Author Archives: Steve

Final Audio Design Adagio V Review – Earphones for the Metal Fan

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Final Audio Design‘s new mid-price range is topped with the Final Audio Design Adagio V, a sleek looking and robust in-ear monitor which is designed to be worn down (perhaps earoded?) as opposed to worn over the ear. The driver housings themselves are relatively weighty and feel as though they are likely to fall out of the ears, but when in position this fear is short lived.

I always considered that a shiny barrel of metal going into my ear would lead to trouble, but maybe I’ve watched too many Mafia films. The Italian name Adagio certainly helps to conjure up the picture of a whacking, but the price doesn’t look too much like extortion.

The cable feels like a bit of a mismatch; as while it would not look out of place on other IEMs, the extra weight of the driver housings make it seem a little weedy. The lack of strain relif is a concern too, but I’m thinking that there’s likely some form of reinforcement within the housing. The weight of the Adagio V’s drivers would make it very tempting to use as a bola; fortunately there’s no shortage of people running away from me so I’ll be trying this soon.

When I had figured out the correct sized tip for my ears (which are smaller than average) the drivers sat in the ears happily enough, but I did look a little like my mother had an affair with a soda syphon.

Sound-wise, the Adagio V is forward in the midrange and I find myself tempted to lose a couple of dB in the 2-5k region; this is more a reflection of my own tastes and I feel that a lot of equipment aimed at the audiophile has a similar sound signature. The bass is there and extends very low, but there is no accentuation or bloating, if anything it is understated (again, my tastes are speaking here).

The soundstage is impressive, and it can sometimes really feel as if the sound is emanating from without, with some good instrument separation.

There is plenty of air, and a little play with an EQ shows a lot of response in the 14kHz region where a lot of earphones give very little difference. This is definitely an earphone for those who like detail over bass.

FiiO E12 Headphone Amplifier Review – Lauri Cular shoots Blancs

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The first thing the new headphone FiiO E12 Headphone amplifier ‘Mont Blanc’ AKA E12 does is impress just with its styling and shape. It is as oblong as it is solid, as it is black, as it is er.. rectangular. The size and shape of the FiiO E12 Headphone Amplifier is perfectly suited to lie against an iPod for instance, to form a nice regular pocketable rig. For me however, the temptation to grab a disused femur and bash the head of a hapless colleague is great indeed. It’s just so black. And oblongtangular.

I eventually shook off my atavistic tendencies; and using logic and reason I connected it to a USB socket for a good charge. The light pulsated slowly while this went on, and remained steady once the E12 was full. The E12 is not a DAC like the E07k or E17, it just amplifies.

The E12 is suitable for IEMs as well as full sized headphones, as there is a gain switch offering an extra 16dB should they be needed. The E12 is listed as being compatible with headphones up to 300 Ohms, but I thought I’d try my good old AKG K240DFs which come in at 600. The K240s were brought up to a good volume, and the bass boost switch on the E12 came in handy with them as they’re a bit bass-light. I’d say they could be driven better, but I could be using an amp which was designed for them so no surpise there. The HE-400 was always only just at an acceptably loud level with the E7, but with the E12 I can turn it up further should I need to.

The bass boost switch can be set to ‘off’ or ‘on’ only, there are no incremental steps. It sounds equivalent to a level ‘3’ setting on the E7’s bass boost, as the effect is large. Whether it improves the sound depends on what music is playing, for me; and how it is produced. Some forms of music can end up sounding a bit boomy and woolly, others are improved no end. I would say that in the former case, bass boost is superfluous anyway.

I tried the crossfeed feature with interest, as there are certain tracks which cannot easily be listened to on headphones. Mainly those early stereo mixes which are still experimental and intended for loudspeakers only, with for instance drums panned hard left, and perhaps rhythm guitar panned hard right. This makes my ears want to do back flips ordinarily, but the crossfeed feature really makes these tracks listenable again. In the past I’ve had to put the signal through a mixing desk and play with the panning, but this does it for me; and very well too. It need hardly be said that its effect on normal stereo mixes is detrimental indeed, so use crossfeed only when required.

The volume is controlled by a small pot on end of the E12, and is stiff enough not to deafen anyone with a nervous twitch. There’s little chance of it being moved by accident, and has a satisfyingly weighty feel to it.

I tried the E12 with my HE-400 full sized headphones and also the Phonak Audeo PFE112. The versatility of the E12 is one of its strengths, but great attention is required if switching from full-size to IEM and back again. It’s a good idea to check the gain control and volume religiously before switching on as there’s nothing to prevent the equipment and eardrums of the careless being damaged!

I think though that Fiio should take more care of their quality control as this appears to be coated in some sort of adhesive. It’s stuck to my hand, and I’m not sure if I can dislodge it before the weekend. I might have to take it home, and that would be dreadful.

Lauri Cular

HiFiMAN HE-400 Review – Cans’ Best Friend

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Now we’re all different of course, and so it follows that different sound signatures appeal also. I have noticed that high-end headphones tend to present more mid-range and high frequencies than I would like at the moment. I say ‘at the moment’ as my tastes have changed before and may well change again; both in a musical sense and a sound signature sense.

As it goes, these headphones suit me very well. I had the opportunity to try the HiFiMAN HE-400 against its bigger brothers, the HE-500 and the HE-6. For me, the higher priced headphones were a little too forward in the mid range and got in the way of that bottomless bass. This is a common a feature of planar magnetic headphones, and which makes me lament at the fact I can’t grab that bass and cuddle it like a warm puppy.

I understand that people might identify ‘bass presence’ with headphones which owe their success to marketing rather than a decent sound, but these headphones do not overly accentuate the bass. Nor is detail sacrificed. ‘Five years’, the opening track of David Bowie’s ‘Ziggy Stardust’ album starts with a kick drum fading in. I can clearly hear that drumskin quivering and for the first time, despite hearing the album many times.

That’s what’s so good about upgrading from sub-£200 headphones, my entire music collection gets upgraded as well!

And that’s just CDs. In the digital realm, my weak link is now a lack of a decent DAC. I have a reasonable Behringer USB sound card which is good but by no means high-end, plus a M-Audio PCI ‘audiophile’ card; but that’s 10 years old now.

Therefore I decided to try some vinyl with them and the sound is incredible. I found it fun to play a lot of 30 year old pop by way of some early ‘Now That’s’ LPs and various imitators such as ‘Out Now’. The fun is in the difference between the quality of that TV speaker, that little radio, or those cheapo headphones which were held together with sticky tape back in the 80s, and the tastier equipment I have now. Today, those familiar old songs can be heard for the first time as a collection of separate instruments and voices all in unison, rather than a single blunderbuss shot of sound within which you might pick up a distinct instrument if you’re looking for it hard enough, using sat-nav. And DNA profiling.

Indeed, the separation of instruments is a strong feature of planar-magnetic (or orthodynamic) headphones generally. I like to wander between instruments, and am really enjoying the feeling of space between them as well as their resolution which makes them all stand out.

The thing to be careful with is that there appears to be a ‘sweet spot’ as with loudspeakers. The earcups are large, and the placement of the ears within them can affect the sound. I like to place the earcups so that the backs of my ears are touching the padding, then ease the earcups backward until I feel I’m there.

The Sennheiser RS170 Review – Cans’ Best Friend

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Attention spans are ever shorter these days, and I’m no exception; planning to sit down and listen to music seems to require the will to be tethered to the spot for the duration. Maybe it’s psychology but the kettle starts to beckon, pressure builds in the bladder and – did I detect a knock at the door?

Not being one for compromise (too much), I found that Sennheiser‘s current crop of wireless headphones using ‘Kleer’ technology give sound quality which easily matches most wired headphones in their price bracket. The advantage of being able to take the music with me should I need to cross the room cannot be underestimated; the cable on my good old AKG K240s has me creeping around like a cat burglar in case I snag it, or knock over something  brittle and expensive.

The Sennheiser RS170 is a closed-backed headphone; meaning that I am isolated from environmental sounds to a certain extent and those around me cannot easily be disturbed by what I am listening to. The ‘closed’ type of headphone historically has had problems with standing waves and resonance within the earcups, and any soundstage has appeared narrower. Which makes it all the more surprising when I have to remove the headphones to check I have not left my speakers on! I have also felt as if someone has crept up to me and purred a few lyrics over my shoulder. Closed-back headphones have really come a long way.

The headphones are very light which makes them excellent for wearing whilst engaged in various household tasks such as head-shaking, hand-wringing and general procrastination; also they are right at home outside, and can be used for working or relaxing in the garden. I find mine are invaluable if I’m working on or cleaning my motorbike at the front of the house; the noise from the road drowns out my radio, and the wire involved with in-ear headphones and a MP3 player causes problems. Over the winter they have also kept my ears warm out there!

The RS170 features a bass-boost button which works very well for a bass fan such as myself; although it is by no means overpowering. It is well balanced with the higher frequencies being slightly accentuated when this is active. Also there’s a virtual surround setting which works very well for watching films and the like, but not so well for music or speech/radio. I find that anything in the centre of the soundstage is shifted slightly to the right and a little bit of clarity is lost. The control buttons on the right earcup are a little bit of a struggle for a lot of people as they are close together and most find them tricky, but I got used to them within a week. Tip – feel for the gap between the volume/power buttons and the bass boost/surround buttons.

The leatherette earpads are comfortable enough and provide a good seal; however I have modded mine by using a thin, stretchy fabric intended for use as an insect screen and placing this over the parts which contact my head. My ears can breath a little more easily and I can listen for longer. Velour earpads are available as an alternative; these are for the RS180 but fit the RS170 also.

Being a practical-minded chap, I was happy to find the headphones are powered by a pair of the ubiquitous AAA-sized batteries which will be easy to replace when the time comes. Indeed I’m confident that other spares will be available for some time to come, as Sennheiser obviously realise the value of post-sales support when it comes to spare parts.