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Expert Earphones and Headphones Reviews

Grado RS1e Audiophile Headphone Review – Who Woodn’t?

Posted on June 15, 2017 by Steve

Grado RS1e Audiophile Headphone Review

Grado needs no introduction; they’ve been producing headphones since 1990 and have stuck to the same design ethic since then, making their headphones one of the most recognisable out there. Of course, there have been changes going on within the headphones themselves, not least with the ‘e’ range which was released a while back.

The Grado RS1e is one of these, with mahogany earcups and a very retro headband which makes us think of radio operators during World War II. Had their headphones sounded this good at that time, would the Allies have still won? It’s a real enigma.

Pros:

Good clear Grado sound
Attractive construction
Good quality extension cable included

Cons:

Cable’s a bit serpentine

Design and Appearance

The headband design is as simple as possible; pins and gimbals allow for size adjustment and that’s all. They say the best designs are the simplest, so this is not meant as a criticism! The quality of the headband and stitching is definitely something which needs to be remarked upon, even just from a retro-appreciation standpoint.

The mahogany earcups carry this theme very well too. They match the headband very well and go against the ‘shiny and new’ look that a lot of headphone makers strive for with their models. The Grado RS1e might have been introduced decades ago; this is testament to the fact that Grado is happy to rely on the tried and tested, rather than push designs that might be gimmicky and fashionable.

Durability and Build Quality

The RS1e is not designed for use anywhere other than at home or work, so we have no problems with its light and relatively barebones quality. The headband assembly won’t take kindly to being sat on though! The cable is a thick PVC coated affair much like the rest of their range; it would be nice to see a change here. It is supplemented by a 450cm Grado extension cable however.

There are no strain reliefs on the cable where it meets the headphones, so just ensure your foot is not on the cable when you stand up.

The wooden earcups are well turned and finished, and together with the leather headband they do look good.

Comfort

The Grado RS1e may look good, but padding is relatively spartan. Given the weight of this model, it’s not an immediate issue but pressure points may announce themselves during longer sessions, on the ears and over the top of the head.

Sound Characteristics

Grado is known for a fairly bright and airy sound from their headphones and the RS1e fits right in. There is bass in good proportion however, and the RS1e appears well balanced without any obvious peaks.

Note: There are reports that the RS1e improves after a certain burn-in period which pays no heed to review deadlines. If possible, this reviewer will return and update these impressions if necessary.

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MORE INFO: Grado GS2000e Audiophile Headphone Review

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Bass

Sub-bass is there but fairly muted; it’s there if we look for it, but it may easily be missed in unfamiliar pieces. Low/Mid bass is more prominent with a nice width; it’s well controlled too and gives an impression of effortlessness, like it’s just pouring into the ears.

It has a well defined form and there are no concerns here; lots of space is left for those higher frequencies for which the Grado name is known.

Mids

The midrange is extremely clear and crisp-sounding which is a two-edged sword. With well produced and more ropey recordings alike, we get everything warts and all. Needle noise and pops on your digitised vinyl collection will be apparent, but older recordings are generally very well rendered.

Vocals may get a bit peaky here and there; particularly female vocals which can reach towards the piercing at times. Also, certain sounds such as bells, resonance on an electric piano or anything like that can cause issues depending on your particular sensitivity to these frequencies.

Treble

Faithful to the Grado sound, treble is fully present and is well balanced with the midrange. There is no obvious trouble between these areas of the frequency response, and so the midrange just seems to continue on up into the treble naturally. It makes for an airy and intricate sound, with plenty of fine details.

Soundstage and Separation

Soundstage is about average for an open-back; the sound seems to be coming from without, but the listener is not surrounded as such. Similarly, imaging and separation does not benefit from the clear midrange harmonics as much as expected, so maybe the wooden earcups are having an effect here, or this particular headphone needs a bit of running in before reaching its potential.

Music genres good for and why

The Grado RS1e is a real toe-tapper with any genre; however if you’re fond of sub bass in your tunes, you may miss this a bit. As mentioned though, it may improve as the headphones receive more use.

Summary

Grado’s RS1e is a graceful and svelte looking piece of kit, and sounds it too. It’s not bass light though, with a good balance between the various frequencies. There is a low bass rolloff so extremely low bass may be attenuated a bit.

Master & Dynamic MW60 Headphone Review – Bluetooth Beauties

Posted on May 12, 2017 by Steve

Master & Dynamic MW60 Bluetooth Headphone Review

Since coming on the scene recently, Master & Dynamic has certainly made an impact with their simple designs and solid build quality. The Master & Dynamic MW60 fits right in then, being as nice to hold as it is to look at. But how nice is it to listen to? Being Bluetooth, the MW60 will be subject to the same limitations and design challenges as its competitors’ offerings, but how have Master & Dynamic coped with these?

Pros:

Stunning looks
Bulletproof build quality
Intuitive controls

Cons:

Bass a little out of place depending on genre
Earpads can be dislodged
Relatively hard to power in passive mode
Non-removable internal battery

Design and Appearance

As mentioned in a previous review*, Master & Dynamic products have some lovely styling and have quite a theme running through their range. They’ve taken design cues from the first half of the 20th century and with the incorporated 21st century Bluetooth technology, we have the best of both worlds. Flash Gordon would have used these headphones.

If I was to mention that the Master & Dynamic MW60 is over engineered, I don’t mean that it’s heavy or clunky. Next to a lot of the competition though, it feels as though a lot has gone into this model in terms of the feel of it. It’s like the interior of a new Jaguar car. Plush upholstery contrasts with distinct metal features, making a strong impression of palatial swankiness.

Durability and Build Quality

It’s worth noting that when even the USB charge cable has a braided fabric covering, the standard is quite high! Similarly, there’s a cable for use with the MW60 when the battery is empty (or we just want to save power) with the same covering.

This reviewer tries to imagine what a year or two’s wear and tear is likely to do, but with the MW60 it’s tempting to imagine these after more like 50 years. The paint on the corners may rub off a bit and the earpads might bit a bit more shiny, but apart from any accidental damage, the build quality of the MW60 makes it easy to see them lasting forever.

Given that there’s a non-removeable battery however, it’s unlikely that the full wireless capability will last this long without servicing.

The earpads are firm and well upholstered; they are kept in place by magnets so care is needed when handling the headphones. They won’t fall off without help though!

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Comfort

The earpads of the Master & Dynamic MW60 are excellent. Firm yet yielding, they give a great seal and there’s no hint of discomfort whilst wearing glasses either. The headband is quite narrow though; whilst it is padded, the padding could have done with being a bit thicker.

Sound Characteristics

The sound of the MW60 is fairly neutral for a wireless model; there’s a bit of a bass bump but not too much. It’s leaner than a majority of similar designs out there but the MW60 not bass light by any means. The overall tuning is warmish, but with enough presence up top to please sparkle junkies too. With the power off and the cable used instead, the Master & Dynamic MW60 is a little bit subdued but just fine if you’re in a low-power pinch. Some handsets may not have the power to get the MW60 to a decent volume level whilst in this passive mode however, especially if listening to classical music or acoustic genres with less dynamic compression than commercially produced tracks.

Bass

There’s plenty of rumble and thump going on here; on certain tracks there can be a bit more presence here than intended though. Double bass gets picked up quite strongly for instance, and kick drums go low with power enough to give a feeling of pressure changes on the ears. With most modern genres this works very well and drives things along very nicely.

Mids

The midrange on the MW60 is clear and maybe a little emphasised here and there; vocals appear quite prominent but there’s no obvious problem with sibilance. Depending on the genre, vocals can sound quite intimate and backing vocals have an impressive width.

Treble

There’s a limit to the amount of detail which is possible through a wireless Bluetooth connection, so there is a bit of graininess here but the MW60 does a good job of it. Cymbals and hi-hats are there alright, and fit in with the rest of the sound but don’t expect a great amount of shimmer or airiness here.

Soundstage and Separation

While there is a nice amount of width on display with bass and midrange frequencies, it’s tempting to think that some of it is due to an internal DSP (digital signal processing) function rather than the design of the headphones themselves. This is borne out by using the cable with the MW60 turned off; there is still a bit of width here but noticeably less. Separation is pretty good but sometimes there can be a bit of midrange congestion with a lot going on. Where treble is concerned, we aren’t in any doubt that these are closed-back headphones but they’re designed to be wireless so this is pretty standard stuff.

Music genres good for and why…

Whether in wireless or passive mode, the MW60 really works best with commercial genres such as rap, dance and pop etc. Acoustic genres and classical can be affected with bass frequencies being picked up a bit too much, and these quieter music types tend not to be very loud in passive mode with the cable.

Summary

If you want wireless but not tasteless, then the Master & Dynamic MW60 is a contender. Its build and styling belongs to another era, but it has 21st century technology under the hood and will please those who want classic good looks and no gimmicks.

SoundMAGIC HP151 Headphone Review – Going One Better

Posted on May 5, 2017 by Steve

SoundMAGIC HP151 Headphone Review

SoundMAGIC needs no introduction for many; this brand has had tremendous success in recent years, not least with its full size offerings such as the HP100, HP150 and the open-back HP200. The SoundMAGIC HP151 promises to be a new and improved version of the HP150, with a few changes here and there.

Pros:

Nice styling and low-key design
2.5m cable more suited to indoor listening
Great sound

Cons:

Phones/handsets may struggle without amplification

Design and Appearance

Gone is the ‘tactile’ grey covering on the outside of the earcups, yokes and headband which the HP150 had; now it’s plain black plastic. Also the earcup ‘swivel’ feature of the HP150 is gone; the earcups are now fixed. Perhaps it was a bit tricky for those who aren’t DJs? The rest of us shouldn’t need to swivel too much anyway.

Another difference is the cable; it’s still a straight one but comes in at a longer 2.5m, as opposed to the original 1.5m (you can buy the shorter HP150 cables separately which will fit if needed). The extension lead which the HP150 had is no longer included.

Durability and Build Quality

Construction is from plastic and feels very solid, there are no squeezy or squeaky bits. The cable has decent strain reliefs and is rubber coated and slinky, not sticky.

The supplied case is a semi-rigid affair with a little pocket for keeping the supplied aircraft and 6.35mm adapters if needed, and will protect the headphones between uses. Just don’t sit on it.

Comfort

The SoundMAGIC HP151 is a light and comfortable headphone, thanks to its light construction, generously upholstered headband and earpads.

Suitability for intended application

The HP151 can be used quite successfully when on the move, but many handsets will not have sufficient power so a separate headphone amp may be required, or a dedicated player with a little more power than the average phone.

Otherwise it’s one for at home or in the studio.

Sound characteristics

The SoundMAGIC HP151 is a bit of a crowd pleaser; the overall balance is tilted slightly towards the warm but details are quite appreciable, and tape hiss comes through from those old recordings so there’s little roll-off with the treble. Note: for those interested in a comparison with the HP150, there is no difference other than the earcup and headband design; it’s the same great sound.

Bass

The big 53mm drivers give a nice thump to the HP151’s low bass; it doesn’t steal the show but gives a nice foundation, bass frequencies are given a bit of heft and authority without giving the impression of a bass-heavy headphone. Control is fairly tight; it’s a breezy, carefree bass with fun on its mind, but always makes it home in time for tea.

Mids

The midrange is all there with a slight dip in the 1kHz -2KHz area; there’s no noticeable holes or gaps in the frequency response as there may be with other models. It’s a gentle lowering to shun any shrillness and makes for an inviting and clear presentation. With the detail here and the aforementioned bass quality, the harmonics here can really bring instruments to life.

Similarly, vocals are clear and rather enjoyable with subtle details giving a really good representation of any performer’s unique character.

Treble

There’s plenty of sparkle, shimmer and zing here; it’s certainly a clear triple! It’s not overbearing, and gives just the right amount of presence for full enjoyment of those high frequency details. It’s a great balance between brightness and mellowness.

Soundstage & Separation

The width reaches out beyond the earcups a little way and gives a nice impression of space; both higher frequency detail and bass are able to jump out and give our ears a little tweak when the music dictates it; very nice. Separation is great too; classical pieces are rendered very nicely with clear harmonics preserving the character and positioning of everything, even with a lot going on.

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Music genres good for and why

The HP151 works with everything. Many genres were tried and none failed; bass heavy rap, acoustic, classical, dance; it’s a clear pass for this one.

Summary

If you are looking for a general use headphone with good isolation, look no further. Any and every music type sounds excellent with plenty of space and the feeling that these headphones are enjoying themselves just as much as the listener is!

SoundMAGIC E10BT Bluetooth Earphone Review

Posted on April 26, 2017 by Steve

SoundMAGIC E10BT Wireless Earphone Review

For some years now the fine E10 from SoundMAGIC has assaulted our shores and needs no introduction; it has remained a firm favourite everywhere and shows no signs of losing that favour despite being in its 6th year since its release. But given that the SoundMAGIC E10 is now no longer an infant, it’s time to cut the apron strings and allow our little earphone to make its own way in the world, with a knapsack on its back.

So will the SoundMAGIC E10BT become the Mayor of London, or a missing person on milk cartons?

Full video review at the bottom of the page

Pros:

Now the E10 is wireless!
Plenty of eartips
Carry case

Cons:

Battery takes some getting used to

Design and Appearance

SoundMAGIC has gone to the dark side with the colours here; the E10BT is black all over and even the left/right markers from previous models are black now. The mic/controls are on the right with this one, and a battery pack sits in the middle of the cable.

Accessories are plentiful with various eartip types and sizes, along with a carry case for between uses.

Durability and Build quality

The E10BT seems durable enough, with a rubberised coating on the cable and strain reliefs which are small but seem up to the job. The cable seems a bit thinner than the E10, but this is because the lower section of cable (thicker on the E10) is not present on the bluetooth version of course.

Individual pairings can vary of course, but this reviewer gets a very strong connection with a cheap 4 year old Huawei handset, allowing a fair distance of travel from the source before connection problems arise.

Comfort

This can depend on the manner in which the E10BT is worn, and can require a bit of experimentation. Personally, this reviewer likes to wear the E10 with the cable going over the backs of the ears, with the cable and battery pack hanging loose down at the front like a medallion. Others prefer to clip the battery pack on at the front, or the back of the neck.

With the cable hanging down direct from the ears, the clip is probably required as the battery pack/cable tends to tug a bit more on the earholes.

Suitability for intended application

SoundMAGIC have though about this; with the types of uses the E10BT is likely to be put to, they have included a new type of tip with this model which are vented. These have little notches in them on the outside which allows a certain amount of exterior sound to penetrate, so if you’re out jogging then you’re more aware of the environment.

The battery pack on the SoundMAGIC E10BT sits in the middle of the cable; this can be clipped to a collar if worn at the back of the head, or worn at the front. This reviewer found a good fit with the cable going over the back of the ears, and the battery pack tucked in to clothing at the front. Battery life is good with a 10+ hour playing time which should be alright for a couple of marathons if you’re jogging!

Pairing is easy too; once the earphones are paired with your device initially, the two will connect automatically when turned on. Be aware that this may be tricky if your friend wants to try the E10BT on their own handset – you will have to turn yours off to prevent the automatic pairing from taking place. The connection is strong – at least with my 4 year old Huawei handset

Sound isolation

With the standard supplied silicone tips, isolation is average; exterior sounds are reduced by a few decibels, but of course if music is playing then they can be virtually ignored. Total isolation is not ideal though if you wish to remain aware of your environment, so there are some ‘vented’ eartips included which will reduce the isolation a bit further if needed.

Also, for fans of the previous models, the eartips are the same size so any custom, or aftermarket E10 tips need not be disposed of!

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Sound characteristics

So, does the SoundMAGIC E10BT have that classic E10 sound? With a wired E10 in one ear and the E10BT in the other, this reviewer has the same track synched up on his phone and DAP, listening to both at once. It’s hardly scientific, but there are no great departures from the E10 sound but for a slightly warmer-sounding midrange and possibly a smoother treble.

If anything, bass tends to come through more at lower on the E10BT but not by much.

Bass

There’s a slight emphasis on bass to give some nice added heft to drums and basslines, without going overboard. It goes low too, with a little added sub where called for. It’s a good level for a wide variety of music styles if you like to mix it up!

Mids

The midrange is clean, clear and relatively crisp; reverb trails can be followed right to their disappearance and little seems to get in the way. Vocals are detailed and backing vocals have a nice breadth. Strings sit nicely in the background; harmonics are fairly easy to pick out which makes for some nice imaging too.

Treble

The top end is slightly smooth; it’s similar to the E80 model which provides great detail without pushing it at the listener. It’s not a warm or dark-sounding earphone overall, there’s just a little bit of edge taken off which can greatly reduce problems with fatigue over longer listening sessions.

Soundstage and Separation

Soundstage is about average for an in-ear model, not really creeping out far beyond the confines of the E10BT’s hardware. It makes for an intimate and pleasant presentation but you won’t be swept off your feet.

Separation is pretty good with many instruments vying for attention; pick one out and it’s easy to follow. There’s not much chance of complicated pieces getting cluttered with the E10BT.

Music genres good for and why

As with the original wired E10, the E10BT is a great all-rounder but may be more at home with commercial music such as pop, dance and hip hop. Having said that though, jazz classical and acoustic recordings are still very nice and if you enjoy a wide variety of music genres but just want one earphone, the E10BT is a strong runner.

The London Marathon 2017 – The Feat of the Feet

Posted on April 21, 2017 by Steve

The London Marathon 2017

Cor Blimey! It’s that special time of year when people can travel around the capital at speeds greater than five miles per hour, and all of London turns out to offer support to racers and plodders alike. The London Marathon is back, and promises to torture participants with its gruelling tour of the Big Smoke.

Despite all this wonderful support and encouragement however, a surprising number of runners elect to don headphones. It’s perhaps testament to the fact that a musical accompaniment is a more powerful motivator for many.

Here are some things to consider if you’re considering some musical impetus.

Isolation

It’s all very well being in your own world, but sealing in-ear models will leave you less aware of environmental sounds such as traffic. Also, something called the occlusion effect can magnify the sounds of footfalls through the bones, breathing or speech for example. This might affect your enjoyment but sealed in-ear designs remain popular with runners, such as the MEE Audio M6P –

MEE Audio M6P Isolating Earphones

Comfort

When your body is aching and you’re in a world of pain at the 18 mile mark, you don’t want to be worrying about pain coming from your head too. A lot of on-ear models are designed to remain in place on the head and so grip a little bit tighter than their full-size counterparts which usually stay at home. Also, the earcups tend to be of a leather (or leatherette) material which will not release moisture so you’ll get awfully sweaty under there. Again, there are a lot of people who like to wear this style on a run but we’d recommend the Koss SportaPro –

Koss SportaPro Sports Headphones

They are light, comfortable on the head and are an open-back design, so the ears can breath a bit. Also, environmental sounds make it through for a safer experience.

Bluetooth

Many runners are now finding Bluetooth technology to be very useful for this type of activity; gone is the danger of catching your cable on a passing Beefeater, and it’s easier to change volume or the track being played. One thing to be aware of however is how the battery is designed into them. A few have huge capsules and some people find difficulty getting the right fit. Other models have a bulky battery on one side of the cable which tugs on the cable.

The SoundMAGIC E10BT has the battery in the middle of the cable so it’s well balanced, and it also has a clip to secure it to clothing. The E10BT can be a sealing or isolating earphone, but the included ‘vented’ tips, if fitted, will allow some environmental sounds to come in for a safer run.

SoundMAGIC E10BT Bluetooth Earphones

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WATCH VIDEO: Our Best Sports Headphones and Earphones of 2017

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So this is our pick for the runner’s perfect headphone; you’ll have the music AND the adulation of the crowd to get you the full 26 miles and beyond!

Sennheiser PXC550 Bluetooth Headphone Review – Welcome to the Fold

Posted on April 21, 2017 by Steve

Sennheiser PXC550 Wireless Noise Cancelling Headphone Review

Sennheiser has certainly established itself within the wireless and noise cancellation markets in recent years with it’s ‘MM’ series and earlier models in the ‘PXC’ line, but the Sennheiser PXC550 promises to make things a little more swish with its swipeable control.

Since so many executives are zipping from airport to airport without even the chance to shave, the easy and intuitive operation of the PXC550 gives control of volume and a track skip feature too, freeing up time for more champers and hampers at 30,000 feet. So will Sennheiser eclipse the success of Bose and their popular models such as the QC35 in this field? The evidence is plane.

Pros:

Great build quality
Effective noise cancellation
Fully featured ‘swipeable’ controls
Cable included for wired/passive listening

Cons:

Cannot be used when turned off (unless battery is empty)
User needs to remember to fold down earcups to turn off
Wearing around the neck is not that comfortable

Design and Appearance

The Sennheiser PXC550 is quite smart looking but not too flashy though; the PXC 550 means decorum, not decoration. This reviewer can be a little self-conscious when sporting such things in public, but the PXC 550 should feel right on any shrinking violet’s bonce. Bowers & Wilkins has had great success with its portable range such as with the P5 and the wireless P7, and the PXC 550 is similar in looks with its black and silver motif.

They’ve done away with the power button and the simple act of unfolding the earcups turns the PXC 550 on. Fold them down again to turn it off. It may be possible to wear the headphones around the neck between uses, but blood flow to the head may be restricted. If you’re in the habit of just removing headphones and putting them down, you’ll have a few flat battery moments until you lose that habit.

Functions are announced by a British female voice; Sennheiser has settled on one that’s not too prissy, but you get the feeling she won’t stand for too much nonsense so don’t press too many of the wrong buttons.

Durability and Build quality

The PXC550 is mainly constructed of high quality plastic with a metal-reinforced headband and some other brushed metal flourishes; the construction is what’s to be expected from Sennheiser at this price point. It’s very nice indeed. There is a cable for use with the headphones when the battery is empty but this could have been better implemented (we’ll come back to this).

Comfort

The Sennheiser PXC 550 sits nicely on the head and there’s no problem with fit, although the earcups are quite snug. Those with large ears may find an issue with this. They may be fine for mooching around in airport lounges and the like, but anything too active may lead to a bit of sweat being shed. This is a problem with any closed-back isolating model of course.

Suitability for intended application

The PXC 550 is a fully featured model; the manual runs to 50 pages and there’s all sorts of little things Sennheiser has thought of. For instance, the PA systems on flights may cut in if you’re listening to the aeroplane’s audio and sometimes this PA audio is a lot louder. The Sennheiser PXC550 knows about this and reduces the volume.

However, given the ‘fold-out’ method of turning the headphones on, there is no clear way of using the cable in order to conserve battery life. If you’re wearing the headphones, then they’re turned on.

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Sound characteristics

Impressions are of the PXC550 in ‘active’ mode; a decent listen in passive mode will require the battery to be drained fully.

Overall, we have the typical Sennheiser sound but with perhaps a little more upper midrange presence; not a problem but vocals and some instruments can be a bit shouty at times.

The effect of the noise cancellation feature does mute the detail just a little bit when compared to when this feature is turned off, but it has its own benefits of course. The noise cancellation is actually very good indeed and should be quite adequate in many situations.

Bass

Bass starts nice and low; it gives a very deep and wide sense of space if called upon, but stays out of the picture with genres which don’t need it so much. It’s well controlled and stays put; there’s good definition where it meets the midrange and these higher frequencies are unaffected by any bass bleed.

Mids

Mids are slightly recessed against the bass, but again this is of no concern as the midrange is clear and uncluttered. However there is a little more presence in the high-mid area, which may give fricatives such as ‘s’ sounds a little more energetic when compared to some of Sennheiser’s wired models.

Vocals are clear and textured, with backing vocals being very good too; there’s a sense of a few singers spaced out nicely during parts with backing vocals.

Treble

The Sennheiser PXC550 is not an especially airy or crisp-sounding model; but for a wireless closed-back headphone it does OK.

Treble stays faithful to the Sennheiser tradition; it doesn’t draw undue attention to itself but instead appears as an extension of the midrange. There is a seamless transition between the two making quite a neutral sound within the upper part of the PXC 550’s frequency range.

If you like to listen to saxophones but prefer not to hear every bit of spittle within the mouthpiece, then the PXC 550 may be for you.

Soundstage and Separation

The sound of the Sennheiser PXC550 is good and wide from the rumble of certain bass notes right up to the lustre of hi-hats. It surrounds the listener very well. Instruments and voices are very clear and can be pictured within a 3D space quite plainly; this is one of those things that is affected by the noise cancellation however, but it’s par for the course.

Music genres good for and why

While all types of music will be acceptable the PXC550, it probably suits genres such as pop, rock, r&b; the commercial genres generally.

Summary

The Sennheiser PXC550 is excellent at noise cancellation; watch out Bose! Also the build quality is what we’d expect of a premium Sennheiser product; it’s light but solid. If you can get past the ‘fold-down’ means of turning the unit off, the PXC 550 is definitely a player in the contest for the ultimate wireless/noise cancellation model. It’s a great companion for long and short flights, and certainly beats solo air travel.

Koss Porta Pro Classic Headphone Review – Venerable Vibes

Posted on April 19, 2017 by Steve

Koss Porta Pro Portable Headphone Review

It’s not often that a headphone model hangs about for over 30 years; in fact it only happens about every 30 years or so. Joking aside however, there must be a reason why the Koss Porta Pro continues to be a popular model; even in our era of flying cars, food pills and teleportation.

The simple design and great sound keeps them viable while the open-back design, whilst not being the best for isolation of course, is perfect for those who wish to be aware of what’s going on around them such as joggers, and muggers.

Pros:

Small and foldy
Decent enough sound
The name has a ‘pro’ in it
Light and comfortable

Cons:

Boomy bass can be out of place
Midrange could use more presence
Some ‘lesser’ phones may struggle to power these

Design and Appearance

The design has not changed since the Apple Macintosh, and it shows. However with current tastes, this works in the Porta Pro’s favour. The bold solver rings and utilitarian headband may even add a touch of 70s retro styling too.

This model is rated at 60 ohms impedance, which together with the 101dB sensitivity makes them less useful with low-powered phones and the like, although those by most popular brands (Samsung, Apple etc.) should have the power.

Durability and Build Quality

Being intended for portable use, the Koss Porta Pro Classic is light and svelte, if a bit inelegant. During normal use, it’s difficult to spot any vulnerable areas in the design. There are no strain reliefs on the cable where it exits the headphones, but the cable is held in place within the driver housings themselves to prevent accidental yanking.

There is a strain relief at the jack end of the cable, and this terminates in an angled jack which is perhaps a 70 degree angle, at a guess. This appears to be a relatively new tweak in the design.

Comfort

Light or firm? Whether you’re reassured by a vice grip or you can’t stand the pressure, there are three settings on the Porta Pro Classics which allow the drivers to be pushed outwards, making things a bit looser.

The headband has had a few criticisms regarding its tendancy to entrap and pluck hairs out of the heads of unsuspecting listeners, but there’s been no problem with this so far.

Other than that, these are ‘wear and forget’ headphones.

Suitability for intended application

Is there only one intended application? Apart from the obvious portable uses, the Koss Porta Pro is equally enjoyable when used as an open-backed headphone at home or in the office. The comfort level also makes this a nice choice for some pillow action too.

Sticking to portable uses though, the headphones fold up to a very small size and can go in a pocket between uses for instance. This makes them a very sensible choice for the itchy footed.

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VIDEO REVIEW: Our Top 10 Best Sports Headphones and Earphones for 2017

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Sound characteristics

The sound is generally well balanced between bass and treble, although the midrange can seem a bit distant and mushy. Bass is perhaps a bit on the heavy side, but it will definitely satisfy those who want a bassy sound. The Koss Porta Pro Classics offer a warmish sound overall.

Bass :

As above, the bass can be a little overpowering depending on your genres or tastes, and its a bit loose too. There’s not much definition and it’s hard to know where the midrange starts; it’s easier to figure out where the bass stops! However with a lot of pop and rock, this gives a hearty thump which is certainly in keeping with those genres.

Mids:

The midrange isn’t completely invisible but there was the feeling that the volume needed to be increased as not enough of the music’s ‘meat’ was getting through. This is fairly typical of entry-level equipment; however it does the job, and will pass muster for anyone who is used to spending under £50 on headphones.

Treble:

Higher frequencies are well balanced with the rest but not too prominent; percussion and the like make themselves known without making a nuisance of themselves, and it’s a smooth transition from the midrange. A little more presence at the top end would have been good to enhance the open-back nature of the Koss Porta Pro Classics, providing a bit more airiness.

Soundstage and Separation:

Being open-back, this model has a fairly wide sound but it’s not exceptional. The definition of midrange harmonics does not quite make for a convincing presentation in terms of separation, but it’s an enjoyable one nonetheless for the asking price.

Music genres good for and why

The Koss Porta Pro Classics give quite an impressive sound when it comes to stuff which benefits from the bass on offer, such as dance, R&B, hiphop, pop etc. Jazzy genres may depend on the type; swingy stuff with a double bass is fun, but if there’s a lot of midrange action, it might feel a bit flat.

Classical and acoustic music may benefit from a tighter, more subdued bass but if you enjoy a mixture of styles then it’s quite acceptable to listen to whilst on the move, but you may hanker for something a little clearer if relaxing at home.

Summary

The Koss Porta Pros are still very popular after more than 30 years, even amongst people who own other headphones costing an arm and a leg. They are seen as a decent low-cost model for use out and about and are quite practical, given that they fold up into a neat package between uses. Be aware though that their open-back nature means that they will be of limited use in noisy environments.

Grado GS2000e Audiophile Headphone Review

Posted on February 28, 2017 by Steve

Grado GS2000e Open Back Headphone Review

Grado has enjoyed tremendous success over the years with various models, but has never departed from their basic headphone design as illustrated by the Grado GS2000e. It’s unusual in this world of fashions and fads that Grado has kept so faithful to this design but it’s obviously working for them! So is the GS2000e without match, or is it matchwood?

Pros:

Nice neutral sound
Fantastic imaging and soundstage
Comfortable

Cons:

Ungainly standard cable which cannot be removed or replaced

Design and Appearance

Indeed there are no surprises here; we may as well expect our US cousins to drive on the proper side of the road as revise this design. There is a tweak though; the GS2000e is a slightly different shade of brown. The slightly differing colour is due to the mixture of woods in this model. Mahogany to give the sound a bit of a polish, and maple which makes it more syrupy.

..Or perhaps the maple gives a brighter presentation which is held in check by the mohogany, for a clear and well-balanced sound.

The cable is still a non-removeable serpent-like affair which threatens to restrict the oxygen of careless music lovers, so there’s no change there.

Durability and Build Quality

Despite our gentle teasing, the cable is up to the job and there are no concerns regarding quality. The cable is stout with a heavy duty coating; it might have come off the Brooklyn Bridge itself. The 1/4 inch jack is military grade and the headphones themselves, while being light and comfortable, are made to last. They probably won’t appreciate being sat on though.

Comfort

Some have complained about comfort issues with some other Grado models, but the GS2000e benefits from the large earcups; any clamping force is distributed over a wider area. Also with glasses, there are no points of pressure which are making themselves known. However, after a couple of hours things might start to feel a bit claustrophobic in there!

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VIDEO REVIEW: The Best Headphones You’ve Never Heard Of

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Suitability for intended application

The Grado GS2000e is definitely one to keep at home; they isolate exterior noise as if they weren’t there at all, and your music will be broadcast as if you’re a Public Access TV show. But for those quiet moments at home, they are just perfect.

Sound Characteristics

The GS2000e has a slightly understated sound when compared to the GS1000e; the emphasis on bass and treble is reduced, which makes the midrange more of a centrepiece. Harmonics and therefore imaging will be a little stronger on the GS2000e, thanks to the relatively present midrange.

These were tested using a Chord Hugo.

Bass :

Bass goes deep, and is clear. It’s not there in quantities to make fans of dance music jump, but does a good job of reproducing what’s there. It is also very detailed and well controlled.

Mids:

This is the focus of the GS2000e’s sound; they do come across as reasonably neutral with perhaps a tad of extra presence at the upper end of the midrange. There is generally no sign of sibilance here however, although the odd recording may give a bit of trouble depending on the mastering.

Detail is superb, further enhancing soundstage and imaging. The sense of space with acoustic or classical recordings is wonderous.

Treble:

That feeling of ‘air’ we know from the entry-level Grados is not so forced but is still there, and the detail is amazing. However it’s not pushed at us so much; we need to peer inside and dig it out, which is much more enjoyable.

Soundstage and Separation

Soundstage is excellent and much the same as the GS1000e; however separation/imaging is slightly enhanced on the GS2000e, due to the relatively present midrange.

Music genres good for and why

The GS2000e is probably better for acoustic music, classical recordings and the like; the neutral sound does not lend itself well to dance and pop genres when compared to other lower-cost headphones, but these can easily be enjoyed when the wearer gets used to this setup.

Also, older recordings are given good treatment; the smooth treble is quite forgiving which makes the Grado GS2000e perfect for fans of vintage music and old vinyl.

Summary

Grado’s GS2000e is a worthy addition to their lineup, and a good idea for those who fancy a more neutral version of the GS1000e.

RHA S500 Earphone Review – Ore Inspiring

Posted on February 23, 2017 by Steve

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RHA S500 Earphone Review

RHA has a nice little thing going with its stainless steel capsules and fabric cables; it’s a good look. And as with fashion design, the models tend to get smaller all the time. However, the lightweight RHA S500 will never develop a cocaine habit, or punch a paparazzo.

Pros:

Decent build
Decent accessories
Bass has a nice velvety quality
Tiny capsules

Cons:

Midrange may be too present for dance fans

Design and Appearance

You might expect a low-cost model to skimp on certain features and items, and compared to other RHA offerings this is certainly the case. However, RHA is always generous with its accessories no matter what you’re spending; included is a nice little drawstring pouch, a cable clip and seven pairs of eartips. Not bad.

The driver capsules are certainly a departure from designs such as the MA350, with teeny microdrivers keeping the capsule size to that of a balanced armature earphone. These earphones can be worn with the cable down, or with the cable over the ear; the small capsule size may offer an improvement for those who have found it difficult to get a good fit with larger designs.

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Durability and Build Quality

Build quality is much what we’ve come to expect from RHA; stainless steel is used for the driver capsules and jack housing, and the ‘joiner’ on the cable is made from durable plastic.

Strain reliefs are present on the cable where it meets jack and capsules, and the cable is braided between the jack and the joiner. Above the joiner, it’s rubber coated.

Comfort

There’s a good chance that you’ll forget these are in – the tiny capsules allow for a bit manoeuvring so the perfect fit can be achieved.

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VIDEO REVIEW: Our 10 Best Earphones to buy in 2017

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Sound Isolation

With the supplied silicone tips, the RHA S500 can cut down those pesky outside sounds very well, but aftermarket foam tips such as the Blackbird S20 will improve this.

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Sound Characteristics

The RHA S500 has a relatively smooth sound. If you want treble crunchiness, then the S500 is not for you. The action lies in the bass and the midrange with this model.

Bass (e.g. punch, low extension):

With a good fit, the bass is big, wide, deep and low. It’s fairly tight and works well with the midrange; there is no sense of missing anything there. The bass quality has a mellow edge to it which this reviewer really likes; it’s similar to the bass on the Sennheiser IE800 so roll up if you want a taste of that high-end bass!

Mids (e.g. vocals, acoustic instruments):

Midrange is emphasised relative to RHA’s similarly-priced offerings; rather than the bass and treble receiving a lift, the S500 has a full and present midrange. It can appear a little hard-edged at first but after a couple of minutes’ getting used to it, it sits very nicely with the rest of the presentation.

Treble (e.g. high hats):

Treble is there of course, but serves only to extend the midrange if that makes sense. It sits low enough in the mix to give support and fill in those little details, but will never give a particularly bright and shimmery quality to proceedings.

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Soundstage and Separation

Soundstage is very nice; the sensation of width feels as if it’s down to the bass and midrange frequencies, making it feel as if things are jumping out of line and back again and keeping the ears on their er.. toes. Separation does less well as it relies more on high frequency information, but the S500 does a good job of keeping things from getting confused.

Music genres good for and why

The midrange presence makes the S500 most suitable for acoustic or live performances, or vocals. Dance music and R&B, etc. tends to have a bit of a hard edge which may not suit some, although the bass quality of the earphones makes up for this.

Summary

A very able earphone for the asking price; the RHA S500 is not typical of models in this price range with its present midrange so will be a good option for those who prefer acoustic or vocal recordings.

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Trinity Audio Vyrus Earphone Review – Get The Bug!

Posted on December 16, 2016 by Steve

Trinity Audio Vyrus Earphone Review

Trinity Audio Engineering hails from the good old UK and has had various Kickstarter-backed offerings lately. Due to the success of these, the brand is now gaining traction and is spreading throughout the population. So, does the Trinity Audio Vyrus require quarantining, or is it not to be sneezed at?

Pros:

Nice selection of accessories
Decent case
Tuneable sound
Braided cables

Cons:

Nozzles can be fiddly

Design and Appearance

The Trinity Audio Vyrus looks pretty good with braided cable, metal jack/Y-split and capsules all vying for our attention – but the nozzles are a point of interest. These are removable and can be changed for a pair of the included alternatives. Generally, purple for more upper mids/treble, and silver for more bass and a ‘V’ shaped sound. The gunmetal nozzles (fitted when new) are neutral.

Also there’s a decent amount of eartips to ensure there’s no problem with depositing these Vyruses in your ears, and a funky triangular case for storage/travel. There’s some nice extras too. Since the Vyrus can be worn with either the cable dangling down from, or going over the ear, then there is an extra cable for those who prefer the latter option; this has bendy bits for keeping the Vyrus in place over the ears. Also there’s a 90 degree jack adapter (the jacks on the cables are straight) and the usual 6.35mm adapter/shirt clip.

Durability and Build Quality

There are no weak points here; it all seems up to the job with a decent knurled metal jack, nicely braided cables which are supple and strain reliefs at the jack.

Comfort

Comfort is decent for an in-ear design; particularly if the ‘over the ear’ wearing method is used, the earphones are firmly planted and can be forgotten, leaving just the music.

Sound Isolation

Isolation can be very good; just be aware that this can depend on the way in which the earphones are worn. With a little experimentation, a good seal between ear and eartip can be achieved with the included tips.

Sound Quality

The tuning can be tweaked using the supplied nozzles; there are four basic types to take us from enhanced bass (silver), through neutral (gunmetal) and treble/neutral (gold) to the bright dizzy highs of the treble filters (purple). For this review the neutral/gunmetal filters are used, but changing these does make a noticeable difference in either direction toward a brighter, clearer sound or a smoother, bassier one.

Bass

Bass has a nice rounded quality; not too tight or too loose. It reaches low, and those kick drums or that double bass can really cut through the mix and make the floor shake. It might have some power but is well behaved; midrange is unaffected.

Mids

Lots of space here; reverb is allowed to decay in a leisurely way which is quite a treat, but then the slightly blunted harmonic detail here helps it along (this is with neutral filters don’t forget). Vocals are similarly mellow, but clear.

Treble

Treble is well balanced with the rest of the presentation; it’s laid back but pleasant, with percussion and hi hats making their mark without causing any uncomfortable peaks in the frequency response.

Soundstage and Separation

Soundstage is good; some instruments can jump out from behind others to give the ears a pleasant little nudge. Very nice, along with separation/imaging which is very cohesive – this is improved by use of the treble filters.

Conclusion

The bass or neutral filters make the Trinity Audio Vyrus ideal for pop, R&B and dance music. With the treble filters, classical, acoustic or jazz gets a good treatment – these are some versatile earphones!

For the asking price, the Trinity Audio Vyrus is very good value; the inclusion of the filters makes these earphones perfect for those who want to experiment and find out what different tunings can do for their music. For the same reasons, these earphones make a perfect gift for your exacting friends or relatives; so give someone a Vyrus today!

Bowers and Wilkins P9 Signature Review – Streamlined and Benign

Posted on October 4, 2016 by Steve

Intro:

Bowers and Wilkins have done it again and added to their sequence of odd numbers with the Bowers and Wilkins P9 Signature. However they’ve taken a break from their black and silver theme and gone over to the brown side, giving the P9 even more of an executive feel. But has the sound of the P9 undergone a similar transformation?

Pros:

Great versatile and comfortable sound
Three cables included
High quality construction

Cons:

Isolation quite low for a portable
Headband needs adjusting for use with case

To Buy Now click the image below.

Design and appearance:

As mentioned above, the colour of the Bowers and Wilkins P9 Signature has been changed from the familiar black we have all come to know, and the basic design of the headband has changed as well. Gone are the swept back silver yokes of the other black models, with some very solid-feeling forged aluminium ones on the P9 model. There is a nicely put together soft case for storage, although the headband needs to be adjusted to its minimum size for this. The P9 comes with a generous three cables; two of which are short for portable use (one with mic/controls) and a long 3m cable for enjoying music at home.

Durability & build quality:

The new yokes are very strong and together with the firmness of the earpads, the P9 is a very sturdy design. It is a little more hefty than previous models, but the weight is by no means excessive and once in use barely noticable. Cables are similarly solid with good strain relief at the jack end; as with previous models, the cable is attached to the headphones by taking off one of the earpads, where the jack sits within a recessed cavity. The earpads and headband padding are coated with Saffiano leather which not only looks and feels luxurious but also means it last the test of time.

Comfort:

With the right adjustments, clamping force is distributed equally between headband and earpads, and the earpads have enough give in them for glasses to be worn with no trouble or discomfort.

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Final F7200 Review – Diminutive Dynamite

Posted on August 10, 2016 by Steve

Final F7200 Review – Diminutive Dynamite

Intro:

Final (the maker formerly known as Final Audio Design) has introduced some rather nice products in its time, and is known for its trademark house-sound which gives a very pure and natural presentation. It has enjoyed some success with its ‘Heaven’ range of IEMs among others, but Final is not finished yet.

Step forward, the new range of balanced armature IEMs, the F Series. Starting with the F3100 and F4100 models, with the F7200 sitting at the top of this range.

Pros:

Replaceable OFC silver coated cable
Novel carry case design and eartip design
Clear, natural sound

Cons:

Heaven series fans with expectation bias may notice a change with the Final house sound here

Design and appearance:

These earphones are certainly tiny; the addition of eartips makes them seem even smaller somehow! The capsules are 5.5mm in diameter and only 2 grams each. Final has designed them to reduce the distance between the driver and eardrum, making for a more realistic and involving sound.

They have a certain functional aesthetic; the stainless steel capsules and OFC silver coated braided cable make the Final F7200 look like a specialist piece of equipment, which arguably, it is.

They can be worn with the cable down, or over the ear. Earhooks are supplied to reduce cable noise and keep the cable in position, should this be a problem.

They come with a novel case; made of soft silicone, the earphone cable can be wound around the outside, with capsules and jack kept apart to prevent scratching. Also the design avoids bending the cable in the same places, as some other carry case designs do.

Durability & build quality:

These new models from Final may be small, but build quality is typically superb. However the MMCX connectors are not designed for repeated disconnection/reconnection so this should only be done if the cable is upgraded, for example.

Strain reliefs are very good, and made of clear plastic to keep the earphones pretty. The right-angle jack and Y-split on the cable are made of stainless steel which gives a good impression of quality also.

Comfort:

Given their tiny capsule size, the Final F7200 earphones can be adjusted easily to provide the perfect fit; also there are some rather novel eartips included as well as the standard silicone eartips which we all know. These consist of relatively large foam tubes, which slip over the capsules entirely and provide extra comfort and isolation..

Sound isolation:

Isolation is fair with the standard eartips, and can be enhanced with the larger ‘tube’ tips. A bit of experimentation is advised with these, it’s quite fun to try something new anyway.

Sound characteristics:

The Final house sound has had a slight tweak here; the F7200 still has a pure and natural quality to it, but with a little more upper midrange presence.

Bass:

Low frequencies are well balanced and have great control; these are not earphones for bassheads, but music has a certain authoritative weight to it. Despite being a single balanced armature design, Final has worked its usual magic to maximise bass response without affecting the midrange.

Mids:

Midrange is clear and pure; there’s a certain bump in the upper midrange which distinguishes the Final F7200 from most of Final’s single-BA ‘Heaven’ series, such as the Heaven IV. This gives an impression of greater accuracy, and makes the F7200 a good choice for professional/monitoring uses, as well as just for enjoying music as an end user.

Treble:

The top end is detailed, but there’s a natural smoothness there which conveys a sense of realism. It sits well with the slightly accentuated upper midrange and isn’t upstaged by it. The combination makes for some very nice harmonics with brass and woodwind instruments, and imaging is as good and accurate as with any single BA design.

Soundstage & Separation:

Soundstage is impressive considering the tiny Final F7200 capsules, and we are reminded of Dr Who’s Tardis. Where does all that space come from? Possibly, the purity of the sound from the Final F7200. Separation definitely benefits too; whether the music is simple or complex, the sound never gets congested.

Music Genres Good For and Why:

The slightly lifted upper midrange may cause issues for more sensitive souls with a predilection for female vocals; but other that, the Final F7200 will give good service with any genre. The accuracy on offer is especially good with acoustic performances, and as mentioned earlier in this review, the F7200 can be used for professional monitoring purposes and might be a good option for those who find equivalents such as the Etymotic ER4SR a little too dry.

Etymotic ER4XR – Review – Microscopes for the Ears

Posted on July 20, 2016 by Steve

Etymotic ER4XR – Review – Microscopes for the Ears

Intro:

Veteran earphone fans out there will certainly recognise this brand! Etymotic has had an excellent reputation with its single balanced-armature designs; particularly amongst professionals within the audio industry. With the Etymotic ER4XR we see that Etymotic’s famous and long-standing ER4 design has had a tweak to add a little more bass to the mix.

Pros:

Very accurate and resolving
Simple no-nonsense design
Nicely designed and replaceable cable
Carry case
Extra bass is restrained and well balanced

Cons:

Not recommended for poor quality recordings
Deeply inserted tips will not suit everybody (foam tips included)

Design and appearance:

There are few changes to the look of the ER4XR when compared to previous versions; it has the same styling, it’s still black and the eartips are the same. However, when something works so well, why fix it? With earphones such as this, Etymotic is right to feel that purchasing decisions will be made on sound quality requirements alone, rather than gimmicks such as styling and colour.

Durability & build quality:

Again, there are minimal changes here, if any. The cable is sturdy but flexible, and where it splits we have braided cable going into each driver. The cable is replaceable, being attached using MMCX connectors. The impression is definitely of a product which is built to last in demanding environments.

Accessories are decent enough, with a selection of eartips (standard triple flange, a larger size triple flange and a few memory foam tips), a few extra filters with a changing tool and shirt clip/jack adaptor. Also there is a carry case which is semi-rigid, and roomy enough to keep a few extra bits in as well as the earphones.

Comfort:

Due to Etymotic’s triple flange tips and the need to insert the ER4XR deeply in the ear, some may have comfort issues with the fit of this design. There are some memory-foam eartips included also, and a plethora of after-market tips should this be a problem.

That aside, the Etymotic ER4XR is very stable and comfortable; users can concentrate 100% on the audio.

Suitability for Intended Application:

Etymotic has long enjoyed a dedicated user base of audio professionals, and the ER4XR will not disappoint. However, more and more end-users have found Etymotic’s products as ideal for enjoying their music, and the Etymotic ER4XR is sure to please this group with some added bass when compared with the older ER4S. Mercifully, Etymotic have been quite measured with this additional bass; it’s balanced well with the rest of the sound and does not threaten to upstage the famous midrange of the ER4 design.

Sound isolation:

Isolation is fairly good; a reduction of around 30dB is quoted on the box which is certainly good enough. With the triple-flange tips, exterior sounds are deadened enough to avoid distractions but it’s still possible to hold a conversation with the earphones still in position (without music on, of course).

Sound characteristics:

The Etymotic ER4XR compares well to the other newly released ER4, the ER4SR. Both are very similar in terms of their sound, with a little bit more bottom end on the ER4XR. The accent is on the words ‘little bit’; these are not for bass fans, so please look elsewhere if you’re all about that bass! Etymotic have stayed true to their loyal followers, as the increased bass of the ER4XR does not impinge on the midrange detail and clarity that this design is famous for.

Bass:

A good seal with the eartips is still important, but not quite as important as it was with the older ER4S! There is an appreciable amount of extra bass which starts quite low, adding a nice weight to the presentation. Given the popularity of previous designs, both with audio professionals and music fans, perhaps this is a nod towards the second group. The additional bass adds more than a hint of musicality, warmth and vigour.

As might be expected, bass is very nicely controlled and well balanced with the rest of the frequency spectrum, working perfectly with midrange which adds some very realistic harmonics..

Mids:

Midrange frequencies foster a blend of revelation and adventure. Revelation, due to the relentless way it exposes details within the audio, and adventure for the same reason; some older or badly made recordings might be difficult to listen to, and low-bitrate encoded tracks will not do well. Additionally, there are unexpected things to be discovered within music collections everywhere. Listening to a German film theme from 1971 (Peter Schirmann – Fluchtweg St. Pauli), it’s possible to hear what was on the tape before they recorded! Always make sure your tape is properly erased – German music producers of the early 1970s, take note.

Those who have a sensitivity to high-midrange frequencies might wish to think carefully as the onset of listener fatigue may be quick for some. The rewards more than outweigh these paltry pitfalls however, as music can be laid bare and almost deconstructed by the quality on offer here. No sonic stone is unturned! Things are handled well; even with a chaotic amount of action going on in the music, the ER4XR does it standing on its head.

Treble:

Next to the power of the midrange, the treble settles for second fiddle. There are no sharp edges here. Treble is tuned to provide support for higher harmonics and percussion, but there is a chance of the ER4XR sounding a little strident in terms of lower treble/upper mids. Female vocals and trumpet sections can be a little hard-edged on occasion, depending on the production quality.

Soundstage & Separation:

With the accuracy on offer from the Etymotic ER4XR (and ER4SR), it’s no surprise that separation and imaging are very impressive indeed. It’s difficult not to be distracted by that oboe player skulking on the far left of the presentation, or percussion which gives a vibraslap round the face.

Soundstage is good; the music appears to be coming from further out than the deeply inserted ER4XR’s physical limits but the near-neutral tuning and accuracy of the ER4XR does impose limits on this, making more distant instruments appear closer.

Music Genres Good For and Why:

The ER4XR is perfect for well-produced music of all types, so long as it is encoded well (in the case of digital music). Older recordings may be a hit or miss affair with music from the 1960s and earlier, depending on the production and mastering quality. Frequency peaks in the wrong place will become very apparent, and of course artefacts from the original recording medium (such as record pops and scratches) will not escape undetected.

Meze 99 Classic Headphones Review – Yes I Wood!

Posted on June 10, 2016 by Steve

Meze 99 Classics -Review- Yes I Wood!

In this world, we are used to things either being pretty, or useful. If you’ve ever tried to use a golden spanner, you’d have found it about as useful as a framed picture of your own intestines. However the Meze 99 Classics are claimed to be as good for listening to music as they are attractive; can it be true?

The name Meze brings up images of eating al fresco whilst overlooking the Mediterranean, and since the number ’99’ is attributable to a type of ice-cream here in the UK, a very enjoyable experience is brought to mind. We take our minds off food for long enough to put these headphones to the test..

Pros:

Looks lovely
Sounds excellent
Good fabric coated cables
1.2m and 3m cables included
Hard carry case

Cons:

Some older recordings can seem overly bassy
Cables are a little stiff

Design and appearance

As mentioned, the 99 Classics do make quite an impact visually; wooden earcups are paired with a headband design which makes a feature of a strong, supporting outer frame. This is coupled with a more yielding strap, suspended to fit the head automatically. It’s a design which might have been borrowed from the Wright brothers; so hopefully this construction of wood, metal and space will enable us to fly!

The Meze 99 Classics are also available in two other versions, besides the maple and silver type in the pictures. These are with a darker walnut wood for the earcups, with either silver details on the headband/earcups (walnut silver) or gold (walnut gold).

Earcups are pivoted where the headband joins them so they fit against the head very nicely, making them both comfortable and effective at keeping exterior noise to a minimum. Cables are a little bit stiffer than they would be ideally, but this is not a big deal.

Durability & build quality

Being ostensibly portable headphones (there’s a 3m cable in the box as well as a 1.2m cable with mic), the Meze 99 Classics look as if they can tolerate a bit of hustle and bustle; there are no obvious weaknesses and the cables are quite sturdy with strain reliefs in the usual places. The supplied hard carry case looks very useful for keeping the headphones in top condition.

Comfort

The Meze 99 Classics are certainly among the most comfortable portable headphones; the clamping force exhibited by some portables is not needed here; instead the wide and self-adjusting headphone strap helps to keep the headphones in place, distributing the grip around the head and keeping pressure off the ears. The earpads may be a little on the snug size for some and might be a little hot in warm temperatures; we’ve not had any problems though.

Sound isolation

These headphones are very good at eliminating outside noise, and are effective in preventing any sound leaking out too. A really good seal can be achieved thanks to the way the headband connects to the earcups, and very little can be heard with music playing, so take care out there!

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Fidue Sirius A91 IEM – Every Dog Has His Day

Posted on June 10, 2016 by Steve

Fidue Sirius A91 IEM – Every Dog Has His Day

It’s always nice to see a brand bringing out a new flagship model, and Fidue are certainly looking at the stars with the Sirius. Boasting a driver configuration consisting of 4 custom-made balanced armatures and one dynamic driver for the bass frequencies, Sirius promises to illuminate us; but is it a magnitude better than the competition?

Pros:

Lovely presentation
Strong carry case
2.5mm balanced cable as standard
Adaptors for use with 3.5mm sockets
removable cable locks into place

Cons:

Carry case is a bit bulky – that’s all!

Design and appearance

This is certainly one of the best presented IEMs; the capsules themselves are very strong and the cable is a fabric coated effort which is quite reminiscent of a full size flagship cable. This is terminated with a 2.5mm balanced jack as standard, for use with Astell&Kern palyers or the Lotoo PAW 5000 for example; more are sure to follow. However if you are still languishing in the world of 3.5mm sockets then adaptors are included; one for a standard 3-pole stereo socket and another 4-pole for better compatibility with some 4-pole sockets.

The case is similarly made well but it’s quite chunky; it’s probably designed to go into a bag rather than a pocket.

Durability & build quality

It appears that no expense has been spared in terms of materials used; it’s all very sturdy and gives the impression that it’ll go on for years. Strain reliefs are good and as mentioned above, the cable is thick and luxurious without being cumbersome. It behaves itself nicely.

The cable is removable and the MMCX connectors are kept in place using locking rings, which also take the strain. It’s still possible to rotate the capsules with the cable locked into position, so a good fit is always easy to achieve.

Comfort

Like the case, the capsules are on the chunky side but they sit in place quite comfortably without sticking out. The fabric cable also helps to fool us into thinking we aren’t wearing earphones at all, and the sound of the Sirius enhances this feeling (more on the sound below)!

Sound isolation

Isolation is decent enough; this is of course dependent on the sort of seal which can be achieved with the supplied eartips. This may be improved with the Comply eartips which are also included. Exterior noise tends to vanish when the play button is pressed, especially when music sounds as it does from the Sirius!

Sound characteristics

The sound of the Fidue Sirius sits together so nicely, it’s a challenge to pick out the features of the bass, midrange and treble. It’s a tangible and cohesive presentation which lets us know that this earphone is not playing around. Other flagship IEMs might emphasise detail which makes them a touch bright, or there may be a smoothness there in which something seems to be lacking. The Sirius sits perfectly between the two camps, giving up details effortlessly with an ease which cajoles the brain into accepting what it’s hearing as real.

Bass

Bass is tight and authoritative with a rich creamyness which really appeals. Definition is very good, with shaking drumskins and similar low-frequency details nicely rendered. Sub bass is there in quantity when needed, and it’s nicely balanced with the rest of the presentation so it never threatens to take over.

Mids

Midrange frequencies are about as present as they can be without risk of fatigue; they’re clear and vibrant with no hard edges. Older recordings get a new lease of life as if they’re brought up to date. It’s a bit odd, but a very nice type of odd. Steppenwolf’s ‘Magic Carpet Ride’ could have been produced last week, and the Temperance Seven’s renditions of 1920s dance music are so fresh, it seems a real possibility that a flying champagne cork might assault us. Newer, well produced/mastered music needs to be heard to be believed!

There’s a good amount of space and things never seem to get bogged down with a lot going on in the music. Reverbs and harmonics are clear and give a tremendous sense of being there and directly involved with the music.

Treble

Up top, higher-frequency detail is similarly treated with a bright-sounding presence which knows just when to back off. It has a natural and organic quality to it, with a shimmery lushness which gives another touch of realism to the presentation. The Sirius is exceptionally revealing but never strays beyond the bounds of believability.

Soundstage & Separation

Soundstage is very impressive; the head is surrounded by music, helped along by the Sirius’ very open sound. Instruments are easy to pick out and have great definition, but at the same time everything sits together very well should you just wish to relax and take it all in.

Music Genres Good For and Why

What genres is the Sirius not good for? We haven’t heard anything which the Sirius cannot do justice to. It shines with everything.

Summary

If you are looking to upgrade, you could do a lot worse than giving the Fidue Sirius a try. It is utterly deserving of its flagship status and it’s been a real pleasure to review. It’s one of those earphones which will have you tearing through your music collection in order to hear everything for the first time, again!

Fidue Sirius A9Video Review

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