October 13, 2020 § Leave a comment
“The sound the LCD-1 produce is more approachable to the average ear than other studio monitors without sacrificing the detail that audiophiles are looking for. They do all this while being more reserved in the highs than the Grado Hemp Headphones (no near-aching treble), but more robust in the lows than the M-200s (more rigidly neutral).
Though the design does mean that the soundstage is opened up when compared to closed-back designs, these do not isolate sound well at all for either you or anyone around you. These in particular blast music out the sides at a considerable volume, so if you plan to use these in any shared space, just know everyone around you can hear what you hear as clear as you can. My wife works in the next room and she can clearly hear the words to the songs I listen to from that far away.”
September 30, 2020 § Leave a comment
“Connected via Bluetooth, it is silent at idle, with no obvious clues that it isn’t conventionally wired up. The connection is entirely stable up to a few metres from the transmitting device. This ensures that music isn’t affected by unwanted background noise and the sparse Shadow Queen by the Alba Griot Ensemble sounds immediate and believable as a result. The interplay between the guitar and harp as well as the vocal harmonies is easy to follow. For a closed-back design, there is very little feeling of constraint to the soundstage.
If you select something a bit more ballistic like Resonant Body by Octo Octa, the Sennheiser responds effortlessly. The driving rhythm of Can You See Me? is deep – effortlessly subsonic, even – and detailed without losing the energy and speed that’s needed to sound convincing.”
September 29, 2020 § Leave a comment
“The timbre is wonderfully natural sounding on the Diana V2. The overall timbre is richer and relatively forgiving compared to the crisp and peppy treble tour de force of the Phi. Studied matching with sources will pose less of a challenge with the Diana V2.
To achieve this Abyss has attenuated the V2 treble just a little and pulled back its upper mids to match to dull down any potential odd-harmonic nasties. At the same time, the midbass and sub-bass FR has a bit of a bump throwing in some additional body and warmth into the mids to up the even-harmonic bias.”
September 16, 2020 § Leave a comment
” The ATH-WP900 is intended to deliver a fun and engaging listening experience, no question. These babies are made to entertain, rather than analyse. These are the sort of headphones that you can hand over to someone completely uninterested in audiophilia, and they would plant an immediate smile on their face – they make music come alive in a visceral, exciting, and crowd-pleasing way. And you know what? I absolutely dig it. You only need to listen to four bars of Outkast’s ‘Behold a Lady’ to know that you’re in for a Good Time with the ATH-WP900. The WP900 is equally at home playing well-mastered and recorded audiophile material as it is churning out Top-40 ‘guilty pleasures’. Let’s just say that I went to town on both Phil Collins and Taylor Swift for the purposes of this review. You’re welcome. ”
September 9, 2020 § Leave a comment
“Here’s my take on the overall design: I think it’s a love it/hate it kinda vibe. Whereas the TH900 gloriously celebrates itself with those big red cups, the TH909 looks somewhat confused, and compromised. While it did grow on me during the time that I spent with it, I think the grilles don’t really reconcile with the Urushi outer cups. And with the big hole cut in the middle of the cups, you wonder if it was worth going to the trouble of getting that fancy laquer at all on the TH909. Still, when you hold them you do recognise that you’re holding something special. Quibbles with the headband aside, they very much fit the bill of ‘flagship’ not only in terms of the materials used but also the emotions they invoke – while I didn’t buy this pair (and I don’t get to keep them either), I reckon I’d feel pretty proud to have them taking pride of place on my desktop.”
August 27, 2020 § Leave a comment
“With the vast majority of headphones and in-ears I attached to the Arche I found no mismatch issues, except with the highly sensitive (119dB) Earsonics EM10 CIEM. With EM10 there was a slight low-level hiss. With my most inefficient headphones, the Beyer Dynamic DT-990 600-ohm version, the Arche had more than adequate drive to produce high volume levels with lots of juice left over.
While not ergonomically perfect, the Focal Arche does most things right, both in terms of sonics and of its built-in headphone profiles and amplifier options, making it an impressive first-time electronic offering.”
August 17, 2020 § Leave a comment
“If you want the truth, however—at least as honestly as I’ve heard it in any headphones—you want the Stax SR-Omegas. They’re nothing less than stunning. In fact, short of an inherent headphone inability to render an accurate soundstage or that truly visceral feeling of power and weight through the bass, the SR-Omegas will stack up against any loudspeaker I know of in overall balance, definition, and sheer ability to convince the listener that he or she is indeed hearing exactly what’s on any given recording.”
August 15, 2020 § Leave a comment
“Listening to Melody Gardot’s “Mira,” one of my go-to test tracks, the HP-1 captured the essence of the performance in a textbook manner. The dynamics were conveyed incredibly well, vocals were clear, and the overall frequency range was represented very well. My memory of headphones that I have had at the price point of the HP-1, put the HP-1 far ahead of like priced competition, and in my opinion makes it simply a no brainer at its retail price.”