Q: I'm looking for headphones for general use. I am a long time TMJ (temporomandibular joint dysfunction) sufferer and have been hesitant to drop a lot of money on a new headset that will just end up causing me extreme pain after a few hours. What headphones can I use?
A: If you have TMJ then many general headphone recommendations may not work for you because what's comfortable to many may be painful to you.
My suggestion would be that you audition headphones if possible before buying them.
However, some folks with TMJ prefer on-ear headphones or IEMs. You may want to consider the Senn PX100-ii, it is on ear, has very light pressure and is very comfortable (and I am one of those folks who typically find on-ears uncomfortable!)
And an IEM with a behind-the-ear wearing style may also be very comfortable for you if you have TMJ -- consider the Shure SE215.
Sunday, August 31, 2014
Saturday, August 30, 2014
Does an expensive DAC make a difference?
Q: Does an expensive DAC make a difference?
A: Most sigma delta DAC chips sound so similar it is hard to tell them apart. The sound the DAC puts out is also influenced by the analog circuitry, which may or may not be significant. Since many DACs try to be "transparent", i.e/ to add or take away nothing from the signal, you are not going to see a huge difference between them, despite their cost. So for example an ODAC sounds very similar to a Benchmark DAC1.
There are 3 exceptions:
1) some manufacturers go our of their way to "tune" the sound of their dac, typically by using the analog circuit to modify the sound, for example the warm sound of the Cambridge Audio DACMagic 100 or the Micromega MyDAC.
2) An NOS DAC often sounds very different than regular sigma delta DACs, mainly because the DAC chip itself i very different.
3) Some DACs add a filter to the output stage to modify the sound. This filter can be a tube, for example the Aune T1. The tube does not really act as a tube (i.e. for amplification) but serves to distort the signal in a pleasing way. Therefore these DACs sound different.
So it's not the price of the DAC per se, but which category it falls under that ultimately determines the sound it generates.
In general headphones and amps make much more different to sound than DACs. But DACs make a bigger difference than cables.
A: Most sigma delta DAC chips sound so similar it is hard to tell them apart. The sound the DAC puts out is also influenced by the analog circuitry, which may or may not be significant. Since many DACs try to be "transparent", i.e/ to add or take away nothing from the signal, you are not going to see a huge difference between them, despite their cost. So for example an ODAC sounds very similar to a Benchmark DAC1.
There are 3 exceptions:
1) some manufacturers go our of their way to "tune" the sound of their dac, typically by using the analog circuit to modify the sound, for example the warm sound of the Cambridge Audio DACMagic 100 or the Micromega MyDAC.
2) An NOS DAC often sounds very different than regular sigma delta DACs, mainly because the DAC chip itself i very different.
3) Some DACs add a filter to the output stage to modify the sound. This filter can be a tube, for example the Aune T1. The tube does not really act as a tube (i.e. for amplification) but serves to distort the signal in a pleasing way. Therefore these DACs sound different.
So it's not the price of the DAC per se, but which category it falls under that ultimately determines the sound it generates.
In general headphones and amps make much more different to sound than DACs. But DACs make a bigger difference than cables.
Friday, August 29, 2014
Help, my Grado headphones rattle!
Q: I have an annoying rattle emanating from my Grado SR80i whenever I try to hear it. At higher volume levels there are buzzing/fluttering noises that come from one or both sides of the headphones. How do I get rid of the noises?
A: Grado rattle is a known issue and quite common. At best it is irritating. At worst it is unlistenable. The rattle is typically caused by one of three things:
Most commonly its a hair on the driver. Take the pads off and take a look. You can gently blow the hair off, or use tweezers. Non magnetic tweezers are best if you don't want to risk accidentally puncturing drivers. I have a pair if plastic tweezers I keep around for working in close proximity to driver magnets.
Second, it may be because of a deformed driver diaphgram. Grados are notorious for rippled diaphragms, which dimple and distort with alarming frequency. Folks say its because Grados are so easy to drive, but personally I think it is because the quality of the materials they use are suboptimal. You can gently try to suck the driver back into shape. It usually works, for a while, so you have to keep doing it again and again.
Third, it may be because the driver does not fit well in the enclosure. This is because cheaper Grado parts are made with poor tolerances. You could always lay down a bead of glue or epoxy circumferentially at the join, which sometimes fixes the issue.
But once a Grado starts rattling, it is probable that its days are numbered.
A: Grado rattle is a known issue and quite common. At best it is irritating. At worst it is unlistenable. The rattle is typically caused by one of three things:
Most commonly its a hair on the driver. Take the pads off and take a look. You can gently blow the hair off, or use tweezers. Non magnetic tweezers are best if you don't want to risk accidentally puncturing drivers. I have a pair if plastic tweezers I keep around for working in close proximity to driver magnets.
Second, it may be because of a deformed driver diaphgram. Grados are notorious for rippled diaphragms, which dimple and distort with alarming frequency. Folks say its because Grados are so easy to drive, but personally I think it is because the quality of the materials they use are suboptimal. You can gently try to suck the driver back into shape. It usually works, for a while, so you have to keep doing it again and again.
Third, it may be because the driver does not fit well in the enclosure. This is because cheaper Grado parts are made with poor tolerances. You could always lay down a bead of glue or epoxy circumferentially at the join, which sometimes fixes the issue.
But once a Grado starts rattling, it is probable that its days are numbered.
Thursday, August 28, 2014
Can someone tell the difference between lossy and lossless music files?
Q: Can someone really tell the difference between lossy and lossless music files?
A: Why not conduct an experiment.
Pick a song you have on CD that you know well, and rip it to FLAC, 320 kbps mp3, 256kbps mp3, 128 kbps mp3 and 64 kbps mp3. Now start at the bottom and slowly listen your way up the quality ladder. It's easier to listen "up" and appreciate nuanced differences than to listen "down".
At what point do you stop hearing a difference between a file and the next one up in sequence? That's your bar. If it is really low, you can always practice to become a more discerning listener (develop those golden ears!).
Having said that, you should probably be able to tell the difference between a low bitrate mp3 file and a high bitrate mp3 file, but at bitrates of 320 kbps, it becomes astonishingly difficult to differentiate lossy from lossless, even with high-quality equipment.
This experiment works best when it is lubricated by a glass or two of single malt (or your choice of beverage).
Do it for science!
Wednesday, August 20, 2014
Have you ever danced with the Devil in the pale moonlight?
The SE315 is a sleeper IEM. Let me explain.
But first, the usual obligatory photo.
Strophe
Shure has been quietly refining its IEM design over the last decade, and gaining increasing recognition for ots products. You could argue that the SE215 is one of the best bass-prominent IEMs at its price point. Its dynamic driver gives you rich powerful bass, the design is excellent with a high-quality finish, a detachable cord, great fit within the ear with a variety of tip designs, superb isolation, and it is very comfortable (once you get used to the over-ear style of wearing them). If you are a basshead, it is hard to find a better value for the price you pay for the 215s.
The SE315 is a different animal. It is a single balanced armature (BA) IEM. The problem with single BA implementations is that even though BAs offer some benefits in comparison to a dynamic driver (specifically improved clarity and some advantages with respect to detail), they don't have the depth or range of a dynamic driver.
So a single BA IEM sacrifices both low end impact, and also suffers from some degree of high end rolloff, but in exchange for its shortcomings offers improved quality of presence and separation. Usually designers overcome the limitations intrinsic to single BA designs by adding additional BAs and designating the frequencies each BA can handle, or by adding a dynamic driver predominantly to handle the bass and round off the BA's FR characteristics (the so-called "hybrid" IEM).
The physical design of the SE315 is essentially very similar as that of the 215. Shure followed the same styling cues, but tried to solve the anemic bass of the SE315's single BA architecture by engineering a bass vent within the design, which does add some depth to the low end.
With the 315, what you get is a relatively neutral sound, with bass that has great detail but lacks the "punch" of the 215, and a more cool tone (although with some high-treble rolloff) than the warmth of the 215.
I don't think comparing IEMs to full size headphones makes much sense, but FWIW if the 215 is something like the HD650 in its sound (and I compare the two very loosely) then then the 315 is something like the HD600.
Antistrophe
So why did I buy the SE315? Well, I wanted an IEM for critical listening, mostly for classical / acoustic / folk / jazz music, and I found that while the 215 was awesome for genres like EDM, it was too bass-rich for my taste for these genres. But at the same time I did not want to spend hundreds of dollars on a multi-BA setup, because frankly I would rather spend the money on full size headphones, amps or DACs since I spend very little time actually listening on IEMs unless I am traveling (and even then not exclusively).
So I listened to as many single BA IEMs that I could get my hands on, and read reviews by folks I trusted and came to the conclusion that the 315 offered the most neutral profile for critically listening to the genres I wanted to match them with, had the best fit (for my ears), and made the most sense from a price-performance perspective.
Plus it looks good. My 215s are black, with that cool smoky translucent dark plastic, but unfortunately the black SE315s are entirely opaque, so I went with the clear shell, which is a decision that I definitely do not regret. IMO they are gorgeous in their see-through clothes :-)
Epode
What the SE315 is: a single BA over-ear cord style IEM with a relatively neutral profile, a little shy on the bass, but with great clarity and presence. From a price/performance perspective IMO this is the best single BA IEM for what it offers. If you want a neutral sound to critically listen to classical / acoustic/ jazz you will probably enjoy the 315s.
What the SE315 isn't: it does not have the FR range or depth of multi-BA IEMs or hybrids. If you don't like the Shure over-ear way of wearing IEMs you will hate the 315s because you can't just stick it in your ear with the wires hanging down. If you mostly listen to EDM or hip hop you will probably be disappointed by the 315's low end. And if you want range or impact, you may be better off with a dynamic or a multi BA or a hybrid IEM.
The bottom line: if you are planning to go up the IEM ladder and upgrade to CIEMs or high-end UIEMs, then you should probably skip the SE315s and save your money for the good stuff. If you are in the market for a single BA IEM and you know what you are getting into, then this is a good choice.
But first, the usual obligatory photo.
Strophe
Shure has been quietly refining its IEM design over the last decade, and gaining increasing recognition for ots products. You could argue that the SE215 is one of the best bass-prominent IEMs at its price point. Its dynamic driver gives you rich powerful bass, the design is excellent with a high-quality finish, a detachable cord, great fit within the ear with a variety of tip designs, superb isolation, and it is very comfortable (once you get used to the over-ear style of wearing them). If you are a basshead, it is hard to find a better value for the price you pay for the 215s.
The SE315 is a different animal. It is a single balanced armature (BA) IEM. The problem with single BA implementations is that even though BAs offer some benefits in comparison to a dynamic driver (specifically improved clarity and some advantages with respect to detail), they don't have the depth or range of a dynamic driver.
So a single BA IEM sacrifices both low end impact, and also suffers from some degree of high end rolloff, but in exchange for its shortcomings offers improved quality of presence and separation. Usually designers overcome the limitations intrinsic to single BA designs by adding additional BAs and designating the frequencies each BA can handle, or by adding a dynamic driver predominantly to handle the bass and round off the BA's FR characteristics (the so-called "hybrid" IEM).
The physical design of the SE315 is essentially very similar as that of the 215. Shure followed the same styling cues, but tried to solve the anemic bass of the SE315's single BA architecture by engineering a bass vent within the design, which does add some depth to the low end.
With the 315, what you get is a relatively neutral sound, with bass that has great detail but lacks the "punch" of the 215, and a more cool tone (although with some high-treble rolloff) than the warmth of the 215.
I don't think comparing IEMs to full size headphones makes much sense, but FWIW if the 215 is something like the HD650 in its sound (and I compare the two very loosely) then then the 315 is something like the HD600.
Antistrophe
So why did I buy the SE315? Well, I wanted an IEM for critical listening, mostly for classical / acoustic / folk / jazz music, and I found that while the 215 was awesome for genres like EDM, it was too bass-rich for my taste for these genres. But at the same time I did not want to spend hundreds of dollars on a multi-BA setup, because frankly I would rather spend the money on full size headphones, amps or DACs since I spend very little time actually listening on IEMs unless I am traveling (and even then not exclusively).
So I listened to as many single BA IEMs that I could get my hands on, and read reviews by folks I trusted and came to the conclusion that the 315 offered the most neutral profile for critically listening to the genres I wanted to match them with, had the best fit (for my ears), and made the most sense from a price-performance perspective.
Plus it looks good. My 215s are black, with that cool smoky translucent dark plastic, but unfortunately the black SE315s are entirely opaque, so I went with the clear shell, which is a decision that I definitely do not regret. IMO they are gorgeous in their see-through clothes :-)
Epode
What the SE315 is: a single BA over-ear cord style IEM with a relatively neutral profile, a little shy on the bass, but with great clarity and presence. From a price/performance perspective IMO this is the best single BA IEM for what it offers. If you want a neutral sound to critically listen to classical / acoustic/ jazz you will probably enjoy the 315s.
What the SE315 isn't: it does not have the FR range or depth of multi-BA IEMs or hybrids. If you don't like the Shure over-ear way of wearing IEMs you will hate the 315s because you can't just stick it in your ear with the wires hanging down. If you mostly listen to EDM or hip hop you will probably be disappointed by the 315's low end. And if you want range or impact, you may be better off with a dynamic or a multi BA or a hybrid IEM.
The bottom line: if you are planning to go up the IEM ladder and upgrade to CIEMs or high-end UIEMs, then you should probably skip the SE315s and save your money for the good stuff. If you are in the market for a single BA IEM and you know what you are getting into, then this is a good choice.
Thursday, August 14, 2014
Modding the Audio Technica ATH-M50 with new pads
These Audio Technica ATH-M50s are extremely popular headphones, but one issue with them is their uncomfortable plastic-covered pads, that cause may folks to itch and sweat.
The good news is that the issue can easily by solved by swapping the stock ATH-M50 pads with Beyerdynamic DT250 velour pads.
This mod is easy and straightforward and should not take you more than a few minutes. You don't need any special tools like a screwdriver, soldering iron, etc. Just slip the stock pads off, and pull the new ones on. The DT250 pads fit tightly, without any looseness. You can rest assured these pads won't come off accidentally. You can still fold the M50s the same way as before.
Tip #1: If you invert the lip of the pads before placing them on the earcups, and slowly roll the pads down circumferentially, you will have them on much quicker (and with less cussing) than if you try to force them in place.
Tip #2: Also, use a thin plastic tool (I used a credit card) to tuck the edge of the pad into the groove on the earcup. You'll know what I mean when you see it.
Sound differences: There is definitely an audible drop in bass prominence with the velour pads. Rolloff is a little sooner, too. Bass attenuation is a little more prominent in the lower end of the bass frequencies, but the relative differences between lower and higher bass drop is really not that noticeable unless you are listening to genres like DnB, and even then only when you know the song well. Another interesting effect is that the infamous 70-80Hz bass dip (dude to the stock M50 pad) goes away.
But there is a silver lining. The 9000 Hz spike is also attenuated a little with the pad swap, so the treble sounds a little less tizzy than with the stock pad.
A couple of other listening notes: IMO the mids and highs are a little more smeared with the velour pads, which adversely affects detail as well as clarity, luckily only modestly. And there's a mild reduction in "boominess" of the sound compared to stock.
The biggest difference is the comfort, which increases by leaps and bounds. The internal volume of the pads is about the same, so the diameter of the opening is relatively unchanged. The old pads would get warm and cause me to itch after a while, but the velours are perfectly cool, breathable and significantly more comfortable for extended listening sessions.
So is it worth it? As you can see, I have put my money where my mouth is (or my velour where my ear is, to be more precise). I aint going back to stock anytime soon.
While the DT250 pads are more comfortable, unfortunately they do not reduce the (significant) clamping force of the M50s. I have read about folks bending their M50 headband to make them fit less tightly, but I would not recommend using force since the headband is prone to crack. An easier way is to use a pillow -- place the M50 over the pillow making sure that the size of the pillow is a little bigger than your head. Let it marinade for a day or two. You'll notice some reduction in clamp force. Try repeating the pillow stretch if the first time does not work for you.
The good news is that the issue can easily by solved by swapping the stock ATH-M50 pads with Beyerdynamic DT250 velour pads.
This mod is easy and straightforward and should not take you more than a few minutes. You don't need any special tools like a screwdriver, soldering iron, etc. Just slip the stock pads off, and pull the new ones on. The DT250 pads fit tightly, without any looseness. You can rest assured these pads won't come off accidentally. You can still fold the M50s the same way as before.
Tip #1: If you invert the lip of the pads before placing them on the earcups, and slowly roll the pads down circumferentially, you will have them on much quicker (and with less cussing) than if you try to force them in place.
Tip #2: Also, use a thin plastic tool (I used a credit card) to tuck the edge of the pad into the groove on the earcup. You'll know what I mean when you see it.
Sound differences: There is definitely an audible drop in bass prominence with the velour pads. Rolloff is a little sooner, too. Bass attenuation is a little more prominent in the lower end of the bass frequencies, but the relative differences between lower and higher bass drop is really not that noticeable unless you are listening to genres like DnB, and even then only when you know the song well. Another interesting effect is that the infamous 70-80Hz bass dip (dude to the stock M50 pad) goes away.
But there is a silver lining. The 9000 Hz spike is also attenuated a little with the pad swap, so the treble sounds a little less tizzy than with the stock pad.
A couple of other listening notes: IMO the mids and highs are a little more smeared with the velour pads, which adversely affects detail as well as clarity, luckily only modestly. And there's a mild reduction in "boominess" of the sound compared to stock.
The biggest difference is the comfort, which increases by leaps and bounds. The internal volume of the pads is about the same, so the diameter of the opening is relatively unchanged. The old pads would get warm and cause me to itch after a while, but the velours are perfectly cool, breathable and significantly more comfortable for extended listening sessions.
So is it worth it? As you can see, I have put my money where my mouth is (or my velour where my ear is, to be more precise). I aint going back to stock anytime soon.
While the DT250 pads are more comfortable, unfortunately they do not reduce the (significant) clamping force of the M50s. I have read about folks bending their M50 headband to make them fit less tightly, but I would not recommend using force since the headband is prone to crack. An easier way is to use a pillow -- place the M50 over the pillow making sure that the size of the pillow is a little bigger than your head. Let it marinade for a day or two. You'll notice some reduction in clamp force. Try repeating the pillow stretch if the first time does not work for you.
Wednesday, August 13, 2014
The Emotiva XDA-2: A capable DAC/amp with a large form factor
What features does it have?
The XDA2 is actually a very capable dac/headphone amp, with USB, 2 optical and 2 coax inputs, and a AES/EBU jack. It has a decent AD1955 DAC, that can manage 24/192.
The headphone amp section has a high current circuit and 0.1 ohm output impedance. It can power most headphones with ease, except highest-impedance models.
It has RCA and XLR pre outs, so you can run your active speakers. There's also a button on the remote that allows the XDA2 to upsample everything it receives to 24/192.
For the price it has a ton of cool features -- a display, a digital volume control, and even a remote that is built very solidly.
What does it sound like?
The sound is pretty transparent, minimally favoring brightness. There is zero noise floor except with the most sensitive IEMs (and even then just a barely noticeable amount).
So what's not to love?
First, the fatal flaw is that the XDA2 is huge. Check the dimensions and see if it works for you -- it may not for many. It is full size, and bigger than most personal audio gear I have seen. Did I mention, it is huge?
Second, the blue LEDs are irritatingly bright, even when dimmed (and when at full blast they can light up an entire city block).
Some folks don't like the lack of a potentiometer they can physically turn (no knob feel!). I'm fine with button-clicking instead of knob-turning, but my biggest issue with the XDA2 is that it takes forever to cycle up and down the digital volume scale by clicking.
In sum
The XDA-2 is actually great value for money, with a slew of features that allow it to be used as a DAC (with multiple inputs), a headphone amp, and as a preamp for powered speakers. It is solidly built, and includes some features (like a digital display, a remote, etc.) that you would expect from models at a much higher price point. The current model is being closed out, and consequently a bargain at this time.
If you have the space, the XDA-2 should certainly be on the shortlist for folks assembling a setup on a budget.
The XDA2 is actually a very capable dac/headphone amp, with USB, 2 optical and 2 coax inputs, and a AES/EBU jack. It has a decent AD1955 DAC, that can manage 24/192.
The headphone amp section has a high current circuit and 0.1 ohm output impedance. It can power most headphones with ease, except highest-impedance models.
It has RCA and XLR pre outs, so you can run your active speakers. There's also a button on the remote that allows the XDA2 to upsample everything it receives to 24/192.
For the price it has a ton of cool features -- a display, a digital volume control, and even a remote that is built very solidly.
What does it sound like?
The sound is pretty transparent, minimally favoring brightness. There is zero noise floor except with the most sensitive IEMs (and even then just a barely noticeable amount).
So what's not to love?
First, the fatal flaw is that the XDA2 is huge. Check the dimensions and see if it works for you -- it may not for many. It is full size, and bigger than most personal audio gear I have seen. Did I mention, it is huge?
Second, the blue LEDs are irritatingly bright, even when dimmed (and when at full blast they can light up an entire city block).
Some folks don't like the lack of a potentiometer they can physically turn (no knob feel!). I'm fine with button-clicking instead of knob-turning, but my biggest issue with the XDA2 is that it takes forever to cycle up and down the digital volume scale by clicking.
In sum
The XDA-2 is actually great value for money, with a slew of features that allow it to be used as a DAC (with multiple inputs), a headphone amp, and as a preamp for powered speakers. It is solidly built, and includes some features (like a digital display, a remote, etc.) that you would expect from models at a much higher price point. The current model is being closed out, and consequently a bargain at this time.
If you have the space, the XDA-2 should certainly be on the shortlist for folks assembling a setup on a budget.
Saturday, August 9, 2014
Wooden headphones that won't break the bank
Accidentally Extraordinary 51st Studio Headphones
The Scene: Chili Palmer's office in downtown LA
"Chili, I've got an idea for a movie."
"OK let me have it, Harry."
"Imagine there's this guy who works in the boonies in Utah in education as a teacher and a high school administrator. Imagine this fantastic opening scene, it's dawn and this guy looks out at the desert sand and smiles wistfully because he has this dream of being an entrepreneur."
"What kind of an entrepreneur? Porn like Larry Flynt? Retail like Sam Walton? Cars like Preston Tucker? Rags to riches, that would be a great movie!"
"Nope, none of that sissy stuff, Chili. Headphones. The guy wants to make headphones."
"Look at me, Harry. I said, look at me! What on earth are you talking about?"
"I mean headphones, Chili. Real wooden headphones that sell like Beats and makes him rich, but they sound better, and without the celebrity endorsements. So he goes to China...."
"China? Why China?"
"That's where they make 'em, Chili. And then he comes back to Oakland and hangs out with some eclectic buddies like a poet and a high school counselor and a history teacher and they call themselves, well, I dunno, maybe something like 'Accidentally Extraordinary' and they start selling these headphones."
"Harry this is the silliest idea you have pitched to me since Revenge of the Lesbian Zombies Part Three."
"Wait a minute, Chili. Listen to the rest of it. There's this famous critic. He reviews the headphones and loves it. This gets our hero so excited he starts a Kickstarter campaign to produce a brand new revolutionary model."
"And?"
"The campaign fails, of course. This isn't a freaking Disney movie, Chili."
"Oh wow that's a tragedy. Like Shakespeare, except without, well, Shakespeare."
"And I'm thinking we could use a real-life personality in a guest role as the Critic."
"Well we can't use Walt Mossberg, I hear he retired. And David Pogue has his head so far up Apple's butt I don't think he'll be interested in popping out for a cameo in a movie."
"Well we could use Tyll Hertsens...."
"You don't say! I'd love to meet Mr Hertsens. Can we fly him down to LA to discuss the movie? Wait, is there even an airport where he lives...Montana, right? Isn't that in Canada someplace?"
I may have taken artistic liberties with this scenario, but Accidentally Extraordinary did start as an idea in Kunal Dalal's imagination. The 51st Studio headphones does feature real wood in its construction. The company is based out of Oakland and consists of a bunch of eclectic people . They did have a failed Kickstarter project. And it was favorably reviewed at Inner Fidelity, which is how I became interested in it. So of course, I had to get myself a pair to see what it was about.
And without further ado, on to the review.
The look
The 51st Studio looks like it is a modified Esmooth design. Esmooth is a Chinese company that makes OEM/ODM headphones for others.
It features smallish cups with pleather earpads and a metal headband with a slider mechanism for extending the earcups. The design is closed -- what appear to be vents on the outer earcups are purely cosmetic. The primary feature of the 51st Studio's design are the flat wooden plates of the earcups -- these are solid wood and an integral part of the cup and so affect the tone of the sound. The 51st Studio features a detachable cable and comes with two flat cables that feature 3.5 mm TRS connectors. One of them has a single button remote.
The feel
Build quality is average. The pleather pads look cheaply made. Fit and finish could be better. The headband pad is glued to the headband, and not too well. Both cables lack a quality look and feel, and have moderate microphonics. Apart from the cables, accessories are sparse -- a cloth carry bag that offers no shock protection whatsoever, and well, that's about all you get.
The best part of the headphones are the wooden cups -- the wood is warm and solid-looking, and the headphones look somewhat antique and surprisingly sharp because of the wood.
The fit
The pads are plush and squared off in shape, but cup size is small, if you have average or large ears, then, the 51st Studio is not going to fit comfortably circumaurally; you will probably end up using them (as I did) as predominantly on-ear headphones. The ratcheting cup extension mechanism feels somewhat flimsy, but the headphones themselves do not look or feel delicate.
The sound
When I first heard the 51st Studios, I was surprised how warm and lush everything sounded. The sound is very rich, smooth, and there's a creamy texture to the bass that is somewhat reminiscent of the Denon AH-D600. Bass rolls off quickly at the low end, though, and extension is lacking. Vocals are warm and modestly recessed. The real surprise here is the treble, which is rich, and very smooth, if a tad syrupy. It really complements the lower end of the spectrum well to present music very forgivingly in a fatigue-free fashion.
Since I fell in love with the Philips Fidelio X1 sound I have been searching for a closed pair of headphones with a similar warm, colored, lush sound profile, and in the 51st Studio I think I have found what I am looking for. They isolate sound well, and there is little to no leakage, which makes them a great (and fashionable) choice for the daily commute.
The fatal flaw
So it's cheap, it sounds good, it looks good, it has a good backstory, so of course there has to be a fatal flaw, right? Well, there is. The earcups connect to the headband with two metal pins and a D-shaped band of metal, which allows them to swivel freely around their attachment axis.
The problem is that the cable going up from the earcups to the headband get stretched when that happens, which does not bode well for their longevity. It's not something that should necessarily deter you from buying the 51st Studios, but certainly something to consider.
It's a silly flaw really, because almost all headphone manufacturers have found solutions to prevent the wire from being stretched with axial movement of the cups -- just look at any mid-fi Beyerdynamic or the Sony MDR V6 or the Fostex T50RP -- all have exposed wiring and all have a design for stress relief.
Not Accidentally Extraordinary, though. Which I guess makes them accidentally ordinary.
Friday, August 8, 2014
DAC vs DAC
Q: Do DACs really sound that different from each other? I thought all DAC chips sounded pretty much the same
A: Most DAC chips are indistinguishable from each other, but keep in mind that DACs have analog circuitry too, which changes the sound to a lesser or greater degree.
So for example I cannot tell the difference between Modi and ODAC most of the time but I can tell the difference between my NOS DAC and ODAC every time!
And between my Cambridge Audio DacMagic 100 and Modi every time (different analog circuitry specifically tuned by Cambridge Audio to sound warm for classical music)
A: Most DAC chips are indistinguishable from each other, but keep in mind that DACs have analog circuitry too, which changes the sound to a lesser or greater degree.
So for example I cannot tell the difference between Modi and ODAC most of the time but I can tell the difference between my NOS DAC and ODAC every time!
And between my Cambridge Audio DacMagic 100 and Modi every time (different analog circuitry specifically tuned by Cambridge Audio to sound warm for classical music)
Thursday, August 7, 2014
What sound experience do real audiophiles want?
Q: Do real audiophiles progressively move toward the most neutral experience they can get?
A: Not all audiophiles, it may be better to use the word "some" instead of "real". Rather than call it "neutral" vs "colored" or "objective" vs "subjective" I think of the listening experience more as being "analytical" vs "fun". I'll explain what I mean.
Some times I want to get the source recording, the whole source recording, and nothing but the source recording. While you may think this desire only extends to classical and/or live performances, in reality there are times when I ant to hear music the way the artists/ producers conceptualized it. So for example when Daft Punk won the "best engineered album" award at the Grammys, I wanted to go back and hear RAM exactly as it was on my source file, ni plus ni moins. And the best way to achieve it is with a neutral DAC, a solid state amp that does not sound too bright or too dark, and something like the HD600.
But at other times I want a completely different experience. I want the violins in Mendelssohn's Concerto in E minor Op 64 to come out of the orchestra and smack me across the face, I want Christina Novelli to breathe in my ear when I hear Garth Emery's "Concrete Angel", and I want that in-your-face Southern rock stance when I listen to 38 Special's "Caught Up In You" and perform right alongside them on stage with my air guitar. And frankly, for any of those scenarios (classical, EDM, rock) when you want a more "fun" experience, the analytic set up fails. So an alternative set up with a warmish DAC, a tube amp and a HD650 or Fidelio X1 will give you a very different (and probably more pleasing) experience than the one I outlined in the previous paragraph.
So what headphones like Grados offer is a "fun" experience. And while "fun" is good, there is a totally different "analytical" experience out there waiting to be discovered. Some may enjoy it, some may not. And for everyone who enjoys an "analytical" experience, there is a "fun" experience waiting around the corner to surprise and thrill them. That's why there are so many headphones out there.
I just realized that everything that I said about headphones also applies to your spouse/girlfriend/boyfriend/significant other. Sometimes you want fun, and sometimes you want analytical.
A: Not all audiophiles, it may be better to use the word "some" instead of "real". Rather than call it "neutral" vs "colored" or "objective" vs "subjective" I think of the listening experience more as being "analytical" vs "fun". I'll explain what I mean.
Some times I want to get the source recording, the whole source recording, and nothing but the source recording. While you may think this desire only extends to classical and/or live performances, in reality there are times when I ant to hear music the way the artists/ producers conceptualized it. So for example when Daft Punk won the "best engineered album" award at the Grammys, I wanted to go back and hear RAM exactly as it was on my source file, ni plus ni moins. And the best way to achieve it is with a neutral DAC, a solid state amp that does not sound too bright or too dark, and something like the HD600.
But at other times I want a completely different experience. I want the violins in Mendelssohn's Concerto in E minor Op 64 to come out of the orchestra and smack me across the face, I want Christina Novelli to breathe in my ear when I hear Garth Emery's "Concrete Angel", and I want that in-your-face Southern rock stance when I listen to 38 Special's "Caught Up In You" and perform right alongside them on stage with my air guitar. And frankly, for any of those scenarios (classical, EDM, rock) when you want a more "fun" experience, the analytic set up fails. So an alternative set up with a warmish DAC, a tube amp and a HD650 or Fidelio X1 will give you a very different (and probably more pleasing) experience than the one I outlined in the previous paragraph.
So what headphones like Grados offer is a "fun" experience. And while "fun" is good, there is a totally different "analytical" experience out there waiting to be discovered. Some may enjoy it, some may not. And for everyone who enjoys an "analytical" experience, there is a "fun" experience waiting around the corner to surprise and thrill them. That's why there are so many headphones out there.
I just realized that everything that I said about headphones also applies to your spouse/girlfriend/boyfriend/significant other. Sometimes you want fun, and sometimes you want analytical.
Wednesday, August 6, 2014
What song do I demo my new headphones with?
Q: What song do I demo my new headphones with?
A: I would say the most important criterion for demoing headphones (apart from the song being of good quality) is that you know it very very well, so that you can pick up nuances sooner rather than later. Typically my demo playlist comprises of one song from each genre I love that I know like the back of my hand.
It's hard to pick one song, my current demo playlist starts with New Order - Regret (Fire Island mix). Lots of tonal variations, both "cold" and "warm", instrumentation allows you to focus on bass, mids and highs in turn, tests tightness of bass rather well, brings out coloration, vocals have good intonational characteristics that can be used to advantage when A/Bing, positional nuances are subtle so a reasonably good test of soundstage, too.
A: I would say the most important criterion for demoing headphones (apart from the song being of good quality) is that you know it very very well, so that you can pick up nuances sooner rather than later. Typically my demo playlist comprises of one song from each genre I love that I know like the back of my hand.
It's hard to pick one song, my current demo playlist starts with New Order - Regret (Fire Island mix). Lots of tonal variations, both "cold" and "warm", instrumentation allows you to focus on bass, mids and highs in turn, tests tightness of bass rather well, brings out coloration, vocals have good intonational characteristics that can be used to advantage when A/Bing, positional nuances are subtle so a reasonably good test of soundstage, too.
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