Audiofiler
Headphoneus Supremus
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[size=medium]. . A Review Of Custom Professional Monitors[/size]
Date of Issue: August 2009
Introduction:
This review is intended to compare and contrast the Ultimate Ears 11 Pro to the JH Audio 11 Pro custom in-ear phones.
Background:
In-ear phones are devices used by engineers, artists, and/or audiophiles to monitor a mix of microphones or sounds from instruments on-stage or in the studio. The in-ear monitors (or IEM’s), are typically custom fitted to the wearer for comfort and increased noise attenuation from stage bleed, external PA system, and/or external transients within a studio. These devices are for professional use and are optimized for live sound mixing, accurate reproduction, and increased attention for artists to L/R channels. (which the channels can be customized for desired information between ears from the engineer to the performer)
[size=small]Ultimate Ears 11 Pro
[/size]
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[size=medium]Plug into the sound of the UE 11 Pro to almost anywhere, sit back, and enjoy!![/size]
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Construction:
The monitor is very well built. The module is comprised of two pieces of acrylic fused together, seamlessly. The innards are glued into place inside the monitors themselves.
Shell:
The UE 11 Pro is crafted in hard acrylic with most any color available. My pair is smoke/transparent black. The shell has a barrel, which is placed into the ear. This barrel contains two different airways for the sound to travel. The shell of the UE 11 Pro overall is amazingly small given the innards and the sound it generates.
Cable:
The cable is available in either a 48” or 66” length and exhibits little to no microphonics. The UE 11 Pro cable used to come in a heavier grade design, which was less flimsy, contained thicker shielding, and had longer length from monitor to ‘Y-Termination’. I have both styles of cables and prefer the older cable, however, for these purposes I shall discuss the newer UE custom cable.
The UE 11 Pro cable feels a slightly more solid than the JH 11 Pro cable, and may be less prone to unwinding as a result. I have both a black cable and clear cable from UE for their customs. The black cable seems to be more rigid and the thinner of the two cables from UE. The sound quality of the newer UE cables is the same comparing the clear to the black cable. The clear cable is completely transparent in its appearance (the connector, cable, & ‘Y-Termination'). Over time, I found that the connector plug holding the 3.5mm jack to discolor slightly. The clear cable also started to take on a blue hue to it over the length of ownership as well.
Connector Point:
The UE 11 Pro is equipped with the industry standard 2 prong gold connector, which is user replaceable. The surface mount is imbedded with the connector male side fitting slightly into the shell of the UE 11 Pro.
Aesthetics:
The UE 11 Pro is as impressive looking as it is sounding. It is clearly manufactured with the professional market in mind. With what is called memory wire extending from the shell, this allows the user to place the cable back over his/her and behind the back. The memory wire itself is a piece of clear plastic about an inch long that resembles a thin straw. This piece fits over top of the cable as shielding and stems from the shell itself, the memory wire can be shaped to any direction the wearer would like the cable to lead from. This makes for a practical application. With the cable behind the ear, the wearer is less likely to experience ear fatigue from the prolonged use of the monitor and the wire hanging down.
The UE 11 Pro can be manufactured with a bore hole in the monitors to allow for stage bleed, when not in use, Ultimate Ears provides a small plug to be inserted into the holes. This feature is for performers to hear external sounds more easily. There is an additional charge for this feature from Ultimate Ears.
To further customize the experience, the wearer may opt for custom art to be applied directly to the monitor. This is done at the time of purchase for an additional charge. Ultimate Ears applies the art to the monitors in-house.
Sound:
The UE 11 Pro’s frequency response contains humps in the low band (bass) as well as in the midrange (lower midrange to be exact). Despite having a colored sound, the UE 11 Pro provides excellent imaging and an almost euphoric listening experience that rivals many full sized headphones and bests most earphones available. The presentation, including vocals, is somewhat forward. The high and upper mid marks in the frequency range are also forward. The bass and lower midrange is almost atmospheric, and can be detected in multiple points in the stereo image. I would not describe the bass and lower midrange to be as a forward as the upper midrange and high marks. The imaging forms a kind of an inverted “U” shape in front of the wearer on most recordings. The space in front of the wearer is inhabited by marks in low band and lower mid marks. This is the area before/below the ghost image appears.
The soundstage is very detailed, taller than expected, and contains much depth. The width of the sound stage does not compare to speaker listening or a full sized headphone. There is not as much air between instruments but the separation and imaging is very concise. The detail retrieval that UE 11 Pro provides is outstanding, with separation that only a high-end system provides. The stereo imaging and resolving nature of the UE 11 Pro can be compared somewhat to that of an electrostatic headphone system such as the Omega II series ear speakers from STAX.
The treble on the UE 11 Pro is extremely accurate and fast. The marks in the high band are both detailed and effortless. There is no harshness to the highs on the UE 11 Pro, they extend beautifully but are somewhat overshadowed by marks in the mid and low band with certain recordings. The decay and spatial cues in the image can be impacted by this occurrence. Driving the UE 11 Pro’s with a neutral amp can reduce this effect somewhat. There is just the smallest bit of grain in symbols in listening to Miles Davis’ ‘Workin’ With the Miles Davis Quintet’. The highs on the UE 11 Pro are great, regardless.
The midrange is rich and magical on the UE 11 Pro. Being that there is an emphasis to the lower mid’s, (not unlike the ATH-L3000 or PS-1 headphones) the UE 11 Pro delivers a rich and lush midrange, which is beautiful to listen to. Instrumentation bears life-like realism and definition on the UE 11 Pro. The decay on the lower midrange is somewhat emphasized and elongated as compared to the highs or upper mids. The midrange overall is imaged slightly forward on UE 11 Pro but well defined, nonetheless.
The bass on the UE 11 Pro is legend. Having a dedicated two-way sub driver setup, the bass on the UE 11 Pro very pure and natural sounding. There is a bump in the lower mids and extreme low range which can be detected, however, the UE 11 Pro is nothing short of engaging out of a DAP or matching system. Once properly driven out of a higher-end system, the UE 11 Pro’s bass becomes more focused and imaging bears more separation and accuracy. The tonal range tightens up with amplification greatly, making the music more 3-dimensional and textured. Live recordings excel on the UE 11 Pro, breathing more life into the source material and definition to performers’ vocals.
For audiophile use and pure listening purposes out of a portable or home system, the UE 11 Pro provides a clear sound that is wonderful to listen to with most all music types. For mixing purposes, one should be cognizant of the frequency response of the UE 11 Pro for the most accuracy in a given application.
[size=small]Ultimate Ears 11 Pro
[/size]
Verdict:
The UE 11 Pro sounds excellent to my ears with Jazz, Rock, Bluegrass, Electronic, and other genres. I prefer the presentation with male vocal VS female vocals in some recordings. Albeit not neutral, the UE 11 Pro is an amazing sounding custom IEM that has a musical and romantic presentation that will leave the wearer in a state of bliss.
[size=small]Thoughts about the Ultimate Ears 11 Pro..[/size]
Comparing the UE 11 Pro to the JH 11 Pro, I prefer the sound of the JH 11 Pro for most all music genres. I feel the emphasis in the frequency range that the UE 11 Pro projects more than just the extra “lows” and “low-mids” into the stereo image – but more on that below.
[size=small]Scale of marks in Frequency Range . .
High band: 8
Mid band: 8
Low band: 8[/size]
[size=small]Breakdown:
Transparency: 8
Soundstage: 7
Stereo imaging: 8.5
Extension: 8
Impact: 8
Transient attack: 8
Ability to scale: 8.5
Smearing of micro-detail: 9
Efficiency: 8.5
Smoothness: 8
Speed, rhythm, and timing: 8
Decay: 8
Clarity: 7.5[/size]
* [size=small]Mean Score: 8.1[/size]
General Information:
Driver specification: Balanced armatures
Description of driver configuration: Four total: dual low, single mid, single high
Crossover: Integrated 3-way
Impedance: Low
Manufacturer Specifications:
Input Sensitivity: 119db at 1mw
Frequency Response: 10Hz to 16,500 Hz
Impedance: 18 Ohms at 1kHz
Input Connector: 1/8” (3.5mm) Gold Plated
MSRP: $1,099 plus tax and shipping
Contents/Accessories: UE 11 Pro, cable, tool, personalized travel case (metal), pocket case (tin), box, literature.
Cost of Impressions: estimated $50
[size=small]Jerry Harvey 11 Pro
[/size]
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[size=medium]The JH 11 Pro is an outstanding monitor. Throw some high quality recordings at them, and they’ll deliver a clarity and refinement worthy of any music.[/size]
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Construction:
The monitor is very well built and bears an even smaller overall footprint and weight VS the UE 11 Pro. As a result, the monitor rests in my ears deeper and creates a brilliant flush mount.
Shell:
The JH 11 Pro is crafted in hard acrylic. The shell is transparent in order for the curing process to be completed, which is conducted with UV light to kill any bacteria. The JH 11 Pros’ barrels also contain two different airways for the sound to travel. My pair is ice-white in color.
Cable:
The clear cable that JH Audio utilizes seems a bit lighter feeling in weight, but it may too be that my UE 11 Pro cable is much older and hardened as result. Within the ‘Y termination’ on the JH Audio cable, there is a black piece. Also, the JH Audio clear cable contains a white connector piece containing the 3.5mm tip. In my case, the white piece matches nicely the ice shells.
Connector Point:
The JH 11 Pro is equipped with the industry standard 2 prong gold connector, which is user replaceable. The surface mount is flush on the JH 11 Pro rather than imbedded like the UE 11 Pro. In speaking with Jerry Harvey, this design reduces chance of condensation and perspiration from entering via the contact point.
Aesthetics:
The Barrel width on the JH 11 Pro is thicker than the barrel on the UE 11; this difference in width seems to promote a better seal for isolation. There is a noticeable margin where the funnel (bottom piece of shell) is affixed to the faceplate (outer piece facing outward from ear); as such, this creates a clear contour and general change in hue from funnel to face plate.
The cable is sturdy and flexible, which is great for prolonged use and storage of the monitors.
As with the UE 11 Pro, the wearer may opt for custom art to be applied directly to the monitor at the time of purchase for an additional charge.
The Memory wire on the JH 11 Pro is much shorter than the UE 11 Pro memory wire. I am not sure if either length is quite right for my taste. I think the memory wire in the length between the UE 11 Pro and JH 11 Pro would be ideal for my purposes.
Sound:
The JH 11 Pro’s frequency response bears a hump in the extreme low band (bass range). Regardless of the fact that the phones are not neutral, the JH 11 Pro provides a level of clarity and refinement that is on par with most high-end headphones and far beyond many earphones. The details, tonal range, and imaging all scales up wonderfully with amplification from a dedicated system. The presentation is slightly forward but envelops the wearer very nicely. All marks in the frequency range are imaged with a soundstage, which contains a surprising amount of depth for an in-earphone. The sound is out of the head as compared to many universal IEM’s. This makes it easier to focus on the primary stereo image as well as micro details,transients, and decay.
The soundstage on the JH 11 Pro is carefully constructed with spaciousness both vertically and back to front. There is a realistic sense of depth within the sound-staging. This allows the JH 11 Pro’s outstanding imaging to project with great accuracy. The width of the soundstage is not equal to a home speaker setup or high-end full sized headphone system. Yet, with the imaging and tonal range of the JH 11 Pro, the lack of lateral space in the soundstage can be overlooked. The speed of the JH 11 Pro along with its clarity can also be compared to an electrostatic speaker or headphone system. With its airy and concise presentation, the JH 11 Pro provides uncanny realism to music.
Although the stereo imaging and vocals are forward on the JH 11 Pro, the vocals are further separated from the rest of the stereo image. This allows the wearer to focus on the singer(s) voice origin and the air within the original recorded space more accurately. For example, in a live studio recording you are able to precisely discern the surrounding walls in the room that the artist is performing in. Also, the height and depth of the soundstage on the JH 11 Pro is more immersive than its width, which makes for increased detail and space back to front. This is useful in a live studio recording where shared microphones are used for multiple instruments, and the spatial cues given with natural placement. An example of this can be heard on Fire on Fire’s
‘The Orchard’.
The treble on the JH 11 Pro is very concise and smooth. All marks in the high band are fast yet extended, detailed without being harsh. The JH 11 Pro’s highs are not hard around the edges, nor are they over emphasized. They are just right. I sense no interference with the rest of the frequency range to the highs. Though somewhat forward, the highs are far from recessed. There is also the slightest effect of grain or truncation of the highs on cymbal crashes with the JH 11 Pro when listening to Andre Rieu's 'Live in Dublin' or Mahler's 'Symphony No.6' by John Barbirolli.
The midrange is beautiful on the JH 11 Pro. I think the midrange is very important to musical enjoyment and the JH 11 Pro delivers on this faithfully. Timbre is both accurate and alive with texture on the JH 11 Pro. Because there is excellent imagining in the soundstage, the notes in the mid band can be fully appreciated. The decay is almost perfect in the midrange on the JH 11 Pro, this one of the biggest strengths of this model in my findings.
The bass on the JH 11 Pro is outstanding. Marks in the low band are natural and extend very low on the JH 11 Pro. There is excellent texture to the bass and this varies of course with a given recording. Although there is a hump in the sub band, I do not think this detracts from the presentation of the JH 11 Pro straight out of a DAP or driven by an amplifier. I feel the accuracy of the bass response on the JH 11 Pro is close or equal to many high-end headphone systems. There is a sense of visceral feeling which is lost with utilizing headphones/IEM’s in general, which cannot be reproduced. However, the tone and texture of the bass is both accurate and extended on the JH 11 Pro. Live recordings really shine on the JH 11 Pro, where the bass being more natural in nature provides a higher level of realism to reverb, transients, and vocals.
[size=small]JH Audio 11 Pro[/size]
Verdict:
The JH 11 Pro is an outstanding monitor. Throw some high quality recordings at them, and they’ll deliver a clarity and refinement worthy of any music. These monitors turn complex passages into audio bliss with great accuracy. Though the spatial configuration for the JH 11 Pro may be designed similar to the UE 11 Pro, the space between instruments and depth appears increased on the JH 11 Pro. This may be due to the bumps of lower midrange marks and/or sub marks, thus these frequencies interfering with the tonal balance and spatial consideration for stereo imaging of all other frequencies. It may also be that Jerry has configured the response on the JH 11 Pro monitors just a hair different as well.
The JH 11 Pro is extremely refined to my ears and disappears almost entirely. The JH 11 Pro’s sound comes off with a slightly greater ease of reproduction. The UE 11 Pro has just a bit more in your face effect, a sense of space where the elements of the stereo image run into each other and overlap more often. The UE 11 Pro has a bit more of a harshness around the edges which can be identified from listening to each of the monitors. This can be heard on studio and on live recordings. For example, in “Carmina Burana”, the JH 11 Pro gives the listener a greater sense of realism with its imaging and overall clarity in tonal range. The JH 11 Pro also seems to handle micro detail a bit better. I lean toward the JH 11 Pro for varying volumes between elements in a recording, while these elements being playing simultaneously. The UE 11 Pro smears details in complex passage more than the JH 11 Pro and levels off volume between simultaneous elements. This can make it harder to differentiate and identify the different volume levels of micro details and instruments in the image.
Of course, the higher the quality the recording, the better the sound shall be. The JH 11 Pro is highly recommended for general listening purposes. For mixing purposes, the hump in the sub band should be noted so that mixes and sound downs are not adversely affected.
[size=small]Thoughts about the JH Audio 11 Pro .[/size] .
I found the JH 11 Pro more refined sounding than the UE 11 Pro. There seems to be a greater sense of air in the image and between the instruments with the JH 11 Pro. The JH 11 Pro gets out of the way of the music more completely than the UE 11 Pro. With the UE 11 Pro, sound is imaged as closer to the listener and the soundstage appears a bit collapsed VS the JH 11 Pro, perhaps an effect due to the overflow of sound from marks in the low mids and sub region. Although, the sound from the upper mids and highs can be heard clearly on the UE 11 Pro, it is slightly more difficult to focus on these marks when comparing to the JH 11 Pro. This makes the natural presentation of some recordings sound different on the UE 11 Pro. Some softer passages and minimal recordings such as Dead Can Dance’s ‘Aiaon’ sound unfocused or even bloated on the UE 11 Pro, though the clarity and details are still there. This effect comes across very nicely for certain genres such as garage rock, blues, rock, and small piece jazz. However, this effect to the overall sound of the UE 11 Pro is one contributing reason why I prefer JH 11 Pro with its clearer imaging.
The JH 11 Pro’s presentation is slightly more of an inverted “U” soundstage than the UE 11 Pro. With this difference, I detect an increased separation between instruments/vocals on the JH 11 Pro. This could be due to the emphasized marks in the UE 11 Pro’s tonal range, which creates an effect of thicker sound permeating south to north in the stereo image. This “thickness” is wonderful sounding until I compare closer to the JH 11 Pro and listen critically.
Overall, I found the JH 11 Pro to be clearer and more refined than the UE 11 Pro. There are genres of music that may be better suited for either pair, pending the recording or source. The JH 11 Pro works better for more types of music including blues, classical, folk, classic rock, and country. I feel both monitors provide excellent sound but enjoy the JH 11 Pro slightly more with its smoothness and clarity in stereo imaging.
Lastly, everyone hears sound differently and therefore preferences come into play greatly.
[size=small]Scale of marks in Frequency Range . .
High band: 8
Mid band: 9
Low band: 8.5[/size]
[size=small]Breakdown[/size]:
[size=small]Transparency: 9
Soundstage: 8
Stereo imaging: 9
Extension: 8
Impact: 8
Transient attack: 8.5
Ability to scale: 8.5
Smearing of micro-detail: 9.5
Efficiency: 8
Smoothness: 9
Speed, rhythm, and timing: 8
Decay: 9
Clarity: 8.5[/size]
* [size=small]Mean Score: 8.5[/size]
General:
Driver specification: Balanced armatures
Description of driver configuration: Four total: dual low, single mid, single high
Crossover: Integrated 3-way
Impedance: Low
Manufacturer Specifications:
Frequency Response: 10Hz to 17kHz
Input Sensitivity: 119dB at 1mw
Impedance: 18 Ohms
MSRP: $999 plus tax and shipping
Contents/Accessories: JH 11 Pro, cable, tool, personalized travel case (Carbon Fiber), box.
Cost of Impressions: estimated $50
[size=small]A Few Notes on Components .[/size] .
The Melos emphasized marks in the low band and gave more punch to both the UE 11 Pro and JH 11 Pro. The clarity improved with both monitors on the Melos. Also increased was the speed of attack and decay. Both the UE 11 Pro and JH 11 Pro responded considerably to amplification. With the amplification came further exposing of the house sound for each phone. For the JH 11 Pro, this was a bit better than the UE 11 Pro. Sending the Rotel / iMod > Melos > iQube was a beautiful match for both the UE 11 Pro and the JH 11 Pro.
The iQube was a great amp for both UE 11 Pro and JH 11 Pro and drove the monitors the best for my preferences in this study. I thought the iMod > V-Cap Dock > iQube was a superb combo for the UE 11 Pro and JH 11 Pro, as this combo was completely off the grid and the sound quality was phenomenal. However, the Mac Book Pro via optical out > iBasso > iQube was an excellent match too.
When paired with the Mac book Pro, the Pico DAC/Amp was also great pairing with both the UE 11 Pro and JH 11 Pro. I enjoyed the sound from this combo slightly more with the UE 11 Pro.
The Marantz and Sansui both sounded great with the UE and JH monitors, but both of these amps provided a warmer sound to the stereo image that I felt was not my first choice.
The iBasso is very useful tool if you plan to use your computer as a source to drive your UE 11 Pro or JH 11 Pro.
[size=small]Closing Thoughts . [/size].
The emphasis of lower midrange together with the bump in the sub band on the UE 11 Pro also seems to have a truncating effect of image depth. For example, during ‘Come Together’ by the Beatles, the marks in the lower midrange are amplified and create more of a cloud effect that interferes and reaches into the rest of the image.
I prefer the JH 11 Pro and its sound for most genres to the UE 11 Pro. If I could change anything about the JH 11 Pro’s sound, I would reduce the bump in the low band. This would make the JH 11 Pro more neutral. However, when listening straight out of a DAP, this bump in the low band is welcome and evens out to the listener.
[size=small]Equipment used[/size]
Sources:
VPI Aries 3 W/ JMW10.5i Tone arm
D335 Discman
iPod 2G Touch
iPhone 3GS
iRiver H340
RWA iMod 5.5G
Rotel 971 Transport
Mac book Pro (Both Optical and Analog Out tested)
Amps:
Modified Sansui G801
Marantz 2238
iQube
Pico
Modified Melos SHA Gold (both as Pre-Amp and Headphone out)
iBasso D10
Interconnects:
Audience 24
Cryo Twisted Pair
Jena Labs Cryo Ultra Wire
Vampire Wire
Other:
Custom V-Cap Super Dock (2 V-Cap OIMP 4.7uF and 2 V-Cap 0.22 TFTF capacitors running bypass)
[size=small]Music Sampled[/size]
Orff - Carmina Burana – Telarc
The Beatles – Abbey Road - MFSL-1-023
The Beatles – Sgt. Peppers Lonely Hearts Club Band (Mono)
The Beatles - A Collection Of Beatles Oldies..but Goldies - PMC-7016 (UK Parlaphone Mono)
Queen – News of the World - MFSL UDCD588
Led Zeppelin - II - MFSL 1-065 (both as LP and Vinyl Rip>Flac)
Pink Floyd – Wish You Here – Nimbus Supercut 24 Bit SHVL 814 (both as LP and Vinyl Rip>Flac)
Hector Zazou – Lights In The Dark – HDCD
Jimmy Hendrix – Axis (Mono)
Miles Davis - Workin' With The Miles Davis Quintet - DCC CD GZS-1063 (Steve Hoffman)
The White Stripes – Icky Thump (both as LP and Vinyl Rip>Flac)(Steve Hoffman)
Cream - Wheels Of Fire - DCC GZS-1020 (Steve Hoffman)
Franks Sinatra, Dean Martin, Sammy Davis, Jr - The Summit - In Concert - DCC ARZ-102-2 (Steve Hoffman)
John Coltrane - Soultrane - DCC GZS 1046 (Steve Hoffman)
Metallica - Ride The Lightning DCC GZS-1136 (Steve Hoffman)
John Williams - The London Symphony Orchestra - Raiders Of The Lost Ark - - DCC RAIDERS-001 SILVA SCREEN (both as CD and Rip>FLAC)(Steve Hoffman)
Deep Purple - Made In Japan - GZS-1120 (Steve Hoffman)
Bob Dylan - Highway 61 Revisited - DCC GZS-1021 (Steve Hoffman)
Creedence Clearwater Revival - Green River GZS-1064 (Steve Hoffman)
Ray Charles - Genius + Soul = Jazz - DCC DZS-038 (Steve Hoffman)
Crosby, Stills & Nash - Crosby, Stills & Nash - Atlantic 82522-2
John Barbirolli New Philhamonia Orchestra – Mahler No.6 “Tragic” – (Both LP and CD) Angel Records
Fire on Fire - The Orchard - Young God Records
Alison Krauss & Union Station Live - Rounder / UMGD
O Brother, Where Art Thou? – Lost Highway
Tyler Bates – 300 – Warner Bros
Wohceich Killar – Dracula – Sony
Andre Rieu – Flying Dutchman
Andre Rieu – Live in Dublin
Gorden Hempton, The Sound Tracker – Promise – Rainstorm (Binaural)
Solid Brass – Gershwin to Sousa – Joseph Grado (Binaural)
Strauss, Saint-Saëns / Mester, Olivera, Pasadena Symphony – Newport Classic (Binaural)
Shpongle – Nothing Lasts..But Nothing is Lost – Twisted
Dead Can Dance – Aion – 4ad/Wea
[size=small]Additional Resources . [/size].
[size=small]Ultimate Ears 11 Pro [/size]
Ultimate Ears (A Logitech Company)
5 Jenner Street, Ste 100
Irvine, Ca
92618
(p) 800-589-6531
URL:
UE-11 Pro Specification - Products - Ultimate Ears Earphones Headphones Personal Monitors][size=small]UE11 Pro[/size]
[size=small]JH Audio 11 Pro[/size]
JH Audio
1321 Apopka Airport Dr, Unit 143
Apopka, FL
32712
(p) 866-485-9111
URL:
JH AUDIO | Pro Music][size=small]JH11 Pro[/size]
Date of Issue: August 2009
Introduction:
This review is intended to compare and contrast the Ultimate Ears 11 Pro to the JH Audio 11 Pro custom in-ear phones.
Background:
In-ear phones are devices used by engineers, artists, and/or audiophiles to monitor a mix of microphones or sounds from instruments on-stage or in the studio. The in-ear monitors (or IEM’s), are typically custom fitted to the wearer for comfort and increased noise attenuation from stage bleed, external PA system, and/or external transients within a studio. These devices are for professional use and are optimized for live sound mixing, accurate reproduction, and increased attention for artists to L/R channels. (which the channels can be customized for desired information between ears from the engineer to the performer)
[size=small]Ultimate Ears 11 Pro
[/size]
---------------------------------------------------------------------------------------------------------------------------------
[size=medium]Plug into the sound of the UE 11 Pro to almost anywhere, sit back, and enjoy!![/size]
---------------------------------------------------------------------------------------------------------------------------------
Construction:
The monitor is very well built. The module is comprised of two pieces of acrylic fused together, seamlessly. The innards are glued into place inside the monitors themselves.
Shell:
The UE 11 Pro is crafted in hard acrylic with most any color available. My pair is smoke/transparent black. The shell has a barrel, which is placed into the ear. This barrel contains two different airways for the sound to travel. The shell of the UE 11 Pro overall is amazingly small given the innards and the sound it generates.
Cable:
The cable is available in either a 48” or 66” length and exhibits little to no microphonics. The UE 11 Pro cable used to come in a heavier grade design, which was less flimsy, contained thicker shielding, and had longer length from monitor to ‘Y-Termination’. I have both styles of cables and prefer the older cable, however, for these purposes I shall discuss the newer UE custom cable.
The UE 11 Pro cable feels a slightly more solid than the JH 11 Pro cable, and may be less prone to unwinding as a result. I have both a black cable and clear cable from UE for their customs. The black cable seems to be more rigid and the thinner of the two cables from UE. The sound quality of the newer UE cables is the same comparing the clear to the black cable. The clear cable is completely transparent in its appearance (the connector, cable, & ‘Y-Termination'). Over time, I found that the connector plug holding the 3.5mm jack to discolor slightly. The clear cable also started to take on a blue hue to it over the length of ownership as well.
Connector Point:
The UE 11 Pro is equipped with the industry standard 2 prong gold connector, which is user replaceable. The surface mount is imbedded with the connector male side fitting slightly into the shell of the UE 11 Pro.
Aesthetics:
The UE 11 Pro is as impressive looking as it is sounding. It is clearly manufactured with the professional market in mind. With what is called memory wire extending from the shell, this allows the user to place the cable back over his/her and behind the back. The memory wire itself is a piece of clear plastic about an inch long that resembles a thin straw. This piece fits over top of the cable as shielding and stems from the shell itself, the memory wire can be shaped to any direction the wearer would like the cable to lead from. This makes for a practical application. With the cable behind the ear, the wearer is less likely to experience ear fatigue from the prolonged use of the monitor and the wire hanging down.
The UE 11 Pro can be manufactured with a bore hole in the monitors to allow for stage bleed, when not in use, Ultimate Ears provides a small plug to be inserted into the holes. This feature is for performers to hear external sounds more easily. There is an additional charge for this feature from Ultimate Ears.
To further customize the experience, the wearer may opt for custom art to be applied directly to the monitor. This is done at the time of purchase for an additional charge. Ultimate Ears applies the art to the monitors in-house.
Sound:
The UE 11 Pro’s frequency response contains humps in the low band (bass) as well as in the midrange (lower midrange to be exact). Despite having a colored sound, the UE 11 Pro provides excellent imaging and an almost euphoric listening experience that rivals many full sized headphones and bests most earphones available. The presentation, including vocals, is somewhat forward. The high and upper mid marks in the frequency range are also forward. The bass and lower midrange is almost atmospheric, and can be detected in multiple points in the stereo image. I would not describe the bass and lower midrange to be as a forward as the upper midrange and high marks. The imaging forms a kind of an inverted “U” shape in front of the wearer on most recordings. The space in front of the wearer is inhabited by marks in low band and lower mid marks. This is the area before/below the ghost image appears.
The soundstage is very detailed, taller than expected, and contains much depth. The width of the sound stage does not compare to speaker listening or a full sized headphone. There is not as much air between instruments but the separation and imaging is very concise. The detail retrieval that UE 11 Pro provides is outstanding, with separation that only a high-end system provides. The stereo imaging and resolving nature of the UE 11 Pro can be compared somewhat to that of an electrostatic headphone system such as the Omega II series ear speakers from STAX.
The treble on the UE 11 Pro is extremely accurate and fast. The marks in the high band are both detailed and effortless. There is no harshness to the highs on the UE 11 Pro, they extend beautifully but are somewhat overshadowed by marks in the mid and low band with certain recordings. The decay and spatial cues in the image can be impacted by this occurrence. Driving the UE 11 Pro’s with a neutral amp can reduce this effect somewhat. There is just the smallest bit of grain in symbols in listening to Miles Davis’ ‘Workin’ With the Miles Davis Quintet’. The highs on the UE 11 Pro are great, regardless.
The midrange is rich and magical on the UE 11 Pro. Being that there is an emphasis to the lower mid’s, (not unlike the ATH-L3000 or PS-1 headphones) the UE 11 Pro delivers a rich and lush midrange, which is beautiful to listen to. Instrumentation bears life-like realism and definition on the UE 11 Pro. The decay on the lower midrange is somewhat emphasized and elongated as compared to the highs or upper mids. The midrange overall is imaged slightly forward on UE 11 Pro but well defined, nonetheless.
The bass on the UE 11 Pro is legend. Having a dedicated two-way sub driver setup, the bass on the UE 11 Pro very pure and natural sounding. There is a bump in the lower mids and extreme low range which can be detected, however, the UE 11 Pro is nothing short of engaging out of a DAP or matching system. Once properly driven out of a higher-end system, the UE 11 Pro’s bass becomes more focused and imaging bears more separation and accuracy. The tonal range tightens up with amplification greatly, making the music more 3-dimensional and textured. Live recordings excel on the UE 11 Pro, breathing more life into the source material and definition to performers’ vocals.
For audiophile use and pure listening purposes out of a portable or home system, the UE 11 Pro provides a clear sound that is wonderful to listen to with most all music types. For mixing purposes, one should be cognizant of the frequency response of the UE 11 Pro for the most accuracy in a given application.
[size=small]Ultimate Ears 11 Pro
[/size]
Verdict:
The UE 11 Pro sounds excellent to my ears with Jazz, Rock, Bluegrass, Electronic, and other genres. I prefer the presentation with male vocal VS female vocals in some recordings. Albeit not neutral, the UE 11 Pro is an amazing sounding custom IEM that has a musical and romantic presentation that will leave the wearer in a state of bliss.
[size=small]Thoughts about the Ultimate Ears 11 Pro..[/size]
Comparing the UE 11 Pro to the JH 11 Pro, I prefer the sound of the JH 11 Pro for most all music genres. I feel the emphasis in the frequency range that the UE 11 Pro projects more than just the extra “lows” and “low-mids” into the stereo image – but more on that below.
[size=small]Scale of marks in Frequency Range . .
High band: 8
Mid band: 8
Low band: 8[/size]
[size=small]Breakdown:
Transparency: 8
Soundstage: 7
Stereo imaging: 8.5
Extension: 8
Impact: 8
Transient attack: 8
Ability to scale: 8.5
Smearing of micro-detail: 9
Efficiency: 8.5
Smoothness: 8
Speed, rhythm, and timing: 8
Decay: 8
Clarity: 7.5[/size]
* [size=small]Mean Score: 8.1[/size]
General Information:
Driver specification: Balanced armatures
Description of driver configuration: Four total: dual low, single mid, single high
Crossover: Integrated 3-way
Impedance: Low
Manufacturer Specifications:
Input Sensitivity: 119db at 1mw
Frequency Response: 10Hz to 16,500 Hz
Impedance: 18 Ohms at 1kHz
Input Connector: 1/8” (3.5mm) Gold Plated
MSRP: $1,099 plus tax and shipping
Contents/Accessories: UE 11 Pro, cable, tool, personalized travel case (metal), pocket case (tin), box, literature.
Cost of Impressions: estimated $50
[size=small]Jerry Harvey 11 Pro
[/size]
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[size=medium]The JH 11 Pro is an outstanding monitor. Throw some high quality recordings at them, and they’ll deliver a clarity and refinement worthy of any music.[/size]
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Construction:
The monitor is very well built and bears an even smaller overall footprint and weight VS the UE 11 Pro. As a result, the monitor rests in my ears deeper and creates a brilliant flush mount.
Shell:
The JH 11 Pro is crafted in hard acrylic. The shell is transparent in order for the curing process to be completed, which is conducted with UV light to kill any bacteria. The JH 11 Pros’ barrels also contain two different airways for the sound to travel. My pair is ice-white in color.
Cable:
The clear cable that JH Audio utilizes seems a bit lighter feeling in weight, but it may too be that my UE 11 Pro cable is much older and hardened as result. Within the ‘Y termination’ on the JH Audio cable, there is a black piece. Also, the JH Audio clear cable contains a white connector piece containing the 3.5mm tip. In my case, the white piece matches nicely the ice shells.
Connector Point:
The JH 11 Pro is equipped with the industry standard 2 prong gold connector, which is user replaceable. The surface mount is flush on the JH 11 Pro rather than imbedded like the UE 11 Pro. In speaking with Jerry Harvey, this design reduces chance of condensation and perspiration from entering via the contact point.
Aesthetics:
The Barrel width on the JH 11 Pro is thicker than the barrel on the UE 11; this difference in width seems to promote a better seal for isolation. There is a noticeable margin where the funnel (bottom piece of shell) is affixed to the faceplate (outer piece facing outward from ear); as such, this creates a clear contour and general change in hue from funnel to face plate.
The cable is sturdy and flexible, which is great for prolonged use and storage of the monitors.
As with the UE 11 Pro, the wearer may opt for custom art to be applied directly to the monitor at the time of purchase for an additional charge.
The Memory wire on the JH 11 Pro is much shorter than the UE 11 Pro memory wire. I am not sure if either length is quite right for my taste. I think the memory wire in the length between the UE 11 Pro and JH 11 Pro would be ideal for my purposes.
Sound:
The JH 11 Pro’s frequency response bears a hump in the extreme low band (bass range). Regardless of the fact that the phones are not neutral, the JH 11 Pro provides a level of clarity and refinement that is on par with most high-end headphones and far beyond many earphones. The details, tonal range, and imaging all scales up wonderfully with amplification from a dedicated system. The presentation is slightly forward but envelops the wearer very nicely. All marks in the frequency range are imaged with a soundstage, which contains a surprising amount of depth for an in-earphone. The sound is out of the head as compared to many universal IEM’s. This makes it easier to focus on the primary stereo image as well as micro details,transients, and decay.
The soundstage on the JH 11 Pro is carefully constructed with spaciousness both vertically and back to front. There is a realistic sense of depth within the sound-staging. This allows the JH 11 Pro’s outstanding imaging to project with great accuracy. The width of the soundstage is not equal to a home speaker setup or high-end full sized headphone system. Yet, with the imaging and tonal range of the JH 11 Pro, the lack of lateral space in the soundstage can be overlooked. The speed of the JH 11 Pro along with its clarity can also be compared to an electrostatic speaker or headphone system. With its airy and concise presentation, the JH 11 Pro provides uncanny realism to music.
Although the stereo imaging and vocals are forward on the JH 11 Pro, the vocals are further separated from the rest of the stereo image. This allows the wearer to focus on the singer(s) voice origin and the air within the original recorded space more accurately. For example, in a live studio recording you are able to precisely discern the surrounding walls in the room that the artist is performing in. Also, the height and depth of the soundstage on the JH 11 Pro is more immersive than its width, which makes for increased detail and space back to front. This is useful in a live studio recording where shared microphones are used for multiple instruments, and the spatial cues given with natural placement. An example of this can be heard on Fire on Fire’s
‘The Orchard’.
The treble on the JH 11 Pro is very concise and smooth. All marks in the high band are fast yet extended, detailed without being harsh. The JH 11 Pro’s highs are not hard around the edges, nor are they over emphasized. They are just right. I sense no interference with the rest of the frequency range to the highs. Though somewhat forward, the highs are far from recessed. There is also the slightest effect of grain or truncation of the highs on cymbal crashes with the JH 11 Pro when listening to Andre Rieu's 'Live in Dublin' or Mahler's 'Symphony No.6' by John Barbirolli.
The midrange is beautiful on the JH 11 Pro. I think the midrange is very important to musical enjoyment and the JH 11 Pro delivers on this faithfully. Timbre is both accurate and alive with texture on the JH 11 Pro. Because there is excellent imagining in the soundstage, the notes in the mid band can be fully appreciated. The decay is almost perfect in the midrange on the JH 11 Pro, this one of the biggest strengths of this model in my findings.
The bass on the JH 11 Pro is outstanding. Marks in the low band are natural and extend very low on the JH 11 Pro. There is excellent texture to the bass and this varies of course with a given recording. Although there is a hump in the sub band, I do not think this detracts from the presentation of the JH 11 Pro straight out of a DAP or driven by an amplifier. I feel the accuracy of the bass response on the JH 11 Pro is close or equal to many high-end headphone systems. There is a sense of visceral feeling which is lost with utilizing headphones/IEM’s in general, which cannot be reproduced. However, the tone and texture of the bass is both accurate and extended on the JH 11 Pro. Live recordings really shine on the JH 11 Pro, where the bass being more natural in nature provides a higher level of realism to reverb, transients, and vocals.
[size=small]JH Audio 11 Pro[/size]
Verdict:
The JH 11 Pro is an outstanding monitor. Throw some high quality recordings at them, and they’ll deliver a clarity and refinement worthy of any music. These monitors turn complex passages into audio bliss with great accuracy. Though the spatial configuration for the JH 11 Pro may be designed similar to the UE 11 Pro, the space between instruments and depth appears increased on the JH 11 Pro. This may be due to the bumps of lower midrange marks and/or sub marks, thus these frequencies interfering with the tonal balance and spatial consideration for stereo imaging of all other frequencies. It may also be that Jerry has configured the response on the JH 11 Pro monitors just a hair different as well.
The JH 11 Pro is extremely refined to my ears and disappears almost entirely. The JH 11 Pro’s sound comes off with a slightly greater ease of reproduction. The UE 11 Pro has just a bit more in your face effect, a sense of space where the elements of the stereo image run into each other and overlap more often. The UE 11 Pro has a bit more of a harshness around the edges which can be identified from listening to each of the monitors. This can be heard on studio and on live recordings. For example, in “Carmina Burana”, the JH 11 Pro gives the listener a greater sense of realism with its imaging and overall clarity in tonal range. The JH 11 Pro also seems to handle micro detail a bit better. I lean toward the JH 11 Pro for varying volumes between elements in a recording, while these elements being playing simultaneously. The UE 11 Pro smears details in complex passage more than the JH 11 Pro and levels off volume between simultaneous elements. This can make it harder to differentiate and identify the different volume levels of micro details and instruments in the image.
Of course, the higher the quality the recording, the better the sound shall be. The JH 11 Pro is highly recommended for general listening purposes. For mixing purposes, the hump in the sub band should be noted so that mixes and sound downs are not adversely affected.
[size=small]Thoughts about the JH Audio 11 Pro .[/size] .
I found the JH 11 Pro more refined sounding than the UE 11 Pro. There seems to be a greater sense of air in the image and between the instruments with the JH 11 Pro. The JH 11 Pro gets out of the way of the music more completely than the UE 11 Pro. With the UE 11 Pro, sound is imaged as closer to the listener and the soundstage appears a bit collapsed VS the JH 11 Pro, perhaps an effect due to the overflow of sound from marks in the low mids and sub region. Although, the sound from the upper mids and highs can be heard clearly on the UE 11 Pro, it is slightly more difficult to focus on these marks when comparing to the JH 11 Pro. This makes the natural presentation of some recordings sound different on the UE 11 Pro. Some softer passages and minimal recordings such as Dead Can Dance’s ‘Aiaon’ sound unfocused or even bloated on the UE 11 Pro, though the clarity and details are still there. This effect comes across very nicely for certain genres such as garage rock, blues, rock, and small piece jazz. However, this effect to the overall sound of the UE 11 Pro is one contributing reason why I prefer JH 11 Pro with its clearer imaging.
The JH 11 Pro’s presentation is slightly more of an inverted “U” soundstage than the UE 11 Pro. With this difference, I detect an increased separation between instruments/vocals on the JH 11 Pro. This could be due to the emphasized marks in the UE 11 Pro’s tonal range, which creates an effect of thicker sound permeating south to north in the stereo image. This “thickness” is wonderful sounding until I compare closer to the JH 11 Pro and listen critically.
Overall, I found the JH 11 Pro to be clearer and more refined than the UE 11 Pro. There are genres of music that may be better suited for either pair, pending the recording or source. The JH 11 Pro works better for more types of music including blues, classical, folk, classic rock, and country. I feel both monitors provide excellent sound but enjoy the JH 11 Pro slightly more with its smoothness and clarity in stereo imaging.
Lastly, everyone hears sound differently and therefore preferences come into play greatly.
[size=small]Scale of marks in Frequency Range . .
High band: 8
Mid band: 9
Low band: 8.5[/size]
[size=small]Breakdown[/size]:
[size=small]Transparency: 9
Soundstage: 8
Stereo imaging: 9
Extension: 8
Impact: 8
Transient attack: 8.5
Ability to scale: 8.5
Smearing of micro-detail: 9.5
Efficiency: 8
Smoothness: 9
Speed, rhythm, and timing: 8
Decay: 9
Clarity: 8.5[/size]
* [size=small]Mean Score: 8.5[/size]
General:
Driver specification: Balanced armatures
Description of driver configuration: Four total: dual low, single mid, single high
Crossover: Integrated 3-way
Impedance: Low
Manufacturer Specifications:
Frequency Response: 10Hz to 17kHz
Input Sensitivity: 119dB at 1mw
Impedance: 18 Ohms
MSRP: $999 plus tax and shipping
Contents/Accessories: JH 11 Pro, cable, tool, personalized travel case (Carbon Fiber), box.
Cost of Impressions: estimated $50
[size=small]A Few Notes on Components .[/size] .
The Melos emphasized marks in the low band and gave more punch to both the UE 11 Pro and JH 11 Pro. The clarity improved with both monitors on the Melos. Also increased was the speed of attack and decay. Both the UE 11 Pro and JH 11 Pro responded considerably to amplification. With the amplification came further exposing of the house sound for each phone. For the JH 11 Pro, this was a bit better than the UE 11 Pro. Sending the Rotel / iMod > Melos > iQube was a beautiful match for both the UE 11 Pro and the JH 11 Pro.
The iQube was a great amp for both UE 11 Pro and JH 11 Pro and drove the monitors the best for my preferences in this study. I thought the iMod > V-Cap Dock > iQube was a superb combo for the UE 11 Pro and JH 11 Pro, as this combo was completely off the grid and the sound quality was phenomenal. However, the Mac Book Pro via optical out > iBasso > iQube was an excellent match too.
When paired with the Mac book Pro, the Pico DAC/Amp was also great pairing with both the UE 11 Pro and JH 11 Pro. I enjoyed the sound from this combo slightly more with the UE 11 Pro.
The Marantz and Sansui both sounded great with the UE and JH monitors, but both of these amps provided a warmer sound to the stereo image that I felt was not my first choice.
The iBasso is very useful tool if you plan to use your computer as a source to drive your UE 11 Pro or JH 11 Pro.
[size=small]Closing Thoughts . [/size].
The emphasis of lower midrange together with the bump in the sub band on the UE 11 Pro also seems to have a truncating effect of image depth. For example, during ‘Come Together’ by the Beatles, the marks in the lower midrange are amplified and create more of a cloud effect that interferes and reaches into the rest of the image.
I prefer the JH 11 Pro and its sound for most genres to the UE 11 Pro. If I could change anything about the JH 11 Pro’s sound, I would reduce the bump in the low band. This would make the JH 11 Pro more neutral. However, when listening straight out of a DAP, this bump in the low band is welcome and evens out to the listener.
[size=small]Equipment used[/size]
Sources:
VPI Aries 3 W/ JMW10.5i Tone arm
D335 Discman
iPod 2G Touch
iPhone 3GS
iRiver H340
RWA iMod 5.5G
Rotel 971 Transport
Mac book Pro (Both Optical and Analog Out tested)
Amps:
Modified Sansui G801
Marantz 2238
iQube
Pico
Modified Melos SHA Gold (both as Pre-Amp and Headphone out)
iBasso D10
Interconnects:
Audience 24
Cryo Twisted Pair
Jena Labs Cryo Ultra Wire
Vampire Wire
Other:
Custom V-Cap Super Dock (2 V-Cap OIMP 4.7uF and 2 V-Cap 0.22 TFTF capacitors running bypass)
[size=small]Music Sampled[/size]
Orff - Carmina Burana – Telarc
The Beatles – Abbey Road - MFSL-1-023
The Beatles – Sgt. Peppers Lonely Hearts Club Band (Mono)
The Beatles - A Collection Of Beatles Oldies..but Goldies - PMC-7016 (UK Parlaphone Mono)
Queen – News of the World - MFSL UDCD588
Led Zeppelin - II - MFSL 1-065 (both as LP and Vinyl Rip>Flac)
Pink Floyd – Wish You Here – Nimbus Supercut 24 Bit SHVL 814 (both as LP and Vinyl Rip>Flac)
Hector Zazou – Lights In The Dark – HDCD
Jimmy Hendrix – Axis (Mono)
Miles Davis - Workin' With The Miles Davis Quintet - DCC CD GZS-1063 (Steve Hoffman)
The White Stripes – Icky Thump (both as LP and Vinyl Rip>Flac)(Steve Hoffman)
Cream - Wheels Of Fire - DCC GZS-1020 (Steve Hoffman)
Franks Sinatra, Dean Martin, Sammy Davis, Jr - The Summit - In Concert - DCC ARZ-102-2 (Steve Hoffman)
John Coltrane - Soultrane - DCC GZS 1046 (Steve Hoffman)
Metallica - Ride The Lightning DCC GZS-1136 (Steve Hoffman)
John Williams - The London Symphony Orchestra - Raiders Of The Lost Ark - - DCC RAIDERS-001 SILVA SCREEN (both as CD and Rip>FLAC)(Steve Hoffman)
Deep Purple - Made In Japan - GZS-1120 (Steve Hoffman)
Bob Dylan - Highway 61 Revisited - DCC GZS-1021 (Steve Hoffman)
Creedence Clearwater Revival - Green River GZS-1064 (Steve Hoffman)
Ray Charles - Genius + Soul = Jazz - DCC DZS-038 (Steve Hoffman)
Crosby, Stills & Nash - Crosby, Stills & Nash - Atlantic 82522-2
John Barbirolli New Philhamonia Orchestra – Mahler No.6 “Tragic” – (Both LP and CD) Angel Records
Fire on Fire - The Orchard - Young God Records
Alison Krauss & Union Station Live - Rounder / UMGD
O Brother, Where Art Thou? – Lost Highway
Tyler Bates – 300 – Warner Bros
Wohceich Killar – Dracula – Sony
Andre Rieu – Flying Dutchman
Andre Rieu – Live in Dublin
Gorden Hempton, The Sound Tracker – Promise – Rainstorm (Binaural)
Solid Brass – Gershwin to Sousa – Joseph Grado (Binaural)
Strauss, Saint-Saëns / Mester, Olivera, Pasadena Symphony – Newport Classic (Binaural)
Shpongle – Nothing Lasts..But Nothing is Lost – Twisted
Dead Can Dance – Aion – 4ad/Wea
[size=small]Additional Resources . [/size].
[size=small]Ultimate Ears 11 Pro [/size]
Ultimate Ears (A Logitech Company)
5 Jenner Street, Ste 100
Irvine, Ca
92618
(p) 800-589-6531
URL:
UE-11 Pro Specification - Products - Ultimate Ears Earphones Headphones Personal Monitors][size=small]UE11 Pro[/size]
[size=small]JH Audio 11 Pro[/size]
JH Audio
1321 Apopka Airport Dr, Unit 143
Apopka, FL
32712
(p) 866-485-9111
URL:
JH AUDIO | Pro Music][size=small]JH11 Pro[/size]
