Reviews by siruspan
You can find more of my reviews here: https://www.audionervosa.pl/
I was able to borrow Astell SE300 for a few days for a proper evaluation. Here is my take on it.
It’s big, quite heavy and with interesting design features.
The volume knob is backlit.
Traditionaly with Astell it’s also meticulously finished more in line with a crown from an expensive watch.
One side has a slight curvature so it’s the same time bulged and recessed in order for a better grip and less protruding volume knob.
On the other side there is slight indentation so that the physical buttons does not stick out outside the outline of the main body.
Back is well finished as always.
There is not much really to say about the system, features and usability. Everything you would expect from a modern DAP is here and works well. Screen is not the best I’ve seen and the system is not the most snappy but both of them are still very good - just not the best. It’s quick and usability is fine but nothing earth shattering.
The star of the show is of course R-2R Dac implementation
There is also an option to switch between class A and AB amplifier.
I've been listening to it for a few days now and holy cow, I can’t get enough of it. This is not my first meeting with NOS dac or R-2R because I used to have NOS dac based on 8x TDA1543 chips and I also had pleasure to use R-2R Metrum Amethyst and I'm not surprised I like SE300 so much as this sound is right from my alley. The NOS dac on TD1543 was very musical, but technically it wasn't very advanced, although I couldn't switch to anything else for a long time because everything sounded digital, unnatural and not very musical. Only the 7 times more expensive Hegel HD20 managed to wipe my tears of, but that’s a different story. I also liked the Metrum because it was very natural, energetic, fluid and weighty, although it played a bit from a distance and did not impress me with detail, separation or size of the soundstage.
Not every R-2R is created equal, altough they share some characteristics, but the SE300 plays in a higher league. If I had to describe it in two words, it would be: spectacular realism. Natural, even very much so, the sound is weighty, full-bodied but not bloated. The contour is smooth but not softened, thanks to which the sound is expressive and overall impresses with purity. It sounds big, on a large scale with a incredibly perceptible impact. Music is served up close directly to the listener and as a result extremely engaging. I am not afraid to use the term that it's spectacularly musical. It seems to be bubbling with energy contained in the music, which invites you to personally participate in the event, not just listen to it.
At the same time, it's surprisingly proficient when it comes to broadly understood technicalities. I have already mentioned purity. We also have a really impressive resolution and good dynamics. Brilliant outline of the edges that is expressive but not over-sharpened, just polished and naturally fluid. It sounds incredibly realistic to me. The space it renders is very large in the sense that the virtual sources can reach far beyond the head, while their character is on the intimate side. It is not overly spread out, nor is it especially airy. This is also not the last word when it comes to squeezing up the details or getting too much into micro-nuances. We are already in the world of high-end, however we do not loose anything from musicality, which is usually not so obvious. From the devices that can be included in similar category, i.e. those that focus on pleasure over analysis, the SE300 definitely stands out with its great technical features. To put it differently. I don't know anything else that would be so absorbing and equal at its general technical level. It allows you to absorb the music without getting in the way of good recordings, and yet it manages to help the worse ones, which makes them sound less digital, without unwanted residue, without over sharpening - just alive. You can literally feel the pulse of the music as if the SE300 drew inspiration from the original waves, not from the zeros and ones under which they were written. It does not exaggerate or introduce pastel colors that usually tubes can do, which of course is their charm. In a way, they create their own vision of music, where the SE300 is much closer to live realism.
The SE300 is not warm, because it is neither soft, nor dark, nor mellow, nor does it lack’s anything in any band. It is also not sweetened, it tries to sound realistic, but in a very natural and organic way, as if bypassing the entire electronics path. It's sounds analog, but with an unexpectedly high overall class.
Interestingly, it is probably the first player that slams as pleasantly as the Sony WM1A. It's not even that they have an exceptionally large amount of bass, but the way it is delivered is truly addictive. Supernatural power, but under full control. Neither too hard nor too soft. Diversified, thunderous, it kicks, hits, explodes and I can't get enough of it and I still want more and more. I tried to decide which I prefer and it turned out that the SE300 has a little more mid-bass and the WM1A goes a little bit more in to sub-bass region, but generally it's like trying to decide whether the 5.0 from Ford or the 5.7 Hemi V8 sounds better. Whichever you wouldn't prefer, each one on their own will blow everything else out of the water. I'm far from being a basshead mind you. If something does not sound as it should, I prefer to have to little bass than to have too much, but when we talk about this level of mastery, I definitely consider myself the connoisseur of the bass eruptions.
I also tested the differences in terms of operating modes and what I heard is as follows:
Amplifier Modes:
The AB class slightly pushes the sound away, makes more space in front of the listener, a bit wider, a bit more concert-like, with a stronger outline and a bit firmer.
Class A focuses more, ads a little bit of heft, plays closer and seems even more energetic. It also slightly warms up and adds colors in the midrange. A little more intimate vibe.
For example, a female vocal in class AB is like sitting very close to the stage, while in class A it's like sitting just as close, but as if your eyes met the singer's and she sang straight to you. Legendary stuff.
DAC operating modes:
OS (over sampling) - It seems to separate the bass a bit, placing it lower than the rest of the music. Slightly thinner shapes, slightly brighter and sharper up top. More audiophile vibe.
NOS (non over sampling) - the bass seems to be higher together with all other ingredients, and yet it does not sound too thick, it sounds just right and homogeneous. More smooth and meaty.
The differences are easily noticeable, but they are not colossal, so they do not change the overall character of the SE300. In each configuration it is very musical and energetic, depending which mode we choose it’s only more or less so. No configuration destroys the technical abilities, and no matter what we choose, it sounds impressive.
I mostly used NOS mode and Class A but every configuration has its place here. For example, I prefer classical music in AB, and I prefer small ensembles and vocals in class A.
Comparisons:
The Ibasso DX300 - also sounds impressively and strongly with a big and bold sound, but compared to the SE300 it sounds cooler, brighter, not so relaxed, a bit harder, more monumental, but it also happened to sound a bit too heavy for my taste because of that.
Sony WM1A - I would classify both of them in a similar category of playing both well technically and engaging at the same time. The WM1A plays with a more "mixed" sound. It emphasizes both the extremes of the band and the more resonant and sweeter midrange. Brighter is some places, darker in others. Soundstage is not as big, scale of the image is smaller, not so clean and sharper in the treble, although it better renders the depth of the soundstage. The SE300 sounds more even, more realistic, more faithful and still extremely engaging.
Chord Mojo2 - both sound strong, energetic, clear and without sharpening. Mojo plays a bit more aggressively and has a bit more technical flair. The SE300, apart from giving a larger image and much bigger soundstage, sounds just as energetic, if not more, but without a trace of aggression. Both sound very clean, although the black background is deeper in Mojo2 suprisingly. Chord sounds harder, as if stiffer and more serious. The SE300 sounds more relaxed, smoother, a bit warmer and softer, better reflects the subtleties, which personally engages me a little more in music. To be honest, Mojo2 sounds darn good for its size and price, but still the SE300 sounds better and more mature, however the usability is completely different. Even with Poly, Mojo still requires a smartphone and Astell is a complete package.
Chord Hugo2 - technically he left in the dust everything portable a long time ago and nothing can catch up to him in this respect. The SE300 fails to match him as well. It’s not as dynamic, it doesn’t have this level of separation and it’s not as airy. Hugo forgot to take the baggage called "joy of music" and has to come back for it, so on the way back the SE300 waved to him. Yes, you can hear more on the Hugo, but only slightly less on the SE300, and yet there is more emotion here, you can feel the pulse of the music and just joy where Hugo needs to be slowed down with the right headphones.
Astell SP2000 – it sounds sweeter, has better spatial imaging, more three dimensional soundstage but it also sounds more delicate, airy and even a bit shy. It's more melodious where SE300 is more exciting, stronger, more intimate and engaging. Which one better? I will answer this way. Most of the time I would like to listen on the SP2000 but on the SE300 I want to listen all the time
The Cayin N8 is more colored and in tube mode even more so. Not too exaggerated, but it sounds more colourful, rounder, softer and more resonant. It has a slightly boosted bass and softened highs, which makes it overall warmer and sweeter. The SE300 is more neutral, sounds cleaner at the same time, probably even more natural in a truer way and the N8 is more flattering to music, which is not a con, they just sound differently.
Yes, at the moment SE300 is my top 1 among daps because it sounds natural, realistic, exciting and with really classy technical stuff. A bit a uncompromising beast. I have to say, it messed with my head. However, there is a topic of price.... I'm looking for a sponsor to buy one for myself Highly recommended.
I was able to borrow Astell SE300 for a few days for a proper evaluation. Here is my take on it.
It’s big, quite heavy and with interesting design features.
The volume knob is backlit.
Traditionaly with Astell it’s also meticulously finished more in line with a crown from an expensive watch.
One side has a slight curvature so it’s the same time bulged and recessed in order for a better grip and less protruding volume knob.
On the other side there is slight indentation so that the physical buttons does not stick out outside the outline of the main body.
Back is well finished as always.
There is not much really to say about the system, features and usability. Everything you would expect from a modern DAP is here and works well. Screen is not the best I’ve seen and the system is not the most snappy but both of them are still very good - just not the best. It’s quick and usability is fine but nothing earth shattering.
The star of the show is of course R-2R Dac implementation
There is also an option to switch between class A and AB amplifier.
I've been listening to it for a few days now and holy cow, I can’t get enough of it. This is not my first meeting with NOS dac or R-2R because I used to have NOS dac based on 8x TDA1543 chips and I also had pleasure to use R-2R Metrum Amethyst and I'm not surprised I like SE300 so much as this sound is right from my alley. The NOS dac on TD1543 was very musical, but technically it wasn't very advanced, although I couldn't switch to anything else for a long time because everything sounded digital, unnatural and not very musical. Only the 7 times more expensive Hegel HD20 managed to wipe my tears of, but that’s a different story. I also liked the Metrum because it was very natural, energetic, fluid and weighty, although it played a bit from a distance and did not impress me with detail, separation or size of the soundstage.
Not every R-2R is created equal, altough they share some characteristics, but the SE300 plays in a higher league. If I had to describe it in two words, it would be: spectacular realism. Natural, even very much so, the sound is weighty, full-bodied but not bloated. The contour is smooth but not softened, thanks to which the sound is expressive and overall impresses with purity. It sounds big, on a large scale with a incredibly perceptible impact. Music is served up close directly to the listener and as a result extremely engaging. I am not afraid to use the term that it's spectacularly musical. It seems to be bubbling with energy contained in the music, which invites you to personally participate in the event, not just listen to it.
At the same time, it's surprisingly proficient when it comes to broadly understood technicalities. I have already mentioned purity. We also have a really impressive resolution and good dynamics. Brilliant outline of the edges that is expressive but not over-sharpened, just polished and naturally fluid. It sounds incredibly realistic to me. The space it renders is very large in the sense that the virtual sources can reach far beyond the head, while their character is on the intimate side. It is not overly spread out, nor is it especially airy. This is also not the last word when it comes to squeezing up the details or getting too much into micro-nuances. We are already in the world of high-end, however we do not loose anything from musicality, which is usually not so obvious. From the devices that can be included in similar category, i.e. those that focus on pleasure over analysis, the SE300 definitely stands out with its great technical features. To put it differently. I don't know anything else that would be so absorbing and equal at its general technical level. It allows you to absorb the music without getting in the way of good recordings, and yet it manages to help the worse ones, which makes them sound less digital, without unwanted residue, without over sharpening - just alive. You can literally feel the pulse of the music as if the SE300 drew inspiration from the original waves, not from the zeros and ones under which they were written. It does not exaggerate or introduce pastel colors that usually tubes can do, which of course is their charm. In a way, they create their own vision of music, where the SE300 is much closer to live realism.
The SE300 is not warm, because it is neither soft, nor dark, nor mellow, nor does it lack’s anything in any band. It is also not sweetened, it tries to sound realistic, but in a very natural and organic way, as if bypassing the entire electronics path. It's sounds analog, but with an unexpectedly high overall class.
Interestingly, it is probably the first player that slams as pleasantly as the Sony WM1A. It's not even that they have an exceptionally large amount of bass, but the way it is delivered is truly addictive. Supernatural power, but under full control. Neither too hard nor too soft. Diversified, thunderous, it kicks, hits, explodes and I can't get enough of it and I still want more and more. I tried to decide which I prefer and it turned out that the SE300 has a little more mid-bass and the WM1A goes a little bit more in to sub-bass region, but generally it's like trying to decide whether the 5.0 from Ford or the 5.7 Hemi V8 sounds better. Whichever you wouldn't prefer, each one on their own will blow everything else out of the water. I'm far from being a basshead mind you. If something does not sound as it should, I prefer to have to little bass than to have too much, but when we talk about this level of mastery, I definitely consider myself the connoisseur of the bass eruptions.
I also tested the differences in terms of operating modes and what I heard is as follows:
Amplifier Modes:
The AB class slightly pushes the sound away, makes more space in front of the listener, a bit wider, a bit more concert-like, with a stronger outline and a bit firmer.
Class A focuses more, ads a little bit of heft, plays closer and seems even more energetic. It also slightly warms up and adds colors in the midrange. A little more intimate vibe.
For example, a female vocal in class AB is like sitting very close to the stage, while in class A it's like sitting just as close, but as if your eyes met the singer's and she sang straight to you. Legendary stuff.
DAC operating modes:
OS (over sampling) - It seems to separate the bass a bit, placing it lower than the rest of the music. Slightly thinner shapes, slightly brighter and sharper up top. More audiophile vibe.
NOS (non over sampling) - the bass seems to be higher together with all other ingredients, and yet it does not sound too thick, it sounds just right and homogeneous. More smooth and meaty.
The differences are easily noticeable, but they are not colossal, so they do not change the overall character of the SE300. In each configuration it is very musical and energetic, depending which mode we choose it’s only more or less so. No configuration destroys the technical abilities, and no matter what we choose, it sounds impressive.
I mostly used NOS mode and Class A but every configuration has its place here. For example, I prefer classical music in AB, and I prefer small ensembles and vocals in class A.
Comparisons:
The Ibasso DX300 - also sounds impressively and strongly with a big and bold sound, but compared to the SE300 it sounds cooler, brighter, not so relaxed, a bit harder, more monumental, but it also happened to sound a bit too heavy for my taste because of that.
Sony WM1A - I would classify both of them in a similar category of playing both well technically and engaging at the same time. The WM1A plays with a more "mixed" sound. It emphasizes both the extremes of the band and the more resonant and sweeter midrange. Brighter is some places, darker in others. Soundstage is not as big, scale of the image is smaller, not so clean and sharper in the treble, although it better renders the depth of the soundstage. The SE300 sounds more even, more realistic, more faithful and still extremely engaging.
Chord Mojo2 - both sound strong, energetic, clear and without sharpening. Mojo plays a bit more aggressively and has a bit more technical flair. The SE300, apart from giving a larger image and much bigger soundstage, sounds just as energetic, if not more, but without a trace of aggression. Both sound very clean, although the black background is deeper in Mojo2 suprisingly. Chord sounds harder, as if stiffer and more serious. The SE300 sounds more relaxed, smoother, a bit warmer and softer, better reflects the subtleties, which personally engages me a little more in music. To be honest, Mojo2 sounds darn good for its size and price, but still the SE300 sounds better and more mature, however the usability is completely different. Even with Poly, Mojo still requires a smartphone and Astell is a complete package.
Chord Hugo2 - technically he left in the dust everything portable a long time ago and nothing can catch up to him in this respect. The SE300 fails to match him as well. It’s not as dynamic, it doesn’t have this level of separation and it’s not as airy. Hugo forgot to take the baggage called "joy of music" and has to come back for it, so on the way back the SE300 waved to him. Yes, you can hear more on the Hugo, but only slightly less on the SE300, and yet there is more emotion here, you can feel the pulse of the music and just joy where Hugo needs to be slowed down with the right headphones.
Astell SP2000 – it sounds sweeter, has better spatial imaging, more three dimensional soundstage but it also sounds more delicate, airy and even a bit shy. It's more melodious where SE300 is more exciting, stronger, more intimate and engaging. Which one better? I will answer this way. Most of the time I would like to listen on the SP2000 but on the SE300 I want to listen all the time
The Cayin N8 is more colored and in tube mode even more so. Not too exaggerated, but it sounds more colourful, rounder, softer and more resonant. It has a slightly boosted bass and softened highs, which makes it overall warmer and sweeter. The SE300 is more neutral, sounds cleaner at the same time, probably even more natural in a truer way and the N8 is more flattering to music, which is not a con, they just sound differently.
Yes, at the moment SE300 is my top 1 among daps because it sounds natural, realistic, exciting and with really classy technical stuff. A bit a uncompromising beast. I have to say, it messed with my head. However, there is a topic of price.... I'm looking for a sponsor to buy one for myself
Highly recommended.
WizardKnight
I’m saving up to hopefully buy this DAP in the not so distant future. 
OCC7N
Possible to turn of the accessibility light at the volumeknob?
For more of my reviews please visit: http://www.audionervosa.pl/
Massdrop, a sales platform that connects enthusiasts (audio, outdoor gadgets or mechanical keyboards), has been offering in the past headphones that are modified versions of well-known headphones from well know company's like as Fostex, Sennheiser and AKG. The first time, however, they offered headphones that were entirely designed and built by Massdrop themselves. The idea was to make headphones that sound like UERM (Ultimate Ears Reference Monitor) and Etymotic er4s but with a real bass rumble. After a year of R&D, Massdrop Plus IEM were made.
A tiny box in which there is also as tiny protective case. Inside there is a whole arsenal of tips, a cleaning tool and of course the headphones themselves. Pure and simple.
The design and approach is very interesting because the enclosures are created using 3d print technology and the shape is taken by averaging the custom headphones molds of different people. The effect looks like semi transparent CIEMs (custom in ear monitor) but they are made of plastic. Inside there are 3 armature transducers made by Sonion in a 2-way configuration (2 drivers for bass and 1 for midrange and highs). The cable is detachable of course with 2 pin plugs. You have to take into account when ordering aftermarket cable the sockets are recessed. Most CIEM manufacturers, however, also utilize recessed sockets so there is no issue with the availability of correct plugs and cables.
Earphones fit perfectly in the ear, they are very comfortable and offer very good isolation. It is a pity that the manufacturer has not decided to add Spinfit CP100 tips because, for me they sound best with them. Unfortunately, the cable gives rather poor impression. It tangles easily and is very plasticky. There is also a microphonic effect, but I's eliminated for the most part by wearing the cable over the ear.
Sound impressions:
It need to be pointed that MDP (Massdrop Plus) are very sensitive to the source's impedence. They sound like they are meant to sound with the players offering less than 1 ohms. but already above 2 ohms the bass begins to live its own life and creates a shapeless mass. If your source has more than couple of ohms it will be necessary to use an adapter like iFi iEMatch.
It is hard to describe Massdrop Plus in a simple way and it is not due to the fact that the sound is strange or out of balance. We have something here that can be described as a perfect mix of 3 different approaches:
- studio like neutrality, being correct is emphesised greatly
- analytical sound and high efficiency with detail retrieval
- pure fun
If you had to make a cake from these 3 styles, MDP would be exactly where each layer met.
Highs are very clear and possess high culture. They are not hot but they still have great extension but I would not call them overemphasized. They do not go out in front of a row, they do not impose themselves, they do their own thing by extracting a lot of details but they are never tiring. Cymbals and the snare drum sound exactly as they should. The midrange is practically on the same level as the highs and is very weighty but still not thick. The midrange and highs do not work against each other, on the contrary they create a harmonious and coherent unity. Women's vocals still have this wonderful feature that they give goose bumps, but they are not accentuated. Sibilance and sharpness are ironed out. If the sibilance is in the recording, the MDPs will only tell you about it with marely just a noticeable gesture.
Bass is the only range at which you can say that it has been bumped Fortunately, it's not to exaggerated and it was lifted in a very linear way, which give very noticible effect but still in good taste. The bass has a full character, digs deep, have strong impact, never looses control, but it is also not too dominant - he does his thing complimenting midrange and highs. It is not epic in quality or quantity, it is simply very good.
Neutral highs and midrange with a larger bass gave the sound a darker, more massive, smoother and calmer character than analytical scalpels, but it's still not boring. On the one hand, we have the correctness and on the other, still very high musicality and cheerfulness of the bass. The musical essence is transmitted in a streamlined way without breaking it into atoms and throwing in the face. A lot of details are served as if by the way. Music flows and we still have an excellent insight into the recording, at the same time without falling into analytics. You can either focus on details or just let yourself be carried by the music without analysis. I think this is as much coloration as there can be to stll be called somewhat neutral.
The space is not very wide, but rather deep. Holography and spatial 3D effects are at a very high level. The instruments are well laid out in space and have a very good physical presence. Resolution, separation and transparency are excellent despite a little darker tone and not very wide soundstage.
Comparisons:
Etymotic Er4xr - legendary, one driver, absolutely flat, here with a slightly raised, more universal bass response. In direct comparison er4xr are much brighter, with much smaller bass more in the midbass section with very poor but still perceptible subbase region. Sparkly upper er4xr registers take out any imperfections of recordings. You can hear that they do not work that great with heavy music either. Metallica for example is listenable (on er4s it's a caricature) but still feel that this is not exactly what it should be. Massdrop offer much more in terms of bass and overall mass while not emphasizing often poorly recorded metal albums. There is a great percussion and authentic wall of sound with guitar riffs. In softer genres and better recordings, the brighter, more airy and raw approach of er4xr is more appropriate. It is impossible not to notice, however, that MDPs, apart from having massive sound, also have better resolution and three-dimensional soundstage. Er4xr serve the details straight in your face on the platter where in MDP this is not so obvious and you have to pay more attention.
Campfire Vega - several times more expensive offers a much more fun-oriented sound. Bass bumped greatly, super massive at the same time with astonishing culture combined with beautifully sparkly highs equals very impressive sound. A subdued midrange with a very organic timbre darkens the overall sound, and here the MDPs appear brighter, more neutral, more restrained both at the top and bottom. Certainly, the MDPs offer more universal, reference and even tuning, putting only a relatively light emphasis on the bass, but I must admit that Massdrop give way both in terms of resolution and the size of the soundstage. The difference, however, when it comes to the overall quality level is much smaller than price would suggest.
Inear Prophile 8 - you can't argue that technically Prophile 8 are better in every respect, offering also neutral tuning but with higher resolution, huge soundstage and effertless ease of detail retrieval. They lack however, a spark in the highest octave, and I would say they are not thrilling. MDPs loses when it comes to technical perfection, but they offer a more exciting sound, sacrificing a bit of being correct in order to give more fun sound.
Massdrop delivered exactly what they promised, that is, neutral sound with more base. Bass was raised linearly across the whole range, so the neutral character was only slightly disturbed. They offer a very high level sound, however, still a cultural manner perfectly balancing between ruthless detail extraction, studio correctness, and giving pure pleasure. Fans of colored sound can be disappointed because it's not headphones for them. If you want a neutral correctness but you do not want to give up musicality then these are headphones are for you. Similarly, if you feel the potential in Etymotic er4, but the amount of bass is too small for you MDP is also the equipment you should look at closely. At a reasonable price, we've received a product that literally i on almost 1000+$ level and offers a very universal sound.
Shure KSE1200 Review
Note this is my first review written in english which is not my native language therefore please excuse all of the language errors which I'm sure are present in the text below.
For more of my reviews please visit: http://www.audionervosa.pl/
Closed electrostatic headphones? It has already been done!
Stax SR-4070
In-ear open back electrostatic headphones? It has already been done!
Stax SRS-002
Note this is my first review written in english which is not my native language therefore please excuse all of the language errors which I'm sure are present in the text below.
For more of my reviews please visit: http://www.audionervosa.pl/
Closed electrostatic headphones? It has already been done!
Stax SR-4070
Stax SRS-002
How long does it take to construct something that has not been done yet? 8 years is the answer, as it took so much time Shure company to construct the first in-ear, closed back electrostatic headphones. In 2016, the KSE1500 headphones along with the portable amplifier the KSA1500 with DAC function were introduced with shocking price tag of 2999$. Just over two years later, a new set was presented, which includes the same KSE1500 headphones, this time in pair with the KSA1200 amplifier without the DAC function, which allowed to lower the price to 1999$. Because the common opinion about the built-in DAC is that it is average at best, it is not too much of a loss. In order to use the full potential of the headphones, it is definitely recommended to connect it via a line in input
The headphones are quite ordinary in appearance and construction. No Ethiopian sheeps have lost their lives, and no Amazon tree has been cut down to justify their price. Surprisingly light, transparent, plastic domes practically the same as in the cheapest Shure models. The Kevlar braided and terminated with a 6-pin LEMO type plug cable is not detachable and it is quite heavy Interestingly, it has a round profile, and it is not a flat ribbon like in any other electrostatic headphones. An amplifier is required to operate the headphones. It is small, rounded aluminum box with a potentiometer to adjust the volume which also serves as a on/off switch. Sound sources can be connected only via a 3.5mm mini jack line in. Built-in battery allows up to 12 hours playtime.
The set contains only standard accessories that you can expect from every "normal" headphones. There is no extravagance in this respect.
The headphones are quite ordinary in appearance and construction. No Ethiopian sheeps have lost their lives, and no Amazon tree has been cut down to justify their price. Surprisingly light, transparent, plastic domes practically the same as in the cheapest Shure models. The Kevlar braided and terminated with a 6-pin LEMO type plug cable is not detachable and it is quite heavy Interestingly, it has a round profile, and it is not a flat ribbon like in any other electrostatic headphones. An amplifier is required to operate the headphones. It is small, rounded aluminum box with a potentiometer to adjust the volume which also serves as a on/off switch. Sound sources can be connected only via a 3.5mm mini jack line in. Built-in battery allows up to 12 hours playtime.
The set contains only standard accessories that you can expect from every "normal" headphones. There is no extravagance in this respect.
Electrostats - what's the big deal?
Stax headphones are very close to my heart because to me they generate the most true to life sound. It seems to me that it is about their speed, resolution, lack of any barriers or veil and almost tangible contact with sounds. They are also very airy and ethereal so they do not get along best with heavier music where the guitar riffs sound a little bit too thin and they lack some attack. The bass in older models had a weak impact and it had such a strange feature that as you turned the volume up, the bass just went so far and stayed behind. The newer models of the sr-x07 series already have much better bass but they also let go some of this ethereal magic. Bass is also never thick, fat, soft and plush like it can be in dynamics headphones. Rather, it has always been of harder and firmer ones. Staxes are ultra smooth and basically eliminate all the sharpness and sibilization.
KSE1500 are electrostatics, however, they let go this characteristic ethereal sound. Instead, we have an almost physically perceptible presence and weight of the sound and a really solid, predatory even attack. They demand attention, they order to stop other activities and focus on music. They are neither warm nor cold, neither light nor dark. I would define their character as transparent-neutral with a properly boosted bass to match modern music. They are also very dependent on the nature of the recording, accompanying equipment, as well as cables and tips. They are simply transparent and therefore every smallest change is felt.They can be both cooler, harder and impulsive as well as more delicate, softer and warmer but they are always musical and extremely engaging. They do not perform magic tricks, do not pose and do not interpret the recording in their own way. Due to this lack of colourisation, a very desirable feeling was achieved where the equipment literally disappears. What remains is music. Music that flows through the body and soul without any barriers in an emotionally moving way.
Base quantity for electrostats is surprisingly substantial, and its character is somewhere between electrostatic and dynamic. There is not enough of it to call them bass heavy, but you can not call them neutral in this regard. There is a lot more of it than in Etymoticach er4xr for example and has a fuller character and a larger kick. We have a dynamic impact and just a little bit of softness but also electrostatic compactness, culture and speed. Bass vibrations are so suggestive that I often forget that it's just headphones and not speakers and I do not have to turn the volume down because I do not bother anyone.
Midrange is weighty, not light but also not thick. In the first row, full of details, textures, reverbs. You can almost see dust particles in the vibrations of the air around the strings of Jesse Cook's guitar and the women's vocals are incredibly suggestive. If I listen to Alanis Morisette or Janis Ian, I have the impression that apart from sound I can see the facial expressions of their faces. For example, in Janis Ian's recording - "All Roads to The River" which I know very well I picked up very small change in the voice in 2: 40s during the last repetition of the chorus - Janis smiled at someone in the recording studio. You can call me a freak but I'm telling You that when I was listening to the KSE1500, I "saw" the vocalist smiling! Out of this world!
Stax headphones are very close to my heart because to me they generate the most true to life sound. It seems to me that it is about their speed, resolution, lack of any barriers or veil and almost tangible contact with sounds. They are also very airy and ethereal so they do not get along best with heavier music where the guitar riffs sound a little bit too thin and they lack some attack. The bass in older models had a weak impact and it had such a strange feature that as you turned the volume up, the bass just went so far and stayed behind. The newer models of the sr-x07 series already have much better bass but they also let go some of this ethereal magic. Bass is also never thick, fat, soft and plush like it can be in dynamics headphones. Rather, it has always been of harder and firmer ones. Staxes are ultra smooth and basically eliminate all the sharpness and sibilization.
KSE1500 are electrostatics, however, they let go this characteristic ethereal sound. Instead, we have an almost physically perceptible presence and weight of the sound and a really solid, predatory even attack. They demand attention, they order to stop other activities and focus on music. They are neither warm nor cold, neither light nor dark. I would define their character as transparent-neutral with a properly boosted bass to match modern music. They are also very dependent on the nature of the recording, accompanying equipment, as well as cables and tips. They are simply transparent and therefore every smallest change is felt.They can be both cooler, harder and impulsive as well as more delicate, softer and warmer but they are always musical and extremely engaging. They do not perform magic tricks, do not pose and do not interpret the recording in their own way. Due to this lack of colourisation, a very desirable feeling was achieved where the equipment literally disappears. What remains is music. Music that flows through the body and soul without any barriers in an emotionally moving way.
Base quantity for electrostats is surprisingly substantial, and its character is somewhere between electrostatic and dynamic. There is not enough of it to call them bass heavy, but you can not call them neutral in this regard. There is a lot more of it than in Etymoticach er4xr for example and has a fuller character and a larger kick. We have a dynamic impact and just a little bit of softness but also electrostatic compactness, culture and speed. Bass vibrations are so suggestive that I often forget that it's just headphones and not speakers and I do not have to turn the volume down because I do not bother anyone.
Midrange is weighty, not light but also not thick. In the first row, full of details, textures, reverbs. You can almost see dust particles in the vibrations of the air around the strings of Jesse Cook's guitar and the women's vocals are incredibly suggestive. If I listen to Alanis Morisette or Janis Ian, I have the impression that apart from sound I can see the facial expressions of their faces. For example, in Janis Ian's recording - "All Roads to The River" which I know very well I picked up very small change in the voice in 2: 40s during the last repetition of the chorus - Janis smiled at someone in the recording studio. You can call me a freak but I'm telling You that when I was listening to the KSE1500, I "saw" the vocalist smiling! Out of this world!
The high tones are as stretched as possible. Cymbals and bells beautifully tick in the first row, however, do not have smooth and softened characteristics. If something is sharp or sibilizes, we will hear it. What's interesting here again, electrostatic technology flexes muscles because these sharpness is never annoying. I hear that the producer did not do a good job and left sibilization in the recording, but it does not bother me. I can compare it to applying a hand to a flame at exactly the same distance where I can feel the heat but it is not physical pain yet. They are completely fatigue free even during longer sessions. Personally, I listen to an average of 3-5 hours a day and I never have enough of them.
The dynamics heightened by very good isolation make an electrifying impression. The quietest sounds are still perfectly audible and you can catch even the smallest nuances, while at the moment in which the sound gradually builds up each layer seems to be the last one but no, the sound is still climbing up and finally almost gives us heart attack with full vengeance of sound waves. The album of Man of Steel - Hans Zimmer is something wonderful, at times the drama is almost frighteningly realistic.
The dynamics heightened by very good isolation make an electrifying impression. The quietest sounds are still perfectly audible and you can catch even the smallest nuances, while at the moment in which the sound gradually builds up each layer seems to be the last one but no, the sound is still climbing up and finally almost gives us heart attack with full vengeance of sound waves. The album of Man of Steel - Hans Zimmer is something wonderful, at times the drama is almost frighteningly realistic.
The separation is brilliant but would like to have even more space and more air between the instruments. Soundstage is very big for an IEM, and almost like in open back headphones, although still bested by for example Sennheiser HD800 or Beyerdynamic T1. The sheer size, scale and scope of the instruments however is exactly as in full-size headphones.
The KSE1500 is, in my opinion, exceptionally gentle with poor recordings considering their superb resolution, detail, speed and extended top. Yes, they show what does not sound like it should, but they never punish us with harshness, thin sound or lack of musicality. I found myself drumming the rhytm of the music all the time, which is not so obvious in the equipment that offers such a technically perfect sound. Often, in very detailed headphones, good performances sound great while weak ones sound simply lifeless or even sharply. Here, the weaker recordings still sound very good while the good ones sound simply spectacular. Shure produced something really unusual because KSE1500 is the equipment on which we can bite into the texture of the recording, but we will never get burned from it. Such an example from my life: on the album Chaos AD - Sepultura there is only one audiophile song called "Kaiowas" where the rest has neither audiophile arrangements nor realizations. I wanted to listen to this one song on KSE1500 but it ended up that I listened to the whole album twice, once after another because I had never heard it in such high quality and still so full of energy. I will add that this is one of my favorite albums for some 20 years now.
The KSE1500 is, in my opinion, exceptionally gentle with poor recordings considering their superb resolution, detail, speed and extended top. Yes, they show what does not sound like it should, but they never punish us with harshness, thin sound or lack of musicality. I found myself drumming the rhytm of the music all the time, which is not so obvious in the equipment that offers such a technically perfect sound. Often, in very detailed headphones, good performances sound great while weak ones sound simply lifeless or even sharply. Here, the weaker recordings still sound very good while the good ones sound simply spectacular. Shure produced something really unusual because KSE1500 is the equipment on which we can bite into the texture of the recording, but we will never get burned from it. Such an example from my life: on the album Chaos AD - Sepultura there is only one audiophile song called "Kaiowas" where the rest has neither audiophile arrangements nor realizations. I wanted to listen to this one song on KSE1500 but it ended up that I listened to the whole album twice, once after another because I had never heard it in such high quality and still so full of energy. I will add that this is one of my favorite albums for some 20 years now.
I planned to write down detailed comparisons to other headphonesthat I own (such as Campfire Vega, Etymotic er4xr, Etymotic er4pt, Massdrop Plus, Sony EX800st, Beyerdynamic T1, Beyerdynamic dt150), but at every head to head confrontation i realized it's just not makes sense. KSE1500 are faster, more detailed, more direct, more tangible, more holographic, and above all more real than anything I've heard so far. Every headphones that I compare to them seems to me to be veiled, rounded, incomplete. I have the impression of participating in a concert, during which someone has asked me to go out and I can still hear music seemingly still very clearly, but it is only a distant echo and an incomplete picture. In this pursuit of technical perfection, however, I never have the impression that anything is excessively strained, on the contrary it feels calm and composed as if the transducer itself was able to transmit much more but it's simpy not needed at this time.
You can not ignore the price tag. Yes, the KSE1200 set is 1000$ cheaper, offering the same sound quality as the KSE1500, but it's hard to call it a bargain for in-ear headphones. If, however, we take the sound quality offered and the fact that they are a unique portable, closed back electrostatic headphones, it starts to have a bit more sense. I have no intention of convincing anyone that they offer good value for money. Whether it is worth buying them depends on, if you are able or you simply want to allocate such a large amount for a sound reproducing equipment. My personal opinion is that the shocking price is matched by the level of sound quality offered by KSE1500.
Shure KSE1500 offer spectacular and captivating real sound while being extremely transparent and musical at the same time. Such high fidelity combined with isolation makes the listening an almost mystical experience. I would like to recommend it to everyone, but I realize how big the price barrier is so I just recommend them to anyone who can afford them. Keep in mind that the electrostatic sound expands the horizons to what is physically possible and when you once hear it can't be unheard, and nothing will sound the same anymore.
You can not ignore the price tag. Yes, the KSE1200 set is 1000$ cheaper, offering the same sound quality as the KSE1500, but it's hard to call it a bargain for in-ear headphones. If, however, we take the sound quality offered and the fact that they are a unique portable, closed back electrostatic headphones, it starts to have a bit more sense. I have no intention of convincing anyone that they offer good value for money. Whether it is worth buying them depends on, if you are able or you simply want to allocate such a large amount for a sound reproducing equipment. My personal opinion is that the shocking price is matched by the level of sound quality offered by KSE1500.
Shure KSE1500 offer spectacular and captivating real sound while being extremely transparent and musical at the same time. Such high fidelity combined with isolation makes the listening an almost mystical experience. I would like to recommend it to everyone, but I realize how big the price barrier is so I just recommend them to anyone who can afford them. Keep in mind that the electrostatic sound expands the horizons to what is physically possible and when you once hear it can't be unheard, and nothing will sound the same anymore.
GreenBow
@astromaddie
I have the KSE 1200 and use them with Chord Hugo 2 and Chord Hugo TT2 which they scale up to easily. (Pairs well with Mojo too.)
To me the KSE 1200 are faultless, other than some cable microphonics. However the cable most times can be set where it's quiet or no noise at all. Just that if you do touch the cable you are going to hear it.
Anyway sorry, about the KSE 1200. They are timbally complete with an absolutely flawless tonal balance, while being stellar explosion quick and detailed. On the Hugo 2 which I would 100% recommend with the KSE 1200, they play right with any music. Any and all music.
I have the KSE 1200 and use them with Chord Hugo 2 and Chord Hugo TT2 which they scale up to easily. (Pairs well with Mojo too.)
To me the KSE 1200 are faultless, other than some cable microphonics. However the cable most times can be set where it's quiet or no noise at all. Just that if you do touch the cable you are going to hear it.
Anyway sorry, about the KSE 1200. They are timbally complete with an absolutely flawless tonal balance, while being stellar explosion quick and detailed. On the Hugo 2 which I would 100% recommend with the KSE 1200, they play right with any music. Any and all music.
mdr10#1099
I’ve owned a lot of different and highly respected headphones, from the Sony MDR-R10 to Focal Clear, Audeze LCD2, Sennheiser HD650 and HD800, etc…None of them has equaled the KSE1200 for full range accuracy or realism. The bass is ample and ACCURATE, just not boomy or bloated (all good, to me). So in my view, they offer great value for money, given that they go toe to toe with even more expensive headphones, and excel everything I have thus far heard. They are so important to me that when I had an energizer needing to go back to Shure for repair (no charge, under warranty), I picked up a second set so that I will NEVER be without them. If one of these ever fails in an unrepairable way, I’ll need to replace it with another set. They are simply that good.
GreenBow
Yes it's surprising how low the KSE1200 go in bass.
Also suprising how they sound. I was watching a movie with them. I think it was London Has Fallen. There was a scene early on where it cuts to the White House. The bass at the opening of that scene - I felt it in my feet.
Treble is prefect too. Never harsh. Always tonally rich and scintitlatingly revealing.
The tonal balance is perfect. Since Chord DACs are also perfectly balanced, the pairing is excellent.
Also suprising how they sound. I was watching a movie with them. I think it was London Has Fallen. There was a scene early on where it cuts to the White House. The bass at the opening of that scene - I felt it in my feet.
Treble is prefect too. Never harsh. Always tonally rich and scintitlatingly revealing.
The tonal balance is perfect. Since Chord DACs are also perfectly balanced, the pairing is excellent.
