[notaris]

Review: Ortofon e-Q7 and e-Q5 earphones

The next big thing?

 

Introduction

 

Ortofon is a high-tech company, having a history of 95 years, and specializing, among other things, into hi-fi products, in particular, cartridges, replacement stylus, tonearms, and, recently, earphones.

The first earphone model, designed and produced by Ortofon Japan, was e-Q7,

and the more recent addition, was e-Q5. 

Ortofon is known for its high quality products; in fact, the name “Ortofon” comes from the Greek words “ορθή φωνή”, which in a free translation means “accurate sound”. So, it was worthwhile to review the Company’s first earphone models.    

 

General description

The two models share some common characteristics and have certain differences. 

First of all, both the e-Q7 and e-Q5 casing is scrupulously hollowed out of a solid aluminum rod by a master craftsman/machinist, which contributes to the overall acoustic quality. The case has an anodized finish in black, silver or red, which makes the earphones to look both nice and of high quality. Between the two models, e-Q7 has the more distinct appearance, while e-Q5 has a more conservative look.

 

Even more exciting and unique than the e-Q7 and e-Q5 casing is the earphones’ engine, which is made by the Yashima Electric Company. For those who are not familiar with this Company, Yashima was founded in 1963, and it has been specializing, among other things, in the manufacturing of high efficiency hearing aid earphones. So, it was no surprise that, a few years ago, Yashima developed and started manufacturing the one magnetic pole balance armature driver. This is a truly innovative product, and although it is of the balance armature type, it is nonetheless trying to incorporate some of the advantages of a dynamic driver; because of that, Grado, which is also using the same kind of driver in its G8 and G10 models, coined the name “moving armature” driver. 

A typical balance armature driver consists of a moving magnetic armature that is pivoted so that it can move in the field of the permanent magnet; when precisely centered in the magnetic field there is no net force on the armature, whence the term “balanced” comes from. Around the armature is sitting a coil, and when electrical current goes through that coil, it magnetizes the armature, which that way moves back and forth; this motion is transmitted, through a rod, to the diaphragm, which moves the air and that way produces sound. Balance armature drivers have, usually, very good detail, resolution and speed as well as very high electro-acoustic conversion efficiency; however, they lack of low frequency performance. 

A completely different design is the commonly used dynamic, also known as moving coil, driver. Here the coil is sitting inside a static magnetic field of a stationary magnet. When electrical current goes through the coil, it produces an alternating magnetic field, which reacts against the static magnetic field, and this causes the coil and the diaphragm attached to it to move the air, thus producing sound. The main advantage of dynamic drivers is quite good low frequencies extremes.

In the single magnetic pole balance armature driver, the diaphragm is sitting on the armature, which is connected to the pole piece, composing a closed magnetic circuit, with the coil positioned around the outside circumference of it. The electrical current that goes through the coil is magnetically induced  to the pole making the armature to move , that’s the term “moving armature”. Hence, part of this design is reminiscent of a dynamic driver, except that the role of the moving coil is played here by the armature. The design is simple to construct, it costs half of that of a typical balance armature driver, it has low current consumption and high electro-acoustic conversion efficiency. Furthermore, it combines the benefits of a balance armature and a dynamic driver: Very good detail, resolution and speed and at the same time quite good low frequencies extension. 

Below, it is given a comparison of the e-Q7 driver with a typical dynamic driver.

While, next, the same is done for the e-Q5 driver and a typical dynamic driver.

 

Please note that the difference in the frequency response curves of e-Q7 and e-Q5 is due to a different scaling. According to Mr. Tomoyuki Tsukamoto, General Manager of Ortofon Japan, both models use the same driver. The main difference between the two models is in the cable: e-Q7 has a silver plated 4N (99.99% pure)  OFC (oxygen free copper) cable, while e-Q5 uses a regular OFC cable. Furthermore, e-Q7 is equipped with a strain relief at the earpiece, made of an “elastomer” with just the right degree of hardness in order to prevent kinking or braking; while in e-Q5 the cable enters directly into the case. Also, the e-Q7 cable is consisted of two different parts: From the earpiece to the Y-splitter is a regular rubber cable, while from the Y-splitter on it has a fabric insulation, apparently in order to reduce microphonics. So, overall, the e-Q7 cable is certainly of higher quality than that of e-Q5. 

Besides the cable, the only other difference between the two models is in the accessories department (more on that in the accessories and fit section).   

 

Sound quality

Apparently, Ortofon chose a single driver design in order to avoid coherence problems that sometimes appear in multi-driver designs; as a result, both e-Q7 and e-Q5 have a quite smooth frequency response curve (see above). Furthermore, the driver chosen is the new and innovative design of Yashima. So, the obvious question is: How successful is all this? In other words, how do the two models sound? Do they have the same character? And, at the end, which of the two sounds better? Next, we shall try to answer all these questions.

As already mentioned, both models, e-Q7 and e-Q5, have almost the same case and use the same driver, which is also tuned the same way. The only difference lies in the cable and this gives to each model its distinct characteristics. 

When I first listened to e-Q7,  I was quite impressed: Extremely detailed sound, with top clarity, and more than satisfactory extremes, in both the lows which are taut and well-controlled, and highs that are quite extended; and all this came in a sweet and balanced package that concentrated in the mid area of the audio spectrum. The latter is not to be considered as a downfall, as the mid area is where the most of the music lies. The tremble is clear and quite extended, although some roll off  is detectable. The bass, on the other hand, is more than sufficient, taut and well focused. Overall, the sound of e-Q7 is very articulate, and only the most discerning listeners would, maybe, require a slightly more bright presentation with a touch of more bass.

Now, maybe, some of these discerning listeners communicated all of the above comments to Ortofon Japan, and the Company’s answer, which actually came pretty quickly, was the new model e-Q5. The latter has a sound signature similar to that of e-Q7, however, there are certain differences. The main one is that e-Q5 is a more balanced set, with a tremble that is even more extended, without the roll off that one might detect in e-Q7. The bass in e-Q5 does not have quite the punch of the bass in e-Q7, but it is slightly deeper. Furthermore, the more balanced, and therefore smoother,  presentation of e-Q5, makes the latter to have a slightly better soundstage and image than e-Q7. 

However, please note: The overall sound difference between e-Q7 and e-Q5 is quite small, and if I had to characterize the two models, I would say that e-Q7 is more appropriate for classical or jazz music, while e-Q5, being more balanced, is more of an all-purpose performer. Listening to these two models, reminded me of two old, yet classical, models of Monster, the Miles Davis Tribute Jazz and the Turbine Pro Copper, corresponding to e-Q7 and e-Q5, respectively.

Take, as an example, the “Rhee Waahnee” of B. Dillard, by The Red Norvo Quintet, from the album The Forward Look, RR-8, which has been recorded live in 1957 and combines the Red Norvo vibes with the guitar, reeds, bass and drums of the other four members of the group; or the “Tribute to Dollar Brand” of Donna Viscuso, by the Blazing Redheads, from the album Crazed Women, RR-41, a piece that is fast and combines the Donna Viscuso reeds with Michaelle Goerlitz percussion. Both e-Q7 and e-Q5 sound extremely detailed and clear, with the fast passages of the second piece to be reproduced with extreme speed and precision. However, e-Q7 has a slight emphasis in the mid area, and this gives you the impression of a rather strong bass and a tremble that is rolled off at the top end. The e-Q5, on the other hand, has a more balanced and smooth performance, with slightly deeper bass and more extended tremble, and that way you get the impression of a more articulate presentation. Now, if you go to Sergei Rachmaninoff’s “Symphonic Dance #3” from Rachmaninoff Symphonic Dances, by Eiji Que / Minnesota Orchestra, RR-96 HDCD, then e-Q7 really shines, giving an amazing presentation, and, at times, makes you believe that you are actually at the concert hall; here, the balanced performance of e-Q5, although excellent in every respect, it does not have that extra power needed, and because of that e-Q7 stands out. Finally, in a vocal piece, such as the classical Sade song “By Your Side”, from the album Lovers Rock, Epic Records, both e-Q7 and e-Q5 gave a very natural and dynamic presentation, with a minimal distortion at the punchy parts of the song, unless you really cranked up the volume all the way up.

 

Comparison results   

One of the premium earphone sets, of a few years ago, was the Klipsch Image X10, so I thought that it would be rather interesting to compare e-Q7 and e-Q5 to X10. Please note that e-Q7 can be bought over the internet for close to $316.00, the e-Q5 MSRP is €225.00, while the X10 MSRP, when offered, was around $350.00.

1. The X10 is nice looking, while e-Q7 and e-Q5, although of a rather conservative appearance, are nonetheless of a more robust construction, which a lot of listeners would appreciate in the long run.
2. Although X10 has very good frequency extremes, e-Q7 and e-Q5 have even more extended ones, in both lows and highs, with e-Q5 being the best of the three sets.
3. X10 is known for its very good resolution, however, both e-Q7 and e-Q5 are even more detailed.
4. All three models have top clarity, with e-Q7 and e-Q5 having a slight edge.
5. Although X10 is quite neutral and warm, e-Q5 is one of the most balanced and warm earphones I heard so far; e-Q7, on the other hand, has an inclination towards the mid area.
6. Both e-Q7 and e-Q5 are more dynamic than X10.
7. All three models have a good soundstage and image, with e-Q5 having again an edge between the three, although soundstage and image are rather sensitive issues in earphones.

Overall,  although X10 has a very pleasing sound, and because of that this model was considered one of the best a few years ago, the sound of both e-Q7 and e-Q5 is even more vivid, alive and articulate than the already very good sound of X10.
 
 

Accessories and fit 

The two models, e-Q7 and e-Q5, come in a quite different outfit. 

The e-Q7 packaging is among the two or three best I have seen during the past several years. Inside the beautiful and luxurious box, one would find 4 Silicon rubber eartip sets (2 S and 2 L size), while a fifth set (M size) been installed on the earphones; 1 filter remover; 6 replacement filters; 2 replacement filter rings; 2 soft foamed urethane eartips; and, finally,  a very classy leather case, probably the best I have seen in a earphone set.

        

The packaging of e-Q5 is much simpler: Everything comes in a can, inside which one would find the same accessories as in e-Q7, except for the leather case; the latter is really an omission, and it is about the only complain one could have about e-Q5.

Finding an appropriate eartip is not difficult, and, once you do, fitting either e-Q7 or e-Q5 in your ear canals is simple and quite comfortable, in particular, as both sets are quite light-weight (it is interesting though that e-Q7 is lighter than e-Q5). Also,  assuming that the listener has found the right eartip, the level of sealing achieved is very high providing excellent noise isolation.

Finally, as already mentioned before, the main difference between the two models is in the cable, silver plated 4N (99.99% pure) OFC in e-Q7 and regular OFC in e-Q5; while, the cable of e-Q7 has, in addition, a fabric insulation, apparently in order to reduce microphonics. In spite of this, things are slightly better in e-Q5, although microphonics is not really an issue in either of the two models.
 
 

In conclusion

I was overly impressed by both e-Q7 and e-Q5. They are robustly constructed, with a sound that excels in lows and highs, it is extremely detailed, it has top clarity, and it is almost perfectly balanced in e-Q5, while it has a slight inclination towards the mid area in e-Q7. Furthermore, both sets have really top dynamics, and good soundstage and image. In fact, the presentation of both sets is so articulate that, based on their street price, you need to pay at least twice as much in order to get this level of performance.

All in all, e-Q7 and e-Q5 are among the very best earphones I have heard in recent years regardless of price. Most heartily recommended.

 

Specifications and price

e-Q7

Audio engine: Balanced armature driver stereo inner earphone

Frequency response: 10 - 20000 Hz

Impedance: 31 Ohms  + / -25% 

Max. Input: 20 mW                                 

Sensitivity: 117 dB  + / - 3 dB 1 KHz / 1 mW

Operational temperature: -15 °C (+5 °F) to +40 °C (+104 °F)

Cable: 1.2 m (4 ft) cable, strands are made of silver plated oxygen-free  

copper wires, with 3.5 mm stereo plug

Weight per canal:  1.8 g without earphone tip and cable

Total weight:  11.5 g

Price: ¥ 28,000 ($ 316.00)

e-Q5

Audio engine: Balanced armature driver stereo inner earphone

Frequency response: 10 - 20000 Hz -3 dB

Impedance: 40 Ohms  + / -25% 

Max. Input: 20 mW                                 

Sensitivity: 117 dB  + / - 3 dB 1 KHz / 1 mW

Operational temperature: -15 °C (+5 °F) to +40 °C (+104 °F)

Cable: 1.2 m (4 ft) cable, strands are made of oxygen-free  copper wires, 

with 3.5 mm stereo plug

Weight per canal:  3 g without earphone tip and cable

Total weight:  16g

Price: € 225.00

ortofon.com

ortofon.jp

 

Reviewer’s note: The reviewer is particularly grateful to Mr. Tomoyuki Tsukamoto, General Manager of Ortofon Japan Co., Ltd. Mr. Tsukamoto’s support, discussions and technical information provided made this review possible. The reviewer extends his thanks to Mr. Christen H. Nielsen, CEO at Ortofon A/S in Denmark, for his support during the preparation of this review. 

 

[goodvibes]

Seems odd timing with the EQ-8 now taking over for the EQ-7.