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If you try to design a product for everybody, you design for nobody [size=12.0pt]PD:[/size][size=12.0pt] The issue that we had is this: we had good cred as a stage device, but we had no credentials to be in a studio. The studio is a different environment with different requirements. So that’s when we started to partner with Capitol Studios and work with their engineers. So my engineers and their engineers worked together at creating the Ultimate Ears Reference Monitor (UERM).[/size] [size=12.0pt]The idea was a little bit inspired by the Yamaha NS10, which is sort of a reference speaker in the industry. It’s not like it’s perfect. It’s a known entity. And we wanted to do the same thing with the UERM. There’s no such thing as a perfect sound. We just wanted to establish something that is very well known.[/size] [size=12.0pt]MC:[/size][size=12.0pt] I’m an owner of the Reference Monitor, and it’s precisely because I felt it was accurate, at least in the studio monitor sense.[/size] [size=12.0pt]PD:[/size][size=12.0pt] Yeah. So the goal was, as you said, to be accurate, but to also to really have something that you can trust. When we worked at the studio, we were not there to replace the studio.[/size] [size=12.0pt]However, a lot engineers sometimes cannot go to the studio; or if the engineers are on the road, they want to have something that they can trust. As soon as you are in an environment which is not yours, you have no idea really what you are going to be getting.[/size] [size=12.0pt]We even had some people that told us that they were mixing, after the recording, in the plane on their laptops with our product. Which is exactly the intention we had in mind.[/size] [size=12.0pt]With that in mind, we said, this is fantastic. Now we’re working with Capitol Studios. What is the right frequency response? What is the right sounding response? [/size] [size=12.0pt]We have something that is called perceived flat. This is a very important statement that I’m making, especially when I talk to a journalist: if you were to measure it, it’s not flat. Why? When you put a device inside your ear, you lose the pinna (the visible part of the ear that resides outside of the head). And the pinna acts as a bit of an amplifier around the frequencies of 2.4 to 2.6kHz. So we have to compensate for that.[/size] [size=12.0pt]MC:[/size][size=12.0pt] I’ve noted the same thing. I actually post to a website that provides measurements of various headphones and IEMs, and I noted this exact behavior in the raw measurements of the UERM.[/size] [size=12.0pt]What I realized, and what’s really interesting, is that with headphones, we don’t want that bump. But once we shove something directly to the ear canal bypassing the pinna, it’s absolutely necessary, otherwise the sound gets a little too laid back, we lose the harmonic region of vocals.[/size] [size=12.0pt]PD:[/size][size=12.0pt] Yup. You got it. You got it.[/size] [size=12.0pt]So that’s per design. So this is why I never want to lie to a journalist. Because that’s the worst thing you can…[/size] [size=12.0pt]MC:[/size][size=12.0pt] I’m a hobbyist! [laughs][/size] [size=12.0pt]PD:[/size][size=12.0pt] [laughs] When I do these types of discussions, I want to make sure they (journalists) realize it’s not flat if you measure it. But your brain will perceive it as flat, because we are compensating, to the best that we can. Every ear is different, it’s never perfect, but it’s the best that we can: a good average.[/size] [size=12.0pt]MC: [/size][size=12.0pt]This is very enlightening. Folks will always be arguing measurements, or what’s about flat or what’s not. Bottom line is when people have asked me “How do the Reference Monitors sound like”, I’m generally at a loss for words.[/size] [size=12.0pt]PD:[/size][size=12.0pt] You know, Jude said it the best to me. He said “When I go back to my reference monitors, it’s like a palette cleanser”[/size] [size=12.0pt]I think that’s a really good way of looking at it, because what the UERM does is go back to the basics. There are some songs that you want to hear with more bass, and it’s awesome to have that energy. But from time to time, you want to go back to “what does music really sound like?” And the palette cleanser is a really good analogy.[/size] [size=12.0pt]MC: [/size][size=12.0pt]Well, personally, I do like it for the way it sounds, and because it’s uncolored.[/size] [size=12.0pt]PD:[/size][size=12.0pt] Yeah. It’s uncolored. And if you want to color it, no problem.[/size] [size=12.0pt]MC/PD[/size][size=12.0pt] [simultaneously]: EQ[/size] [size=12.0pt]MC: [/size][size=12.0pt]On some days, I don’t want the accuracy. I’ll bump up the bass, drop the upper mids a little bit.[/size] [size=12.0pt]PD:[/size][size=12.0pt] Yup. If you want to make it warm, you make it warm. If you want to make it bright, you make it bright. It’s up to you. So that’s the beauty of this product. [/size] [size=12.0pt]That’s the Reference Monitor. So the innovation there was not to add more drivers and to do crazy stuff. It was really to go after a different market. And do it really well. And that’s why we brought in Capitol Studios.[/size] [size=12.0pt]MC: [/size][size=12.0pt]Have you been successful with the UERMs?[/size] [size=12.0pt]PD:[/size][size=12.0pt] It’s been successful with sound engineers, but to my surprise, it has actually been more successful with audiophiles, which was not the initial target.[/size] [size=12.0pt]But it’s always the same. You target a segment, and if you can get another segment, that’s fantastic. It was not per design. But as you know, if you want to design a good product, you have to have a narrow focus. Most companies that have done that have been very successful.[/size] [size=12.0pt]If you try to design a product for everybody, you design for nobody. A side effect of the (UERM) design is the crystal clear sound that you get out of this. The audiophile loves it because they have very similar requirements to the studio engineer.[/size] [size=12.0pt]MC:[/size][size=12.0pt] I have a little bit of a technical question. I’ve noted the use of multiple drivers for bass, or multiple midrange, or multiple treble. Is there a reason for that?[/size] [size=12.0pt]PD:[/size][size=12.0pt] Yes. It’s like if you have a boat; and if you have one engine or two engines. If you have two engines, your two engines will be at 2000-3000 RPM, as opposed to 5000 RPM for one engine. What happens with multiple drivers is that it allows you to not push those drivers as hard all the time, resulting in more headroom. With two drivers, we can double the power.[/size] [size=12.0pt]It allows us to also have coverage of frequencies being overlapped. For the UE 18, we have two lows and two mids, but the mids are separated. We have low mid and high mid. Then we have two highs. So it gives you incredible detail in the highs, incredible extension in the highs, and a lot of headroom. Bass you get that thumping, but without getting overbearing. And then on the mids you have that beautiful separation with vocals.[/size] [size=12.0pt]MC:[/size][size=12.0pt] Interesting. So the UE 18 is actually more than a three way.[/size] [size=12.0pt]PD:[/size][size=12.0pt] It’s actually a four way.[/size] [size=12.0pt]MC:[/size][size=12.0pt] A four way with two mids.[/size] [size=12.0pt]PD:[/size][size=12.0pt] Yeah. It’s a four way crossover.[/size] [size=12.0pt]MC:[/size][size=12.0pt] What currently are your best selling products?[/size] [size=12.0pt]PD:[/size][size=12.0pt] It depends upon the market.[/size] [size=12.0pt]MC:[/size][size=12.0pt] Not the professionals, the music lovers?[/size] [size=12.0pt]PD:[/size][size=12.0pt] The music lovers, a lot people like the UE 11 because of the bass.[/size] [size=12.0pt]MC:[/size][size=12.0pt] [laughs][/size] [size=12.0pt]PD:[/size][size=12.0pt] It is the way it is in this market right now. Even my kids say “Dad, if you want good sound, it’s ‘good’ bass right?” [laughs][/size] [size=12.0pt]MC:[/size][size=12.0pt] I’ve tried the UE 11 and it’s a little too bassy for me, but I could see myself twenty to thirty years ago saying these are the best things ever.[/size] [size=12.0pt]PD:[/size][size=12.0pt] The UE 11 is very popular, especially on an iPad or iPhone because of that bass; and the type of music which is being produced right now usually has a lot of thumping and you want to get that feeling right.[/size] [size=12.0pt]Now our UE 18 is extremely successful because it’s the top-of-the-line, and a lot of people like to have the the top-of-the-line. We just had some musicians that tried different products, and they came back to us and said, “Look, there’s not enough detail in there, do you have something better?”[/size] [size=12.0pt]We had them listen to the UE 18: “Ah, now we have it”. When you get to a certain level, which by the way, I’m not, people are seeing and hearing a major difference in their performance as well. So the UE 18 has been very successful for us since the launch.[/size] [size=12.0pt]If you go to houses of worship or emerging bands, the UE 5 is a very popular product because it’s more affordable. You won’t necessarily have the full extension, headroom, and sound quality of the UE 18. But you get the advantages of an IEM that I talked about earlier: the isolation, the quality, and the mobility.[/size] [size=12.0pt]MC:[/size][size=12.0pt] What about the lower end? I figure you might be selling more volume at the lower end.[/size] [size=12.0pt]PD:[/size][size=12.0pt] We don’t. The way our sales team works is not to “tell you what to do”. It’s a consultative sale. We want you for life. We want you as a musician to be performing on stage for life. We want you as a customer for life. This is why I showed you what we call the customer journey. One of the key aspects of that journal is that we want you to progress with us.[/size] [size=12.0pt]The eight steps of the customer journey can be seen the last photo of the prior article in the series.[/size] [size=12.0pt]Very often people who come here and say I want the UE 4 because it’s the cheapest. We say that's fine, here is the UE 4. Listen to it, and then listen to the other ones. And hear the difference between those products. Very often, the person that comes here with the UE 4 in mind ends up with a 7 or an 11 because they realize there is a significant difference.[/size] [size=12.0pt]If they invest that kind of cash, they may as well invest into the right product. And we’ll be there if there are problems. We have a two year warranty. We have a lot of support for those (customer service) positions. [/size] [size=12.0pt]It’s a once-in-a-while investment. Is it the right investment for you as a musician? If you spend three grand on a guitar, what’s six, seven, eight hundred dollars on a pair of earphones that will protect your ears.[/size] [size=12.0pt]MC:[/size][size=12.0pt] I wish I had them during my days as an active musician.[/size] [size=12.0pt]PD: [/size][size=12.0pt]I’ve heard that story so many times.[/size] [size=12.0pt][pause][/size] [size=12.0pt]So yes, the UE 4 is a product that we sell, but if you look at the distribution of our products, we have actually a very nice distribution. It’s not like 80% UE 4 and 20%...[/size] [size=12.0pt]MC:[/size][size=12.0pt] It’s very even.[/size] [size=12.0pt]PD: [/size][size=12.0pt]It’s very very even. To be candid with you, I was very surprised at the nature of the distribution.[/size] [size=12.0pt]Philippe later showed me a graph posted on the manufacturing floor which broke down UE product distribution over the last several years. Since the Logitech acquisition and release of new products, I noted the distribution became more even over time.[/size] [size=12.0pt]While I am not allowed to reveal what the exact percentages are, I can confirm that the product distribution is very even, with the exception of the extremely niche new products such as the Vocal Monitors or Personal Reference Monitors which comprise small slices.[/size] [size=12.0pt]MC:[/size][size=12.0pt] What do you use personally?[/size] [size=12.0pt]PD:[/size][size=12.0pt] Well it depends.[/size] [size=12.0pt]When I want my sound, I have the luxury, and it’s one product I wanted to tell you about: I use my Personal Reference Monitor, which is something I design myself from a sound signature standpoint.[/size] [size=12.0pt]But when I’m in a plane, when I’m flying, I use the UE 11. It’s casual listening. I just want to be isolated from the world around me. I’m relatively anti-social in planes. [laughs] The UE 11 just feels right in that environment.[/size] [size=12.0pt]From time to time, I go back to the 18. The warmth of the 18, when I want less bass than the 11, the 18 has less bass.[/size] [size=12.0pt]I would not use myself as a good reference, because I have the luxury of working here.[/size] [size=12.0pt]To be continued[/size] |
When you do have a problem, do we bitch at the fact that you have a problem, or do we take care of it? PD: So these impressions are taken throughout the world. They come in different shapes and colors. This is the most important process for us. It what they say: “garbage in garbage out.” What that means is if somebody does a poor job at taking the ear impression, there’s nothing, nothing we can do here to fix that. We’ve tried, to imagine, if we are missing half the ear canal here, we can’t. You need to take a good ear impression. What you see here is different ear impressions. Different shapes. Every shape is different. We always ask the audiologist to take more material than we need to make that shell. We can always get rid of it. It’s easier for us to remove material than to add anything. First step we do here: we clean up the ear impression and we create a cast: an exact replica of your ear. As we go through the process of manufacturing the product, we constantly verify the fit by propping the product against it, doing different alterations to the shell. So we don’t end up creating an IEM that doesn’t fit. Next step, now that we have your ear impression, is to remove anything that is no longer relevant for us to create that shell. Essentially, it’s a clear ear impression that has the exact amount material for the ear canal, the exact amount of shell space that we want to place the drivers on. Then we put it into this small container there. This is where we create the next cast. That cast is used to create the shell. It’s a mold. Based on the color number that you give us, we have a recipe. We put the mix in there, fill it up. What we do is UV cure that cast, the acrylic. The longer it stays in there, the thicker the shell will become. If we leave it forever in there, it would become solid. Each color has a different level of translucency. There’s different timing that we have for each of the colors. Against the wall were probably over a hundred different colors labeled with color codes and with corresponding cure times indicated. I did not take photos because this was obviously company confidential information. So now we have a shell that fits perfectly inside of your ear. It’s almost ready to be populated with drivers. Before we go there, there is a final step: to clean up the outside of the ear. Next step is to cut a very small sliver. We fill it up with the same acrylic, UV cure it, and it gives us a faceplate. So now we have a shell and a faceplate. We also have a notch, and we drill a few holes. Notch for the connectors, and holes for the tubes that will bring sound to your ear. MC: It’s definitely a very involved process. PD: This is why say handcrafted; because it’s really done by hand. This is not lying. Every step of the way is people working on the shell. MC: That went by fast. So I can get things straight, can you summarize the process again? PD: The first step is let’s preserve the shape of the ear with everything that we’ve received. The second step is let’s get rid of everything we don’t need to create a shell. Third step is to create the shell with the UV curing machine. The final step is to create the face plate that’s going to be sealing the drivers inside that shell. We talk toward another area of the production floor to the next phase of the custom IEM manufacturing process. This is the most important step in the process after the ear impression. Now we are going to take the shell; we are going to take a set of preassembled armatures and crossovers that have been designed by our engineers. And we insert them inside the shell. And now we calibrate that structure inside your ear to make it sound exactly what we want the UE18, UE7, to sound. Then we use our microphone were to listen to pink noise that we generate through this. Then we set a frequency response for each of the products. We listen to its playback here. And we modify the positioning, we modify the damper, we modify everything until the frequency response matches the curve that we have there plus minus 1db. We can never be perfect. We never claim to. I observed on the monitor: target frequency response reference curves to which the IEMs being made would be adjusted to. These curves are proprietary to Ultimate Ears’, so the information on the screen in intentionally blacked out. The IEM coupler and measurement microphone is seen in the photo on the right. And that’s the big difference between a custom in-ear monitor and a regular retail product. The fact that we know the shape of your ear so we can create, say the UE 18 sound signature for your ear; as opposed to having something that’s going to resonate, however it’s going to resonate inside your ear. MC: Everyone’s ear impressions are going to be different. So you actually do calibrate to those differences to make sure a UE 18 is going to sound like a UE 18? PD: Exactly. That’s a process that takes about 15 minutes to guarantee. MC: Not an insubstantial amount of time, even for moderate or smallish volumes. PD: Yep. Once we are happy with the tuning. The next step is to seal the device. You can see that every single component is nicely tucked away so they don’t rattle around. Then we take the faceplate that we made and seal it perfectly. Once we are done with that, the last step is what we call the art section. In the art section we do three major things: First we the laser-engrave the in-ear monitor with the model number. What you can see here, we laser engrave the right red (so it’s easy to remember), the number of the model, and a unique number we assign to you that first time that you order something. If you send us this device, we can easily do the rework tag. If we receive this, we know it belongs to you. Red right. Blue left. We laser engrave the box with your name. The last step here is this high end printer. We can print anything you want on your faceplate. The advantage of this printer is that it’s very precise. It can print white without having a white background. You can print on any type of material. Once it’s printed on this printer, we cool it. We package it in the final box here. And we ship it through the shipping department. Our overall process can be done in 24 hours. You pay a premium for that because we have to accelerate everything. It’s like taking the express train. The overall process here takes about 5-10 days depending upon how busy we are, depending upon the touring season, and other overall situations. You spend a lot of money. You want this thing to function perfectly. It’s like I spend so much cash on this car; and it’s making squeaking noises. Unacceptable. It’s the same thing here, you spend a lot of money; you want this thing to fit perfectly. MC: Do you provide a list of audiologists who tend to do a better job than others or ones who’ve worked with you in the past who have had good results? PD: We have a list. We have a “find an audiologist” page on our website. But yet we are always at their mercy. While we know all these audiologists, their offices, but if they have a new apprentice… we have no control over that. MC: Do you have one on staff? PD: We do. We actually have a person who comes here every day. That’s a service that we provide to musicians who are coming here – a free ear impression if you come here to the office. MC: So what are your turnaround times for adjustments? PD: Our standard RMA process is three days. Your repair was really fast. Thirty seconds is not typical! My Reference Monitors were already returned to me fully repaired well before I set foot on the manufacturing floor. It probably took the repair technician more than thirty seconds, but close enough. You guys get the idea. We wanted to make sure that if you had a product with a problem, it should not take as long as buying a new product (to get the problem resolved). This is why I always use that term journey. It’s a journey. Our relationship is a journey. It’s not just a one-time event. How do we take care of you when you call us? How do we take care of you when you order the product? How do we take care of you when we manage the process of creating the product? Do we contact you? Do you send you a video of saying your product is being made? Do we send you a video afterwards? Which we do. After that, when you do have a problem, do we bitch at the fact that you have a problem, or do we take care of it? MC: [laughs] PD: You get what you pay for. To the musician that is touring, this is one of their most important devices. When they are down, basically we are preventing them from earning money. This is not a gadget that you wear just casually. This is something that allows you to perform on stage. It’s how we take care of you during your performance that matters. Do you remember Hillary Clinton’s ad with her saying who do you want on the phone at 2am during a crisis? You want to have somebody that has been there for a while. Somebody that is backed up by a company with a good reputation. Or do you want just a mom and pop operation where they might be on vacation for two weeks and nobody is there? I think the most important message that I hope I conveyed is that Ultimate Ears is all about the journey with the customer. What you see here is what we are selling as a product. And the product is not just a piece of hardware that goes inside here [points to ear] or that is on this picture [points to a product poster]. The product is everything that you have between you and us – the company – Ultimate Ears. End |