But when I was asked about good headphones at a Lunar New Year celebration held by the clan of my buddy Jeff Wong, the conversation actually got going. Two other discussions paused as people concurred that they were getting disgusted with the sound of the ubiquitous white iPod earbuds. For once, I wasn't the geekiest guy at…
A…
Description: Lightweight, sound-isolating, in-ear headphones with four balanced armatures, passive crossover, and 1/8" stereo minijack. Frequency range: 10Hz–16.5kHz. Sensitivity: 119dB/W/m. Impedance: 18 ohms. Noise isolation: –26dB. Optional accessories: spare cables, metal carrycase, wax-removal tool, earmold cleaner, disinfectant wipes.
Dimensions: Cable lengths: 46" (1.18m) or 64" (1.64m). Weight: 1 oz (28gm).
Serial Number Of Unit Reviewed: 9027-3.
Price: $1150, plus custom earmold fee; includes personalized carrying case. Approximate number of…
Digital Source: Apple iPod.
Headphones: Ultimate Ears UE-10 Pro, Shure ES530.
Headphone Amplifiers: HeadRoom Micro, Ray Samuels Emmeline The Hornet & Emmeline The Tomahawk.—Wes Phillips
Keith Howard is writing an article for Stereophile about assessing the frequency response of headphones. Unfortunately, I lack the necessary hardware to follow his example. I did measure the electrical impedance of the Ultimate Ears UE-11 Pros, however. To ensure the correct acoustic loading, the review samples were inserted in Wes Phillips' ears. The results are shown in fig.1. I had understood that the UE-11s are easier to drive than the UE-10 Pros, which WP reviewed in October 2006; however, the '11's impedance at low frequencies averages 10.5 ohms compared…
As can be seen in "Letters" this month, some readers take exception to this series of reviews: "I know of no-one . . . who really gives a damn about $400…
Listening to the R952MDs finally started to make clear what Harry Pearson means by "transparency."…
The test procedure followed, with minor changes, that established for my previous loudspeaker reviews: the speakers were used both with Audio Research SP-10 II/Motif MS-100 and Krell KRS2/KSA-50 amplification. A Mission Cyrus 2 integrated amplifier was also used, being more representative of the kind of hardware to be found driving speakers at this price level. Source components included a Mission PCM 7000 CD player, and both a 1987 Linn Sondek/Ittok/Troika combination sitting on a Sound Organisation table and an LP12/SME V/Koetsu Red player sitting on a RATA Torlyte…
The frequency response of the speakers was measured in the room—spatially averaged across the listening window in order to minimize the effects of low-frequency standing waves—using 1/3-octave pink noise; this also gives an idea of a speaker's dispersion characteristic in the upper midrange and treble. In addition, the nearfield low-frequency response was measured with a sinewave sweep to get an idea of the true bass extension relative to the level at 100Hz.
With the speakers positioned well away from room boundaries, the in-room response gently rolled off…
My personal list, in order of price per pair—but only very approximately of merit—now consists of: Monitor Audio R952MD ($1349), Vandersteen 2C ($1150), Spendor SP1 ($950), Synthesis LM-210 ($950), Thiel CS1 ($950), Celestion SL6S ($900), Monitor Audio R652MD ($859), Siefert Magnum III ($833), AR 35T ($700), ARC CS2 ($700), Quadrant Q-250 ($695), and Spendor SP2 ($650). To be considered by those on a more restricted budget are the Siefert Maxim IIID ($599), JBL 18Ti ($590), Monitor Audio R352 ($559), Magnepan SMGa ($495), Spica TC50 ($450), Rogers…