Sorry for taking so long to get back with you guys about the new Shures. CES--and what felt like the many strains of flu I caught while there--got in the way.
Okay, here's what I think of the new Shure SRH1840 and SRH1440, in bullet points:
- First of all, I am not a fan of the Shure SRH940. I've had it since it was pre-production, but it never grew on me. Why? I find the SRH940 to be too tipped-up in the treble, too light in the bass. I can take a little above-neutral treble, but, at that point, for me, it better be presented without any edge to it whatsoever. To my ears, this wasn't done with the SRH940--the treble, tipped up as it is, is also edgy to me. I much prefer the Shure SRH840, which I am a big fan of, and frequently recommend. In short, I was not looking or hoping for an open-back SRH940 with either of the new headphones.
- The Shure SRH1840 is a headphone I like a lot, but I want to be clear on what it is (to my ears), so that you can decide (as much as is reasonably possible from someone else's words) if it's even something you should have on your list of candidate headphones in this price range.
- I am not a pro audio guy, but I can see how the SRH1840 might find its place in a studio environment. In some ways, from the mids through the treble, it reminds me of my Ultimate Ears In-Ear Reference Monitor, which is supremely neutral sounding to me. No, the SRH1840 isn't neutral like the Ultimate Ears IERM--its treble is pushed too far north for that--but it does convey (like the IERM) a lot of midrange and treble detail. As I said earlier, a little above-neutral treble is a flavor I can find favor with (when the mood's right), but it has to be edge-free; and, unlike its closed counterpart (SRH940), the SRH1840 does a good job of this. This is a headphone with brightish tendencies, but it's a headphone I've had for several months, and it has a certain zest I like to turn to from time to time.
- The SRH1840 images very well. It's one of my favorite things about this headphone.
- The SRH1840's bass is maybe its most significant weakness to me, especially accompanied by its forward treble tilt. It could use more thickness, more impact through the lows. I wouldn't characterize the bass as anemic, but it's south of neutral; and neutral through the bass is, for my tastes, the absolute minimum amount I need to work toward ideal.
- The SRH1840's headband suffers from the Shure Teletubby headband syndrome--that is, it's huge on the head, and makes me look like some sort of Teletubby character. As with other Shure over-ears, the headband extensions (the yokes) pull out more to the side than just straight down, and results in the headphone's weight sitting more on top of my head than I think it should (as opposed to better distributing the weight by hugging the radius of my head). The bigger your head, the more you're likely to feel the weight on top of it. With more of the support happening right at the top of my head, I'd have preferred one larger, flatter headband pad than the two narrow ones that come on the SRH1840's split headband.
- The velour earpads are very comfortable on my ears.
- Whereas I reach for the SRH1840 purely for listening pleasure from time to time, I do not reach for the SRH1440 that way. Why? For many of the same reasons I don't reach for the SRH940. No, the SRH1440 doesn't sound exactly like a closed SRH940, but it has enough in common with it--particularly in terms of treble stridency and not enough weight in the bass--to exclude it from my pleasure listening arsenal.
Again, I very much enjoy the Shure SRH1840, but the SRH1440 leaves me cold. As much as I enjoy the SRH1840, though, it may end up being
a tough sell at $700 for a lot of people.