Description: In-ear headphones with electrostatic drive-units and dedicated D/A headphone amplifier and power supply. Headphone polarizing voltage: 200V DC. Maximum output voltage: ±200V. Output current: <1mA. Noise attenuation: <37dB. Frequency range: 10Hz–50kHz. Maximum SPL: 113dB (1kHz at 3% THD). Amplifier inputs: USB (Micro-B receptacle), analog line-in (3.5mm/1?8"). Amplifier output: Lemo connector. DAC bit depths accepted: 16, 24, 32. Sample rates accepted: 44.1, 48, 88.2, 96kHz. Signal/noise: <107dB, A-weighted. Adjustable gain range: –40 to +60dB. Amplifier functions: selectable analog RMS limiter, 4-band parametric equalizer, line input pad (–10 or –20dB). Amplifier power supply: rechargeable 3.6V Li-Ion battery. Battery life: analog in (Bypass EQ mode), up to 10 hours; USB input (EQ mode), up to 7 hours. Supplied accessories: square zipper pouch; leather amplifier case; Fit Kit with assorted sleeves, Micro-B "On The Go," Type A to Micro-B, and Micro-B to Lightning USB cables; 6" and 36" male-to-male 3.5mm cables; ¼" (6.3mm) to 1?8" (3.5mm) stereo adapter; airline adapter; inline volume control; rubber amp security bands. Optional accessory: Micro-B to 30-pin USB cable.
Dimensions: Amplifier: 4.4" (111mm) L by 2.33" (59mm) W by 0.83" (21mm) D. Cable: 39" (1m) L. Weights: headphones, 1.55oz (44gm); amplifier, 6.42oz (182gm).
Serial number of unit reviewed: 30L1268411. Amplifier firmware: 1.2.2.
Price: $2999. Approximate number of dealers: not disclosed, but "KSE1500 resellers include B&H, Amazon, InMotion, Moon Audio, and Sweetwater."
Manufacturer: Shure Inc., 5800 W. Touhy Avenue, Niles, IL 60714-4608. Tel: (800) 257-4873, (847) 600-2000. Fax: (847) 600-1212. Web: www.shure.com/americas.
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COMMENTS
I had three of the Pro4AA's, from circa 1973 through 1975, and I remember them as bass-heavy and hot on the ears (most circumaural headphones don't bother me). Two of those failed, as well as my ESP9's, but I was able to fix all of them (earpiece wiring) at the time. I never heard the ESP6, but the ESP9 was fairly neutral I thought, or as advertisements declared at that time, "Flatter than water on a plate".
Especially considering you've got Ages of experience to base it on and your experience includes being a Recording Engineer that actually knows what your music sounds like, no guessing or guesswork for you. ( like Bob Katz, I think )
Hmm, universal fit design, all the better.
After 5 years of following headphones and Audiophile related stuff, I've discovered 4 consistently reliable Authorities who write : Joker, Tyll, JA and possibly Steve.G of CNET. I've been reading JA since the 1980s ( HFNews & RR ).
I hope that snap of JA crying in his Beer is only a 'funny'.
Tony in Michigan
I have about 140 headphone reviews now with EQ charts. Been doing them since 2011, although the experience starts in the mid 1970's. Probably my biggest discovery is that EQ doesn't just balance frequencies, but done right it restores musical tonality, soundstage, and overall a natural sound experience.
Human Ear transducers all have different response curves, as do individual's Brains.
Eq ( High-End's greatest Taboo, even greater than lamp cord speaker cable ), is critically important.
Don't leave home without it.
Tony in Michigan
But the music played live has only one response, and the proper role of EQ is to make your recordings sound just like the live music you hear. Ear differences are irrelevant.
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