delenda est Sony
500+ Head-Fier
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Review of Sennheiser HD280s (LONG)
Description: Senns newest set of heavy duty professional closed phones, to be distinguished from the Senn 202s and 212s, which are newer closed phones based on the 4x7 series of open design phones. The 202s and 212s are also lighter than the 280s, less sturdy, less expensive, and intended mainly for use by "laymen". I purchased the 280s at a Virgin Megastore for $99.
Technical: These phones have an impedance of 64 Ohms. Senn makes another version of the 280s, the 280-13s which have a 300 Ohm impedance. Freq range is 8-25,000 Hz. Sensitivity is 102 dB using normal calculation. (Senn cites another sensitivity figure of 113 dB, but this uses their seemingly proprietary calculation method which does not conform to any other manufacturer's numbers.) Weight is 200 grams. Phones are a closed circumaural design, made of sturdy plastic. The phones are foldable (like the V6) and can also be rotated so that the cups lay flat (like Grado SRs). The phone cups can also be rotated outwards in the housing (that one's for you, Gluegun!
)
Senn uses a 3 meter coiled cord, terminating in a gold plated 1/8 " jack with a ¼" gold plated adapter plag supplied. Warranty is two years. An instruction booklet of minimal utility is supplied. No carrying pouch is supplied, a bit of a disappointment as the $55 Sony V6s come with their own pouch. Sennheiser claims a 32 dB reduction of external noise, which seems quite likely given the tight fit and excellent seal between the pads and the ears. All parts are modular and can be replaced, including the single sided cable.
Appearance and Construction: Obvious design inspirations are the Sony V6 and the Beyer 250s. The Senns are a lot bigger than the Sonys, and sized comparably to the 250s. The circumaural pads are thick and comfy, more so than the V6, but less so than the Beyers mainly because the Senns use pleather rather than velour. As can be expected, the pleather does not breathe very well, so Sweaty Ear Syndrome makes its presence felt over time, though less so than in the Sonys, the original ear saunas. The Senns grip your head tightly and may annoy some, but overall I thought these phones were comfortable. The V6s seem sturdier as they use a bit of metal in their construction. The Sonys were also assembled in Japan, which made the battleship Yamato and triumphed over Godzilla on numerous occasions. The Senns on the other hand were made in Ireland, a nation known for making beer and sweaters, and who were soundly thrashed by the effete British on numerous occasions. Make of this what you will… (And I am an Irishman myself, so no squeals of outrage there laddies!
)
Despite some criticism here and elsewhere, I thought build quality was more than sufficient given the phone's price. These were much sturdier than the Senn 202s and even tougher than my $150 Grado SR125s. Beyer 250s may be built a bit better, but they cost at least 50% more than the Senns as well. The plastic was smooth, well finished, and generally confidence inspiring. The coiled cord seemed durable and could be bunched up nicely. These phones border on portability, as they are easily driven and can be folded up. However, they are very large when worn, rather heavy, and not insubstantial when folded, so don't throw away your MX500s. Aesthetics are vastly superior to the 202s and 497s, similar to the Sonys. However, the exotic Sennheiser brand name will lead beautiful women to question you more readily about the phones…heh!
Special Note for the Large Eared: The pads are much bigger on the 280s than on the Sony V6s. Those of you who want circumaural pads, and are worried that your Dumbo flaps won't fit in the Sonys, well, here's your phones, folks.
Sonic Impressions: To summarize quickly, a tad better than the V6, very close to the 250s, at least from my brief memory of auditioning the Beyers. However, shoppers considering the V6 will not want to spend the extra money on these, while those thinking of 250s will not appreciate the somewhat lower build and comfort quality on the Senns.
Testing Material: Sort of an abbreviated mix here, as the Senns were so unsurprising. That's a good thing in this case…
Classical: Beethoven, 3rd Symphony, Harnoncourt, COE// Dvorak, New World Symphony, Dohanyi, Cleveland SO// Kronos Quartet, Black Angels.
Jazz: John Coltrane, A Love Supreme// Dave Brubeck, Take Five
Metal: Tool, Undertow// Opeth, Blackwater Park// Iced Earth, Dark Saga
Electronic: Chemical Brothers, Exit Planet Dust// Lunatic Calm, Metropolis
Vocals: Liz Phair, Exile in Guyville// Tori Amos, Little Earthquakes
Strengths: Have I used the phrase "similar to the V6" yet? No? Well let me start here. These are excellent phones, very well rounded, but are also "classic" closed phones, with a similar sonic sound to the V6s and 250s. The phones are nicely balanced and do well with all types of music. They are precise and analytical, and are never overpowered by sound.
Bass is handled well, with slightly deeper and richer extension than the V6s, but certainly nothing dramatic. The V6s are called warm by some (like me!), bright by others, but that debate should not be an issue here---these cans are undoubtedly warm, very similar to the 250s. Overall though despite this slight coloration, neutrality is not heavily impacted, and the bass never overwhelms the other frequencies.
Midranges are crisp and well-differentiated. Vocals in particular sound very clear and balanced. This is where the Senns are most similar to the Sonys.
Trebles are handled somewhat better than with the Sony V6. The Sonys when pushed with complex high pitched note sequences (i.e. mainly in classical pieces) become a bit brittle and shrill. The Senns are more forgiving and seem far more comfortable at the upper ranges. They could be said to be more musical and less analytical with treble than the Sonys. ( I cannot compare to the 250s here as I did not audition them with any especially treble oriented music.)
Articulation is excellent, quite similar to the Sonys. Soundstage is a bit broader than the V6s, closer to the 250s. Volume out of all sources was more than adequate. The phones were fine with portable devices, but sounded better when driven by a receiver powered jack. Trebles in particular sounded sharper and clearer from a receiver, but as mentioned a portable device will develop most of the 280s potential, say 90%.
Acoustic isolation is excellent. The 32 dB reduction of external noise claimed by Senn seems accurate. The phones also emit very minimal noise to the external environment. In both regards, isolation and silence, the Senns are even superior to the V6s, themselves already exceptional performers in both areas.
Weaknesses: As with all closed cans, the soundstage is not particularly broad. The music also lacks Grados "in your face" presentation, but then these are nor Grados. Overall, no real weaknesses to speak of.
Summary: Senn has built a fine closed headphone which will become infinitely more desirable if and when Sony discontinues production of the V6. Although slightly superior to the V6s in soundstage depth and treble reproduction, the superior quality does not justify paying close to twice the V6s $55 price. Similarly, the 280s cannot mount a credible threat to the reputation of the Beyer 250-80s, as the differences in comfort and build quality/materials will not sway those already inclined to pay Beyer 250 prices. Still, Sennheiser is to be commended for making excellent and relatively affordable closed headphones.
Who should buy these? Headphone obsessives like myself. Sennheiser fans. The Large Eared. And, most likely, those who want an excellent closed headphone who live in parts of the world where it is tough to get the V6, but easier to get Sennheisers.
Special Note 1: These impressions are written after only roughly 20 hours of break-in. I haven't noticed much difference over time, so I am thinking there should not be much drama in terms of radical sonic change as break-in continues. If there is, I'll post an update.
Special Note 2: Many commentators including Jan Meier have had negative impressions of the sonic signature of these. I can only conclude that the rumors of a driver revision before the 280s release in the U.S. is accurate, as I own many phones and can attest that the 280s sound fine, as least as good as the V6. Weak bass, shrill treble etc is just not heard on my set of these phones.
Questions and comments welcome! And Happy St Paddy's Day to all…
Description: Senns newest set of heavy duty professional closed phones, to be distinguished from the Senn 202s and 212s, which are newer closed phones based on the 4x7 series of open design phones. The 202s and 212s are also lighter than the 280s, less sturdy, less expensive, and intended mainly for use by "laymen". I purchased the 280s at a Virgin Megastore for $99.
Technical: These phones have an impedance of 64 Ohms. Senn makes another version of the 280s, the 280-13s which have a 300 Ohm impedance. Freq range is 8-25,000 Hz. Sensitivity is 102 dB using normal calculation. (Senn cites another sensitivity figure of 113 dB, but this uses their seemingly proprietary calculation method which does not conform to any other manufacturer's numbers.) Weight is 200 grams. Phones are a closed circumaural design, made of sturdy plastic. The phones are foldable (like the V6) and can also be rotated so that the cups lay flat (like Grado SRs). The phone cups can also be rotated outwards in the housing (that one's for you, Gluegun!
Senn uses a 3 meter coiled cord, terminating in a gold plated 1/8 " jack with a ¼" gold plated adapter plag supplied. Warranty is two years. An instruction booklet of minimal utility is supplied. No carrying pouch is supplied, a bit of a disappointment as the $55 Sony V6s come with their own pouch. Sennheiser claims a 32 dB reduction of external noise, which seems quite likely given the tight fit and excellent seal between the pads and the ears. All parts are modular and can be replaced, including the single sided cable.
Appearance and Construction: Obvious design inspirations are the Sony V6 and the Beyer 250s. The Senns are a lot bigger than the Sonys, and sized comparably to the 250s. The circumaural pads are thick and comfy, more so than the V6, but less so than the Beyers mainly because the Senns use pleather rather than velour. As can be expected, the pleather does not breathe very well, so Sweaty Ear Syndrome makes its presence felt over time, though less so than in the Sonys, the original ear saunas. The Senns grip your head tightly and may annoy some, but overall I thought these phones were comfortable. The V6s seem sturdier as they use a bit of metal in their construction. The Sonys were also assembled in Japan, which made the battleship Yamato and triumphed over Godzilla on numerous occasions. The Senns on the other hand were made in Ireland, a nation known for making beer and sweaters, and who were soundly thrashed by the effete British on numerous occasions. Make of this what you will… (And I am an Irishman myself, so no squeals of outrage there laddies!
Despite some criticism here and elsewhere, I thought build quality was more than sufficient given the phone's price. These were much sturdier than the Senn 202s and even tougher than my $150 Grado SR125s. Beyer 250s may be built a bit better, but they cost at least 50% more than the Senns as well. The plastic was smooth, well finished, and generally confidence inspiring. The coiled cord seemed durable and could be bunched up nicely. These phones border on portability, as they are easily driven and can be folded up. However, they are very large when worn, rather heavy, and not insubstantial when folded, so don't throw away your MX500s. Aesthetics are vastly superior to the 202s and 497s, similar to the Sonys. However, the exotic Sennheiser brand name will lead beautiful women to question you more readily about the phones…heh!
Special Note for the Large Eared: The pads are much bigger on the 280s than on the Sony V6s. Those of you who want circumaural pads, and are worried that your Dumbo flaps won't fit in the Sonys, well, here's your phones, folks.
Sonic Impressions: To summarize quickly, a tad better than the V6, very close to the 250s, at least from my brief memory of auditioning the Beyers. However, shoppers considering the V6 will not want to spend the extra money on these, while those thinking of 250s will not appreciate the somewhat lower build and comfort quality on the Senns.
Testing Material: Sort of an abbreviated mix here, as the Senns were so unsurprising. That's a good thing in this case…
Classical: Beethoven, 3rd Symphony, Harnoncourt, COE// Dvorak, New World Symphony, Dohanyi, Cleveland SO// Kronos Quartet, Black Angels.
Jazz: John Coltrane, A Love Supreme// Dave Brubeck, Take Five
Metal: Tool, Undertow// Opeth, Blackwater Park// Iced Earth, Dark Saga
Electronic: Chemical Brothers, Exit Planet Dust// Lunatic Calm, Metropolis
Vocals: Liz Phair, Exile in Guyville// Tori Amos, Little Earthquakes
Strengths: Have I used the phrase "similar to the V6" yet? No? Well let me start here. These are excellent phones, very well rounded, but are also "classic" closed phones, with a similar sonic sound to the V6s and 250s. The phones are nicely balanced and do well with all types of music. They are precise and analytical, and are never overpowered by sound.
Bass is handled well, with slightly deeper and richer extension than the V6s, but certainly nothing dramatic. The V6s are called warm by some (like me!), bright by others, but that debate should not be an issue here---these cans are undoubtedly warm, very similar to the 250s. Overall though despite this slight coloration, neutrality is not heavily impacted, and the bass never overwhelms the other frequencies.
Midranges are crisp and well-differentiated. Vocals in particular sound very clear and balanced. This is where the Senns are most similar to the Sonys.
Trebles are handled somewhat better than with the Sony V6. The Sonys when pushed with complex high pitched note sequences (i.e. mainly in classical pieces) become a bit brittle and shrill. The Senns are more forgiving and seem far more comfortable at the upper ranges. They could be said to be more musical and less analytical with treble than the Sonys. ( I cannot compare to the 250s here as I did not audition them with any especially treble oriented music.)
Articulation is excellent, quite similar to the Sonys. Soundstage is a bit broader than the V6s, closer to the 250s. Volume out of all sources was more than adequate. The phones were fine with portable devices, but sounded better when driven by a receiver powered jack. Trebles in particular sounded sharper and clearer from a receiver, but as mentioned a portable device will develop most of the 280s potential, say 90%.
Acoustic isolation is excellent. The 32 dB reduction of external noise claimed by Senn seems accurate. The phones also emit very minimal noise to the external environment. In both regards, isolation and silence, the Senns are even superior to the V6s, themselves already exceptional performers in both areas.
Weaknesses: As with all closed cans, the soundstage is not particularly broad. The music also lacks Grados "in your face" presentation, but then these are nor Grados. Overall, no real weaknesses to speak of.
Summary: Senn has built a fine closed headphone which will become infinitely more desirable if and when Sony discontinues production of the V6. Although slightly superior to the V6s in soundstage depth and treble reproduction, the superior quality does not justify paying close to twice the V6s $55 price. Similarly, the 280s cannot mount a credible threat to the reputation of the Beyer 250-80s, as the differences in comfort and build quality/materials will not sway those already inclined to pay Beyer 250 prices. Still, Sennheiser is to be commended for making excellent and relatively affordable closed headphones.
Who should buy these? Headphone obsessives like myself. Sennheiser fans. The Large Eared. And, most likely, those who want an excellent closed headphone who live in parts of the world where it is tough to get the V6, but easier to get Sennheisers.
Special Note 1: These impressions are written after only roughly 20 hours of break-in. I haven't noticed much difference over time, so I am thinking there should not be much drama in terms of radical sonic change as break-in continues. If there is, I'll post an update.
Special Note 2: Many commentators including Jan Meier have had negative impressions of the sonic signature of these. I can only conclude that the rumors of a driver revision before the 280s release in the U.S. is accurate, as I own many phones and can attest that the 280s sound fine, as least as good as the V6. Weak bass, shrill treble etc is just not heard on my set of these phones.
Questions and comments welcome! And Happy St Paddy's Day to all…
