Looking for the Ace of Bass: PRO-900 vs. AH-D7000
I want this review to be the one I couldn’t find on Head-Fi when I was making a buying decision between these two phones. Bass is hugely important to me, but not at the expense of the other vital aspects of a sound signature. I decided to compare two mid-to-higher end cans often (correctly or not) referred to as “bass monsters”: the stock Denon AH-D7000 and Ultrasone PRO-900.
Methodology
I chose an eclectic mix of ten songs of varying genres and styles to use as test tracks. All were in 320 kbps AAC or Apple Lossless format. I used my K.I.C.A.S. Caliente desktop amp to drive both cans during the test. It should be noted that the PRO-900s need a little more amping than the D7Ks, so I adjusted the volume slightly higher for the Ultrasones to make the comparison as equal as possible. Neither can will really reach its potential without a decent amp, so potential buyers should budget accordingly.
Here’s the playlist:
•“Broken Open” by Adam Lambert. Lots of electronic effects, tons of atmosphere, uber-deep drum hits and Adam’s gorgeous instrument.
•“Make You Feel My Love” by Adele. My favorite version of the much-covered Dylan classic. Adele’s smoky, nuanced vocals over a simple piano track.
•“Intervention” by Arcade Fire. A towering church organ intro building into a driving, choir-backed final section. This song has it all.
•“E-Pro” by Beck. A jangly, loose-limbed rocker with a great beat and guitar line.
•“Human” by Civil Twilight. Sparse and spare, basically just haunting male vocals and a piano.
•“Two at a Time” by Guster. A laid-back, folksy sing-along punctuated by some seriously deep subwoofer hits.
•“Teardrop” by Massive Attack. Classic electronica tune with subterranean bass and a busy mix.
•“Exogenesis: Symphony Part One (Overture)” by Muse. A darkly melodic, symphonic masterpiece from one of the best bands on the planet.
•“Tell Me Baby” by Red Hot Chili Peppers. A fun, throwaway song with a fantastically funky Flea bassline.
•“Tantra” by Waterbone. Speedy trip-hop mixed with Eastern vocals. Massive bottom end and lots of effects.
I listened to each track back-to-back with one headphone and then the other until I felt I had a grasp on the sonic differences. Rather than go into specific differences noted between the phones on each song, I’m going to describe the general impressions I got from each of the two contenders over the course of the test.
Ultrasone PRO-900
It starts with the bass. The 900s put out massive amounts of taut, powerful bass that provides a firm foundation to the rest of their sound. At first listen, these are the bassier of the two cans. The bass can pervade the mids a bit, though, forcing them back into the mix a little. Though I’ve never heard them, I imagine that this is similar to the AH-D5000’s equally hailed and reviled low end. The highs are quite clear and crisp, and can sound just a little metallic at times, which I attribute to the 900’s titanium-coated driver. Vocals can sound a touch thin on certain songs, and are inferior to the Denon’s. The soundstage on the 900s is above average for a closed can, but just can’t compete with the D7K’s.
The 900s are exceedingly detailed, almost to a fault, and I would consider the D7Ks to be the more forgiving of the two. Pianos sound incredible on the Ultrasones—I’ve even heard the click of the player’s fingernails or the soft action of the pedals on certain songs.
Isolation on the 900s is also superior to the D7Ks. The Denons sound like they only offer a few decibels of isolation and they definitely leak some sound. My wife was sitting across the room during the comparison and commented that she could hear the music from the D7Ks when I was listening to them, but not the Ultrasones. For reference, my listening levels were at a fairly moderate 9 to 10 o' clock on the volume pot.
The velour earpads of the Ultrasones feel soft and cool, but the headphones clamp noticeably more than the Denons, something that the 900 has in common with its little brother, the HFI-780. After a lengthy listening session, though, the weight of the headphone seems like it’s resting entirely on the small pad in the center of the headband. They’re neither uncomfortable nor particularly comfortable. The D7Ks, on the other hand, have a “just right” fit the first time and every time. My only complaint is that the (p)leather pads on the Denons can get a little hot and stifling after an hour or two.
Denon AH-D7000
Remember the first time your rode in your dad’s/uncle’s/friend’s/boss’/dealer’s expensive car? The smell and feel of the glove-soft seats, the smooth ride and the effortless acceleration? Slip the Denons onto your head and take a stroll down memory lane. These suckers ooze refinement. When you lift them from their silk cradle for the first time, they seem to regard you questioningly, as if they are wondering whether your sweaty head is worthy of their occupancy.
The sound? Balanced and beautiful—there’s just something eminently “right” about it. Glittering highs, just-right mids and deep, deep bass. My stars, the bass. It just goes down and down, doesn’t it? Possibly a hair deeper than the Ultrasones, which I wouldn’t have thought possible. It’s more focused, however, and doesn’t fill the earcups like the PRO-900 bass. A little less impact as well, I think. This can be regarded as a positive or negative trait, depending on how you like your bottom end served. Personally, there were some songs (usually the faster, more rock-style ones) I was listening to through the Denons and wished that the bass was just a touch closer to the mass and thump of the 900’s. Qualitatively, however, the nod has to go to the Denons. The bass absolutely makes its presence and texture heard and felt, but also knows its place.
There’s no question about the superiority of the mids on the D7Ks, though. Vocals, both male and female, come through smoother, clearer and just more natural sounding. This is where the cost and refinement of the Denons begins to manifest itself. The highs and soundstage are equally impressive. You really have to hand it to the Denon engineers for making a closed phone with no glaring weaknesses—a real rarity. Definitely the more well-rounded of the two, the Denon comes across as the grown-up’s headphone while the Ultrasone is a bit more immature and punchy. I would label both phones as “fun”, though.
Conclusion
There’s no doubt that the D7K wins the award for the prettiest, most refined, most comfortable and most expensive can in this comparison. The 900 acquitted itself nicely, however, when it comes to bass quantity and impact, and is no slouch with regards to soundstage and treble either. Since neither of these cans will really appeal to someone looking for something with uncolored bass response, it really comes down to what your budget dictates and what kind of bass you are looking for.
If money is no object, the Denon is your clear choice. By sacrificing a bit of bass effulgence (which you may not want anyway), you will be getting a headphone that feels and sounds like a thousand-dollar can should. They even smell expensive, Lord love ‘em.
The bang-for-the-buck award, however, has to go to the Ultrasones. They have about 80-85% of the comfort, soundstage , mids and highs of the Denons, as well as fuller bass and superior isolation, for half to two-thirds of the cost. They simply tower above most cans I’ve heard, and it’s a credit to the 900s that it takes a head-to-head comparison with a phone of the D7K’s caliber to bring out their weaknesses. I can without hesitation recommend them to anyone looking for a sub-$500 headphone that delivers the complete package and does so with panache. And if you want the final word in bass authority and aren’t afraid of a little boom, the 900s are your ticket to bottom end bliss.
There’s no question that these are equally impressive cans, each in their own way. The AH-D7000s, as Orwell would say, are just MORE equal.
I want this review to be the one I couldn’t find on Head-Fi when I was making a buying decision between these two phones. Bass is hugely important to me, but not at the expense of the other vital aspects of a sound signature. I decided to compare two mid-to-higher end cans often (correctly or not) referred to as “bass monsters”: the stock Denon AH-D7000 and Ultrasone PRO-900.
Methodology
I chose an eclectic mix of ten songs of varying genres and styles to use as test tracks. All were in 320 kbps AAC or Apple Lossless format. I used my K.I.C.A.S. Caliente desktop amp to drive both cans during the test. It should be noted that the PRO-900s need a little more amping than the D7Ks, so I adjusted the volume slightly higher for the Ultrasones to make the comparison as equal as possible. Neither can will really reach its potential without a decent amp, so potential buyers should budget accordingly.
Here’s the playlist:
•“Broken Open” by Adam Lambert. Lots of electronic effects, tons of atmosphere, uber-deep drum hits and Adam’s gorgeous instrument.
•“Make You Feel My Love” by Adele. My favorite version of the much-covered Dylan classic. Adele’s smoky, nuanced vocals over a simple piano track.
•“Intervention” by Arcade Fire. A towering church organ intro building into a driving, choir-backed final section. This song has it all.
•“E-Pro” by Beck. A jangly, loose-limbed rocker with a great beat and guitar line.
•“Human” by Civil Twilight. Sparse and spare, basically just haunting male vocals and a piano.
•“Two at a Time” by Guster. A laid-back, folksy sing-along punctuated by some seriously deep subwoofer hits.
•“Teardrop” by Massive Attack. Classic electronica tune with subterranean bass and a busy mix.
•“Exogenesis: Symphony Part One (Overture)” by Muse. A darkly melodic, symphonic masterpiece from one of the best bands on the planet.
•“Tell Me Baby” by Red Hot Chili Peppers. A fun, throwaway song with a fantastically funky Flea bassline.
•“Tantra” by Waterbone. Speedy trip-hop mixed with Eastern vocals. Massive bottom end and lots of effects.
I listened to each track back-to-back with one headphone and then the other until I felt I had a grasp on the sonic differences. Rather than go into specific differences noted between the phones on each song, I’m going to describe the general impressions I got from each of the two contenders over the course of the test.
Ultrasone PRO-900
It starts with the bass. The 900s put out massive amounts of taut, powerful bass that provides a firm foundation to the rest of their sound. At first listen, these are the bassier of the two cans. The bass can pervade the mids a bit, though, forcing them back into the mix a little. Though I’ve never heard them, I imagine that this is similar to the AH-D5000’s equally hailed and reviled low end. The highs are quite clear and crisp, and can sound just a little metallic at times, which I attribute to the 900’s titanium-coated driver. Vocals can sound a touch thin on certain songs, and are inferior to the Denon’s. The soundstage on the 900s is above average for a closed can, but just can’t compete with the D7K’s.
The 900s are exceedingly detailed, almost to a fault, and I would consider the D7Ks to be the more forgiving of the two. Pianos sound incredible on the Ultrasones—I’ve even heard the click of the player’s fingernails or the soft action of the pedals on certain songs.
Isolation on the 900s is also superior to the D7Ks. The Denons sound like they only offer a few decibels of isolation and they definitely leak some sound. My wife was sitting across the room during the comparison and commented that she could hear the music from the D7Ks when I was listening to them, but not the Ultrasones. For reference, my listening levels were at a fairly moderate 9 to 10 o' clock on the volume pot.
The velour earpads of the Ultrasones feel soft and cool, but the headphones clamp noticeably more than the Denons, something that the 900 has in common with its little brother, the HFI-780. After a lengthy listening session, though, the weight of the headphone seems like it’s resting entirely on the small pad in the center of the headband. They’re neither uncomfortable nor particularly comfortable. The D7Ks, on the other hand, have a “just right” fit the first time and every time. My only complaint is that the (p)leather pads on the Denons can get a little hot and stifling after an hour or two.
Denon AH-D7000
Remember the first time your rode in your dad’s/uncle’s/friend’s/boss’/dealer’s expensive car? The smell and feel of the glove-soft seats, the smooth ride and the effortless acceleration? Slip the Denons onto your head and take a stroll down memory lane. These suckers ooze refinement. When you lift them from their silk cradle for the first time, they seem to regard you questioningly, as if they are wondering whether your sweaty head is worthy of their occupancy.
The sound? Balanced and beautiful—there’s just something eminently “right” about it. Glittering highs, just-right mids and deep, deep bass. My stars, the bass. It just goes down and down, doesn’t it? Possibly a hair deeper than the Ultrasones, which I wouldn’t have thought possible. It’s more focused, however, and doesn’t fill the earcups like the PRO-900 bass. A little less impact as well, I think. This can be regarded as a positive or negative trait, depending on how you like your bottom end served. Personally, there were some songs (usually the faster, more rock-style ones) I was listening to through the Denons and wished that the bass was just a touch closer to the mass and thump of the 900’s. Qualitatively, however, the nod has to go to the Denons. The bass absolutely makes its presence and texture heard and felt, but also knows its place.
There’s no question about the superiority of the mids on the D7Ks, though. Vocals, both male and female, come through smoother, clearer and just more natural sounding. This is where the cost and refinement of the Denons begins to manifest itself. The highs and soundstage are equally impressive. You really have to hand it to the Denon engineers for making a closed phone with no glaring weaknesses—a real rarity. Definitely the more well-rounded of the two, the Denon comes across as the grown-up’s headphone while the Ultrasone is a bit more immature and punchy. I would label both phones as “fun”, though.
Conclusion
There’s no doubt that the D7K wins the award for the prettiest, most refined, most comfortable and most expensive can in this comparison. The 900 acquitted itself nicely, however, when it comes to bass quantity and impact, and is no slouch with regards to soundstage and treble either. Since neither of these cans will really appeal to someone looking for something with uncolored bass response, it really comes down to what your budget dictates and what kind of bass you are looking for.
If money is no object, the Denon is your clear choice. By sacrificing a bit of bass effulgence (which you may not want anyway), you will be getting a headphone that feels and sounds like a thousand-dollar can should. They even smell expensive, Lord love ‘em.
The bang-for-the-buck award, however, has to go to the Ultrasones. They have about 80-85% of the comfort, soundstage , mids and highs of the Denons, as well as fuller bass and superior isolation, for half to two-thirds of the cost. They simply tower above most cans I’ve heard, and it’s a credit to the 900s that it takes a head-to-head comparison with a phone of the D7K’s caliber to bring out their weaknesses. I can without hesitation recommend them to anyone looking for a sub-$500 headphone that delivers the complete package and does so with panache. And if you want the final word in bass authority and aren’t afraid of a little boom, the 900s are your ticket to bottom end bliss.
There’s no question that these are equally impressive cans, each in their own way. The AH-D7000s, as Orwell would say, are just MORE equal.
