply
fearless with respect to reproducing very
low frequency information (pipe organs, the
lower reaches of synth bass passages, etc.).
Together, these factors along with the HE5LEs generally neutral tonal balance give the
listener the keen sense that these headphones
leave no parts of the audio spectrum
unexplored.
But there is more to the HE-5LE than
good frequency response, per se. Two other
crucially important characteristics are the HE5LEs sonic coherency and overall levels of
resolution.
www.avguide.com
TABLE OF CONTENTS
NEXT page

Let me say a bit more about the idea of
coherency. With some headphones one has
the sense that drivers perform particularly well
in some frequency bands (which represent
sonic sweet spots, if you will), but perform
less well in others. Often this can be due to
subtle textural discontinuities, where drive
units sound smooth and finely focused at
some frequencies, but perhaps sound rougher
(or softer) and less finely focused at other
frequencies. But when a headphone exhibits
the quality of coherency, as the HE-5LE does,

you have the sense that drive units sound
almost perfectly consistent from top-tobottom, with a smooth, sharply focused quality
throughout. Coherency, I think, is one of the
HiFiMANs greatest strengths.
This is also a very high-resolution
headphone. When fed with high quality
recordings, it is astonishing to hear just how
much information the HE-5LEs can retrieve.
To use an optical analogy, the HiFiMAN
headphones let you view recordings as if

through a magnifying glass, so that details that
are hinted at by lesser headphones suddenly
become clear and explicit, yet still natural
sounding. One of the beauties of the HE-5LE is
that it conveys a lot of musical information, but
never in a forced or overdramatized way.
If your reactions are anything like mine, youll
find yourself instinctively seeking to compare
the HE-5LEs to competing models roughly
twice their price. Surprisingly, the HE-5LEs
not only hold their own in such comparisons,

but also actually surpass their more costly
counterparts in some important respects.
That is a remarkable achievement in light of
their price. As my colleague Tom Martin put it
after getting a taste of the HE-5LEs, Im not
necessarily saying this is the best headphone
out there but it certainly might be. The HE5LE is that good.
The only phones Ive heard that could
demonstrably outperform the HE-5LEs have
been ultra-costly electrostatic models driven
by four-figure, dedicated tube-type amplifiers,
or a tiny handful of dynamic models in the
roughly $1500-to-$1700 range that were
custom modified so that they could be driven
by specialized balanced-output headphone
amplifiers. (But note: Even in those cases, the
differences I heard might be more attributable
to the amplifiers used than to the headphones
themselves.).
MUSICAL EXAMPLES
To experience the richness and beauty of the
HE-5LE in action, try putting on the title track
from Mary Chapin Carpenters well-recorded
Come On Come On [SBME Special Mkts.].
First, note the sheer delicacy and purity of
Chapin Carpenters voice and the way those
qualities hold up even when, as happens in the
songs chorus, she chooses to half sing/half
whisper the lyrics. Part of whats impressive
about the HE-5LE is that the detail levels
remain constant, no matter how loud or soft
a given passage might be. Next, listen to the
backing vocalists, especially on the chorus,
where they carry the songs signature vocal
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

phrase, Come on come on Notice how
distinct the individual voices sound, rather
than collapsing into a muddled mosh of vocal
sounds. Finally, listen closely to the timbres
of the backing instrumentsespecially the
piano, and note how pure and harmonically
right they sound. Some headphones
make the fundamentals and harmonics of
instruments sound as if they somehow dont
quite belong together, but not so the HE-5LE.
It presents instruments with a very desirable
kind of cut-from-whole-cloth integrity that
greatly enhances realism and the listeners
involvement in the music.
To appreciate how refined the HE-5LEs bass
can be, listen to Christian McBrides Night
Train from Getting To It [Verve]. The song,
performed on solo acoustic bass, features
alternating lines played with a shuffle feel and
played first in pizzicato and then arco style.
The result is a veritable showcase of almost
every imaginable sound and voicing of which
an acoustic bass is capable. Through it all, the
HE-5LE not only captures the basic timbral
and textural distinctions between one musical
phrase and the next, but also conveys the
inherent size, weight, warmth, and power of
McBrides bass with a kind of you-are-there
realism. The HiFiMANs quality of coherency,
as mentioned above, really comes into play
here, so that you dont so much think in
terms of hearing great hi-fi, but instead feel
tempted to listen more intently and intimately
as you would to a live performance.
Finally to enjoy the sonic sophistication and
versatility of the HE-5LE, check out Patricia
Barber on the classic tune My Girl from A
Distortion of Love [Island Records]. Note,

for example, the powerful and distinctively
elastic feel of the bass lines and the soaring
arc of Barbers vocal lines above. Through the
HiFiMAN phones, the sound of reverberations
from Barbers voice seems to perfectly
complement and even extend the vocal lines,
themselves. Then, for a real treat, pay close
attention to the sharp, pointed textures of the
jazz guitar solo and the almost eerily liquid
tone the guitarist manages to achieve. Where
some headphones get flustered as the textural
complexity of music increases, the HE-5LEs
almost seem to relish textural challenges
(which they pass with flying colors).
To give readers some idea of where the
HE-5LE fits within the broader price/
performance spectrum, I compared the
HiFiMAN headphones to two sets of excellent
Sennheiser headphones I had on hand: the
Sennheiser HD650 and the flagship Sennheiser
HD800.
HiFiMAN HE-5LE vs. Sennheiser HD 650
($600)
The Sennheiser HD 650 is roughly $100 less
expensive than the HE-5LE.
The HD 650 is more compact than the
HE-5LE and therefore somewhat more
comfortable, though some listeners might
prefer the HE-5LEs significantly larger
earcups.
The HD 650 is easier to drive than the HE5LE, which suggests to me that it could
potentially be used successfully with a
broader range of amplifiers (though both

headphones require good amplifiers to give
of their best).
The HD 650 is backed by Sennheisers time
proven customer support organization,
which implies that many years from now
spare parts for the HD650 will continue to be
available, should you ever need them. As a
relatively new company, HiFiMANs long-term
customer support capabilities are as
yet unproven.
The HD 650 offers a lively and articulate
sound, and offers decent low frequency
response. Relative the HD-5LE, however, the
HD650 gives the impression of a somewhat
more midrange-forward presentation with
slightly truncated response at the frequency
extremes.
Relative to the HD 650, the HE-5LE offers
superior extension at both high and
low frequency extremes (but especially
noticeable in the bass region), higher
levels of resolution, and a more focused
and coherent presentation overall. If your
headphone amp is up to the task, the fact is
that the HiFiMAN phones offer much greater
performance upside than the HD 650s do.
HiFiMAN HE-5LE vs. Sennheiser HD 800
($1595)
The Sennheiser HD 800 costs a whopping
$896 more than the HE-5LE.
The HD 800 is essentially a hand made
product, and it shows; while apparent build
quality on the HE-5LE is fine, the HD800
more nearly reminds me of a Swiss watch.
The HD 800 is easier to drive than the
previous page
HE-5LE, though again both headphones

require high quality amplifiers for optimal
performance.
The same comments I made earlier about
Sennheisers customer support organization
apply here, too.
The HD 800s are, as you might expect,
a much closer match for the HE-5LEs
than the HD 650s are, and there are some
notable similarities between the two. Both
headphones offer a dynamically expressive
sound with good measure of midrange detail.
In back-to-back listening sessions through
the same amp and using the same musical
selections, however, several important
distinctions became apparent between the
Sennheiser and HiFiMAN phones.
First, the HE-5LE enjoys a subtle but clearcut edge over the HD 800 in terms of upper
midrange/treble clarity and smoothness. By
comparison, the HD 800 sounds rougher and
less well controlled up high, occasionally
imparting a spitty or overtly splashy
quality on sibilant S sounds.
Second, the HiFiMAN sounds more
harmonically coherent and all-of-one-piece
on many instrumentsqualities most easily
heard on female voices, plucked guitars,
bowed violins, and the like. In contrast, there
seem to be very small yet audible textural
discontinuities that keep the HD 800s from
snapping into sharp focus the way the HE5LE does.
Third, the HE-5LE offers slightly better low
frequency extension and drive than the
HD800, though both are markedly better than
most competing headphones in this respect.
www.avguide.com
TABLE OF CONTENTS
NEXT page

Although the comparison is a close one,
I would say the HE-5LE is the stronger
performer overall, which is impressive when
you consider how good the HD 800 is to
begin with (many listeners rightly regard the
Sennheisers as a benchmark product).
ANCILLARY EQUIPMENT
HiFiMANs tube-powered EF5 headphone
amplifier ($399) was used throughout these
tests, in part because HiFiMAN recommends
the EF5 as suitable for powering the admittedly
difficult-to-drive HE-5LE. However, my
practical experience was that the EF5 (which
will be the subject of a later Playback review)
also gave good results with a variety of other
headphones, including the Shure SRH840s,
the Beyerdynamic DT-990s, and Sennheisers
HD 650s and HD 800s.
Source components included a Musical
Fidelity kW SACD player and A5 CD player,
plus a Nottingham Analogue Systems Space
294 turntable/Ace-Space 294 tonearm fitted
with a Shelter 901 MkII phono cartridge and
fed through a Fosgate Signature phono stage.
I would encourage HiFiMAN either to consider

changing headband dimensions, or to provide
a thicker headband pad.
The HE-5LE ships in a padded presentation
case with detachable signal cables with
OFC conductors and a 4-pin balanced XLR
connector, plus an XLR-to-phone jack adapter
cable.
BOTTOM LINE
HiFiMANs HE-5LE is one of the most
technically innovative and best-sounding
headphones on the market today. It demands
a high-powered, high-quality headphone
amplifier to sound its best, but if you can meet
that basic requirement you will be in for a
sonic treat. At $699, the HE-5LE can and does
stand tall in comparison to competitors twice
its price, making it one of the best high-end
headphones values weve yet found.
The HE-5LE is generally comfortable, though
it is a relatively large and moderately heavy
headphone, which may be a problem for some.
The earcups are well padded and comfortable.
One small problem I noted, however, is that
the earcups tend to ride quite low relative to
the top of the headband. Thus, even with the
earcups raised as high as they could possibly
go, I found the headband only just barely
contacted the top of my head. For this reason,
previous page
www.avguide.com
NEXT page
NEXT page

HiFiMAN HE-6 Planar

Magnetic Headphones
Chris Martens
everal months ago Playback

reviewed HiFiMANs superb HE-5LE
Planar Magnetic Headphone ($699),
concluding that not only could it hold its
own versus competitors roughly twice
its price, but that it could also in some
respects surpass them. Obviously this
meant the HE-5LE was a bargain, a product
with performance so good you might think
it would be pointless for HiFiMAN to try
and improve upon its design. But happily
for us, the folks at HiFiMAN arent ones to
rest upon their laurels, which is why theyve
just introduced an even more impressive
flagship, called the HE-6 ($1199).
HiFiMAN is a Chinese firm headed
by Fang Bian, who is passionate about
high-end headphone and headphone
accessories. His company offers a growing
range of performance-oriented full-size and
in-ear headphones, a series of headphone
amplifiers, several high-end personal
digital music players that can handle
overview
you want a headphone that offers five
powerful benefits: ultra wide-range
frequency response, accurate tonal
balance, blindingly fast transient speeds,
extraordinary resolution of low-level
sonic details, and serious dynamic clout
(provided, of course, that youve brought
a good enough headphone amp to the
party). Let me put it this way; even if youre
familiar with the sound of great, five- or
even six-figure loudspeakers, theres a
good chance the HE-6 will unveil elements
of familiar recordings that youve never
heard before. Its that good. Once you
get used to these phones, you may have
the unnerving sense that almost all other
headphones are guilty of leaving valuable
musical information on the table.
Look elsewhere if:

you favor light, compact, and relatively
easy-to-drive headphones. The HE-6
is comfortable, but also large and quite
heavy (about 100 grams heavier than the
already hefty HE-5LE). Also look further
if you require a headphone that offers
good isolation from external noises; the
HE-6 is an open-back design that lets
room noises through, and that can faintly
be heard from the outside when it is
playing. Finally, look further if youre not
prepared to spring for a high-powered,
high-resolution headphone amp. If
youre committed to using low-powered
headphone amps, be aware that there are
other good headphones that are much
easier to drive.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Ratings
specs/pricing
tonal balance

frequency extremes

clarity

dynamics (note: performance in this area
HiFiMAN HE-6 Planar Magnetic

Headphones
Accessories: as above
Frequency response: 8Hz 65kHz
Weight: 502 grams (without cables)
Sensitivity: 83.5 dB (1 mW input)
Impedance: 50 ohms
Price: $1199
is highly amplifier dependent)

comfort/fit

sensitivity

value (though certainly not cheap, the HE-6
HiFiMAN/HEAD DIRECT
(347) 475-76733
www.hifiman.us
www.head-direct.com
is priced below mostthough not all

of its legitimate competitors)
10
high-res digital music files, and a range of

specialty headphone accessories (e.g., high
performance signal cables, adapters, etc.). In
the U.S., HiFiMAN products are sold through
a related distribution company called Head
Direct (www.head-direct.com).
Readers will surely ask how the HE-6 is
different from and/or better than the HE-5LE,
and Fang Bian provides several answers.
First, the HE-6 is an entirely hand-made
product built with the utmost attention to
detail. Second, the HE-6 features an incredibly
light and thin diaphragm whose conductive
surfaces are made of gold. The HE-6 also
uses a very different magnet assembly than the
HE-5LE, as Ill explain below.
previous page
Early-generation HE-6 prototypes sounded

great, but were so inefficient that they required
full-size audio amplifiers as would normally be
used to power loudspeakers. Fang Bian and
his team realized customers might not accept
such a constraint, so they felt it necessary
to improve the HE-6s efficiency to a point
where the headphone could be driven by
conventional headphone amplifiers (albeit
powerful ones). The achieve this objective,
the HiFiMAN team has given the production
version of the HE-6 what Fang Bian terms a
super efficient magnetic circuit. Putting all
these factors together we have a new flagship
headphone that, while admittedly difficult to
drive, offers even wider frequency response,
higher resolution, and lower distortion than the
already excellent HE-5LE.
www.avguide.com
TABLE OF CONTENTS
NEXT page

About Orthodynamic
Technology
The vast majority of full-size, highend headphones on the market
use traditional piston-type dynamic
drivers, but the HiFiMAN HE-6 is
different in that it is a so-called
orthodynamic headphone that uses
planar magnetic drivers, which are
conceptually similar to the drivers
used in Magnepans award-winning
Magneplanar loudspeakers. In my
earlier review of the HiFiMAN HE5LE, which is also a planar magnetic
design, I provided the following
nutshell description of orthodynamic
driver technology:
In an orthodynamic driver, the
diaphragm is a thin, light membrane
whose entire surface is covered
with a conductive coating whose
conductors are arranged in a
specific pattern. The conductive driver
membrane is in turn suspended near
an array of magnets arranged so that,
when an audio signal is fed to the
driver, the entire diaphragm surface
is alternately pulled toward or pushed
away from the magnet array. In theory,
the benefits of this approach are
twofold. First, the diaphragm can be
very light and responsive (lighter than
the voice coil/diaphragm assembly of
a traditional dynamic driver). Second,
driving forces act over the entire
working surface of the diaphragm,
potentially offering more precise
control with greater freedom from

unintended resonance or vibration.
In my HE-5LE review I also pointed
out two possible drawbacks to
orthodynamic designs: namely,
relatively high construction costs and
low efficiency (or low sensitivity). Let
me elaborate on both these points.
If you ever have a chance to see
an orthodynamic driver taken apart,
youll discover (as I mentioned above)
that the thin driver diaphragms feature
fine-pitch conductive traces arranged
in specific patterns; during assembly,
the diaphragms must be very precisely
aligned vis--vis the drivers magnet
arrays. Getting the alignment spot-on
typically requires specialized assembly
tooling plus extra quality control steps
to ensure that tight tolerances are
maintained. While precision tooling
and extra assembly work add costs,
you may findas I havethat the
sonic benefits of good orthodynamic
designs more than outweigh whatever
extra manufacturing costs may be
entailed.
The second point, relative
inefficiency, is potentially a more
serious concern. Orthodynamic
phones tend, as a general rule, to be
low in sensitivity. The power hungry
HE-5LE, for example, carried a lowish sensitivity rating of 87.5 dB (1
mW input)a sensitivity rating much
lower than ratings for typical top-tier
headphones that use conventional
dynamic drivers. The HE-6, in turn,

quotes an even lower sensitivity rating
of 83.5 dB (1 mW/input), despite the
fact that it is equipped with a super
efficient magnetic circuit, which
means its not an easy headphone to
drive.
In practical terms, there are several
things prospective HE-6 owners need
to understand. First, the HE-6 cannot
be driven directly from an iPod,
iPhone or any other low-powered
digital device. As New Yorkers might
say, fuhgeddaboutit. Second, while
the HE-6 can be a phenomenally
good-sounding headphone, it
absolutely requires an adequately
powerful, high-resolution headphone
amp to give of its best. Lesser amps
can, of course, get the HE-6 to
produce sound, but the fact is that
they cannot and typically do not reveal
the terrific sonic subtlety and nuance
of which the HE-6 is capable.
But know this: once you invest in
an appropriately good headphone
amp (or full-size audio amp), the
HE-6 will deliver heightened levels
of performance that are well and
truly breathtaking. In fact, the HE-6
stretches the sonic performance
envelope even further than the HE5LE does, which is saying a mouthful.
In the process the HE-6 establishes
itself as one of the finest headphones
now available at any price.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

SONIC CHARACTER
just-right amplifier match.

The HE-6 offers exceptionally wide-range
frequency response, meaning that it never sounds
as if it is working hard to reach the highest or lowest
frequency extremes. HiFiMANs HE-5LE was already
very good in this respect, but the HE-6 is even
better. Youll appreciate this difference especially
when listening to the HE-6 navigate the very highest
overtones of treble instruments (percussion, strings,
etc.), as it makes even the subtlest distinctions
between overtone signatures plain as day.
Down at the other end of the frequency spectrum,
the HE-6 offers a terrific combination of low
frequency extension, pitch definition, and dynamic
clout, though the latter quality is, for obvious reasons,
somewhat amplifier-dependent. Synth basses,
pipe organs, concert bass drums and the like are,
quite simply, childs play for this headphone. In
the bottom octave and a half, the HE-6s bass is a
touch more powerful than that of the HE-5LE, but
more importantly its bass transient speed and pitch
definition are better, tooqualities youll soon notice
if you listen to good recordings highlighting either
acoustic or electric bass. From time to time Ive
heard some audio pundits complain that headphones
cant do real bass the way that great loudspeakers
do, but the HE-6 emphatically can, reproducing low
frequencies with better power, precision and control
than all but the most capable (and costly) full-size
loudspeakers.
What differentiates the HE-6 from the HE-5LE is
the sheer ease and suppleness with which it probes
the top and bottom octaves of the audible spectrum,
although this might seem like we are splitting hairs,
since we are basically talking about the difference
between an excellent headphone and one that goes
even further up the performance ladder.
At the outset, let me say that the HE-6 basically

builds upon the strengths of the already very good
HE-5LE. Specifically, the HE-6 offers improved
extension and definition at both frequency extremes
and conveys a significantly greater sense of topto-bottom clarity and coherencyalmost as if you
are listening to an HE-5LE whose power, focus, and
resolution have been dialed up to 12.
Tonal balance between the two HiFiMAN models
is similar, but not identical, with the HE-6 offering
slightly more prominent low bass, and somewhat
more forward-sounding upper mids and highs
differences that many listeners (and I am one of them)
interpret as giving the HE-6s a greater sense of
transparency and openness. Other listeners, however,
sometimes find the HE-6 sounds almost too revealing
for its own good. Those listeners will typically
acknowledge the new flagships sharply focused and
finely resolved sound, but then gravitate back toward
the HE-5LEs warmer, more midrange-centric and
admittedly more forgiving presentation.
It is important to understand that the HE-6 is very
sensitive to the amplifiers with which it is used.
Thus, it can sound slightly bright or analytical with
some, yet sound smooth and perfectly well balanced
with others. The gist of things is that the HE-6 is, by
design, capable of lightning-fast transient speeds
and extended frequency response. But the price of
this speed and extension can beat least with some
amplifiersa subtle tendency to overemphasize
sibilant S sounds or the leading edges of treble
transients. With other amps, however, these problems
melt away, so that the HE-6 simply sounds clear and
transparent, yet free of even vestigial traces of treble
edginess or glare. The point is that this headphone
will richly reward the time and effort it takes to find a
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Coherency was one of the HE-5LEs
strengths, and it is a strength even more fully
realized in the HE-6. There is an all-around
evenness and self-consistency about the HE6s top-to-bottom presentation that is a real
joy to hear. The HE-6 never gives preferential
treatment to one frequency band over another;
instead, the HE-6 isacross the entire audio
spectrumone of those rare transducers of
which you could truthfully say, Hey, its all
good.
Perhaps the one area where the HE-6
most clearly distances itself from the HE-5LE
involves resolution of low-level details. While
the HE-5LE was and is a very high-resolution
headphone, the HE-6 takes resolving power to
a whole new level. Interestingly, though, this
is a difference that impresses some listeners
favorably (Im one of them), but that leaves
others a bit cold. Heres why.
With the HE-6, it is almost a given that the
headphone will consistently show you things
about recordingseven familiar recordings
that you didnt know beforehand. On one level,
this can be quite exhilaratingkind of like
finding a wealth of sonic treasures hidden in
plan sight. In fact, once you get acclimated to
the HE-6s, it can be almost painful to switch
back to most other headphones because you
realize that the finest levels of detail, which the
HE-6s capture so effortlessly, have suddenly
gone missing (at least in part).
But others listeners sometimes react
differently to the HE-6s heightened powers of
information retrieval, perhaps because not all
of the new information that the HE-6s convey
will necessarily be pleasing (although I find that
more often than not the additional information

is a good thing). Nevertheless, some listeners
hear the HE-6 and acknowledge the things it
does well, but then immediately gravitate back
toward the slightly warmer, more comfortable,
and more forgiving sound of the HE-5LE (or
of other competing high-end headphones). My
point is that the HE-6s ultra high-resolution
sound can be a double-edged sword, at least
for some. However, if you love to wring the last
few drops of nuance and subtlety from your
favorite recordings, the HE-6 will give you what
you seek and more.
Ive found that an interesting side effect of
the HE-6s superior resolving power is the
sense that this headphone makes it easier and
more relaxing to do critical listening. I believe
this is because the HE-6 makes it incredibly
easy to see and hear how the inner workings
of pieces of music fit together. There is none
of that sense that one is almost but not quite
catching the critical details as the music flows
past, almost too fast to comprehend. Instead,
with the HE-6 in play, everything is made
explicit, clear, and easy to graspalmost as
though time has slowed down, so that you are
able to grasp the subtle, intellectual or inner
game aspects of music even as you allow
their emotional effects wash over and through
you. For me, this has become one of the
greatest joys of listening through the HE-6s.
The HE-6 invites direct comparison with
best headphones you can find, regardless of
price or technologyincluding electrostatic
headphones.
Vis--vis electrostats, I do think the HE6s offer two compelling advantages. First,
the HiFiMAN phones handle large scale

dynamic swells without any apparent sense of
compression or of running out of steam
shortcomings Ive observed from time to time
with some electrostatic designs. Second,
the HE-6s can be powered by conventional
headphone amps, whereas electrostats seem
to work best when used with exotic, purposebuilt, high-voltage tube amps that tend to cost
a small fortune.
Dollar for dollar, few high-end headphones
previous page
offer more performance than the HE-6s do.
MUSICAL EXAMPLES
Ive spoken, above, about the HE-6s superior
bass extension and pitch definition, and of
their terrific transparency and finesse. To
experience all of these qualities in play within
one gorgeous track, listen to the Jim Brock
Ensemble perform O Vazio from Reference
Recordings Jazz Kaleidoscope [HDCD]. The
track opens with a variety of percussion
www.avguide.com
TABLE OF CONTENTS
NEXT page

sounds produced by various sizes of gongs,
chimes and drums--some high-pitched and
quite delicate, others low-pitched and capable
of abrupt, sharp-edged transient attacks.
Finally, as the track unfolds, an enormous, ultra
low-pitched drum is struck, filling the whole
soundstage with deep, shuddering columns of
air.
The HE-6s navigate this demanding material
with surprising ease and grace, making the
chimes and higher-pitched gongs jump and
shimmer with the wonderfully realistic sound
of metallic instruments being struck and
left to resonate in open space, while also
capturing the depth, power, and weight of
the low frequency instruments. In particular,
the HE-6s captured the fast-rising pressure
waves of the bass percussion instruments, so
that I could actually feel the pressure gradient
change within and around my ears. Few other
headphones can reproduce bass pressure
waves as realistically as the HE-6s do.
There are also qualities of effortless
suppleness and fluidity in the HE-6s
presentationqualities I associate with the
sheer transient speed of the headphones
orthodynamic drivers. To appreciate what
I mean, lets look at the track Nothin To
Do Blues as recorded by the Mike Garson
Quartet [again from Jazz Kaleidoscope]. The
track opens with a bouncy, syncopated piano
line played by Garsona line that is quickly
taken up by master bassist Brian Bromberg,
who keeps pace with Garson note-for-note. In
the background, you can hear percussionist
Billy Mintz softly keeping time, gently working
his brushes on the surface of his snare drum.
Even further in the background you can hear

fellow band members start to groove on the
lines Garson and Bromberg are crafting, urging
the players onward with murmured words
of appreciation and encouragement. As the
song develops, Garson shifts gears to take
an extended solo where the entire tone and
tenor of his piano is transformed, taking on a
faster paced, smoother and more exploratory
quality, almost like the sound of water rushing
over the twists and turns of a stream bed.
Later, Garson pulls back to give Bromberg a
turn and Bromberg responds with a brilliantly
agile, angular bass solo that probes the upper
registers of the instrument.
At moments like these in great jazz
recordings, where creative energy is on the
boil, some headphones try but fail to keep
pace with the musicians and the sheer,
delicious complexity of the sounds they are
producing. But things are different with the
HE-6s in play. Because they have ample
reserves of transient speed and timbral control
to draw upon, they are able to track with the
music, measure-for-measure, note-for-note,
and nuance-for-nuance. In other words, the
HE-6s never sound as if they are trying to play
catch up with the music; instead, they stay in
sync with the song, every step of the way.
Finally, lets look at a fine classical music
recording for a great example of two more of
the HE-6s most musically satisfying qualities;
namely, its timbral purity and remarkable
ability to convey the acoustics of the recording
venue. The recording Ill cite here features
cellist Bion Tsang and pianist Anton Wel
performing Brahms Four Hungarian Dances
for Violoncello and Piano, Live in Concert

[Artek, CD], as recorded at New England
Conservatorys Jordan Hall in Boston.
Right from the opening measures of
the Hungarian Dances you can hear in an
instant that the cello and piano are being
played on an open stage in a concert hall,
and with an audience presence. The HE6s deftly reproduce the resonances of the
instruments voices reflecting off the stage
surface, the reverb characteristics of the hall,
andbetween the four dancesthe subtle
sounds of both the performers and of audience
members shifting in their seats. These are the
kinds of low-level sonic details that all top-tier
headphones can handle well to some degree,
but that few can pull off with such enchanting
realism.
But the best part comes when the HiFiMAN
phones reveal the blinding virtuosity of
Tsangs cello performance and the wonderfully
controlled, perfectly paced lyricism of Wels
piano work. The HE-6s give you an amazingly
up close, personal, and believable view of the
performance, so that you can almost sense
the intensity of Tsangs concentration during
the more challenging cello passages, or the
way the players listen intently to each other
and then make minor adjustments in pace
and timing so as to stay exactly in sync with
one another. Through the HE-6s you arent
just listening to music (as in hearing the
general shape and flow of the notes); rather,
youre allowed to go deeper and to hear the
performancecomplete with all of the deep
back-and-forth communication that word
implies.
previous page
To give readers some idea of where the HE-6
fits within the broader price/performance
spectrum, I compare it below to three
competing modes at or near its price: the
HiFiMAN HE-5LE, the Audeze LCD-2, and the
Sennheiser HD800.
HiFiMAN HE-6 vs. HiFiMAN HE-5LE ($699)
The HE-5LE is $500 less expensive than the
HE-6.
The HE-5LE weighs about 100 grams (or
roughly 20%) less than the HE-6.
The HE-5LE is 4 dB more sensitive than the
HE-6, which is a significant difference.
The HE-6 comes with much a higherquality signal cable harness than the HE5LE does. Moreover, the HE-6s signal
cable harness comes with two different
sets of terminationsone configured
with a phone jack plug, and the other
configured with left/right set of banana plug
connectors so that the headphone can be
plugged straight into a conventional power
amplifier of the type normally used to drive
loudspeakers. But dont feel pressured to
connect the HE-6 to a big, beefy power amp;
the fact is that a good, powerful conventional
headphone amplifier will drive the HE-6 quite
adequately.
There is a strong, family resemblance
between the sound of the HE-6 and the
HE-5LE. That said, however, I think most
listeners would say the HE-6 offers more
powerful and deeply extended bass, more
fully fleshed-out upper mids, and more
extended, forward-sounding highs.
www.avguide.com
TABLE OF CONTENTS
NEXT page

While both headphones offer lots of resolution relative
to like-priced competitors, the HE-6 ultimately takes
resolution, transient speed, and overall definition to a
higher level. The bottom line is that the HE-6 is noticeably
more revealing, while the HE-5LE offers a slightly more
forgiving and thus, for some, a more comfortable sound.
HiFiMAN HE-6 vs. Audeze LCD-2 ($945)
The Audeze LCD-2, also a planar magnetic design, is
$254 less expensive than the HE-6.
The LCD-2 is one of the HE-6s strongest competitors for
three reasons: first, it offers higher apparent build quality
and better overall fit and finish; second, it offers levels
of resolution close if not equal to those of the HE-6, and
third, it is significantly easier to drive than the HE-6. The
Audeze also comes in a lovely rosewood presentation
case, which is an appealing detail touch.
The earcups of the LCD-2 are extremely large (larger, in
fact, than the earcups for the HE-6). Nevertheless, the
LCD-2 offers noticeably better ergonomics than the HE6, meaning that it is more comfortable to wear for longer
periods of time.
The sonic differences between the HE-6 and the
Audeze LCD-2 might best be described by way of an
analogy comparing them to two of the worlds greatest
electrostatic loudspeakers; namely, the MartinLogan CLX
and the Quad ESL 2905.
The HE-6, like the MartinLogan CLX, offers an almost
hyper-revealing sound that is extremely tightly focused
and capable of teasing even the smallest of fine details
out of the music. Also like the CLX, the HE-6 can strike
some listeners as sounding a bit bright, at least on some
recordings. Unlike the CLX, however, the HE-6 produces
powerful, punchy and very deeply extended bass.
The Audeze LCD-2, on the other hand, produces a
wonderfully natural and organic sound, as does the
Quad ESL 2905. While the LCD-2 may not achieve the
previous page
ultra-revealing, super-focused sound that is the HE-6s

hallmark, it nevertheless produces a very richly detailed
sound, and one that is consistently accessible and
comfortable to listen to for hours on end.
W
hich of these two great headphones you might prefer
will have much to do with what you are looking to take
away from the listening experience.
HiFiMAN HE-6 vs. Sennheiser HD 800 ($1595)
T
he Sennheiser HD 00 costs $396 more than the HE-6.
B
oth the HE-6 and HD 800 are hand made products, but I
would say the apparent build quality of the HD800 is a bit
nicerreminiscent in some respects of a fine Swiss watch.
T
he HD800 is far easier to drive than the HE-6, though
both headphones require high quality amplifiers for
optimal performance. Even so, the more sensitive
Sennheiser will arguably work well with a broader range of
amps than will the very low-sensitivity HE-6.
T
he HD 800 is backed by Sennheisers time proven
customer support organization, which implies that many
years from now spare parts for the HD800 will continue to
be available, should you ever need them. As a relatively
new company, HiFiMANs long-term customer support
capabilities are as yet unproven.
S
onic differences: First, the HE-6 enjoys a decisive and
clear-cut edge over the HD 800 in terms of top-to-bottom
resolution, detail, focus, and freedom from grain. By
comparison, the HD 800 sounds rougher and less well
controlled up high, occasionally imparting a spitty or
overtly splashy quality on sibilant S sounds.
S
econd, the HE-6 sounds more harmonically coherent
and all-of-one-piece on both human and instrumental
voices. Good though the HD800 is, it occasionally exhibits
very small yet audible textural discontinuities that keep it
from achieving the finely focused, hyper-revealing sound
that defines the HE-6.
T
hird, the HE-6 offers noticeably better low frequency
www.avguide.com
TABLE OF CONTENTS
NEXT page

extension and pitch definition than the
HD800, although both are markedly better
than most competing headphones in this
respect.
Although the HD 800 is arguably one of
the finest dynamic driver headphones on
the market (many consider it a benchmark
product), the HE-6 offers significantly greater
performance upside, provided that you
drive the HE-6 with an adequately powerful
amplifier.
With lower-powered amplifiers, however,
the situation is reversed. The HD 800s can
sing even when driven by smaller amps,
where the HE-6s cannot.
ANCILLARY EQUIPMENT
For my listening tests I used several amplifiers
with the HE-6, including:
A tube-powered HiFiMan EF5 headphone
amplifier ($399),
A solid-state Burson Audio HA-160
headphone amplifier ($695),
A hybrid tube/solid-state Peachtree Audio
iDecco integrated amplifier/DAC ($999), and
A solid-state/class D Wadia 151 PowerDAC
Mini integrated amplifier ($1595).
All four amplifiers offered sufficient power
to drive the HE-6 to satisfying volume levels,
but each amp exhibited its own, distinct sonic
signature (signature that the HE-6 of course
revealed in great detail). On the whole, I felt
the Burson and Peachtree amps yielded the
best overall combinations of clarity, resolution,
smoothness, and neutral tonal balance, but
prospective HE-6 owners will no doubt want to
conduct their own listening experiments and to

form their own conclusions.
HiFiMANs Fang Bian also passed along
several potentially helpful amplifier-matching
tips. First, he suggests that tube amp users
may want to try various tube substitution
options, since the HE-6 can and does show
even minute differences between tube types,
where some tubes will give more pleasing
results than others. Second, he advises that
HiFiMAN is now in the process of developing
its new EF6 headphone amplifier, which is
a class A, single-ended design specifically
intended for use with the HE-6. Third, he
encourages HE-6 owners to consider using a
full-size audio amplifier (perhaps something in
the 50-100 Wpc range), since the HE-6 often
responds well to full-size amps (I got excellent
results, for example, when powering the HE-6
with Peachtrees iDecco integrated amp).
Source components used in my listening
tests included:
A hybrid tube/solid-state Musical Fidelity kW
SACD player,
A solid-state Musical Fidelity A5 CD player,
and
An Apple Mac Mini loaded with lossless files
and feeding the USB DAC inputs of both
the Peachtree Audio iDecco and Wadia 151
PowerDAC Mini.
that the earcups tend to ride quite low relative

to the top of the headband. Thus, even with
the earcups raised as high as possible, the
headband only just barely contacted the
top of my head. For this reason, I would
encourage HiFiMAN either to consider
changing headband dimensions, or to provide
a wider and thicker headband pad (a change
that HiFiMANs Fang Bian told me he might
consider offering in the form of an extra-cost,
snap-on auxiliary headband pad).
The HE-6 ships in a padded presentation
case. Included in the case is a detachable
signal-cable harness featuring very highquality signal wires in a braided configuration,
terminated with a 4-pin balanced XLR
connector. The HE-6 also comes with two
adapter cables: an XLR-to-phone jack cable
and an XLR-to-dual-banana-jack cable.
BOTTOM LINE:
HiFiMANs new HE-6 is a world-class
headphone that, though certainly not cheap,
is reasonably priced for the quality on offer.
Enthusiasts seeking the very best of the best
would be wise to include this headphone on
their must audition lists.
The one caveat with this design, however,
is that the HE-6 is not easy to drive so that a
high-powered, high-resolution amp is a must
for those hoping to optimize this headphones
performance.
The HE-6 is generally comfortable, though

it is a relatively large and heavy (502 grams)
headphone, which some may find problematic.
The earcups are well padded and comfortable.
However, one problem I noted with the HE-6
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

Sennheiser HD 800
Tom Martin
ennheiser is a bit like its German compatriots BMW and MercedesBenz. Sennheiser doesnt produce the largest number of
headphones or the most exotic designs, but the headphones it
makes consistently start with a strong engineering foundation. When such
a company ventures into the top level of headphone pricing (in this case
$1399), it draws attention.
Sennheisers attack on the best headphones possible category is called
the HD 800. That bland nomenclature belies the effort Sennheiser has put
into the design of the HD 800. This isnt just a slightly better HD 650 (their
previous top of the line and a reference for many reviewers). No, the HD 800
is a new concept of how a headphone should work.
With the HD 800, Sennheiser reexamined the way it makes headphones. The
first fundamental change was shifting to a much larger driver in each earcup.
A larger driver makes it possible to deliver low bass with less distortion. But
Sennheisers design is aimed at reducing distortion across the frequency
spectrum, quoted as 14 Hz 44.1kHz (-3dB) or 6hz 51khz (-10dB).
The second major innovation is the orientation of the drivers vis--vis your
ears. Since your ears detect the sense of space through timing differences
as sound waves strike your ear from the front, Sennheiser has angled the
HD 800 drivers to enhance the sense of space that the headphones provide.
Sennheiser has also paid attention to comfort by using special ear pad
materials and by employing new light but very hard plastics. All in all this is
an aggressive attempt to deliver the best.
SONIC CHARACTER
Im sure Sennheiser worked overtime to try to remove sonic character (as
in, discernible colorations) from the HD 800s. As a result, it took me a while
to get a handle on what they do. For example, at first I thought they were
simply on the light side in terms of bass balance (which they are, slightly).
overview
you like a smooth, neutral sound
that is clear but not aggressive.
These will be a good choice if you
have previously owned high-end
Sennheisers and like them but
wish for more extension at the
frequency extremes.
Look elsewhere if:
you prefer a vivid sound with
either rich bass or the ultimate in
transparency.
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

But more listening revealed excellent deep
bass and enough warmth to not feel deprived.
Similarly, high frequencies are there in proper
balance to the midrange, but you dont initially
get the sense of being directly coupled to the
microphones that you do with some other
top-of-the-line phones. When headphones
get frequency balance right, it can take a few
weeks to fully appreciate the benefits. Over
time, you realize the love/hate frequency
anomalies of some headphones are just that,
whereas the HD 800 simply doesnt have many
anomalies. This is high praise indeed.
While the HD 800s have a generally neutral
frequency balance, they are also clear in the
sense that they offer truly low distortion, rather

than sound that is tweaked to fake your ear
into thinking it is hearing true clarity. So were
talking about excellence, here, though there
are variations on excellence. Even so, some
people will love the HD 800s, while others may
be left unmoved by their sonic character, for
reason try to explain.
The bass of the HD 800s is slightly soft. You
dont hear the air of plucked bass or the punch
of kick drum to the degree that you would
with live music. I can imagine certain listeners
wanting a little more bass to make up for the
inevitable lack of the visceral impact you get
with live music but cant get with headphones.
Ratings
specs/pricing
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

0
Sennheiser HD 800
adapter, Satin-lined storage box
Frequency Response: 14 Hz - 44.1kHz
Weight: 330 grams
Sensitivity: 102dB
Impedance: 300 ohms
Price: $1399.95
Sennheiser USA
(860) 434-9190
sennheiser.com
10
I would say that the HD 800s are more

natural-sound and less analytical than some
top phones. This is a good thing, especially
when combined with the excellent treble
performance on offer here, which exhibits
only very small errors. The HD 800s seem to
have a small dip in the upper midrange which
makes them seem slightly soft, dynamically
s[ealer. The treble is extended, and is smoother
than on many headphones. Id say the treble
of the HD 800s is very slightly warmer than is
perfectly neutral. Despite that, on occasion,
vocals can sound slightly sharp rather than
completely pure (this may be the HD 800
revealing decoding errors, though I believe
something else is going on as well).
Each instrument seems more diffuse than
it can with other headphones and many
speakers, which I would guess is due to the
spatial engineering of the HD 800. In any
event, the slightly more diffuse sound on
previous page
offer will be attractive to some listeners and

may amerliorate some of the inevitable high
frequency imperfections in recordings.
This brings us to the question of whether the
HD 800s spatial engineering helps with the
sense of soundstaging that is often a problem
with headphones (a Sennheiser claim). In a
word, Id say no. The performers dont seem
to be on stage in front of you much more than
with traditional headphones or earbuds. And
with a standard amplifier, you still lack the
crossfeed of left sounds into your right ear (and
vice versa) that is part of normal listening.
Dont get me wrong; the HD 800s are no
worse in this area than other phones. In fact I
think they offer significantly more of the sense
that instruments are being played in real space
than other headphones do, and that is an
important advantage. But with the HD 800s
those instruments in real space are positioned
to your left and right. In short, the HD 800
www.avguide.com
TABLE OF CONTENTS
NEXT page

soundstage is not truly comparable to listening
to live music or even to good loudspeakers,
where you would typically hear performers
positioned in front of you on a stage.
All of this may seem like damning with faint
praise, which isnt really what I intend. My
remarks above are meant to explain subtle
aspects of the HD 800s character and need
to be viewed in the context of the general
neutrality these headphones offer. Most
headphones are pretty obviously flawed, if
were honest. With the HD 800, Sennheiser
has gone a long way toward reducing those
flaws, which makes this a very special pair
of headphones. This also means that a
description of the character of headphones
as good as the HD 800 is likely to make small
flaws seem bigger than they really are.
Because the flaws in the HD 800 are in
fact quite small, my colleague Alan Sircom
was enthralled with the HD 800s when he
reviewed them in our sister magazine Hi-Fi+
from the UK. He compared them with $25,000
loudspeakers to give you a sense of how much
he loved them.
Im more in the camp that likes, but doesnt
love, the HD 800. I believe that has less to do
with outright flaws in the HD 800, and much
to do with what I want a headphone to do. I
want a headphone to provide an alternative
listening experience. I want to hear things
on recordings that I dont hear as well via
speakers. This partially comes from my sense
that headphones just cant do the virtual reality
thing that traditional speaker-based audio can.
At the same time, I need a certain vividness in
my headphone listening that makes up for the
things headphones inevitably take away.

From some perspectives this vividness might
be considered a coloration. Maybe. But the
declaration of coloration refers to reasonable
though arbitrary notions of correct. All I
know is this: live music is vivid. The HD 800s,
at least with the amps I used initially (primarily
the Luxman P200 and PS Audio GCHA), are
not vivid, which is what keeps me on the like
side of the line. I have since tried HD 800s with
the prototype Woo Audio WA 22 amp (which
is tube rather than solid state apm that has
variable output impedance). The WA 22 takes
the sense of vividness up a notch, mostly by
making the midrange contrast level higher,
while introducing minimal if any deleterioius
side effects. The mostly subtractive errors
noted above are still there, but they are
diminished in the overall presentation. This
gets me to the level of really, really liking the
HD 800s. The HD 800s are so good that I
could easily live with them over the long haul.
MUSICAL EXAMPLE
Cheek to Cheek, the opening track on Eva
Cassidys fantastic Live at Blues Alley [Blix
Street], tells you a lot about the HD 800s.
First off, all the instruments from string bass
to cymbals are well represented and in
appropriate balance (a lot of headphones fail
this test). Second, Evas voice via amplification
has a very slight shrillness to it, which the
HD 800s faithfully reproduce. Thats good in
this case, because experience with this disc
says that some shrillness is inherent to the
recording. Headphones that soften the edges
of the singers voice too much will typically
previous page
www.avguide.com
NEXT page
NEXT page

sound foggy and drab on most material. But
conversely, phones that sharpen Evas voice
too much and are likely to be unlistenable on
the many bad recordings we get these days.
Happily, the HD 800s find that just right
balance point in the middle.
The other thing Cheek to Cheek shows is
that the HD 800s, with their somewhat diffuse
sound, dont quite nail the rhythm of this track.
When the band kicks in, you hear everything
clearly, yet the drive of the rhythm section
is slightly more reserved than would ideally
be the case. Nonetheless there is a nice air
around the instuments.
previous page
No two heads are alike, so your mileage may
vary. I like circumaural headphones, and within
this genre I thought the Sennheiser HD 800s
were quite comfortable for long periods of
time. The special alcantara material on the
pads is very nice. Clamping pressures are a
little high, but the pads are so big they are well
distributed.
BOTTOM LINE:
A truly excellent headphone, the HD 800 will
appeal to those who want a smooth and balanced
sound with ample but not punishing clarity.
www.avguide.com
NEXT page
NEXT page

Ultrasone
Edition 8
Tom Martin
or those of you unfamiliar with Ultrasone,

they are a German headphone company
(as are Sennheiser and Beyerdynamic,
with AKG hailing from nearby Austria). Founded
in 1991, Ultrasone is focused exclusively
on headphone design and manufacture and
has many patents in this field (whereas the
other Germanic brands also manufacture
microphones among other audio products).
The Edition 8s are Ultrasones top audiophile
model and are priced like it at $1499. They are
sealed back headphones, which makes them
more suitable for noisy environments or offices

where you dont want to disturb others.
In addition to careful attention to design
detail (e.g., Ethiopian sheepskin earpads), the
Edition 8s have a technology called S-Logic
Plus. The idea is similar to the concept that
Sennheiser has employed on the HD 800: place
the drivers so that your outer ear is involved
with the result that you get a sense of space
that is closer to that of live music. If youve read
my HD 800 review, youll know that I found that
the Sennheiser technology does indeed add
overview
you want headphones with very even
frequency balance and excellent tonality,
without making major sacrifices in any other
sonic parameters.
Look elsewhere if:

you want the absolute last word
in transparency and dynamics (and you
might be willing to sacrifice other sonic
parameters to get these two qualities).
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

a sense of space around instruments but that
it doesnt simulate the imaging of speakers or
of live music. Id say the same thing is true
of Ultrasones S-Logic system, though I think
the HD 800s do a bit better job of conveying a
sense of airiness. In any event S-Logic is good
technology backed by (somewhat) inaccurate
marketing claims.
But before you get the impression that I
think S-Logic is a minor thing, I need to tell you
about one other important design goal behind
the technology. Ultrasones Dr. Florian Koenig
has done detailed experiments that were
conducted to find the headphone architecture
(closed, open, centered driver, offset driver,
offset geometry) that most effectively minimizes
perceived frequency response variations
between listeners. It seems that, partly due to
Ratings
different ear shapes, different listeners perceive

headphone frequency response differently. All
other things being equal, a headphone would
be better if there were a smaller variance in
perceived response across listeners. S-Logic
Plus is the latest version of the architecture
that Dr. Koenig found to minimize perceived
response variances.
So, the Edition 8 is an interesting
headphone, but can it compete with top
models from Sennheiser, or for that matter
Denon, Audio Technica and Grado? Lets find
out.
tonal balance

clarity

dynamics

comfort/fit

sensitivity

value

SONIC CHARACTER
Disc after disc, the first impressive aspect of

the Edition 8s is their neutralitytheir ability
to render instruments and ensembles without
Ultrasone Edition 8
extension cord, leather carrying bag
Frequency Response: 6 HZ - 42kHz
Weight: 260 grams
Sensitivity: 96dB (input unspecified)
Impedance: 30 ohms
Price: $1499.00
10
obviously emphasizing (or de-emphasizing)

certain frequencies. This strikes me as one
of the most basic design requirements of
any transducer, but with headphones as with
speakers, it seems that truly neutral tonal
balance is something very hard to achieve.
Most headphones have some range of treble
emphasis, however narrow. The Ultrasones
mostly avoid this problem, though I did
occasionally feel that the upper treble was
slightly stronger than is purely neutral. This is a
masterful achievement.
Bass is a potential strong point of
headphones (because unlike speakers,
headphones face a mostly known acoustic
environment). But you still hear rolled off bass
and bumps or dips from many headphones.
Again, the Edition 8s are almost as neutrally
balanced as I think a headphone should be.
They might be slightly mid-bass heavy, but
previous page
specs/pricing
Ultrasone Inc.
(951) 678 9091
ultrasone.com
as Ive argued in the past, this is a musically

grounded choice.
The Ultrasones bass is not perfect, however.
Drums and bass can be slightly indistinct. In
addition, I didnt get the impression that the
bottom octave was as powerful as on, say,
the Sennheiser HD 800s. These are small
problems, however, and overall the Edition 8s
have very good bass.
Beyond frequency balance, it is important
to think of headphone performance in terms
of some broad overall parameters. The first
of these can be called naturalness, which is
the ability of a headphone to avoid distortions
that call attention to the fact that music is
reproduced rather than live. In this, I rate the
Ultrasones very highlya bit higher than the
Sennheiser HD 800s (which also excel in this
performance parameter).
I also like to consider the vividness of a
www.avguide.com
TABLE OF CONTENTS
NEXT page

headphone, which is ability of the headphone
to make music sound intense and realistically
alive. Again, the Ultrasones are quite good
in this area, though they dont quite reach
the highest rank because they simply dont
seem as purely transparent or dynamic as live
music does. The Denon AH-D5000s, of the
headphones we had for direct comparison,
were a bit more vivid (though there is a price
for their vividnessnamely, somewhat more
colored tonal response).
Finally, the Edition 8s make instruments
sound quite natural, though the Ultrasones
dont sound completely openm as one might
wish. Instrumental separation is very good.
But instruments sound more like they are
being played in a studio than in a live space.
Since this is often the case, the Ultrasones
may mostly be rendering what is on the
recording, but you also sense that overtones
arent as well rendered as the main body of an
instrument. Another way of saying this is that
the Ultrasones can sound slightly over damped,
which I think is preferable to having obvious
ringing distortion. Still, the Sennheisers have
the Ultrasones bested in terms of openness.
MUSICAL EXAMPLES
Forget About It [Alison Krauss & Union Station
Forget About It, Rounder], there is a solo
violin playing during the introduction. The violin
has gorgeous tone and as the dynamic trails off
you can hear it down to a very low level, which
is very good performance. But ideally youd like
to hear even more low-level overtones from the
violinovertones the Editon 8 doesnt present
as clearly as it should. On that same disc, the

song Maybe has a drum thwack early on that
the Edition 8s deliver with startling power. Only
the slightly clouded definition of the drum skins
vibrations keeps the sound from perfection.
On Mary Blacks song Leadboys Lassie,
from By the Time It Gets Dark [Gift Horse],
Marys voice is very clear, as are the
surrounding instruments. The accompanying
acoustic guitar sounds like a complete
guitarstrings and body. If anything, the
body might be over-represented, but this
natural warmth seems just right because it
doesnt call attention to itself. Trying to Get
the Balance Right, also from that disc, has a
piano accompaniment that sounds almost real,
with left and right hand tonal accuracy plus a
pleasing lack of dynamic brittleness.
The most obvious direct competitor to the
Edition 8 would be the Sennheiser HD 800.
In side-by-side comparisons, here are some
key differences I observed between the two
flagship headphones:
The Edition 8s are a little more accurately
balanced in the upper midrange.
The Edition 8s are slightly brighter than the
HD 800s; the difference is small, but I prefer
the Ultrasones.
The Edition 8s have somewhat more midbass than either live music or the slightly
reticent HD 800s; the Edition 8;s bass
balance seems better, though I think taste is a
factor here.
The HD 800s seem to have better deep bass.
The HD 800 balance yields a more mid-range
previous page
www.avguide.com
TABLE OF CONTENTS
NEXT page

focused sound, which some might prefer.

T
he HD 800s are slightly softer sounding;
they are also more forgiving of bad recordings
(a strength of both models, actually).
Instrumental air seems more audible on the
HD 800.
The Edition 8 offer soft ear cups and
moderate clamping forces. The Ultrasones are
comfortable for long periods, helped by their
low weight. They might, however, aggravate
pressure points after very long sessions.
The Edition 8s come with a one-meter
cord and a mini-plug. If youre using them in
previous page
portable mode, thats good; for everyone else

an extension cord is in order. With an extension
cord I didnt like the fact that the plugs would
yank the headphones if they fell off my lap.
I didnt find the Edition 8s to be particularly
amplifier sensitive. I used the Woo Audio WA22
prototype for much of my listening, but the
Luxman P200 gave similarly good results.
BOTTOM LINE:
Ultrasones Edition 8 is a well-balanced
headphone that gets out of the way of the
music. Youll have to look long and hard for
flaws.
www.avguide.com

Comparativa Auriculares

Enviado por

Dados do documento

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Comparativa Auriculares

Enviado por

Direitos autorais:

Formatos disponíveis

Playback

because music matters

Playback Full-Size Headphones Reviews

Playback Noise Cancelling

Models Under $200

2 Playback Guide to Full-Size Headphones

because music matters

NEXTSCREEN, LLC, Inc.

3 Playback Guide to Full-Size Headphones

Searching for great

Recognizing that many listeners want candid, professional

5 Playback Guide to Full-Size Headphones

prize sound quality, but who require headphones with active

s long-term Playback readers know,

First, Three Very Important

go listening, while others do not. Similarly, some

Its important to ask

3. How much performance do you really want?

About Playback Reviews

6 Playback Guide to Full-Size Headphones

Essential Qualities to Look For

Tonal BalanceThe ability to produce

ClarityAccurate reproduction of transient

reverberations heard within recording spaces.

DynamicsThe ability to reveal contrasts

Comfort/FitDoes the headphone

IsolationSome people prefer phones

7 Playback Guide to Full-Size Headphones

like phones that let them hear household

ValueAre you getting your moneys worth?

best performance. Now more than ever we all

Dare to be DemandingDont stop looking

On-ear headphones generally offer:

8 Playback Guide to Full-Size Headphones

their intentionally thin driver diaphragms in

xperienced listeners generally feel that

noise. Whether it is obvious or subtle, noise is

9 Playback Guide to Full-Size Headphones

HiFiMANs open-back HE-6

on the horizon: new headphones headed our way

elow, 14 leading headphone manufacturers

give Playback readers a first look at new

released, or that recently have been. Enjoy.

on the horizon: new headphones headed our way

on the horizon: new headphones headed our way

on the horizon: new headphones headed our way

on the horizon: new headphones headed our way

14 Playback Guide to Full-Size Headphones

on the horizon: new headphones headed our way

15 Playback Guide to Full-Size Headphones

on the horizon: new headphones headed our way

17 Playback Guide to Full-Size Headphones

noise cancelling headphones

ver a year ago Playback published a series of reviews of active

Consider this active noise-cancelling

18 Playback Guide to Full-Size Headphones

noise cancelling headphones

ANC7 in several noteworthy ways. To supply

knock background noise levels way, way

19 Playback Guide to Full-Size Headphones

Accessories: two detachable signal

which Ries and a brilliant cast of musicians

noise cancelling headphones

Earcups provide patented adaptive baffle damping, while drivers