Introduction (revised 01/16/10):
I started writing this around the same time I joined head-fi and saw how useful multi-headphone comparisons could be for a newcomer. I decided to put the meager collection of portable headphones I’d assembled by that time to good use and test them against each other. This was originally planned as a 4-way shootout but turned into a 6-way by the time it was first posted (coincidentally my 500th post). The rest is history – my collection slowly grew to 11 portables, then 13, and now a whole lot more.
It can be a bit tedious to navigate through, but I have put a navigation marker in front of each section so that you can use your browser’s search function to navigate to the desired part.
Table of Contents:
(##1) Koss KSC75 (stock) ($15) – long-time bang-for-the-buck recommendation of choice on head-fi and other audio forums
(##2) Koss KSC75 (modded) ($50) – Fully modded KSC75s: Kramer mod, Sennheiser PX200 leatherette pads, Mogami recable, 68 Ohm impedance adapter
(##3) Sennheiser PX100 ($35) – well-known portable headphone from Sennheiser, now superseded by the second-generation PX100-II
(##4) JVC HA-S150 ($10) – entry-level phones from JVC which fall in line with JVC’s tradition of offering incredible audio performance at budget prices
(##5) Audio-Technica ATH-ON3 (a.k.a. ONTO) ($35) – portable entry from Audio-Technica that is somewhat obscure outside of Asia
(##6) Soundmagic P10 ($27) – first on-ear model from renowned budget IEM manufacturer Soundmagic
(##7) Parts-Express Mini Headphones ($2) – cheap airline-type headphone purchased solely for the headband (which can be fitted with KSC75 cups)
(##8) Panasonic RP-HX50 “Slimz” ($30) – Panasonic's cheap, diminutively-sized, and surprisingly handsome portable
(##9) Yuin G2A ($49) – after taking the earbud market by storm with the PK line, the G1/G2 clip-ons are Yuin’s way of breaching the portable headphone market by targeting the relatively small hi-fi clip-on segment
(##10) Grado iGrado ($49) – the first mass-market China-made headphones by Grado Labs, the street-style iGrados utilize the same drivers as the renowned SR60 full-size headphones in a more ipod-friendly package
(##11) Koss PortaPro ($30) – introduced half a decade before I was even born, the PortaPros have since been a mainstay in the portable headphone market
(##12) Philips SBC HS430 ($22) – a decidedly non-audiophile Philips clip-on of the type found at drugstores and airport kiosks everywhere
(##13) Philips SHL9500 ($22) – yet another folding, big-brand headphone with a sub-$25 price tag
(##14) AKG K81DJ (a.k.a. K518DJ / K518LE) ($60) – oft-recommended closed portable that is as solid in sound as it is in build
(##15) JVC HA-M750 “Black Series” ($45) – flagship of JVC’s new mid-range portable headphone series
(##16) Creative Aurvana Live! ($99) – creative’s circumaural portable phone, which utilizes the same OEM Foster drivers as the renowned Denon AH-D1001k
(##17) Ultrasone Zino ($99) – Ultrasone’s mid-range ultraportable easily racks up the style points but falls short of excellence in other areas
(##18) iFrogz EarPollution Nerve Pipe ($23) – one of the many similarly toxic-looking headphones produced by Skullcandy-esque tween headphone/accessory manufacturer iFrogz
(##19) Philips SBC HP430 ($30) – another budget-priced portable headphone from Philips, the HP430 is an ultralight Dj-style flat-folding portable that wows with its sound and, regrettably, little else
(##20)JVC HA-S700 ($35) – small circumaural portable from JVC’s aging HA-S*00 line, the S700 is an amalgam of reasonably priced portable versatility
(##21) Sennheiser PX200-II ($57) – second-generation closed-back portable from Sennheiser
(##22) M-Audio Studiophile Q40 ($125) – Full-size collapsible monitoring headphone from studio equipment manufacturer M-Audio
(##23) Audio-Technica ATH-ES7 ($85) – Audio-Technica’s impossibly stylish mid-range portable that’s sure to turn heads wherever it appears
(##24) AKG K181DJ ($150) – large supraaural portable that supersedes the K81DJ in AKG’s DJ line
(##25) Denon AH-P372 ($40) – The P372 might look like a miniaturized copy of a higher-end Denon, but there is nothing miniature about the bang/buck they pack
(##26) Kanen KM-95 ($5) – budget clip-on from Chinese OEM Kanen that’s got more going for it than just the miniscule price tag
(##27) Grado SR60i ($79) – The SR60 needs no introduction - Head-Fi’s fascination with this headphone can sometimes border on fanatical
(##28) Summary & Conclusions
Testing:
Disclaimer: All of these tests are subjective. I am basing the outcomes of these tests purely on what I hear, using my ears and my setups. Also, I am trying to scale all of the scores to the best of the bunch as much as possible – that is, the 10/10 rating in each category goes to the headphone that performs best in that particular category out of all the ones I’ve tested.
Home Setup (used most):
-Creative Labs Audigy 4 Pro -> (Optical) -> iBasso D10
On-the-go Setup:
-Sandisk Sansa Clip/Fuze; mini3 used to check amping requirements of the headphones
Particular albums & songs I used for testing (just a few of the many):
-The Slip by NIN in 24/96 WAVE
-Inbetween Dreams by Jack Johnson in FLAC
-Metallica (Black Album) by Metallica in FLAC
-The Delicate Sound of Thunder by Pink Floyd in 320 kbps mp3 (positioning test)
-Shoot2Kill by Oxide & Neutrino in 320kbps mp3 (bass speed & impact test)
-Angeles by Elliot Smith in 256 kbps mp3 (balance test)
-Windowlicker by Aphex Twin in 256 kbps mp3 (speed test)
-Twised Transistor by Korn in 320 kbps mp3 (low bass test)
-Army of Me by Bjork in 320 kbps mp3 (female vocals test)
-On an Island by David Gilmour in 320 kbps mp3 (clarity+headstage test)
One by one (The long version):
(##1) Koss KSC75 (stock): I’ve had these for quite a while as my go-to headphone for home use. They sound great with pretty much all types of music, are very forgiving of a poor source, and can be comfortable for hours with a bit of adjustment.
Build Quality (6/10): Though they may seem fragile at first, I can attest to the fact that the KSC75s can stand *a lot* of abuse. When I removed my first pair from the blister packaging years ago, the clips immediately came off. Uh-oh - I thought - that’s not a good sign. I was wrong though - the clips have come off accidentally a number of times over the years, but not nearly often enough to be bothersome. I have gotten these phones and their cords jammed in desk drawers, under the wheels of my office chair, and even under my 30lb computer tower. I’ve sat on them, dropped them on asphalt, and dipped them in hot tea (though they didn’t submerge completely). A little rubbing alcohol and some new pads and they look and sound good as new. Koss’s excellent lifetime warranty deserves a nod here as well.
Comfort (8/10): Initially, they do feel a little awkward and not very well secured. The clips can be bent to fit your ears, however, and they do stay on very well. My ears can get sore from the clips, but only from ungodly stretches of wearing these. Overall, they are very easy to wear for a long time – the clip-on design prevents headband pressure and the open, foam-padded earcups do not invoke ear sweat.
Isolation (2/10): The KSC75 are open headphones. Koss did not design these to isolate you from your surroundings or vice versa. Therefore they are less than ideal (read: nearly useless) on loud busses, trains, airplanes, etc. They are perfect when you actually want to hear outside hazards though, such as while jogging, and also in reasonably quiet places (e.g. home, coffee shop, park).
Sound (5.5/10): In this motley group of test subjects, the KSC75s definitely shine in openness and fullness of sound. They do almost everything right – all of the notes are present, instrument separation is surprising for a phone of this price, the midrange is full-sounding, and the highs are present in quantity and can sparkle on occasion. The bass, however, is slightly muddy and unrefined. It doesn’t extend particularly low, instead creeping up on the lower midrange. The soundstage is slightly lacking as well. On the upside, the 60 Ohm impedance means that these are very forgiving and can be used straight out of virtually any source without hiss. The overall sound can be described as fast, forward, and aggressive – very much to my liking.
Value (10/10). (MSRP: $19.99; Street Price:
$14) At their usual retail price, they are the cheapest of the bunch on paper (the JVC Flats can be had for less in reality). Combine this with the fact that they are practical, durable, comfortable, and truly great-sounding headphones and you’ve got a winner. They can also serve as a (disposable) bridge into headphone modding, backup or gym pair, or decent-sounding loaner phone. Every head-fier should own a pair (or two).
Manufacturer Specs:
Frequency Response: 15-25,000 Hz
Impedance: 60 ohms
Sensitivity: 101 dB SPL/1mW
Cord: 3.94ft (1.2m); Angled Plug
Space-Saving Mechanism: N/A
(##2) Koss KSC75 (modded): Besides adding some style points to the plasticky KSCs, the common KSC75 mods do improve the already-great KSC75s, but at a price.
List of parts used: Mogami-recabled KSC75 ($30 from head-fi FS forums). 68 Ohm impedance adapter ($18, ebay). Sennheiser PX200 leatherette earpads ($6.99+shipping, Sennheiser USA). Kramer-modded grilles (10 minutes with a drill).
Build Quality (6/10): Naturally, build quality depends largely on how good the recabling job is. The recable on my set was quite good so the only build issue on my set is the same as with the stock KSC75s – the damn clips still come off on occasion. I think the next mod may be to get my hands on some KSC35 clips to see if they offer a better fit or are less likely to come off.
Comfort (8/10): Not much difference in comfort between these and the stock KSCs. If your ears are prone to sweating, the leatherette earpads may cause some discomfort. I personally find the PX200 pads a bit more pleasant than the original foam ones. The earhooks may need to be reshaped to accommodate the thicker pads. Still, like the stock KSCs, these can be worn comfortably for several hours, even while exercising. It should be noted, though, that my new cable is prone to microphonics (which is suprising for a supra-aural phone). This is easily taken care of with a shirt clip to fix the cord in place.
Isolation (2.5/10): Though the leatherette pads may help sound leakage around the ear these are still open headphones so the difference is minute. They do seem to isolate just a tad better because the earcups seal around the ear but wearing them on the subway is still not recommended.
Sound (6/10): The sound changes quite noticeably with modding. Most of the difference comes from the Kramer mod alone. The sound varies widely with the way the holes are drilled. The more grille is missing from closer to the center, the more treble you get. Similarly, the outer edges of the grille are responsible for masking bass, so removing them adds bass quantity. Compared side-by-side to the stock 75’s, my modded ones have better mids and highs. They are even more forward and aggressive than the stock phones. The bass becomes less muddy (but also a bit less impactful) with the addition of the 68 ohm adapter. Another big addition is to the incredible airiness of the Koss phones with the Kramer mod and the PX200 pads. The stock KSC75s sound anything but boxed in but the modded set sounds like a small concert hall. The sound signature may not be perfect, but there is nothing in this lineup (and, I dare say, nothing in my collection) that matches the feel of these when listening to some performances.
Value (7/10): Even though I prefer the sound of these to my stock KSC75s, I cannot say that for the average listener the price tag and time investment would be worth it. I estimate that an enterprising head-fier not adverse to DIY could end up with a pair like mine for ~$50. Mine ended up costing a bit more ($62 to be exact) because I couldn't find a soldering iron. Still, they are definitely a fun project for anyone with a desire to get into DIY or play around with different sounds and configurations.
(##3) Sennheiser PX100: The second decent portable I bought after the KSC75s, the silky-smooth Sennheisers are a stark contrast to the shiny, aggressive sound of the KSCs.
Build Quality (6.5/10): Designed to be portable, the PX100s fold beautifully into a tiny package and fit into the included plastic carrying case. Despite the multi-jointed folding mechanism, they feel rather solid and sturdy. The metal headband is tough and flexible all at the same time. There’s a feel of quality to the whole construction – every motion they make feels controlled one as the joints click smoothly into place. I expected them to be quite fragile at first, but there are no creaks or rattles after a solid year of use.
Comfort (10/10): Yes, they are that comfortable. The rotating earcups adjust perfectly to the shape of your head, preventing uneven pressure on your ears, which can be a problem with the other supraaural phones. The foam pads are a little thicker than the stock KSC75 pads and feel slightly smoother. The padding on the headband looks miniscule but gets the job done without making your head sweat. I’ve worn these for 6-8 hour stretches on several occasions, with no adverse results.
Isolation (3/10): Same as the KSC75s and PortaPros, the PX100s are open phones. They let outside noise in and leak sound out. Though not as drastically open as the iGrados they are still pretty useless as far as isolation goes.
Sound (6.5/10): Here’s where I am torn. I really like the sound of these - they are dark, warm, laid back, and very, very smooth – but they just don’t work as well as I would like with my preferred genres. The vocals are nowhere near as forthcoming as the KSC75s and they are missing the treble sparkle. They do, however, have bass that is tighter and better controlled than even my modded KSCs. The amount of bass is approximately the same, but especially in tracks such as Oxide & Neutrino’s Shoot2Kill, the timing of the bass impact is just better with the PX100s. To be quite honest I still reach for these very often over the KSC75s though I prefer the Koss sound signature in general.
Value (9/10). (MSRP: $59.99, Street Price:
$35) The PX100s are very good headphones. I would recommend them at the $35 price point any day. It is a matter of preference, however, whether these are better than KSC75 and PortaPros, On a tight budget, I would go with the KSC75s. However, with price out of consideration, I would probably take these even over the PortaPros as relaxed and balanced all-rounders. It should be noted that fake PX100s have popped up on ebay on occasion, so I’d be wary of anything that doesn’t come in retail packaging and with the carrying case.
Manufacturer Specs:
Frequency Response: 15-27,000 Hz
Impedance: 32 ohms
Sensitivity: 114 dB SPL/1mW
Cord: 4.6ft (1.4m); Straight Plug
Space-Saving Mechanism: Flat-folding, collapsible
(##4) JVC HA-S150 “Flats”: I first became curious about these when the appreciation thread popped up in the full-size forum. An open-box pair cost me $5.59 including shipping - possibly the best $5 I ever spent on eBay; don’t let the miniscule price tag deceive you - the Flats are very good headphones in their own right.
Build Quality (5.5/10): Upon receiving my open-box pair I immediately noticed that the structure rattles quite a bit. The plastic bits do not feel precision machined like those on the Sennheisers, but that’s perfectly justified by the price difference. Another place where the budget nature of these is noticeable is small details such as the lack of strain reliefs on cable entry. On the upside, the plastic is quite thick and sturdy. The headband is metal, and very similar to that of the PX100s, but wrapped in plasticky rubber instead of padding. Unfortunately, my first pair of these had a rattling driver in the left earcup. This was only noticeable on tracks with extremely deep bass but annoying nonetheless. The replacement pair I received is perfectly fine and holding up well so far (over 400 hours on them now). If not for the little snafu with my first pair, these could easily be ranked up with the KSC75s in build quality.
Comfort (6/10): The earcups swivel nicely about the vertical axis, and can provide a good fit. The range of motion of the earcups is nowhere near as wide as that of the PX100s, though, and they clamp down harder despite weighing about the same. Overall, with a bit of fidgeting, I find them very comfortable for some time, but not as suited for prolonged use as some of the others. At least for me, the Flats need to be adjusted from time to time to get them sitting exactly right, but that’s nothing I couldn’t live with for the extra $$ left in my wallet.
Isolation (5/10): These are marketed as semi-closed phones. They leak less than the PX100s and isolate just a bit more. The pleather on the earpads is much thicker than that of the other pleather-padded headphones here. As such, it does not conform as well to the shape of one’s ears and does not seal as well. It’s also less pleasant to the touch. With softer pads these could potentially seal much better.
Sound (5/10): On a scale set by budget heavyweights like the KSC75s and the PX100s, the Flats lose points to both, which is really quite a shame because they are wonderful-sounding phones in their own right. They are not as smooth as the PX100s, nor are they as airy and rich as the KSC75s. They are, however, well-balanced, reasonably detailed, punchy, and fun. They go surprisingly high at the upper end and provide a decent impact at the lower end. The bass is not as full as the stock KSC75s but better controlled. Initially they are somewhat bright and harsh but settle down with extensive burn-in. Still, they do not fail to impress right out of the box, especially with the price tag still in sight.
Value (8.5/10). (MSRP: $19.99, Street Price:
$10) The prices fluctuate drastically for these, but hit up ebay,and you may be able to pick an open-box pair up for <$7 and brand new ones for ~$10. I like the fact that they can be put on and pulled off much quicker than the KSC75s while at the same time staying on securely as I move around (note: the $1.99 headband mod for the KSC75s really fails in this respect). All in all, these are great headphones if you want some disposable backups, cheap everyday beaters, or something to toss in the box at the office gift raffle. And if you’re still using stock earphones, there is no excuse for not spending $10 on a pair of these.
Manufacturer Specs:
Frequency Response: 12-23,000 Hz
Impedance: 32 ohms
Sensitivity: 105 dB SPL/1mW
Cord: 3.94ft (1.2m); Straight Plug
Space-Saving Mechanism: Flat-folding
(##5) Audio-Technica ATH-ON3 “ONTO”: These were one of my first purchases after joining head-fi. At that point I only owned the KSC75s and PX100s and was looking for something with a bit more isolation and style to wear to class. I couldn’t find much info on these particular headphones, but encountered a lot of positive sentiment towards Audio-Technica in general, so I decided to go for it. A point to note is that there are dozens of Chinese fakes of these floating around. The ones at focalprice, most of the ones on ebay, as well as anything in OEM packaging are definitely fake. I decided not to risk it and purchased mine from AccessorySeek for $35.
Build Quality (4/10): The marketing materials for these don’t lie. They really are lighter than air. They also look pretty darn nice and feel quite solid. My first pair had naked wire visible through the strain relief on the plug but the replacement pair is holding up well, though I must note that the (unmolded) strain relief seems to be a weak point. The cable is nice and rubbery, the earpads are very soft, and the earcups themselves are really tiny – about 2/3 the size of those on the PX100s and P10s and almost half the size of the JVCs’. These are very easy to wear in public, though I personally had no problems with the others in that respect.
The biggest problem that I have with them is the folding mechanism. The flat-folding mechanism only works when the headband is fully retracted, which is annoying because it needs to be subsequently re-adjusted when the headphones are next worn. While not an issue in most phones, re-adjusting the thin and slippery headband on the ONTOs can be a daunting task when on the move. headband is not notched and provides little resistance once you get it moving. Another problem is that despite the headphones being symmetrical the cups only rotate one way. Rotating them the wrong way can result in permanent damage to the structure. To make matters worse, the left/right markings are very hard to see (they are stamped in the plastic on the inside of the headband near the earcups). A smoother, more robust folding mechanism would go a huge way towards making these actually feel like $100 headphones as suggested by the MSRP.
Comfort (3.5/10): These are shockingly uncomfortable to wear for long periods of time. The problem is that the earcups pivot neither vertically nor horizontally when the headband is extended. To compound the problem, the round headband flexes very little compared to the flat ones on the rest of the lineup and clamps quite hard. The result is that after about an hour the back of my ears hurts so badly that I have to take a break. After two hours of wearing the ONTOs I want to dip my head in an ice bucket and toss the phones in the trash. I would like to add that it’s not just me - I made my girlfriend wear these for a 1-hour-long TV show in the interests of (sound) science. Halfway through the show she made me give her back the KSC75s. Of course your mileage may vary, but the design does not seem to be very forgiving of… well… having ears.
Isolation (5.5/10): Again, the design of the earcups hurts these headphones. The pads are quite soft and these are essentially closed-back headphones, but because the cups don’t pivot, they cannot be flush against my ear and thus cannot seal properly and provide the isolation that they should.
Sound (4.5/10): This is where the little Audio-Technicas redeem themselves a bit. Giving an allowance for these being closed headphones, they sound quite rich and full in the midrange. They are on the warm side, but unlike the equally-warm PX100s, these also slightly muddier and more aggressive. When a proper seal is achieved bass can have a very nice punch. Soundstage is rather small compared to the others, but they can still be quite enjoyable – certainly miles ahead of your average stock earbud or $20 drugstore headphone.
Value (4/10) (MSRP: $99.99; Street Price:
$35) Though I admit that I may be biased by my comfort issues with these, the only way I can see Audio-Technica justifying that MSRP is by charging double for the style points. While I do admit to liking the look of these (which is why I bought them in the first place), I can’t help but think that even for the average iPod user concerned with style first and sound second, less sacrifices are to be made by purchasing the white PX100s or one of the myriad of available colors for the JVC Flats (the latest revision is color-matched to the new iPod Nanos) instead of these.
Manufacturer Specs:
Frequency Response: 12-23,000 Hz
Impedance: 32 ohms
Sensitivity: 102 dB SPL/1mW
Cord: 3.94ft (1.2m); Straight Plug
Space-Saving Mechanism: Flat-folding
(##6) Soundmagic P10: I have great respect for Soundmagic’s ability to craft budget earphones, so I really wanted to give their first portable a chance – so badly in fact that I resisted the daily temptation to cancel my order for a staggering 45 days while mp4nation shipped out my order.
Edit: These seem to use housings identical to the Sony MDR-710LP. I would not be surprised if Soundmagic is the OEM for those as well.
Build Quality (5/10): The first time I removed these from the packaging it took me a good 20 minutes to figure out how to unfold them. Even with practice, they cannot be opened with one hand or by a child the way the PX100s can. Folded, they are amazingly small, surpassed only by the KSC75s. Unfolded they are about the same size as the others but noticeably lighter than even the ATH-ON3. The aluminum headband and plastic bits are thinner than those on the Sennheisers and JVCs and the hinges don’t glide gently into place like those on the PX100s. One area where these trump the competition, however, is the cord. It is very short (40cm, straight plug) and comes with an extension (1m, angled plug). It is quite thick but flexible, and rubberized to prevent tangling. Regrettably the P10s lack strain reliefs on cable entry.
Comfort (7.5/10): Comfort is definitely a strong suite of these phones. The headband provides the optimum amount of clamping – they fit securely but do not hurt for quite a while. The cushions are nice and soft and the numerous hinges also provide adjustability in the fit. In fact, if such a desire exists, they can even be worn as behind-the-neck headphones. I would give these a higher score but the flexion of the headband makes putting them on a hassle as they tend to fold themselves back up. They’re also not very easy to wear around the neck, which is something I do quite often with portables.
Update (08/09): It has been brought to my attention that while they look absolutely tiny, the P10’s are not ideal for people with very small heads. For me, the headband makes contact with my head along its entire length. I can see, however, that for someone with a small head the only point of contact will be at the earcups, which does not make for a very secure or comfortable fit.
Isolation (5/10): The P10s are semi-closed headphones. They provide minimal isolation – slightly less than the JVC flats. On the upside, they leak much less than the flats – on par with the closed Audio-Technicas.
Sound: (4.5/10): I quite like the sound signature of the P10. They are very laid back and smooth-sounding headphones. I would say that they are the astral opposites of the KSC75s. The soundstage is incredible for something semi-closed and costing under $30. Everything is well-placed, if somewhat recessed. The highs are subdued and natural. The mids are full but not overly forward. The bass is medium-low in quantity, but fairly punchy and very well-controlled. They are definitely closer to the PX100s in sound signature, but I can almost say that they are less fatiguing because of the wider soundstage and subdued presentation.
Value (7/10) (MSRP: $32.50; Street Price:
$27). I think that Soundmagic once again has a strong competitor for the big-name companies with the P10 portables. They’re reasonably priced and cleverly designed. Though they are neither as visceral as the KSC75s nor as smooth as the PX100s, the colored, wide, and punchy sound of the P10s is lots of fun. The comfort deserves a second (or third) mention – the only reason they lose points there is that opening and getting them on can be a hassle.
Manufacturer Specs:
Frequency Response: 20-22,000 Hz
Impedance: 35 ohms
Sensitivity: 118 dB SPL/1mW
Cord: 40cm (straight plug); 1m extension (angled plug)
Space-Saving Mechanism: Collapsible
Part 2. Uploaded 09/01/09. Five new headphones, five new microreviews.
(##7) Parts-Express Mini Headphones: I’ve had these laying around for months after giving up on using their headband with my KSC75 drivers, so one day I asked myself the fatal question: “how bad could they be?”
Build Quality (2/10): As you might expect from disposable headphones, the build quality is less than brilliant. The headband is thin and pliable, the plastic is hard and cheap-feeling, and the fit and finish… well… there isn’t any. On the upside, the plastic bits that clip onto the earcups are made of the same hard plastic as the rest of the assembly and don’t release the earcups as easily as those on the KSC75s. I actually had trouble getting the headband to let go of the stock cups the first time around.
Comfort (4/10): Nothing stellar here either. They are very light and do their job of staying on your head, but will not cope with any. The lighter native cups actually work better as the KSC75 cups are just too heavy for the weak headband (bending the headband only helps for a few minutes). The foam pads are quite rough and irritate my ears after a while, but work great as donor foam for various mods (such as the JVC marshmallows Kramer mod).
Isolation (2/10): I have no idea whether these are supposed to be open or closed as the cups don’t actually cover my ears and there are no specs available. Isolation is obviously non-existent, but I don’t mind because I’d rather listen to some ambient noise.
Sound (0/10): I have never heard anything that sounds worse. I very much prefer both the stock sansa buds (even the thin-stem ones that came with the older players) and the so-called ‘speakers’ on my netbook to these. They manage to be bassy, flat, veiled, distant, and muddy all at the same time. I put quite a few hours on these (in the name of head-fi) and not a single moment was enjoyable. Even the songs that usually make me drop whatever I’m doing and grin uncontrollably sounded like pure unadulterated agony in these. As appealing as this may sound, I sincerely recommend
not trying them even if you already have a pair lying around..
Value (2/10). (Price:
$1.99+shipping) The only value these possess is as a headband donor for the KSC75/35 or Yuin G2A/G1A (albeit not a very good one). Also, to my great surprise, these actually came with some accessories – spare foam pads and a cheap 1/8” -> 1/4" adapter. If you are curious to try the KSC75s on a headband and want to have some foam, an adapter, and a pair of the worst drivers in the world left over, then by all means give these a shot. Otherwise I suggest sticking to stock earbuds.
(##8) Panasonic RP-HX50 “Slimz”: Although Panasonic is not well-known for their headphones, I thought these looked pretty cool and deserved a shot here, if only for their mini-ATH-ES7 styling
Build Quality (5.5/10): The most notable thing about the Slimz Is the packaging – they come in a translucent plastic double-wide DVD-style case, which doubles as both the retail box and a travel case and into which they fit by folding flat and collapsing. The cups of the headphones themselves are quite small and have a nice “sandblasted” plastic finish and soft pleather pads. The Slimz definitely don’t look or feel cheap, but the whole construction feels miniature and fragile. The plastic isn’t as nice as that on the PX100s and the assembly isn’t as solid as that of the Flats. I’m not sure how long these would last as my daily beaters, but they are more than sturdy enough for casual listening.
Comfort (9/10): The Slimz are very, very light and their fitting mechanism is very versatile - the cups have freedom to rotate about both the vertical and horizontal axes. The headband doesn’t clamp very hard, relying instead on the cup joints to provide a secure fit. I find these about as comfortable as the Soundmagic P10s for long periods of time, but nowhere near as frustrating to put on/take off. They can also be worn around-the-neck very comfortably while some of the others (notably the Soundmagics and ONTOs) have the tendency to choke.
Isolation (4.5/10): The Slimz are very similar to the Soundmagics in isolation. Though they are supposed to be closed headphones, the earcups aren’t quite big enough to provide serious isolation. Leakage is very minimal though, possibly the best of the ultraportable bunch. Again, none of these small headphones are designed for use on airplanes and trains, but they will cut out some noise with music playing.
Sound (4/10): The most striking thing about these for me was the presence of a soundstage. After the ATH-ON3s, I expected these similarly-closed portables to have an identical lack thereof. Imagine my surprise when I discovered that they actually sound quite open and airy. They can’t quite match open phones, but they do far better than expected. They are about average in the group on detail and slightly above average in the upper reaches. The bass is in short supply and somewhat flat- nearly all of the others have more impact. However, they are still pretty fun to listen to and the clarity sometimes shows itself very nicely. The good top-end extension, combined with the relatively flat bass, gives a sound signature biased towards the upper end; I could almost call them the RE2’s of this group. Sadly, the off-balance sound can be tiring after a while and I found myself going back to using the JVC Flats again pretty quickly as my everyday portables.
Value (7.5/10). (MSRP: $49.99, Street Price:
$20). With their sharp looks and innovative case these phones provide more than enough utility to warrant a purchase as travel headphones that can be conveniently stored and don’t bother those around you. However, if sound quality is the primary consideration, the style points won’t quite bridge gap in audio quality between these and the leaders of this market segment.
Manufacturer Specs:
Frequency Response: 12-24,000 Hz
Impedance: 36 ohms
Sensitivity: 108 dB SPL/1mW
Cord: 3.94ft (1.2m); Angled Plug
Space-Saving Mechanism: Flat-folding, collapsible
(##9)Yuin G2A: A few years ago a little-known Chinese company called Yuin entered the market of “conventional” earbuds with the PK line, becoming an instant hit among audiophiles and developing a large head-fi following for delivering sound quality not normally attributed to earbuds. Now Yuin is targeting the hi-fi clip-on market segment historically dominated by Koss and Audio-Technica.
Build Quality (7/10): The biggest annoyance of the Koss clip-ons for me is ear clips detaching themselves too easily. The G2As use better-quality plastics that reduce the occurrence of this problem. However, the clips themselves are completely plastic, unlike the wire-and-rubber solution in the Koss’s, which means that if handled improperly there is a chance of breaking the clips themselves – something that will never happen with the KSC75s. The clips notwithstanding, the rest of the build is very good. The handsome brushed aluminum on the cups, for example, provides a solution that is both aesthetically pleasing and durable. The cabling could be nicer, but it’s sturdy enough and gets the job done.
Comfort (8/10): Initially, the Yuins are even more pleasing to the ear than they are to the eye. The pads are soft and the headphones themselves are very light. The only downside again is that the clips are actually completely plastic whereas the Koss KSC75 clips are rubbery with a thick metal wire running through the center, which means they can be bent and shaped for the best possible fit. The Yuin clips can only be broken.
Isolation (4/10): Despite being closed headphones the Yuins are not particularly suited for use outside. While they don’t leak too much sound out, they do let plenty in. The flat foam pads and lack of a clamping headband provide no seal whatsoever, so expect to have to turn the volume up on a busy street.
Sound (7.5/10): Perfect balance was Yuin’s design prerogative when engineering the sound of the G2As, and it shows. They are easily the most balanced and neutral headphones of the bunch. The presentation is very natural, with an expansive soundstage and good instrument separation. They are also fast, very fast. The low-end extension could be better and it is not helped by the lack of a seal, but the highs are presented clearly and confidently (and they sound oh-so-sweet). The balanced and transparent nature of these phones showed through all of my tests. They can be called neither forward nor recessed, cold nor warm, bright nor dark. They are relatively laid-back and great for relaxed listening. I would not recommend them for hard rock or metal over the iGrados, but they work well with everything in my collection, from classical to electronica.
Value (9.5/10). (MSRP: $49, Street Price:
$49). I cannot help feeling that the G2A offer oh-so-much more for your hard-earned cash than most of the competition. Being a big fan of the Yuin PK line and their no-frills substance-over-style approach to design, I wanted to like these but feared that Yuin sacrificed some of that philosophy for brushed aluminum housings. Luckily, I don’t have to like these out of respect for the PK line. The G2A is a great headphone in its own right and worth every penny.
Manufacturer Specs:
Frequency Response: 20-20,000 Hz
Impedance: 60 ohms
Sensitivity: 110 dB SPL/1mW
Cord: 3.6ft (1.1m); Straight Plug
Space-Saving Mechanism: N/A
(##10) Grado iGrado: On paper, the iGrados seem to be a formula for success – take the drivers from an established product almost unanimously praised in the hi-fi community, put them in a plastic enclosure that is cheap to manufacture and of a popular form factor, and drop the price below the $50 mark. In reality, though, the sub-$50 portables market is a crowded one, dominated by long-time heavyweight entries from the likes of Koss and Sennheiser, so I was very curious to see how the “baby Grados” stack up.
Build Quality (5.5/10): Except for the metal Grado plaque on the back of the headband, there is nothing to suggest that the iGrados are the brainchild of one of the world’s premier headphone makers. The plastic is thick and sturdy, but with visible seams and other molding artifacts. The grilles and faux-bolts in the headband are also plastic. Overall, the iGrados have none of the precision-machined feel of the Sennheiser PX100s and Panasonic Slimz, but compensate by using brawny plastics and no moving parts to ensure longevity. The major letdown here is the cabling – the cable is one of the thinnest and most plasticky ones I’ve seen on a headphone and the plug can only be described as “wimpy”. Sadly, even the cable on the $1.99 Parts-Express phones inspires more confidence.
Comfort (5/10): The abovementioned lack of moving parts makes the fit of these pretty rigid. While Grado did a decent job of shaping the headphones to fit all head and ear sizes, they will definitely not be comfortable for everyone. I can wear them for about an hour before feeling the pressure on my ears, and just over two before the bone behind my ears starts to feel genuinely pained. Comfort-wise, then, I can tolerate these for about as long as I can stand the Audio-Technica ATH-ON3. On the upside, the fit is very secure and I feel that these would work better for exercising/running than any of the others.
Isolation (2/10): In case the large mesh grilles weren’t revealing of the fact, I will state this clearly: these are completely open. Anyone who’s ever been in a room with a person wearing Grados will understand exactly how open these are. When burning them in at slightly-above-listening volume I could hear them from the other room while wearing another pair of headphones. So please, don’t wear them on a plane.
Sound (7/10): Yes, they sound good. Despite the dollar-store packaging and blue-collar build, the iGrados still deliver that famous Grado magic. While I don’t own the SR60s, I can still perceive a house sound similarity between these and both my SR125s and SR325is. They are, of course, nowhere near as refined as the others (costing 3x and 6x the price of the iGrados, respectively), but they still make you feel like you’re in the front row of a concert. The overall sound is forward and edgy. The bass is not as tightly controlled as the Yuins and a bit boomy, but still very full and enjoyable. It does not extend particularly deep but still has a nice warmth to it and can be opened up a little bit by cutting a quarter-sized hole in the pads (the “quarter mod”). The highs are slightly recessed although they still sparkle on occasion. The soundstage is average in size but instruments are well-separated and nicely positioned. All things considered, I think this is the best sound of the sub-$50 group for Rock/Metal-type genres.
Value (8/10). (MSRP: $49, Street Price:
$49). There are two ways to evaluate the iGrados: as what is probably best the street-style sports headphone for the iPod crowd or as a portable little brother of the renowned Grado SR60 with a $30 discount. Either way, they come out to be pretty darn good value for money. The only reasons for them to lose points are the comfort and build quality. Both could’ve been better thought out and leave you wanting more. However, build quality and comfort issues can be conceded for sound this good. If you listen to Rock and Metal and are willing to sacrifice comfort (or keep your listening sessions short), these will not disappoint.
Manufacturer Specs:
Frequency Response: 20-20,000 Hz
Impedance: 32 ohms
Sensitivity: 100 dB SPL/1mW
Cord: 3.94ft (1.2m); Straight Plug
Space-Saving Mechanism: N/A
(##11) Koss PortaPro: First introduced in 1984, the Koss PortaPros have been a definitive staple of the portable headphones market for 25 years. They have survived through multiple model-line changes and their drivers have become the basis of the SportaPro and KSC55 street-style headphones and the KSC35/KSC50 clip-ons. A titanium-coated version of the PortaPro driver is used by the KSC75s, UR40s, and KTXPro1s. Ok, so the pedigree is impressive, but how do they compete today? Well, this old dog doesn’t need new tricks – the PortaPros are just as competitive today as they were two and a half decades ago.
Build Quality (6.5/10): For 25-year old headphones, the design and build of these is very impressive. The folding mechanism is simple yet practical – there is only one hinge per side and it glides smoothly to lock into place. The headband is made of several strips of aluminum that slide over each other for adjustment. The PortaPros also look much better in person than they do in photos. The blue driver housings, for example, are barely visible from the side, and the metal accents on the cups look very contemporary. I personally prefer the look of these to the understated (read: boring) PX100s. The only area where more could be asked of Koss is the cheap feel of the plastics and the flimsy comfort zone switch. On the upside, these phones are covered by Koss’s no-questions-asked lifetime warranty just like the KSC75s.
Comfort (9/10): While I personally prefer the fit of the PX100s, I can in all honesty call it a draw between the two. The PortaPros differentiate themselves by having a ComfortZone switch on each side of the headband. The three comfort settings (that’s two more than any of the other headphones here) transfer clamping force between the earpads and the soft pads on the headband right above the cups. In addition, the PortaPros’ earcups are attached to the construction using ball joints, which gives them a good amount of rotational freedom, similar to the PX100s. The headband is also adjustable in a unique way – the PortaPros are best put on with the headband at its longest and then adjusted to the perfect length. The reason I am taking a point off here is because the sliding headband length adjuster can (on rare occasion) latch onto one’s hair, which is both painful and annoying.
Isolation (3/10): Not very much different from the PX100s here, either – the PortaPros are quite open and very susceptible to outside noise.
Sound (6.5/10): Those previously familiar with the KSC75 will instantly note a familial resemblance between the two headphones. The high-end sparkle of the KSC75 is gone but the bass is better-controlled and deeper. It’s still somewhat muddy compared to higher-end headphones, but it gives the sound a warm fullness that none of the other sub-$50 headphones I’ve tried here can match. The mids are very similar to those of the KSC75s – fun, forward, and aggressive. The bass occasionally creeps up on the lower midrange a bit. The highs are slightly rolled off, which makes the PortaPros less tiring than the KSC75s for prolonged exposure. They are also very forgiving of mediocre sources and recordings. Overall, the PortaPros are second only to the iGrados in providing that front-row-at-the-rock-show feeling.
When compared head-to-head with their arch-nemesis, the Sennheiser PX100s, the PortaPros sound more exciting, forward an aggressive. They have deeper and more copious bass and more treble roll-off. The PX100s are darker-sounding, have tighter bass, and are smoother overall. I find them to be more natural/neutral than the Koss phones. They have better clarity and better treble. Overall out of the two I always reach for the PortaPros for casual listening, as they are just more fun, and for the PX100s when I want to listen critically.
Value (9/10). (MSRP: $49.99, Street Price:
$30). Not surprisingly, these are in the same boat as the PX100’s value-wise as well. Similarly priced, they are easily worth the asking price and are sure the feed the bass-loving demons in all of us. As for the eternal rivalry between these and the young Sennheisers, it comes down to personal preference between the two in the end. I will admit that I prefer the Sennheisers, but I love the PortaPros for the uncompromising retro-throwback design and sound that just somehow feels like it would have been right at home in the 80s. However, in today’s warzone of a sub-$50 portables market, the PortaPros are not quite the no-brainer they once were.
Manufacturer Specs:
Frequency Response: 15-25,000 Hz
Impedance: 60 ohms
Sensitivity: 101 dB SPL/1mW
Cord: 3.94ft (1.2m); Angled Plug
Space-Saving Mechanism: Collapsible
(##12) Philips SBC HS430: Similarly to Panasonic, Philips is not generally considered an audiophile brand. It is a household name, though, so it is something a person who knows nothing about audio is more likely to buy than Koss or Grado. The idea with reviewing these was to see if a random big-brand headphone can stack up to the stuff we (head-fiers) are likely to buy.
Build Quality (5/10): As you may expect from a big-name electronics brand, the build is competent. The HS430s are smaller and lighter than the other clip-ons I’ve tried. The silver metallic shells are offset nicely by the white clips and cabling, but the clips are plastic and not at all flexible. The cable is thin, and for some reason Philips went with a dreadful J-cord setup. Regardless, they are solidly built and I don’t expect them to fall apart anytime soon.
Comfort (4/10): First the good news: these are very light and small and the pads are the softest foam I’ve seen on a portable headphone (it almost feels cloth-like). Now the bad news: the clips are too hard, too sharp around the edges, and way too close to the cups. They are made of a hard plastic and are not flexible or adjustable at all. Putting these headphones on brings a new meaning to the term ‘clip-ons’. I can tolerate them for short listening sessions, but after a while the clips dig painfully into the back of my ears. That said, I can see how someone with very small/thin ears might find these more comfortable.
Isolation (3/10): While these are technically semi-closed headphones, they are far too small on the ear to provide any isolation.
Sound (2/10): The packaging that I pulled these out of claimed that they were “ported for EXTRA BASS”. While I was thankful to Philips for actually spelling “extra” with an ‘e’, I was also immediately wary of the repercussions of such statements. I expected fart-cannon, ill-defined bass, but I heard no such thing. The bass, which did not open up with burn-in, is rather flat and lifeless. It has a good amount of punch but little note and texture. Flat and lifeless are good descriptors for the rest of the sound signature as well. The HS430’s do a fair job of reproducing sound, but they excel at nothing. The overall sound signature reminds me very much of the Skullcandy Ink’d buds with poorer bass quality.
Value (4/10). (MSRP: £14 ($22), Street Price:
$15) In the world of portable headphone where the sub-$20 performance bar is set by the Koss KSC75 and JVC Flats the Philips SBC HS430 cannot compete. They lose points not only on sound, but build quality and design – the cheap-feeling asymmetrical cable and asinine ear clip design do the headphones no favors. So, while these may be competitive in the market at large, in the audiophile world they are merely subpar.
Manufacturer Specs:
Frequency Response: 12-22,000 Hz
Impedance: 32 ohms
Sensitivity: 100 dB SPL/1mW
Cord: 3.94ft (1.2m), j-cord; Angled Plug
Space-Saving Mechanism: N/A
(##13) Philips SHL9500: After the SBC-HS430 clip-ons, I was not actively seeking another experience with Philips portables. However, an opportunity came up to put this set of SHL9500s through its paces. Naturally, I did not decline.
Build Quality (5.5/10): The SHL9500 are handsomely designed headphones finished in a matte black plastic with chromed metal accents. They utilize a folding structure similar to the Sennheiser PX100s. Philips definitely chose the right design to copy, as the mechanism of the PX100s is a personal favorite of mine. However, somewhere in the design process something went horribly wrong. The end result is an overly rigid structure in which the cups and arms all fold in different directions in what is (to me) a confusing mess. Even though the cups should theoretically rotate flat, there is not enough room in the folded structure for them to do so. The build itself is solid, utilizing metal joints and sturdy plastics. The 2” long strain reliefs on cable entry inspire confidence in the longevity of the cord, which is also notable for its length – a wholesome five feet.
Comfort (5.5/10): Again following in the footsteps of Sennheiser, Philips utilized a padded headband and soft pleather cups similar to those found on the Sennheiser PX200s. On paper, it’s a formula for success. Unfortunately, this is the first time I can honestly say that a pair of headphones is less comfortable than it looks. Not unlike the Audio-Technica ATH-ON3, the earcups of the SHL9500 have no rotational freedom about the vertical axis. As a result, they press hard on the back of my ears and cause pain after a few hours. Still, at least the headband doesn’t clamp as hard as the ungodly piece of wire in the Audio-Technicas. The Philips lose points mostly for wasted potential.
Isolation (5/10): The SHL9500s are very similar to the Panasonic Slimz and Soundmagics P10s in isolation. Most of the sound leakage is the result of poor fit rather than poor isolation by design. The same caveats as with all of the other closed ultraportable phones still apply.
Sound (4.5/10): After experiencing the folding mechanism and fit of the SHL9500s, my expectations for their sound were set quite low. I expected another failed attempt to match a Sennheiser model, but the little Philips left me pleasantly surprised. The sound is well-balanced, smooth, and warm. Bass impact and tightness are both surprisingly good when these are made to fit properly. They do lose out to the similarly-priced Panasonic Slimz and Soundmagic P10s in high-end extension, detail, and soundstage - their signature is more fun and intimate. They are also noticeably less harsh and fatiguing than the Slimz. There is also a Sennheiser-like veil resulting in a slightly muffled mid-range. Still, they are very pleasant-sounding portables overall, especially for Jazz/Blues/Lounge-type music.
Value (7/10). (MSRP: $24.99, Street Price:
$20) Despite the questionable folding mechanism and my fit issues with them, I think the sound of the Philips SHL9500 justifies the rather modest price tag. They easily fit on the second price/performance tier of my ranking, right alongside the Soundmagic P10s and Panasonic Slimz, providing a slightly different sound signature to both and are certainly a notch or two above the average headphone to be found for the price on store shelves.
Manufacturer Specs:
Frequency Response: 10-28,000 Hz
Impedance: 32 ohms
Sensitivity: 105 dB SPL/1mW
Cord: 4.9ft (1.5m); Straight Plug
Space-Saving Mechanism: Collapsible
Part 3 (in progress). Started 12/05/09. Moving Up the Food Chain
(##14) AKG K81DJ (a.k.a. K518DJ / K518LE): The K81DJs were my first step into higher-priced portables and remain a personal favorite through many upgrades and inventory changes.
Build Quality (8.5/10): The construction of the K81DJ feels very robust and utilizes AKG’s patented 3D-Axis folding mechanism to make a truly versatile portable. The plastic headband houses a thick metal strip and is actually quite pliable. The joints of the 3D-Axis system are smooth and precise and the range of motion of these phones is very impressive. There is at least a half dozen different ways to fold them into the provided pleather bag. The cups are made of a hard plastic and the pads - of thick pleather. The cabling is thick and slightly rubberized. The plug is very meaty and the molded strain relief is massive. It is also threaded and a screw-on ¼” adapter is included. The biggest gripe I have with these is the length of the cord, which is quite excessive for a portable headphone at 8.2ft (2.5m).
Comfort (6/10): With a bit of adjustment when donned the K81s can be comfortable for several hours. Swapping the pleather pads for velour replacement pads from the Sennheiser HD25 provides a major comfort boost at the expense of a tiny bit of isolation. The headband can be stretched overnight over a stack of books for a looser fit, which reduces the pressure exerted by the cups. The clamping force of a stock set can indeed be excessive for long listening sessions but there is an upside – the fit is very, very secure. I find them comfortable for a while but the pressure does get tiring after some time. Also, the headband isn’t as long as I expected – it requires to be extended completely to fit around my noggin while all of my other portable require around 50% extension – and doesn’t have any padding. Those with large heads may want to skip this set as there may just not be enough length in the headband.
Isolation (9/10): The wide range of motion of the cups, combined with the thickness of the pads, makes these one of the best-isolating portables I’ve ever tried. Leakage is nonexistent and the isolation they provide is actually on par with some of the lesser-isolating IEMs, which is saying a lot.
Sound (7.5/10): The sound signature of the K81dj is definitely on the warm/dark side of things. The treble is rolled off slightly but it sounds very natural, especially with stringed instruments. The mids are rich and full, a tiny bit recessed compared to the bass, just like the treble, but still very natural-sounding. The low end is very powerful and lacking in control somewhat. There’s a certain softness to the bass impact that gives these a ‘weighty’ low end. Not ideal for tracks with dense, fast, rapidly changing basslines but very enjoyable in tracks with discrete beats. The bass can be eq’d down to balance out the sound but even as is the big bass can be lots of fun. Replacing the pleather pads with Sennheiser HD25 velours will also drop the bass a tiny bit. The foam pads over the grilles can be removed to balance out the amount of treble, mids, and bass slightly, adding to the former two and subtracting from the latter. I still wouldn’t pick these for any critical listening but they are very enjoyable headphones all in all.
Value (9.5/10). (MSRP: $99.99, Street Price:
$60) At the current street price the AKG K81Dj provide an incredible combination of portability, durability, and isolation. They perform respectably in the sq area as well, providing a rich midrange, very strong bass, and accurate treble. I never found them tiring even with the foam inserts removed and I can’t think of any set that I’d enjoy as much out-and-about without worrying about bothering those around me or everyday wear-and-tear. They can be comfortable for quite some time, though probably not for everyone. A plethora of well-documented mods exist to raise both the sq and comfort of the K81, giving them growth potential rivaled only by the KSC75s. A great set of phones that works extremely well at its price point (and makes me want to try the higher-end K181DJ).
Manufacturer Specs:
Frequency Response: 16-24,000 Hz
Impedance: 32 ohms
Sensitivity: 115 dB SPL/1mW
Cord: 8.2ft (2.5m); Straight Plug
(##15) JVC HA-M750 “Black Series”: The crown of JVC’s new ‘Black Series’ line of portable headphones, the M750 features carbon compound driver diaphragms and a resonance-free carbon housing. Not sure about the latter, but the black drivers certainly look the part.
Build Quality (8/10): The design of the HA-M750 has a sort of purposeful hard-edginess to it. From the rectangular cups to the forked hinges to the thick stainless steel headband, everything has a feel of solidity to it. There are no rattles in the structure and the folding action is smooth and precise. Though they don’t have the folding freedom of, say, the AKGs or the older HA-S700s, they fold into a reasonably small package that’s easy to store. The cabling is a little plasticky for my taste but it is of a good length for portable use and the included extension is a nice touch.
Comfort (7.5/10): The headband of the HA-M750 is covered in pleather and well-padded. The clamping force is neither too soft nor excessive. The pads are made of memory foam and covered by soft pleather. The foam is quite compressible and does a very good job of conforming to the shape of one’s ear. However, this means that the pads can “bottom out” when the foam is compressed, causing one’s ears to touch the grilles. This happens to me, and while it doesn’t bother me for a few hours, it can get tiring in the long run. The only other issue I have with the M750 is that the pleather pads can cause one’s ears to sweat, but that is expectable in a closed, circum-aural portable.
Isolation (8/10): The JVCs do isolate a fair amount although the restricted range of motion of the cups as well as the fact that the pads “bottom out” on my ears probably don’t help matters. However, there are rubber rings mounted on the grilles that help improve isolation of they make a good seal with your ears. Wearing these during my daily commute only required me to turn my music up 1-2 notches over my regular listening volume.
Sound (7/10): The sound of the JVCs manages to be very full and rich but at the same time surprisingly balanced. The bass is quite deep – extension is better than the K81Dj and about on-par with the CAL!s – and well-textured. If the mids weren’t so forward these could easily be classified as bass-centric cans, but the whole signature is pretty aggressive, which corrects the balance (albeit at the expense of a mediocre soundstage). The midrange is very thick and creamy, causing them to lag behind the K81Dj in separation and clarity. The timbre isn’t quite as natural, either, but they do sound more coherent as a result. While on the dark and warm side of neutral, the M750 did a great job of keeping me entertained without being absolutely true to the source.
Value (9.5/10). (MSRP: $79.95, Street Price:
$45). The JVC HA-M750 is one of the cheapest circumaural portable headphones and as such they deliver great value for money, being an excellent compromise between comfort, isolation, portability, and sound. Though they don’t sound as natural as the AKG K81Dj or as fun and dimensional as the Creative Aurvanas, they aren’t lacking in any particular area and are cheaper than both, making them very easy to recommend.
Manufacturer Specs:
Frequency Response: 6-26,000 Hz
Impedance: 32 ohms
Sensitivity: 115 dB SPL/1mW
Cord: 3.94ft (1.2m) + 6.56ft (2m) extension; Straight Plug
Space-Saving Mechanism: Collapsible
(##16) Creative Aurvana Live!: A true circumaural headphone, the portability of the CAL! may be questionable but the sound produced by the drivers shared with the Denon AH-D1001k is not.
Build Quality (7/10): The Creative Aurvana Live! is a well-built headphone but doesn’t exude the same air of solidity as the K81dj and HA-M750. The plastics feel sturdy and well-made. The glossy black cups and chrome trim are fingerprint magnets but the grime isn’t too visible on them (unlike, for example, the ATH-ES7). The stainless steel headband is padded and the cabling is nice and thick, rubberized to prevent tangling and short enough for portable use. An extension cable is included. On the downside, the CAL! are neither collapsible nor flat-folding, so calling them portables is contingent entirely on their having a shorter cable and being easily driven.
Comfort (9.5/10): The cups of the Creative Aurvana Live! were designed to be circumaural, and they are - for all but those with the largest ears. The cups are deep, extremely comfortable, and have a wide range of motion. The phones themselves are very light, largely due to the plastic construction, and there is almost no clamping force exerted by the headband. The pleather on the cups and headband feels quite soft but can get warm after a while, though I can stay cool longer in these than the JVC HA-M750.
Isolation (5.5/10): Though leakage is expectedly low, the isolation of CAL! is also quite low for a closed can. While better than almost all of the on-ear ultraportables, it just doesn’t compare some of the larger closed cans. I found myself cranking the volume up almost immediately when going outside.
Sound (8.5/10): As mentioned before, the CAL! shares OEM drivers (as well as pads and parts of the inner structure) with the renowned Denon AH-D1001k. My expectations were pretty high for these, so I was fairly surprised when I found the general sound signature to be similar to that of the significantly-cheaper JVC HA-M750. Over time, however, they grew on me and I learned to differentiate them from the JVCs in subtle but important ways. Like the JVCs, the CAL!s are bass-heavy headphones with a very rich-sounding midrange and a warm tonality. However, the Creatives boast better clarity in the (far less forward) midrange and a more dimensional sound - the soundstage has some depth in addition to the width. They are more laid back and balanced and at the same time a little faster when the music calls for it. The bass is textured, fairly well-controlled, and surprisingly deep (capable of dropping below 30Hz). The low-end response can be excessive at times - these are most definitely not monitoring headphones – but it’s hard to beat them for an enjoyable and relaxed listening experience with plenty of subwoofer bass.
Value (8/10). (MSRP: $99.99, Street Price:
$99). I like these, I really do. They are extremely comfortable, reasonably portable, and they sound oh-so-good. Granted, the sound isn’t quite as neutral as some may prefer and the isolation could be better. But they are just so very fun to listen to. In a series of A:B comparisons they make my JVC HA-M750 sound muddy, aggressive, and flat and my K81Dj – hollow and resonant. Unfortunately, the $100 price tag almost allows one to buy both of the others for the price of one Aurvana. Still, this is definitely one headphone I could use both on the go and at home, but only if isolation was inconsequential and absolute portability was not a concern.
Manufacturer Specs:
Frequency Response: 10-30,000 Hz
Impedance: 32 ohms
Sensitivity: 103 dB SPL/1mW
Cord: 3.94ft (1.2m) + 5ft (1.5m) extension; Straight Plug
Space-Saving Mechanism: N/A
(##17) Ultrasone Zino: Finished in a striking gun-metal grey, the Zino can easily be considered eye candy. Can it pass for ear candy? I’m not so sure.
Build Quality (6.5/10): The priciest of the “ultraportable” headphone crop, the Ultrasone Zinos fold to make a compact package not much larger than the Sennheiser PX100s. The construction is simple and elegant, made out of quality plastic and with only one hinge per side. Cabling is rubberized and relatively thick and the silky-smooth synthetic fabric-covered pads are very pleasing to the touch. Bonus points for the handy hard carrying case Ultrasone includes. What worries me is the hard strain relief on the 3.5mm plug as well as the generally delicate structure for the $130 MSRP.
Comfort (7.5/10): The Zinos are very light and barely clamp at all and as a result are extremely comfortable. However, their strong suit becomes their downfall when any physical activity is performed. Combined with the low clamping force there just isn’t enough grip from the smooth fabric-covered pads or plastic headband for them to stay on my head. This may not be an issue for those with larger heads, but for me having to think about my portable headphones falling off when hopping onto a curb or bending down to pick something up is an annoyance.
Isolation (4/10): The Zinos are advertised as “semi-closed”, but the large downward-facing vents and flat foam pads really don’t obstruct leakage much. Their relatively large size on the ear is all they have to offer in terms of isolation.
Sound (6.5/10): I was really hoping that the Zinos would save themselves from mediocrity and justify the price tag with sound quality. I think that the loose fit may affect my impressions of them a bit as the bass really isn’t all that deep unless I clamp the cups to my ears, hard. The sound signature is biased towards the high and low end but not so much as to make them sound unbalanced. The bass is capable of dropping below 30Hz when the drivers are prodded and the bass emphasis works well outside where bass notes tend to get drowned out by noise. Clarity is quite good all-around and high-end extension is impressive. The treble even has a bit of sparkle but may be too bright for some. The soundstage is wide and instruments are well-positioned, likely due in part to the S-Logic system, but can make the slightly thin midrange sound downright diffuse at times. The biggest problem I have with the Zinos, though, is the metallic sound of the mids and treble, especially with hard rock and metal. Indeed, I have noticed that one’s enjoyment of the Zinos is very dependent on music choice. They work far better with pop, trance, and electronica than with more instrumental genres such as metal and classical. On the upside, the Zinos are very iPod-friendly – they are quite forgiving of poor-quality sources and recordings.
Value (6.5/10). (MSRP: $129.99, Street Price:
$99) While the Ultrasone Zinos are certainly attractive to behold, they fall slightly short of expectations set by the $100 price tag all-arond. I do like the wide, airy sound produced by the Zinos but the metallic overtones exhaust me after extended exposure. The Zino is definitely a very competent portable, offering a small, lightweight form factor and competitive sound quality. But in the world of portable headphones, ‘competent’ is no longer good enough when the bar is set by products that are, at least in some ways, downright superb.
[|B]Manufacturer Specs:[/B]
Frequency Response: 15-25,000 Hz
Impedance: 35 ohms
Sensitivity: 101 dB SPL/1mW
Cord: 3.94ft (1.2m); Straight Plug
Space-Saving Mechanism: Collapsible
(##18) iFrogz EarPollution Nerve Pipe: One of the ways in which iFrogz differentiate themselves from Skullcandy, WeSC, and the like by offering a
customization tool for some of their headphones. When the Black Friday 50% off sale was announced I knew I could no longer resist buying a set. The original plan was to see if I could create something more hideous than some of EarPollution’s existing designs. With the plethora of customization features this turned out to be far too easy so I let my girlfriend design the headphones (though I did insist on the Zebra pads – where else would I ever get a pair of those?). I did not see the final product in the design stages and had to wait anxiously for them to be delivered with the knowing full well that my review regimen would force me to wear them in public for several days.
Behold the magnificence:
Build Quality (4.5/10): The Nerve Pipes are made completely out of plastic and feel rather toy-like in construction. There are some molding artifacts and sharp edges but the build quality is decent for a $20 headphone with no squeaks or rattles in the structure. Cabling is rubberized slightly and not too thin but the strain reliefs at both ends are too hard for my liking. Probably the best thing about these is the folding mechanism, which uses a third joint in the middle of the headband to make a truly collapsible portable. At their smallest the folded Nerve Pipes are not much larger than my fist.
Comfort (9/10): The faux (I hope) zebra pads are surprisingly pleasant to the touch and the ear. The ‘fur’ is fairly short and smooth and offers an excellent compromise between (sweaty) pleather and (irritating) foam. The cups swivel and pivot freely for a very comfortable fit. I’ve actually managed to forget I was wearing these a few times, resulting in some unintentional tests of the strength of their cabling (it held up fine). If there was one bone to pick with these it’s that the headband is unpadded, but it’s quite wide and the Nerve Pipes are light enough that it exerts very little pressure. Also, they may not have enough clamping force for people with smaller heads, though I had no problem keeping them on (unlike the Ultrasone Zino).
Isolation (4.5/10): The Nerve Pipes are vented at the back and leak a surprising amount for semi-closed headphones that cover the entire ear. The Zebra pads seal well though and isolation is on par with the other semi-closed portables.
Sound (3.5/10): The sound produced by these is decidedly unrefined on the scale of audiophile portables. They are balanced and punchy, with bass that is surprisingly tame for a mainstream teen-targeting headphone and a recessed midrange. The low end is somewhat muddy but extension is fine, rolling off smoothly past 45Hz or so and the drivers are quite capable of coping with some bass-boost EQ. Upper-end extension is similarly average. The treble is actually quite natural-sounding and hasn’t a hint of harshness. The soundstage is average in width and lacking depth, resulting in a rather intimate sound that works well with the slightly warm tonality. Overall the sound really doesn’t impress in any particular area, but doesn’t have any glaring faults either.
Value (6/10). (MSRP: $34.99, Street Price:
$23) The EarPollution Nerve Pipes are extremely comfortable and decently performing portable headphones that boast customizable looks and a reasonable price tag. I found myself using these far more often than I expected, mostly to watch a video in comfort without bothering with a full-size can. In fact, the warm and slightly recessed signature works very well for films and television programs. I have no problem with keeping these around the house for as long as they last and if they break I’ll have a spare set of Zebra pads (worth their weight in gold) for one of my other portables.
Manufacturer Specs:
Frequency Response: 30-20,000 Hz
Impedance: 32 ohms
Sensitivity: 120 dB SPL/1mW
Cord: 3.94ft (1.2m); Straight Plug
Space-Saving Mechanism: Collapsible
(##19) Philips SBC HP430: one of my latest trigger-happy acquisitions, the HP430 (not to be confused with the HS430 clip-on) is indeed a good-sounding headphone but its mediocrity on other fronts keeps it from greatness.
Build Quality (4/10): The build quality of the SBC HP430 is a two-sided affair. On one hand there is a purposeful minimalism to the design that I rather like. The thick plastics and stitched headband look quite nice and the metal rotating mechanism is smooth and robust. The fitting of the plastics is sub-par, though, and the while structure tends to rattle and wobble. In contrast to the nice material used on the headband, the pleather on the pads is so thin it feels more like tissue paper. The cabling features an inline volume control and is notable for its considerable thickness and large molded strain relief on the 3.5mm plug. The cords have a fair bit of memory character, which can get frustrating. I want to like the HP430 but I just can’t help feeling that it was designed to be a more upmarket headphone and then thrown together from cheaper materials to cut costs.
Comfort (7.5/10): The HP430 is extremely lightweight, clamps very little, and has generous padding on the headband and earcups. The resulting fit is pleasant but not nearly secure enough for my liking. The problem is the same as with the Ultrasone Zinos – they just don’t stay on my head well enough when I’m doing anything but sitting still. An odd feature of the design is that the earcups swivel in the wrong direction in order to fold flat, which results in a less compliant fit than otherwise possible.
Isolation (4.5/10): The HP430 is a closed-back headphone that isolates a fair amount if a good seal is achieved. However, the light clamping force never really provides a great seal so plenty of noise leaks in and some sound leaks out.
Sound (6/10): If these have one definite strength it’s the sound. The clarity and balance are excellent with nothing standing out on the frequency response. The average-sized soundstage has good separation and positioning and the signature is tonally neutral. The bass is heard rather than felt unless a very good seal is achieved so they are likely too bass-light for the average consumer. Treble has equal presence and is neither too bright nor too harsh. It has a bit of edginess to it but I don’t expect great refinement from $30 portables. The mids can sound a little thin but there’s a delicacy to the sound which puts them above most of the competition. One thing that surprised was that these do benefit from a little extra juice – there are notable improvements to the sound when a mini3 or T4 is added between the headphones and my Fuze. Overall while these may sound boring to some, the lack of aggression when compared to the Ultrasone Zinos, KSC75s, AKG K81s, and Nerve Pipes that I’ve been listening to lately is a welcome change.
Value (7/10). (MSRP: $39.95, Street Price:
$30). The HP430 is another interesting entry from Philips that’s let down by the build quality and choice of materials rather than sound quality. The sound is well-balanced and boasts excellent clarity and quite a bit of detail. With a slightly tighter fit and a less shaky construction they could be serious competition for the PX100s and PortaPros. As it stands, they’re just a good-sounding portable that isn’t quite there all-around.
Manufacturer Specs:
Frequency Response: 20-25,000 Hz
Impedance: 32 ohms
Sensitivity: 106 dB SPL/1mW
Cord: 3.94ft (1.2m) + 5.9ft (1.8m) extension; Straight Plug
Space-Saving Mechanism: Flat-folding
(##19) JVC HA-S700: The smallest circumaural portable in my
collection, the JVC HA-S700 can make some supraaurals look big. Its other selling point is the folding mechanism, which is even more accommodating than AKG’s patented 3D Axis system.
Build Quality (7/10): Behind the simplistic looks of the HA-S700 lies an extremely versatile folding mechanism that makes these headphones flat-folding, collapsible, and capable of attaining almost any configuration inbetween. When collapsed completely the headphones are incredibly compact. The headband is metal but the plastics feel a bit thinner than I would like. Still, for the price, I have no complaints. Cabling is typical JVC – average thickness, not too prone to tangling, and with functional strain reliefs all around.
Comfort (8.5/10): The cups are small but deep enough that my ears don’t touch the driver grilles. The significantly-larger Creative Aurvana Live! is the only other portable headphone on my collection for which this is true. The circumaural nature, pleather-covered memory foam pads and headband, and compliant fitting mechanism make these extremely comfortable headphones. They can get a little hot with time and clamp slightly harder than the Aurvanas, but that is a tradeoff I am willing to make for the significant gain in isolation.
Isolation (8.5/10): Underneath the pleather of the closed and circumaural HA-S700 are memory foam pads that do a great job of creating a seal. As a result they don’t leak at and all cut out a fair amount of external noise. Very impressive.
Sound (5.5/10): If there’s one aspect of the HA-S700 that doesn’t quite impress it’s the sound. Though nothing in particular is missing they sound slightly confused. As is the case with several other JVC models the drivers of the HA-S700 are angled with respect to the ear. This causes some odd positioning cues and a pretty narrow soundstage. The resulting sound is quite intimate and has a dimensional quality to it but makes it difficult to pick out instruments in space correctly. The bass is well-extended, impactful, and rather full-sounding, but not as tight as I would like. There is also a tiny bit of reverb at the low end. Mids are quite clear but not as detailed as some of the competition. The high end can be harsh and sibilant at first, but like most JVC cans these require a good bit of burn-in, after which the treble evens out and stays out of the way for the most part. There is still some sibilance, but only at high. The overall sound is warm but quite engaging – they are very easy cans to listen to on the go.
Value (8/10). (MSRP: $59.95, Street Price:
$40) The JVC HA-S700 is a very convenient headphone that provides a superb combination of build quality, isolation, and portability at a good price point. Though the sound is rather mediocre compared to some of the audiophile-grade portables in this lineup, the warm and slightly bassy signature of the HA-S700 works well outside where external noise tends to drown out bass notes. Compared to the newer HA-M750 the HA-S700 is less bassy, less aggressive, and more colored. They are also more comfortable, isolating, and cheaper than the M750s, making them a better buy for someone putting versatility above sound.
Manufacturer Specs:
Frequency Response: 8-25,000 Hz
Impedance: 32 ohms
Sensitivity: 101 dB SPL/1mW
Cord: 3.94ft (1.2m) + 6.6ft (2m) extension; Straight Plug
Space-Saving Mechanism: Flat-folding, collapsible
(##19) Sennheiser PX200-II: The second incarnation of Sennheiser’s closed ultraportable, the PX200-II excels where its predecessor failed
Build Quality (7.5/10): It should come as no surprise that the build of the PX200 II is quite similar to that of my old PX100s. The plastics are thicker all around and the metal headband has been widened by about 1/16” but the overall design and feel of the structure are very reminiscent of the previous PX headphones. The pleather pads seem identical to the old PX200 pads and are approximately the same size as the pads on my other small portables. The 4-foot single-sided cable features a volume control with a belt clip about halfway down. Strain reliefs seem excessively hard and worry me a bit, especially considering that the volume control/belt clip on the cord may lead to an increased chance of snags. A soft carrying pouch is included with the PX200 II in place of the hard plastic case included with the PX100.
Comfort (7.5/10): As with the PX100, the swiveling earcups provide a compliant fit. The padding on the headband looks miniscule but gets the job done without making your head sweat. However, the pleather earpads heat up more than the foam pads use by the PX100 and the whole assembly is heavier and clamps quite a bit harder making the PX200-II substantially less comfortable for prolonged use.
Isolation (6.5/10): The swiveling earcups provide a good fit and the pleather pads can create a seal despite the diminutive cup size. As a result, the isolation they provide when positioned properly over the ear is surprisingly good, beating all of the similarly-sized supraaurals and even the circumaural CAL!.
Sound: (8/10): Despite being a closed headphone, the PX200-II does not sound closed-in but instead rather spacious, not unlike the Panasonic Slimz. Though the soundstage isn’t any wider than that of the PX100s, the overall presentation is less intimate and better spaced. The sound is cooler and brighter than the PX100 – far closer to being tonally neutral. At the low end of the frequency spectrum the PX200-II provides a tight punch that makes the PX100 sound very muddy in comparison. The mids and treble not as strikingly smooth as the PX100 due to the PX200-II being far less warm, but clarity is greatly improved. The high end is fairly extended but doesn’t boast much sparkle (may be a good thing for some). Instrumental separation is good, helped significantly by the clarity and the more evenly distributed soundstaging. The resolution and fine detailing are not quite on par with some of the pricier phones here but for such a small and convenient portable it’s all really quite impressive. On a final note, I found that the PX200-II benefits less from dedicated amplification than did the old PX100, likely because there’s not as much room for improvement at the low end.
Value (9/10). (MSRP: $99.95, Street Price:
$57) Unlike the original PX200, which had little going for it besides being small and closed, the Mk II version is nothing short of a great value. Well-built, reasonably comfortable, and offering a surprising amount of isolation, the PX200-II is the headphone that the old PX200 should have been and finally offers serious competition for the likes of the AKG K81Dj. Die-hard bassheads will probably be happier with the old PX100 but for the rest of us the far more balanced and neutral PX200-II offers more faithful sound reproduction. The sacrifice in comfort for better passive noise reduction is rather unfortunate but potentially of more value to those actually using the headphones on the move. The PX200-II therefore has all the hallmarks of a critical and commercial success – usability, excellent sonic characteristics, and a respected name to back it all up - and will likely become more popular than the famed PX100 in the near future.
Manufacturer Specs:
Frequency Response: 10-21,000 Hz
Impedance: 32 ohms
Sensitivity: 115 dB SPL/1mW
Cord: 3.94ft (1.2m), single-sided; Straight Plug
Space-Saving Mechanism: Flat-folding, collapsible
(##22) M-Audio Studiophile Q40: Prior to the Q40 all of M-Audio’s headphones were Ultimate Ears rebrands and were mostly made obscure by the lack of competitive pricing. However, the Q40 does not seem to have an OEM progenitor and is a whole different story.
Build Quality (9/10): Underneath the handsome black-and-grey plastic paneling of the Q40 is a tank-like steel construction. The well-padded steel headband and massive steel hinges really make the Q40 feel like it was built to last. The headband stretches to gargantuan lengths and has numbered notches for easy adjustment. The pleather pads are soft but the cups aren’t really deep enough for such shallow pads. The thick 9’ cable is detachable and utilizes threaded 3.5mm jacks at both ends. There are some reported long-term issues with the cable but replacement cords are available at a cost of about $10.
Comfort (6/10): The steel headband of the Q40s boasts quite a bit of clamping force. Despite being very pliable, it is also surprisingly resilient to permanent deformation. The padding on the headband is great but the ear cushions just aren’t quite thick enough for me. As a result my ears are constantly pushed against the grilles, resulting in pain. Beyerdynamic velour pads are better but not quite thick enough either. I ended up using the pads off of my JVC HA-RX700, which didn’t fit the Q40s perfectly but gave a great comfort boost (thickness difference illustrated
here; stock pads on the right). Though I did not attempt this, a cost-effective way to improve the comfort would be to stuff an additional foam ring into the stock pads to boost their thickness and then sew them back up. With thicker pads the Q40 can provide hours of comfort.
Isolation (7/10): The perforated external grilles on the Q40s are purely decorative – the headphones are fully closed. The isolation is surprisingly modest for such a large headphone – noticeably lower than the smaller JVC and AKG portables. Still, they isolate more than most and leakage is negligible so they are well-suited for portable applications.
Sound (8/10): The most striking aspect of the Q40s’ sound is the bass - specifically the depth, power, and texture of the low end, which are all superb. The Q40s can really go deep when the track calls for it and the sub-bass is felt as much as it is heard. For my tastes the boosted mid- and upper bass on the Q40s is excessive but the rest of the sound signature is rather neutral and monitor-like. They remind me of a far more refined JVC HA-M750 on both counts. The midrange is lush and full but seems to have a slight dip at the lower end. The treble is never harsh or sibilant and is rolled off slightly off at the very top. The soundstage is slightly below average in width and lacks depth, resulting in a rather intimate sound. Instrumental separation is good and the Q40s do a good job of relating detail. They are not very forgiving of poor source material and the 64-ohm impedance means that while the Q40s are perfectly capable performers when driven by a portable source, they do benefit from some additional juice, which opens them up and gives them some more speed and control in the lower and middle registers.
Value (7/10): (MSRP: $179.95, Street Price:
$125). The M-Audio Studophile Q40 is a very solid headphone designed for studio use but also quite functional as a portable set. This full-size, collapsible headphone features a rock-solid build, decent isolation and comfort, and a bass-heavy sound signature with subdued treble. The rest of the signature is balanced and accurate, making the Q40 sound somewhat like a less aggressive and much more refined JVC HA-M750. For the bass lover looking for headphones in this price range these should be at the top of the list.
Manufacturer Specs:
Frequency Response: 10-20,000 Hz
Impedance: 64 ohms
Sensitivity: 116 dB SPL/1mW
Cord: 9.84ft (3m), single-sided, detachable; Straight Plug
Space-Saving Mechanism: Collapsible
(##23) Audio-Technica ATH-ES7: Wearing the ATH-ES7 in public will undoubtedly turn heads, but even without the style the ES7s have enough merit to draw attention
Build Quality (7.5/10): The most obvious feature of the ES7’s exterior is the mirror-finish cups, which look absolutely stunning when they are clean. This latter nuance may not seem like a big deal but the polish attracts scratches and fingerprints like an industrial-strength magnet. A microfiber cloth and soft carrying pouch are included to help keep the headphones clean. The structure itself is quite robust, with a rubber-covered metal-wire headband and smoothly-rotating cups. Cabling is fairly average, similar in feel to what is found on the smaller and cheaper Sennheiser portables.
Comfort (5.5/10): The rubber-covered headband doesn’t provide much padding and the odd shape causes the cups to exert quite a lot of pressure on the wearer’s ears. Though the ES7 stay in place very well as a result, discomfort is noticeable after just minutes on a stock set. The clamping force of the ES7 can be decreased by stretching the headband or bending it outward at the ‘shoulders’. Though I do like the rough leather-like pads, Sennheiser HD25 velour pads fit on the ES7 for a comfort boost. Even with the possible modifications comfort is mediocre at best – great for (very) short walks outside; not so good for a 3-hour listening session.
Isolation: (6/10): For a closed supraaural of its size the isolation of the ES7 is below average - I often felt compelled to crank up the volume when wearing them outside. The pronounced bass does help make this more tolerable, as bass is usually the first characteristic lost due to lack of isolation. Leakage is expectedly minimal.
Sound (7.5/10): The ATH-ES7 provide a distinctly ‘fun’ sound signature that betrays Audio-Technica’s poising them for mainstream success. They’re heavy hitters in the bass department with a smooth and full-bodied low end. Extension is adequate and these can produce a good amount of bass rumble when prodded. The speed isn’t quite up to par with the HA-M750 and Q40s but the softer impact may even be preferable for some. They are certainly less tiring to my bass-sensitive ears. The midrange is slightly recessed but clarity is quite good and vocals sound more or less natural. There seems to be a small hump in the lower midrange response, which gives the sound some coloration. The treble is on the bright side but not fatiguing enough to be a problem. It’s quite upfront and very crisp and clear. They do a good job relating a track’s dimensionality but don’t quite manage an open and spacious sound -soundstaging is very close and intimate. Despite this I still find them perfectly enjoyable headphones when listening on the go.
Value (7.5/10). (MSRP: $169.95, Street Price:
$85) Among all of the reasonably priced portable headphones the ATH-ES7 is a unique offering in that it manages to combine style and substance without compromising much of either. The mirror-finish cups are stunning to behold and the sound is very fun and involving – bright-n’-shiny treble, deep, impactful bass, and a clear and articulate midrange. Comfort and isolation are unfortunately not quite on par with much of the competition and those in search of a more neutral sound may want to stay away. If, however, looks are given any weight at all in a purchasing decision and absolute fidelity is not the goal the ATH-ES7 are worth a second look.
Manufacturer Specs:
Frequency Response: 5-30,000 Hz
Impedance: 32 ohms
Sensitivity: 100 dB SPL/1mW
Cord: 3.94ft (1.2m); Straight Plug
Space-Saving Mechanism: Flat-folding
Continued in post #3 below due to reaching character cap in 1st post.
Shootout: 27 Portable Headphones Compared - Grado SR60i, Kanen KM-95 added 02/07/09
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