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GUIDE TO EarphonEs & Custom-fit

in-Ear monitors

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Earphones & Custom-Fit In-Ear Monitorscontents

Introduction

Headphone Buying Tips from Playback:

What Buyers Need to Know About Universal-Fit Earphones What Buyers Need to Know About Custom-Fit In-Ear Monitors

On the Horizon: New Earphones Headed Our Way

UNIvErsAl-FIT EArpHONEs UNdEr $100

Apple In-Ear HeadphonesAudio-Technica ATH-ANC23Denon AH-C551NuForce NE-700X & NE-700MJays a-JAYS ThreeKlipsch Image S4iKoss KDX200 SilverKoss KDX300 GoldSennheiser CX300-IISkullcandy Smokin’ BudsSkullcandy TitanSkullcandy FMJUltimate Ears UE600Yurtopia Yurbuds

UNIvErsAl-FIT EArpHONEs $100–$300Beats By Dr. Dre TourEtymotic Research hf2Etymotic Research ER-4PFuture Sonics AtrioHiFiMAN RE-262Monster Cable TurbineMonster Cable Turbine Pro GoldPhiaton PS200Phiaton PS210iPhiaton PS20 NCPhonak Audeo PFE 122

UNIvErsAl-FIT EArpHONEs $300 ANd UpKlipsch Image X10iMonster Cable Turbine Pro CopperMonster Cable Miles Davis TributeSennheiser IE 7Sennheiser IE 8Shure SE535Ultimate Ears TripleFi 10Westone TrueFit 4

CUsTOM-FIT IN-EAr MONITOrsJH Audio JH16 PROSensaphonics 2MAXUltimate Ears In-Ear Reference MonitorsWestone ES5

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EDITORIAL pUBlIsHEr Jim Hannon

EdITOr-IN-CHIEF Chris Martens

sENIOr EdITOrTom Martin

GUIDE TOEarphonEs & Custom-fit in-Ear monitors


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cREATIvE CrEATIvE dIrECTOr Shelley Lai

prOdUCTION MANAgEr Aaron Chamberlain

dEsIgNEr Mikki Bullock

cORpORATE OffIcE NEXTsCrEEN, llC, INC. CHAIrMAN & CEO Tom Martin

vp/grOUp pUBlIsHEr Jim Hannon

ADvERTIsIng AdvErTIsINg rEps Cheryl Smith(512)-891-7775

Marvin LewisMTM Sales(718)-225-8803

Scott Constantine(609)-275-9594

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While some might regard earphones as interchangeable, garden-variety appliances, Playback begs to differ. Our position is that earphones, though admittedly small, are very significant pieces of audio equipment that can make a huge difference in terms of sound quality and comfort. If you’re interested in earphones at all, we believe it’s worth taking some extra time to make discerning, well-informed choices, which is what this Guide aims to help you do. Few other investments can bring music lovers more enjoyment per dollar than a well-chosen set of earphones.

This Guide focuses primarily on Universal-Fit Earphones (or “in-ear headphones”), but also touches on more exotic and specialized Custom-Fit In-Ear Monitors. To help you get started, we provide two important background articles:

• “What Buyers Need To Know About Universal-Fit Earphones”• “ What Buyers Need To Know About Custom-Fit In-Ear

Monitors”

Next, we provide a wide-ranging survey article, “On the Horizon: New Earphones Headed Our Way”, to help you keep abreast of new developments in our industry.

Universal-Fit Earphones are available at many different price points and typically are sized and shaped to fit a wide range of listeners. As a rule they also come with multiple sizes or types of eartips in order to help you achieve a good, comfortable fit. This Guide covers three classes of universal-fit earphones:

• Models Priced Under $100 (15 models reviewed)• Models Priced From $100 to $300 (11 models reviewed)• Models Priced Above $300 (8 models reviewed)

Custom-Fit In-Ear Monitors feature, as their name suggests, earpieces that are custom molded to fit the exact contours of the owner’s ears. They also typically provide exotic, high-performance driver arrays and pay close attention to the fine points of sound reproduction. In short, these are the Ferraris, and Lamborginis of the earphone world. Our Guide takes a close look at four representative models.

We hope you have as much fun reading this Guide as we did preparing it, and that it takes you forward in your quest for better sound. Enjoy.

Chris Martens, Editor, Playback

Welcome to the Playback Guide to Earphones & Custom-Fit In-Ear Monitors. Let us

tell you right up front that this Guide has been created by and for people who are

passionate about music and who want to make the most of their listening experiences.

InTRODUcTIOn



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HEADpHOnE BUyIng TIps fROm Playback What Buyer’s Need to KNoW aBout uNiversal-Fit earphoNes

Most of us are familiar with the ubiquitous “earbuds” that come with most personal digital music players and some cell phones. You know the ones I’m referring

to: they’re small, button-shaped devices that fit loosely in your outer ear and that let you listen to music with, to be generous, some fidelity, but not nearly as much as you might want.

In simple terms, this Guide is all about exploring sonically superior alternatives to box-stock, el cheapo earbuds—alternatives that take the form of universal-fit in-ear headphones (or earphones, for short). So, let’s begin with the first and most important question.

What Makes Universal-Fit earphones Better than Garden-variety earBUds?Answer: Better Drivers = Better SoundAlmost all universal-fit earphones use drive units that are superior to those found in stock earbuds. Better in what ways? Better in terms of frequency response, transient speed, resolution, detail, and dynamics.

As you get more involved in the hobby, you’ll discover that some earphones use dynamic “moving coil”-type drivers that can be thought of as miniaturized versions of the dynamic

drivers found in most high-performance loudspeakers. Other earphones, typically higher-end models, use “balanced-

armature”-type drivers that are thought to be capable of even higher levels of sonic purity, detail, and resolution.

Finally, some of the more expensive high-end models use multiple driver arrays, with dedicated bass drivers (“woofers”), midrange drivers, and high-frequency drivers (“tweeters”)—again, driver arrays that are much like the ones you might find in high-performance loudspeakers.

Answer: Better Sound Isolation = Less Noise, More Music One huge (and we do mean HUGE) difference between high performance earphones and garden-variety earbuds is that earphones are invariably equipped with specialized eartips that are designed to form a comfortable but airtight seal in the

Chris Martens

Westone’s TrueFit 4 is a three-way, four-driver universal fit earphone



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wearer’s ear canals. A good airtight seal gives three essential benefits whose significance cannot be overstated.

Noise Isolation: A good airtight seal helps block out a tremendous amount of environmental noise, so that you can really hear what the music sound likes—without background noise polluting the experience. (Hint: Even seemingly quiet environments are noisier than you might think.).

Better driver performance: The airtight seal enables the earphone’s drivers to couple with your eardrums in a precise way, foster dramatic improvements in perceived frequency response—especially at the bass end of the audio spectrum.

A personalized Fit: Eartips can be made of a variety of materials (soft rubber, silicone, hybrid silicone-gel materials, or compressible foam), each of which has different properties in terms of noise isolation and wearer comfort. The objective, always, is to get an airtight seal, but without putting too much (or too little) pressure on your ear canals.

Makers of universal-fit earphones recognize that one size doesn’t fit all. For this reason, universal fit earphones often come with eartips that are offered in a wide range of shapes and sizes, allowing users to seek out a customized, personalized fit (which is where the term “universal-fit” really comes into play).

The point is that universal-fit models give users options, where the goal is to achieve an airtight seal (necessary for optimal sound) and a fit that remains comfortable even for longer listening sessions.

What neW developMents shoUld i knoW aBoUt?Answer: Combo Earphone/Headsets Are Becoming Increasingly Popular As more and more listeners choose high-performance, music-capable cellphones as their personal music players of choice, earphone makers have responded by offer combination

earphone/headsets. At a bare minimum, these provide small, inline microphone/remote modules with simple, basic “call send/end” switches. More elaborate models provide additional remote control functions, with some in particular including the Apple-standard 3-button remote control functions.

Answer: Models with High-End Multi-Driver Arrays Are Increasingly Common Once the almost exclusive province of costly custom-fit in-ear monitors, exotic multi-driver arrays are now more commonly seen in today’s best universal-fit earphones. The upshot: increasingly sophisticated sound and muscular dynamic capabilities.

Answer: Some “Universal-Fit” Earphones Now Offer Options for Slip-On Custom-Molded Eartips In an effort to match some of the benefits of custom-fit in-ear monitors, some makers of universal-fit earphones now offer programs where owners can order custom-molded, custom-fit, slip-on eartips to use in place of standard universal-fit eartips.

Naturally, this process means listeners must first have earmold impressions taken (see “What Buyer’s Need to Know About Custom-Fit In-Ear Monitors” for details), and then wait for their custom eartips to be manufactured. The benefits include superior sound isolation and a one-of-a-kind fit that can’t be beat (at least not with garden variety universal-fit eartips).

Combo earphone/headsets feature tiny inline mic/remote modules like the one shown here.

Shure’s SE425 fits three tiny balanced-armature drivers inside each ear earpiece.




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What QUalities shoUld i look For in Universal-Fit earphones?

Answer: Accurate, Neutral Tonal BalanceSome people argue that the frequency response curves of earphones are like flavors of ice cream: you just find one you like and then stick with it. Playback, however, takes a very different position. We believe that, all other things being equal, you are better off with earphones that offer neutral tonal balance, where bass, mids, and highs are smoothly and evenly balanced—with no one frequency region given too much or too little emphasis. In this way, the earphone becomes like a perfectly clear pane of glass, giving you an honest, uncolored view of the music exactly as the musician/record producer intended it to be heard.

The trouble with the “flavor-of-the-month-club” approach to tonal balance is that whatever sonic coloration you choose to embrace will be applied to all types of music, whether the coloration complements the music or not.

Example: We know of some listeners who claim to prefer earphones that offer a “bass heavy” sound. While this choice might work for some types of music, imagine what happens if the listener decides to explore, say, music that highlights violins or soprano voices. Suddenly, the once-preferred “bass heavy” sound seems very, very wrong (there is no such thing as a “bass-heavy soprano”)—and totally inappropriate. The same could be said for any other type of pronounced sonic coloration.

In short, we believe you should be able to choose your own music as you see fit, without your earphones dictating terms as to the types of material they will or won’t reproduce. This is why we advocate choosing headphones that give a more neutral and unbiased presentation, and that can therefore “do all things well.”

Answer: Clarity, Detail, Definition, and Transient SpeedMany years ago the legendary audio journalist Harry Pearson (founder of our sister magazine, The Absolute Sound) developed a language for describing the performance of audio components, wherein Mr. Pearson often drew apt comparisons between the sound of components and photographic images.

Just as the eye can tell the difference between the indistinct, low-contrast images produced by cheap, low-quality cameras and the sharp, richly detailed images produced by high-resolution cameras, so too the ear can discern the difference between the murky sounds produced by low-quality earbuds and the crystal-clear, well defined sounds produced by high-quality earphones.

We encourage you to listen closely to transient sounds and the beginnings and endings of notes. Are the edges of sounds clearly defined, yet unexaggerated? Can you hear subtle reverberations as sounds decay? Is the impact of sounds presented in a clear, lifelike way, or does the sound seem congested and imprecise?

Also think carefully about the textures, details and definition

of the sounds you are hearing—almost as you would analyze a photographic image. Is everything sharply focused, as it should be? Are sonic textures clearly presented?

For example, do your earphones enable you to tell whether the stringed instrument you are listening to is a violin, a viola, or perhaps even a cello? Can your earphones differentiate the sound of, say, an English horn from that of an oboe or a clarinet? How about revealing the differences between acoustic and electronic drum kit, or the signature sound of a Fender Stratocaster electric guitar versus a Gibson Les Paul? The more clearly your earphones resolve subtle textural and tonal differences between instruments, the easier it is to answer such questions.

Answer: Large and Small-Scale Dynamics Ideally, high performance earphones should be able to reproduce soft sounds very clearly, yet also able to handle large scale dynamic swells (for example, a crescendo in a large orchestral work) without distortion or distress. But there is also more to musical dynamics than simply being able to play very loudly or softly or to deliver what some audiophiles call “macrodynamics”.

We also seek earphones that can capture extremely subtle variations in dynamic emphasis. Examples might include moments where a singer gives just a bit more energy to a particular lyric within a song, or to a particular word within a




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phrase, in order to give it greater emphasis and weight. Similarly, an instrumentalist might vary the attack for a given note or rhythmic pattern, or apply vibrato to control the way a given note sustains (or not). When it comes to dynamics, small variations (or what some audiophiles call “microdynamics”) can be every bit as important as large ones.

We encourage you, wherever possible, to seek out earphones that are dynamically expressive and lifelike—this in contrast to those that sound“homogenized,” compressed and comparatively lifeless.

Answer: Comfort, Ease of Use, and A Good, Airtight SealWe’d love to be able to tell you all universal-fit earphones are equally comfortable and able to achieve a good airtight fit in most wearers’ ears, but this isn’t really the case.

The fact is that there are very significant differences in size and shape between earpieces (that is, the physical housings for the earphone’s drivers and other circuitry) and—

especially—between various types of eartips. Some earpiece designs seem easy for a broad range of listeners to fit properly, while others are comparatively finicky and tricky to fit. Similarly, some earphones come with a broad array of eartips to choose from (maximizing the likelihood that one set or another will be right for you), while others offer only very limited choices that may or may not work well.

Understand this: if the earphone does not achieve a good, airtight seal in your ear canals, then it will never sound good. Period. Getting a good seal is not just a “nice idea;” it is essential if you care about sound quality.

Also remember this: if an earpiece seems difficult to handle or to insert properly, or if it simply “feel weird” once it is inserted, then odds are that you either won’t use the earphones much in the first place or will find them uncomfortable in the long run. Go for comfort, always.

Answer: Good Value for MoneyIn a perfect universe, there would be a direct correlation between earphone pricing and performance, but in practice this isn’t always the case. In fact, in terms of pure enjoyment per dollar, some of today’s best budget and mid-

priced models arguably offer listeners maximum bang for their bucks.

Does this mean premium-priced models are a rip-off? No, not at all. It’s just that sonic improvements become increasingly expenisve to achieve the further up the performance ladder you seek to climb (this is true in virtually all areas of high-end audio). A wise audiophile once said that getting 85% of the way toward your sonic goals is typically pretty inexpensive;

it’s the last 15% of the curve where costs really start to mount up.

This said, we observe that in every price bracket there are certain models that seem to give listeners a little “something extra” for their money, and we naturally encourage you to seek those products out.

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If you’ve watched many live music events on television, you’ve probably seen musicians wearing custom-fit in-ear monitors as they perform on stage. This makes perfect

sense, since custom-fit monitors were first developed with the needs of working musicians in mind, where the goal was to let musicians monitor the subtlest aspects of their own performances and at sensible volume levels. These days, however, custom-fit monitors are no longer just for musicians; discerning music lovers of all stripes have discovered their unique benefits.

In simple terms, custom-fit in-ear monitors are specialized, high-performance in-ear headphones whose drivers are mounted within custom-molded earpieces that fit the exact contours of the listener’s ears. Unlike universal-fit earphones, where the idea is for one product to accommodate the needs of many users, custom-fit monitors are designed to fit one and only one person: you.

Manufacturers of custom-fit monitors rightly regard them as flagship products, so that they typically equip their monitoring products with the highest performance driver arrays they know how to make. It is also becoming increasingly common to see monitor makers offer ranges of custom-fit models, with some geared primarily for onstage use, and others intended more for listening to recorded music (though there certainly can be overlap between these two camps).

Onstage models sometimes provide deliberately skewed frequency response curves shaped with an eye toward cutting through the onstage din of live performances, while models geared for listening to recorded music or for studio monitoring applications typically provide more accurate and neutral voicing (all of the custom-fit monitors reviewed in this Guide make an effort to provide accurate sound).

But here’s the bottom line: Custom-fit in-ear monitors represent the Ferraris and Lamborghinis of the in-ear headphone universe. In-ear sound just doesn’t get much better than this.

CUstoM-Fit in-ear Monitors: What’s the appeal?Answer: State-of-the-Art In-Ear SoundIf you’ve read our article entitled “What Buyers Need to Know About Universal-Fit Earphones”, please realize that custom-fit monitors offer many of the same benefits, but taken up to the next level of performance.

In discussing universal-fit models we said “better drivers = better sound,” and that is definitely the case with custom-fit models. While the overwhelming majority of universal-fit

earphones use just one driver per earpiece, it is common to see custom-fit in-ear monitor maker equip their products with sophisticated and surprisingly elaborate multi-driver arrays.

For example, the simplest of the custom-fit monitors reviewed in this Guide uses a two-way, two-driver array. Other reviewed monitors include one with a three-way/three-driver array, another with a three-way/five-driver array, and yet another with—get this—a three-way/eight-driver array. As you can imagine, custom-fit monitors are true marvels of miniaturization.

We don’t mean to suggest by these comments that “more drivers” automatically equate with “better sound,” but rather we want to give you some idea of the extreme lengths to which monitor makers will go in pursuit of sonic excellence. Driver specialization, however, is only part of the sonic equation, since custom-fit monitors also provide incredibly quiet listening environments that let you hear all the performance those exotic driver arrays have to offer.

Answer: A More Detailed and Revealing SoundBear in mind that today’s best custom-fit models have evolved out of a requirement for listening devices sufficiently revealing for even finicky musicians to reliably use them to judge the finer points of their own live performances (something good musicians do not take lightly). Perhaps for this reason, custom-fit monitors have traditionally worked to provide a more detailed and nuanced sound than even the most expensive universal-fit earphones can provide.

It helps, too, that custom-fit monitors are generally regarded as professional-grade products where the emphasis is on rising up to meet extremely high performance standards, not on limiting construction costs in hopes of meeting a low price point. As a result, designers enjoy the freedom to specify

Chris Martens

JH Audio’s JH 16 prO uses a three-way/eight-driver array—the most elaborate array offered in any current production in-ear monitor

HEADpHOnE BUyIng TIps fROm Playback What Buyer’s Need to KNoW aBout Custom-Fit iN-ear moNitors


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exotic driver arrays and other high-quality parts that would in all likelihood prove prohibitively expensive for use in consumer grade earphones. But happily the sonic ends justify the means, so that today’s best custom-fit monitors offer truly exceptional levels of accuracy and overall sound quality.

Answer: State-of-the-Art Noise Isolation When listeners get their first taste of custom-fit in-ear monitors, one common reaction is for them to say, “I can’t believe how quiet these things are,” quickly followed by the comment that, “now I can really hear everything going on in the music.” And it’s true. Playback’s experience has been that custom-fit monitors provide markedly quieter listening environments than even the best universal-fit earphones do—so that, perhaps for the first time, it becomes feasible to listen to music even in quite noisy environments (e.g., the interiors of airliners in flight, etc.).

But what’s interesting is that the sonic benefits don’t stop there, because even when used in relatively quiet environments custom-fit monitors reduce the “noise floor” further still. Thus, it becomes easy to hear extremely low-level sonic details in music that might otherwise be washed away by, say, the barely audible

“whir” of an AC fan or the whisper of car tires from the street outside. With custom-fit monitors, listeners quickly grasp that superior noise isolation is a profound sonic gift—one that keeps on giving.

Answer: The Most Personalized Fit PossibleNothing else quite matches the fit and feel of custom-fit in-ear monitors, since their earpieces closely match the shapes of earmold impressions taken directly from your ears. Note, though, that this does not mean all custom-fit monitors feel the same to wear. Each manufacturer uses subtly different techniques for transferring earmold impressions to the final set of earpieces, and many specialize in using specific materials (or combinations of materials) for crafting their earpieces. As a result, you will see variations in fit and feel in monitors from

developed in collaboration with Capitol records engineers, the Ultimate Ears In-Ear reference Monitor is suitable for professional studio monitoring applications

sensaphonics’ 2MAX provides the quietest listening environment of any earphone Playback has ever tested—including models with active noise-cancellation

Westone’s ES5 monitors use solid acrylic for the outer earpiece shell, with tips made of a thermally-sensitive ‘soft-feel’ material that conforms to the shape of your ear canals




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different manufactures. But even so, the norm is for custom-fit monitors to achieve better noise isolation and a more comfortable fit than even the best universal-fit models can provide.

But certain points apply in common to all custom-fit monitors we have tested. First, unlike universal-fit earphones that use various sizes of eartips to achieve an airtight seal in the wearer’s ear canals, custom-fit monitors provide earpieces that typically fill the entire lower third (or half) of the wearer’s outer ears and that extend a moderate distance into the ear canals. The result is a fit that gently makes contact with the whole ear—not a fit that relies on a tight seal within the ear canal alone. While the physical sensations of wearing custom-fit monitors can admittedly seem unusual at first (because we are unaccustomed to having a significant portion of our ears filled with noise-blocking materials), they are by no means unpleasant. If anything, Playback has found that the longer you wear custom-fit monitors, the more comfortable they feel.

This said, we should point out that there is a bit of a “learning curve” to climb when first inserting custom-fit monitors in your ears (the insertion process initially can seem a little awkward). But after a few trial-and-error attempts, the procedure becomes second nature, with veteran users reporting that their monitors seem almost to “snap” into place. The result is much like having the proverbial “cone of silence” descend, leaving listeners to savor their music free from outside distractions.

What neW developMents shoUld i knoW aBoUtAnswer: Reasonably Priced Entry-Level Custom-Fit Monitors Are HereWell aware that the cost of entry to the custom-fit world can be prohibitive for some listeners, makers of custom-fit monitors have begun to produce entry-level custom-fit models that

are—get this—designed to underprice many of today’s top-tier universal-fit earphones

Answer: Pushing the Performance Envelope with DSP-Controlled Active Crossovers and AmplifiersIf you study some of the top-tier custom-fit monitors reviewed in this Guide you might reasonably conclude that there’s really not much further they can go in terms of driver sophistication and miniaturization. What, then, is the next frontier?

JH Audio gives us what may be a glimpse of the future with its new JH-3A DSP-controlled active three-way crossover and tri-amplification module, which will be offered as a retrofit for existing top-tier JH Audio monitors. There is, however, one

catch; in-order to use the JH-3A module, the monitors must be rewired and have their current passive crossover networks removed, so that once modified for use with the JH-3A there’s no going back. But for some the promised performance benefits, which include essentially perfect phase and frequency response, will be well worth the costs.

What QUalities shoUld i look For in CUstoM-Fit Monitors?Answer: The same sonic qualities apply for custom-fit monitors as for universal-fit earphones—but with higher performance standards applied.

• Accurate, Neutral Tonal Balance• Clarity, detail, definition, and Transient speed• large and small-scale dynamics

Westone’s new entry-level AC1 custom-fit monitor will sell for a manageable $299—less than many high-end universal-fit models.

later this year, JH Audio plans to offer special versions of its top-tier custom-fit monitors that will use the sophisticated JH-3A dsp-controlled active crossover/tri-amplifier modules shown here.




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Answer: A Great Fit with Superior Noise IsolationCustom-fit in-ear monitors are expensive, luxury products that are essentially hand-made just for you. Therefore you can and should expect:

•A superb Fit: If you are not 100% satisfied with the fit of your monitors, contact the manufacturer to request an adjustment. Most reputable monitor makers are willing to rework the earpieces of your monitors as necessary, to help correct any problems with fit that you may encounter.

•Customization Options: Many monitor makers offer custom appearance options for their monitors (though the materials some manufacturers use do not allow this). Options can include custom colors, graphics, and—the sky’s the limit.

•Help with getting Earmold Impressions Taken: Monitor makes can refer you to qualified local service providers who can take your earmold impressions.

•personalized service: Most good monitor makers will be happy to provide advice regarding headphone amplifiers and other accessories you may require

CUstoM-Fit Monitor FaQs

Question: Is there any way to try custom-fit monitors before making a purchase decision?

Answer: Some manufacturers have developed special “demo only” universal-fit versions of their custom-fit monitors, which you can try out at trade shows. This is, of course, an imperfect process since you can’t know exactly how a given model will sound until you hear it with your own custom-fit earpieces. Even so, demo-only models give you a good idea of the performance capabilities of the monitor’s driver array.

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playback publisher Jim Hannon having earmold impressions taken.



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WHAT BUyERs nEED TO KnOW ABOUT Custom-Fit iN-ear moNitors

Question: How can I arrange to meet monitor manufacturers? Answer: If you wish to meet with monitor manufacturers face to face, Playback strongly encourages you to attend one of the popular Can-Jam events produced by our friends at www.head-fi.org. Can-Jam events are veritable gold mines of information for listeners interested in headphones.

Question: What’s involved in having earmold impressions taken?

Answer: The process varies somewhat from manufacturer to manufacturer, but a general outline is as follows:

•Step 1 (see photo, previous page): The service provider examines your ears and, if necessary, recommends a thorough cleaning prior to taking the earmold impressions. Then, the service provider inserts small, tight fitting felt or foam plugs in your ear canals. The plugs typically have long threads attached, which will be used later on to help release the finished earmold impressions from your ears.

•Step 2 (see photo, previous page): Some, but not all, service providers will ask you to bite down on specialized “bite-block” whose purpose is to hold your jaws open slightly as the earmold impression is taken.

•Step 3 (see photo, previous page): The service provider prepares mold compound, which is a thick, viscous material with roughly the consistency of soft putty.

•Step 4 (see photo, previous page): The service provider carefully injects mold compound into your ear canals and outer ears.

•Step 5 (see photo, previous page): The service provider will ask you to wait quietly for about five minutes as the mold compound cures. Once cured, the mold compound solidifies into a firm, but not rock-hard, material with about the same consistency of foam rubber that has a bit of “give.”

•Step 6 (see photo, previous page): The service provider pulls gently on the release strings (as mention in Step 1, above) and carefully removes the finished earmold impressions from your ears. Finally, the service providers does a careful inspeciton to make sure your ear canals and outer ears are clear.

•That’s all there is to it...

Question: What do earmold impressions cost?

Answer: Prices range from about $50 (for both ears) on up. Some manufacturers will let you use the do-it-yourself earmold impression kits now available, require that impressions be taken by professional service providers.

Note: One benefit of meeting with monitor manufacturers at trade shows is that some make of point of having audiologists present to take your earmold impressions. This service is often offered free of charge provided you order your new monitors at the show.

Question: Does it hurt to have earmold impressions taken? Answer: No, though you may feel a bit of pressure when your service provider installs the blocking plugs at the beginning of the process.

Question: Do custom-fit in-ear monitors really provide better sound isolation than today’s best universal-fit earphones? Answer: Yes, and by a not subtle margin.

Question: Do custom-fit in-ear monitors provide noticeably better sound quality than today’s best universal-fit earphones?

Answer: Today’s finest universal-fit models are getting close to “parity” in terms of driver quality, though we would still give the performance nod to the driver arrays found the best custom-fit monitors.

Bear in mind, however, that differences in sound quality you’ll hear derive partly from superior driver technologies, but also from the superior noise isolation that custom-fit

earpieces provide. It’s the powerful, synergistic combination of better driver arrays plus superior earpiece technology that really sets custom-fit monitors apart.



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on the horizon: new earphones & in-ear monitors headed our wayChris Martens

Audio-Technica ATH-ANC23 www.audio-technica.com Type: Noise-Cancelling Universal-Fit Earphone (reviewed in this Guide)The Audio-Technica in-ear ATH-ANC23 QuietPoint active noise-cancelling (ANC) earphone blocks up to 90% of external noise and features both silicone eartips (sizes S, M, and L), plus Comply memory foam eartips that form to the shape of the ear canal for superior comfort and audio quality.

Designed for clear, natural sound, the ATH-ANC23 (MSRP: $99.95; MAP: $79.95) has a handy in-line volume control, and its audio functions in passive mode even if the batteries run out. The ATH-ANC23 is compatible with the Apple iPod, iPhone and iPod touch, and comes with a carrying bag and accessories. (Available in March 2011).

Beyerdynamic DTX 101iE www.beyerdynamic-usa.com Type: Universal-Fit EarphoneThe new DTX 101iE in-ear headphone combines superb sound quality and elegant design with excellent ambient noise attenuation for a spectacular listening experience. Do not be fooled by its compact design; the neodymium magnet-equipped acoustic drivers deliver a striking audio performance. The DTX 101iE is a refined design that features lightweight metal earpiece housings and it is supplied with a soft carrying case and three different sizes of eartips. In addition, the DTX 101iE comes in three different colors, black, red, and silver. The DTX 101iE is currently available direct from www.beyerdynamic-usa.com or through authorized dealers. (MSRP: $89.00).

To help readers stay abreast of the rapidly evolving earphone/in-ear monitor

marketplace, Playback invited a group of 25 (!) manufacturers to describe

upcoming or recently released models we think you’ll find fascinating. There

are options here to fit every budget and to address most any in-ear application

scenario you might envision. Enjoy.



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on the horizon: new earphones & in-ear monitors headed our way

Denon AH-C560R www.denon.com Type: Universal-Fit Earphone/HeadsetDenon’s AH-C560R in-ear headphones feature a special ergonomic design that isolates the ear more steadily and comfortably, and also decreases mechanical vibration for the purest audio experience. To ensure perfect fit for every wearer, they not only come with three sizes of silicone eartips, but also with special “soft-foam” eartips for added comfort and luxury. In addition, a specially designed three-button remote control/microphone provides easy access to both voice and music control, and is compatible with Apple Voice Control, for Apple iPhone3GS, iPod Touch 2G, and the latest generation Shuffle. The AH-C560R’s can also control the iPad. (MSRP: $99.99).

Etymotic Research hf-3 www.etymoticresearch.com Type: Universal-Fit Earphone/HeadsetEtymotic Research is the company famous for inventing in-ear technology. The firm’s new $179 hf-3 headset+earphone is priced within reach for consumers who care about sound quality, and its choice of three soft-touch colors add a dash of style.

The hf3 headset offers best-in-class accuracy featuring precision-craftedACCU•Drivers,best-in-classnoiseisolation (up to 42 dB), and best-in-class comfort with the affordableandconvenientCUSTOM•FITearmoldprogram.

The hf3 headset features a 3-button control pod with a close-proximity in-line microphone that allows iPhone/iPad/iPod users to pause their music, engage in phone conversations, adjust volume and select music tracks.



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Future Sonics Atrio SE www.futuresonics.com Type: Universal-Fit EarphoneA recent study by the Journal of the America Medical Association (JAMA) revealed that one in five children ages 12-19 are suffering hearing loss. People using earbuds with lower sound quality attempt to drown out background noise and enhance audio clarity by increasing the volume to dangerous levels. Future Sonics’ natural noise isolation and quality sound at low volumes extends listening pleasure and greatly reduces hearing fatigue. Future Sonics’ Atrio Special Edition earphones provide “Bigger Sound at Lower Volume,” creating dynamic & powerful sound for both recording artists and consumers. Currently available at Airport Wireless stores. (MSRP: $229).

HiFiMAN RE242 www.head-direct.com Type: Universal-Fit EarphoneRE242 in-ear earphones are HiFiMAN’s entry level earphone product. The RE242 will become available within the next a few weeks, with a projected MSRP of between $20 and $40. Based on powerful but extremely small 6mm drivers, the RE242 will also be one of the most compact earphones on the market, ensuring a superb fit for most people.

A cellphone-compatible version of the RE242 is also coming soon, and it will feature an inline mic/controller and will come with a universal 3.5mm to 2.5mm cellphone plug adapter. This mean the headest version of the RE242 will work not only with iPhones, but also with Nokia, Samsung and other cellphones that use 2.5mm sockets.



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Jays a-JAYS Four www.jays.se Type: Universal-Fit Earphone/Headset Why do earphones always seem to be the least appreciated component of any portable media system? The Swedish company Jays aims to bring this to an end by designing the first ever music-focused headset for iPhone, the a-JAYS Four. It offers sleek, simplistic Scandiavian designs and provides flat, tangle-free cables. The Four is the perfect accessory for any iPhone, iPad or iPod thanks to its Apple-compatible controls, plus a high quality microphone that helps you get the message through. The award winning speaker elements are tweaked for voice without compromising music sound quality in any way. (MSRP: $69.99).

JH Audio JH16 Pro & JH-3A DSP crossover/amplifier www.jhaudio.com Type: Custom-Fit In-Ear Monitor with dsp-Controlled Crossover/Amplifier (JH16 Pro reviewed in this Guide)JH Audio’s JH16 Pro offers better clarity, comfort, and sound quality than any other in-ear audio monitor. The only available 8-driver IEM, the JH16 Pro integrates perfectly with the JH-3A 3-way Active DSP Crossover Amplifier, producing perfectly tuned time, phase, and audio signatures. Built for 1/8” analog or mini USB inputs, the device offers audio pros and performers maximum portability. It features double dual lows, single dual mid, and single dual high drivers, and a 10Hz to 20 kHZ frequency response range. The JH16 Pro is available now, with pricing beginning at $1,149.00. The JH-3A will become available in late 2011.



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JVC HA-FX1X www.jvc.com Type: Universal-Fit EarphoneThe JVC HA-FX1X’s are in-ear headphones in JVC’s new Xtreme Xplosives series. The headphones feature a 10mm diaphragm with neodymium magnet and a bass port for strong low frequency performance. An angled design enhances comfort, and three sizes of silicone earpieces are included to ensure a proper fit and to provide comfort and the best possible sound isolation for any size ear.

The HA-FX1X uses a 2.0mm-thick oxygen free copper cable and a gold-plated 3.5mm stereo plug. A carrying pouch is included.

The JVC HA-FX1X in-ear headphones are available now for $29.95.

Klipsch Image S5i Rugged www.klipsch.com Type: Universal-Fit Earphone/HeadsetThe Image S5i Rugged is much more than just a headphone. Built to last, this headphone features a moisture-resistant three-button remote and mic for taking calls and controlling music on iPods, iPhones or iPads. Designed to handle whatever life may throw at it, the S5i Rugged features durable cabling and a rubberized finish for added protection. Thanks to Klipsch’s patented oval ear tips, listeners experience superior noise isolation and comfortable, contoured long-term fit. The Image S5i Rugged is currently available for purchase and retails for $129.99.



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Koss IL2001 www.koss.com Type: Universal-Fit EarphoneKoss presents perfect harmony in both form and function. Clever interlocking earbud design allows for easy storage when on the go and performance-tuned 9mm drivers deliver outstanding audio. The IL2001’s highly polished aluminum frame is surrounded by a flexible, soft touch material that acts as a soundproofing layer to block outside distractions and keep you focused on the crystal clear highs and crisp lows. High performance technology serves music in this patent-pending design. The IL2001 is scheduled for a summer 2011 launch—with alternate mic-equipped versions planned. Sign-up at Koss.com to learn more and receive special offers. (Projected MSRP: $49.99).

Monster “Miles Davis Trumpet” www.monster.com Type: Universal-Fit Earphone Miles Davis was known for his unswerving perfectionism, and Monster’s new Miles Davis Trumpet headphones are designed to reflect that, along with inimitable “Miles style.” Precision-tuned to reproduce the subtle nuances and acoustic tones of jazz, they feature the world’s smallest drivers, plus a new design that allows the earpiece to rest more comfortably and deeper within the ear canal, enabling a perfect fit and superior isolation. Included is Monster Music’s specially remixed and remastered version of “Sketches of Spain” in High Definition Stereo (HDS) and High Definition Surround Sound. Available in April 2011. (MSRP: $349).



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NuForce NE-700X and NE-700M www.nuforce.com Types: Universal-Fit Earphone (700X) and Earphone/Headset (700M)— (reviewed in this Guide) NuForce’s enviable reputation for high-performance audio at real-world prices continues in fine form with the NE-700X Earphones. Sharing the limelight with their widely praised NE-7M Earphones, the NE-700X features a precision-machined aluminum chassis that minimizes resonance to the vanishing point. Titanium-coated 8mm drivers provide sweet, extended highs, a warm and silky-smooth midrange, authoritative bass, and a lifelike soundstage that far exceeds what one might expect of $65 earphones. At $79, the NE-700M version includes a hands-free microphone with a pickup button for answering phone calls and operating your music device’s playback and fast-forward features.

Phiaton PS 20 NC www.phiaton.com Type: Noise-Cancelling Universal-Fit Earphone(Reviewed in this Guide)Phiaton’s PS 20 NC earphones provide a totally immersive personal listening experience. Part of the Primal Series line, these lightweight and stylish “Half In-Ear” earphones feature the company’s exclusive “Noise Blocker” noise cancellation technology—blocking 95% of outside noise—ideal for noisy airplanes, trains, or subway cars. The PS 20 NC solves a problem common with conventional noise-canceling headphones—the interruption of music when the battery runs out of power. Thanks to Phiaton’s “EverPlay” feature, users can continue listening even if battery power should run out. The PS 20 NC is available in glossy black and glossy white versions.



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Phonak Audéo Perfect Fit 111/112 and 121/122 www.audeoworld.com Type: Universal-Fit Earphones (111/112) and Earphone/HHeadsets (121/122)—(Audéo PFE 122 reviewed in this Guide) World-renowned Swiss hearing aid company Phonak draws on many years of experience in producing quality hearing instruments to create the Audéo Perfect Fit Earphones (111 and 112) and earphone/headsets (121 and 122). The sound-isolating earphones offer: top-notch sound quality without sacrificing the health of your ears, replaceable audio filters to adjust the frequency response and sound, unrivaled fit with its over-the-ear style and unique ear guides, and a choice of Comply foam or silicone tips delivering hours of comfort. They are available in black and white and with ($179)/without ($159) a microphone (compatible with mobile devices).

Sennheiser IE8i www.sennheiser.com Type: Universal-Fit Earphone/HeadsetSennheiser’s IE8i is designed exclusively for use with Apple’s iPhone, iPod and iPad products. The revolutionary IE 8i’s audio performance warrants a standing ovation. Rediscover your music collection and tailor it to your aural tastes with a tunable bass frequency response. A convenient volume adjuster/3-button control with mic let you manage calls and playlists at the touch of a button. The customized sonic signature is complemented by a unique fit thanks to the included ear adapters. This fit isolates the user from environmental noise, offering passive noise attenuation and the best sound experience. (MSRP: $449.95).



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Sensaphonics 3MAX www.sensaphonics.com Type: Custom-Fit In-Ear MonitorsThe world’s first triple-driver custom earphones with the superior fit of soft-gel silicone earpieces and a field-replaceable cable, the 3MAX offers the full-spectrum sonic detail that Sensaphonics is known for, but with enhanced low-frequency impact. We match our proprietary twin-driver bass system to a precision high-frequency driver in a single crossover, high sensitivity design. Silicone construction provides exceptional comfort, maintains a full seal, and yields unexcelled broadband isolation of up to 37 dB. Used by Usher, Jon Bon Jovi, and ZZ Top. Pelican case, carry pouch, cleaning tool, shirt clip and ¼-inch adapter included; custom colors available. (Price: $850 direct).

Shure SE425 www.shure.com Type: Universal-Fit EarphoneDesigned for the demanding audio specifications of live performances, Shure’s SE425 Sound Isolating Earphones are engineered to provide reference quality audio. Dual High-Definition MicroDrivers, which feature dedicated miniature tweeters and woofers in each earpiece, deliver an incredibly accurate and balanced listening experience. A detachable Kevlar reinforced cable with formable wires enables easy replacement and s secure, comfortable fit. The earphones come with sound isolating sleeves in multiple sizes that prevent outside noise from interfering with your listening experience, providing up to 37 dB of isolation. The SE425 is available now from select retailers for $299.99.



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Skullcandy 50/50 www.skullcandy.com Type: Universal-Fit Earphone/HeadsetSkullcandy knows it’s not just about what earphone is in your pocket these days, but also about accessory differentiation and bringing alive the soundtrack to your daily revolution. The 50/50’s beastly 11mm drivers deliver ballistic bass and a rich sound, while composite earpiece housings with aluminum front sides and polycarbonate back sides make for superior fit and finish.

Skullcandy’s MIC3 inline mic/remote module provides answer/end, mic, volume and track control functionality on MacBook, iMac, iPod, iPad, and all iPhones. Convenient. The earphones also come with a mesh case and three sizes of silicone gel eartips. (MSRP: $49.95).

Sony MDR-EX600 www.sony.com Type: Universal-Fit EarphoneDesigned to meet high-quality audio demands without breaking the bank, Sony’s MDR-EX600 earphones feature noise isolation technology for excellent attenuation of ambient noise. The MDR-EX600 earphones provide users with a secure and comfortable fit, reproducing studio-quality sound as a result of their unique multiple diaphragm design. The unique multiple diaphragm design also prevents unwanted resonances and ensures both high audio resolution and distortion-free sound reproduction. Sony’s MDR-EX600 earbuds will be available this spring for about $200.



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Thinksound ts02 www.thinksound.com Type: Universal-Fit EarphoneThinksound began with a simple goal; to create incredible sounding headphones with the smallest eco-footprint possible.

The ts02 flaunts an 8mm driver and reduced housing size to provide better ergonomics, stellar acoustics, and a wide sound-stage. The ts02 also features PVC-free cables and a hand crafted, sustainable wood housing for accurate sound reproduction. The result is a warm, crisp sounding headphone that is lightweight and comfortable to wear. It is available now and offered in a beautiful Cherry/Silver or a rich Chocolate/Black finish for $79.99. Each thinksound product comes with a one-year warranty.

Ultimate Ear In-Ear Reference Monitors www.ultimateears.com Type: Custom-Fit In-Ear Monitors (reviewed in this Guide)Ultimate Ears teamed with Capitol Records Studios to design the first custom in-ear monitors for use by professional producers and audio engineers. The Ultimate Ears In-Ear Reference Monitors provide reference-quality, flat frequency response for the ultimate in accuracy when recording, mixing, mastering, or discerning music listening. These revolutionary in-ear reference monitors offer -32 dB of noise isolation to eliminate noise and variations in room acoustics, so users are always in the “sweet spot.” The proprietary design fits three drivers plus passive crossover components in each of its acoustically tuned earpieces. Available at www.ultimateears.com (MSRP: $999).



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Urbanears Bagis www.urbanears.com Type: Universal-Fit EarphoneThe Bagis, the newest member of the Urbanears family, offers a compact version of the acclaimed Urbanears headphone experience. The Bagis features smart earplug construction for direct sound and efficient noise reduction and a stylish rubber housing. Its cord is made from fabric and TPE to eliminate distortions caused by friction. By clever design, the left and right earpieces can be snapped together, enabling users to carry the earphones around their necks when not in use. The Bagis headphones are available now for $30 in eight bright colors—cerise, navy, orange, red, lavender, grass, white and black.

V-Moda Vibrato www.v-moda.com Type: Universal-Fit Earphone/HeadsetDesigned for music lovers with style, the Vibrato is sculpted from zinc alloy and features next-generation hybrid silicone ear-tips. Using unique patented die-casting metal technology that enables consistent sound and unparalleled durability, the Vibrato has a unique geometric design usually only seen on fine jewelry or watches. Crafted from premium metals and fabrics, the Vibrato has a solid feel, unlike most plastic or aluminum headphones that feel fragile. The Vibrato gives you a sleek design and an incredible sound experience. A three-button remote and mic make the Vibrato deal for mobile lifestyles.

Available at: Apple Stores, Apple.com, shop.v-moda.com. (MSRP: $129.99).



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Westone AC1 www.westone.com Type: Custom-Fit In-Ear MonitorThe AC1 breaks new ground in performance, quality, and value. Utilizing a single balanced armature driver technology with a new take on the signature Westone sound, the AC1 reproduces the live performance with superior accuracy. The clear, full acrylic earpieces deliver the comfort, fit, and performance expectedexpect from Westone. Each unit features removable Westone EPIC Pro signal cables and provides 25dB of ambient noise reduction. Handcrafted in the same lab as the revered Westone Elite Series, the AC1 offers an unmatched package for worship teams, emerging artists, and personal listeners looking to upgrade to their first custom-fit product. (MSRP: $299).



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Playback univErsal-fit EarphonEs undEr $100SponSored by



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Over time, Playback has reviewed over thirty models of in-ear headphones and headsets and—judging by

inbound emails and phone calls—it’s a product category that holds enduring interest for our readers. Every now and again, though, we get review requests for specific models of earphones that readers feel are worthy but that have not yet appeared in our pages. One such product that has been mentioned in several reader emails is a model from a firm you might not necessarily think of when shopping for high-performance headphones: namely, Apple (as in “the guys who built your iPod”). Now I

realize that there is a common misconception that Apple builds only those inexpensive and relatively low-performance earbuds that come as standard accessories with all iPods and iPhones. But a not-so-well-known fact is that Apple offers a much higher performance solution, called simply the Apple In-Ear Headphones, for those willing to invest $79 in superior sound quality.

Interestingly, Apple’s marketing tagline for the product reads, “Turns out you haven’t heard everything”—a tacit admission that stock iPod/iPhone earbuds leave much to be desired. Happily, Apple’s In-Ear Headphones

APPLE IN-EAR HEADPHONES Chris Martens

universal-fit earphones under $100go to: universal-fit earphones $100 - $300 | universal-fit earphones $300 and up | custom-fit in-ear monitors

overviewConsider this headset if: you appreciate headphones that offer generally smooth and evenly balanced sound that offers a good measure of clarity and sonic subtlety. Apple’s in-ear headphones sound particular revealing through the broad middle of the midrange, where most music really happens. For owners of iPhones or newer generation iPods, these ‘phones offer a slick remote/mic module that adds lots of welcome functions.

look elsewhere if: you favor headphones that offer powerful and deeply extended bass. Relative to competing models, Apple’s In-Ear Headphones offer superior balance and smoothness, but can sound somewhat subdued in the low end (or actually at both frequency extremes, if you listen carefully). Eartips may feel a little too “stiff” for long-term comfort.

are designed to cater to audiophile tastes, and so, somewhat surprisingly at this price point, the ‘phones use a sophisticated “balanced dual armature” design (meaning each earpiece provides separate, miniature woofer and tweeter drivers). Of course no Apple product would be complete without offering a few clever, functional twists, and Apple’s top-tier headphones are no exception. They incorporate a tiny, in-line remote/mic module that enables the ‘phones to function as a headset when used with 2G/3G iPhones and that provides limited remote control functions when used with newer generation iPods. Of course our top priorities (and probably yours, too) are sound quality and wearer comfort, and it’s on the basis of those two parameters that we’ll evaluate Apple’s top-shelf model to see how it compares to competing models in its price class.

soniC CharaCterThe greatest strength of the Apple In-Ear Headphone is its generally smooth and even tonal balance, especially through the breadth of the midrange. In fact, compared to some other headphones in this price class, the Apples tend to sound just slightly midrange-forward, in part because their low bass and, to a lesser extent, extreme highs are slightly recessed. While the Apple’s bass is well defined and offers good pitch definition, it doesn’t convey the sense of rich, powerful, foundational low-end response that some affordable headphones, such as the NuForce NE-700X or Koss KDX 300 Gold, can provide.

If your sonic frame of reference is the stock earbuds that came with your iPod, then you may well find the superior resolution of Apple’s In-Ear Headphones revelatory. Suddenly, you’ll be able to access and enjoy low-level musical textures and details you may not have heard before. This is true partly because the Apple



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In-Ear Headphones offer very good measures of natural resolution and definition. However, their apparent clarity may also have to do with the fact that there is narrow band of midrange frequencies that the Apples tend to accentuate in an extremely subtle way. The result is a heightened sense of clarity, but one that sometimes comes at the expense of traces of that “midrange-forward” quality I mentioned above.

But let me put my comments in perspective. Many of the Apple’s like-priced competitors exhibit relatively pronounced colorations such as overly ripe bass or noticeably “hot” treble response, whereas the Apples for the most part sound smooth and unflappable because their sonic shortcomings are relatively minor and are mostly “sins of omission.”

A comparison between the Apple In-Ear Headphones and the almost identically priced NuForce NE-8 headphones I reviewed in Playback issue 19 may prove useful. Under ideal listening conditions, the NuForces offer even greater resolution than the Apple’s do and perhaps more performance upside in an absolute sense. But frankly, the NuForces are more difficult to fit properly and as a result have a tendency to sound bass-shy and/or overly bright. By comparison, the Apples are much easier to adjust for a proper fit and offer smoother overall tonal balance, meaning that—for day-to-day use—they typically give better (or at least more consistent) results.

One small tip: because the Apple In-Ear Headphones come with comparatively “stiff” eartips, you may need to spend some extra time adjusting them to achieve the best in-ear

seal and hence optimal bass performance. Try gently rotating or repositioning them in your ear canals if you don’t at first get an airtight fit.

MUsiCal eXaMple In many, ways the Apple In-Ear Headphones shine brightest on well-recorded vocal material, such as the jazzy, blues-inflected track “Black Coffee” from Claire Martin’s Too Darn Hot! [Linn]. Martin’s expressive voice is always under perfect control, yet deeply soulful and richly inflected so that you really hear (and

feel) her blues as she sings “I’m feeling mighty lonesome/’haven’t slept a wink/I walk the floor from 9 to 4/and in between I drink/black coffee…” The Apples do a masterful job of highlighting each syllable and turn of phrase, letting you enjoy the beginnings and endings of each word, and showing you how Martin varies her timing to set up the words “black coffee” for extra emphasis, just as a master storyteller might do. The headphones also give a clean, crisp rendering of the blues piano and, later on, the Hammond organ that provide

accompaniment for Martin’s vocal lines.But if “Black Coffee” shows the Apple’s

strengths, it also exposes their weaknesses. I have played this track many times through various loudspeakers and headphones, and I have come to expect the deep, powerful, rolling electric bass line and the luminous ride cymbal accent notes that give the song its living, breathing pulse. But through the Apple headphones that bass line, though still quite listenable, loses some of its expected propulsive power, while the ride cymbal notes sound clear but are stripped of their signature treble shimmer and luminous glow. My point is that Apple’s In-Ear headphones are good enough to tantalize you with their performance, though they aren’t quite capable of taking you to the sonic mountaintop.

CoMFort FaCtor/aCCessoriesApple’s in-ear headphones are very light and well shaped for purposes of making small physical adjustments to fine-tune fit and therefore sound quality. The ‘phones come with three sizes of silicone rubber ear-tips that are intended to help users achieve a comfortable and airtight fit.

One problem I noted, however, is that Apple’s eartips are noticeably thicker and stiffer than those supplied with many competing in-ear headphones. As a result, you may have the sensation, as I did, that the Apple eartips are not quite compliant enough to achieve both a good airtight seal and all-day comfort at the same time (ideally, you would want the eartips to flex to fit your ear canals—not the other way around).




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The Apple’s click-to-answer/mic module is very cleverly designed and works beautifully for taking or making calls when using the headphones with your iPhone. An added plus, though, is that the same module also doubles as a limited functionality remote control for use with iPod Nano (4th generation), iPod Touch (2nd generation), or iPod Classic (120GB model). The module essentially has three control surfaces: a raised pair of “+” and “-“ buttons, plus a slightly indented “center” button. When used in conjunction with the iPods above, the controls operate as follows:•Presscenterbutton:Playorpauseasong(or

video)•Presscenterbuttontwicequickly:Advance

to the next song (or chapter)•Presscenterbuttonthreetimesquickly:Go

to the previous song (or chapter)•Pressthe“+”buttononce:increasevolume

incrementally•Pressandholdthe“+”button:increase

volume rapidly•Pressthe“-“buttononce:decreasevolume

incrementally•Pressandholdthe“-“button:decrease

volume rapidly The Apple in-ear headphones come with

a two-piece, clamshell-type carry case that doubles as a signal-cable winding spool. My one concern, though, is that the stylish case is made of injection molded plastic and therefore may not be rugged enough to stand up to daily use (my fear would be that the case could easily crack). Other accessories include a spare pair of mesh caps (which act as dirt guards for the earpieces), plus a small, and again very stylish case for carrying the two pairs of eartips not currently installed on the headphones.

BottoM lineThe Apple In-Ear Headphones offer good value for money and a nice blend of sonic virtues that center—as they should—on the headphone’s adroit handling of midrange frequencies. Listeners who are, pardon the pun, plugged-in to Apple’s design ethos will also appreciate the added control/communications functions made possible by the headphone’s cool remote/mic module. If there is any drawback here, it might be that the Apples are good enough to whet your appetite to step up to the next level, seeking those few extra elements of sonic power and refinement that ‘phones in the mid-$100 range have to offer.


specs/pricingApple In-Ear Headphones Accessories: • Three pairs of round, single-flange

rubber eartips (S, M, L) • Injection molded carry case• Eartip storage case• Spare pair of mesh capsWeight: 10.2 gramssensitivity: 109dBprice: $79

ApplE (408) 996-1010(800) MY-APPLEwww.apple.com

tonal balance clarity dynamics comfort/fit sensitivity value

0 1 2 3 4 5 6 7 8 9 10

ratinGs (compared to similarly-priced in-ear headphones)



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Reviewers of audio equipment must, as a matter of necessity, talk about somewhat abstract concepts like

“dynamic range.” These terms aren’t often very well defined, but are important nonetheless. Dynamic range, which in principle simply defines the difference between the background noise level of a product and the loudest sound the product can reproduce, is a particularly significant case example. Music, of course, consists of sounds, but these sounds differ not only in pitch and combination and timing, but also in level, or what we commonly call “volume”. The ability of a piece of audio equipment to reveal the sounds at all sorts of different levels is of paramount importance to accurate music reproduction, just as the ability of audio equipment to present correct pitches and tone colors is important.

Now an important point here is that dynamic range isn’t mainly about the ability of audio gear to produce loud sounds. One reason for that is the fact that, at most frequencies, producing loud sounds is actually fairly easy. But even if we view producing musical peaks as difficult, we still have problems at the quiet

end of the volume spectrum. The problem is that music requires the ability to go from soft to loud and back again. The contrast between loud and soft is part of what gives music its dynamism. The difficulty is that we can’t simply create dynamic contrast by cranking the peaks up to super loud levels. That’s because very loud sounds are unpleasant (and ultimately cause hearing damage). So, to create dynamic contrast, we need the ability to play loud and soft. In addition, the ability to play soft sounds is key because two other essential music elements lie at the soft end of the spectrum: overtones and spatial reflections.

Once we move outside of a dedicated listening room environment, we double down on the problem of reproducing soft sounds. Not only do we have the challenge of actually reproducing small signals (not as easy to do as you might think due to friction and electronic noise), but we also have the problem of external sounds. As I sit writing this, I’m in my office. The HVAC system is coughing its way along attempting to warm the room on a frigid day. Trucks and cars buzz by outside. Take that scenario outside of an office and it just

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Audio-Technica ATH-ANC23


overviewConsider this product if: Subtle bass weight, warmth and smoothness are important to you, or if you want active noise cancellation features because you will use your headphones in environments where noise might otherwise intrude on your music.

look further if: Treble brilliance and Midrange refinement are essential for you.

Tom Martin



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gets worse. You have train clatter, jet engine noise, and people chattering. With in-ear headphones, some background noise reduction can be had via a seal between the headphone and the ear canal. But you can also purchase noise-cancelling in-ear headphones, with the case in point being the subject of this review: the Audio-Technica ATH-ANC23s with QuietPoint technology ($99.95). prodUCt ConCeptWhile relying on a seal to block external

sounds is simple, the extra effect of electronic noise cancellation should allow greater noise reduction and could also help tune the noise reduction to particularly difficult frequencies (e.g., the 125 Hz drone of an aircraft engine).Audio-Technica claims that its QuietPoint technology, as used in the ATH-ANC23, attenuates “up to 90%” of the external noise from the environment. It uses battery-powered circuitry in a small box that is attached in the middle of the headphone’s signal cable to do the noise cancelling. (For those of you

permanently on the go, it may be helpful to know that the signal processing circuitry is set up so that the headphones continue to work in passive mode even if the battery runs out of power.).

The ATH-ANC23 is designed for use with mobile devices. The 1 meter cord is quite short and is really optimized for use with a media player that is carried with you or perhaps attached to your clothing. The headphone’s impedance is 32 ohms, which makes these Audio-Technicas appropriate for use with iPhones and the like. The claimed sensitivity is 105 dB, but with no input level specified (this is a pretty common but unhelpful practice, since it more or less renders the sensitivity rating meaningless). However testing showed that an iPhone 4 could easily drive the ANC23 to satisfying volume levels and beyond.

ease oF UseThe active-plus-passive noise cancelling approach allows part of the value proposition to aim at ease of use. First, by relieving the earphones of the need to block out all external sounds through tight-fitting eartips, the ANC23s don’t have to have quite as tight a seal to the ear canal. This should allow the designer to create a more comfortable earphone, at least when compared with those models that create pressure points (a common problem). I’d say that the comfort level of the ANC23 is above average. As I’ve mentioned before, my in-ear

specs/pricingAudio-Technica ATH-ANC23 Noise-Cancelling Earphones Accessories: 1 pair of Comply foam ear tips, 3 pairs of rubber ear tips (sizes S, M, and L), carrying pouch, airline adapterFrequency response: 20 Hz – 20kHz Weight: 0.9 ounces sensitivity: 105 dB (input levels not specified) Impedance: 32 ohms power: single AAA battery (provided)Cable: 1.3mWarranty: Not specifiedprice: $99.95 MSRP, $79.95 MAP

AUdIO-TECHNICA U.s., INC.(330) 686-2600www.audio-technica.com


tonal balance frequency extremes clarity dynamics comfort/fit sensitivity value

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comfort reference is the Klipsch Image X10i, and I’d say the ANC23s are about 80% as comfortable. However, the oval shape of the Klipsch earpiece still distributes pressure more evenly, while the Audio-Technicas seem to achieve a stronger seal, at least with my ears. Note that Audio-Technica supplies several sizes and types of ear tips, so your mileage may vary. Loose fitting models like the Klipsch in-ear models are easier to insert. That’s partly due to the nature of the seal and partly because active noise cancelling headphones like the Audio-Technicas tend to be bigger and thus are slightly more challenging to align. The ANC23s aren’t particularly hard to insert, but they’re not the easiest either.

There is a secondary benefit of the electronic noise cancellation approach. One is that the bass performance of these headphones should be somewhat less dependent on the exact seal one achieves when inserting the earpieces into the ear canal. (I discussed this same point when I reviewed the Phiaton PS 20 NC in-ear noise cancelling ‘phones.).The Audio-Technicas do a better job of demonstrating this aspect of active noise cancellation than the Phiatons did, and as we’ll see in a moment, the ANC23 has pretty potent bass.

I found the noise reduction from the active circuitry to be impressive. At least for midrange and high frequency noise, the ANC23 gives the effect of wiping out the background noise and replacing it with very low-level hiss. You switch

on the noise cancelling circuitry, and bang, the noise is almost gone. With more impulsive sounds like tapping, some sound still comes through, so the circuitry isn’t as effective if your problem is talkative office mates.

I did find that the ANC23 has one minor noise irritant. When the cables rub on your shirt, the sound is (mechanically) transmitted through the cables to the earpieces, and then to your ears. I wish the cables were a little more flexible to avoid this. I should also mention that the cables are rather short for desktop/tray table use. Note, too, that the volume control markings embossed in the black plastic case for the noise reduction circuitry are difficult to read.

soniC CharaCterI tested the ANC23s using an iPhone 4 loaded with tracks ripped from CDs in Apple Lossless format, driving the Audio-Technicas both directly from the iPhone and via a NuForce Icon DAC/amplifier.

The ANC23s are really quite likeable. They sound impressively good, especially given their reasonable price, though their sound isn’t strictly aimed at maximum accuracy. But most people would like a small amount of “tonal tweaking” in their headphones, and I think the ANC23s’ tweaks have broad appeal.

A key point that many will view favorably is that the ANC23s have pretty solid bass. I’d rate them as slightly elevated in the mid-bass, with the note that this elevation in level doesn’t




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seem excessive or particularly intrusive. In fact, I think many people would view a headphone with less bass as sounding “wrong.” That’s because listeners aren’t necessarily looking for headphones that sound “just like live music,” but rather looking for headphones that, on an intuitive level, sound natural and well balanced. Lots of folks also like slightly elevated bass on headphones to help compensate for the lack of bass “air” (that is, the sense of large bass pressure waves pressing against our chest cavities, and so on), which necessarily gets lost when listening through headphones.

From around 200 Hz to 5kHz the ANC23s roll off very slightly. This is another well-consider choice, I suspect, since some people prefer a “rich” and not at all strident sound in the midrange. People who love instrumental and vocal dynamics, however, might find the ANC23s a little reserved or dull.

Above this band the Audio-Technicas seem to offer flat response, though this means highs may sound a bit subdued, since treble response is geared to blend smoothly with the headphone’s upper midrange, which is somewhat reduced in level to begin with. The result, however, is a smooth sound. Cymbals and other high frequency instruments are presented with admirable detail, though you may sense, as I did, that mid and upper treble frequencies could do to have a bit more energy. But experienced listeners may feel that such extra energy carries a price (in terms of potential upper midrange/treble glare)—a price

the ANC23s avoid extracting.Because of their active noise reduction

circuitry, the ANC23s are also above average it terms of resolving low-level details. This is important for a sense the acoustic environment as well as for articulating the particular beauty of certain instruments.

I think the frequency response tailoring of the ANC23s will work extremely well as a package for a large group of listeners. However, I think the one place listeners might perceive that the ANC23s come up short is in midrange refinement. Some headphones, including the Phiaton PS 20s I tested recently, just give the subliminal sense that they have lower distortion. The good news here is that the Audio-Technica’s midrange issues are subliminal “sins of omission” and not really front and center.

That leaves us with the question of value. It’s your money, but at $99 the Audio-Technicas are likely to be a good deal for most buyers, assuming you like their sonic profile. The sound is warm and musical and the noise cancelling circuitry is genuinely useful. You could save a little, but you’d have to skip noise cancelling and for many applications the benefits of an extra $20 or $40 spent on active noise cancellation will reap noticeable rewards. MUsiCal eXaMplesOn Faun Fables “Hibernation Tales” from Light of a Vaster Dark [Drag City], the bass drum has excellent depth and weight with the ANC23,

though it might be missing a slight bit of upper bass definition.

On Eliza Gilkyson’s “Borderline” from Paradise Hotel [Red House], the vocal is clear but lacks the last bit of air and resonance you’d like to hear to make it seem like she’s singing to a real person in a real place.

On Bettye LaVette’s rendition or “Don’t Let Me Be Misunderstood” from her Interpretations: The British Rock Songbook [Anti], the sound is warm and smooth, but maybe slightly too smooth with the result that it sounds a bit dynamically constricted.

BottoM lineThe Audio-Technica ATH-ANC23s offer a remarkably solid, smooth and musical sound with excellent comfort for an affordable noise-cancelling in-ear headphone.




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Denon’s evergreen AH-C551 earphone was introduced several years ago (an eternity in this market) yet it remains

in production for the simple reason that it sounds good. The AH-C551s feature machined aluminum housings that incorporate what Denon terms an “Acoustic Optimizer” port said to improve sound quality by “adjusting the sound pressure balance in front of and behind the diaphragm.”

soniC CharaCter Like som of the more costly Denon models we have sampled, the AH-C551 won our favor by being a well-rounded performer that offered tons of sonic refinement per dollar. Here as in Denon’s more expensive models you’ll find effortless midrange clarity, plenty of sonic nuance, and clean, clear delicate highs. Two differences we noted, however, are that the C551s are—relative to more costly Denons and to other ‘phones in their class—ever so slightly bass-shy and also relatively low in sensitivity (meaning you’ll need to feed them more power to achieve equivalent volume levels).

MUsiCal eXaMples The AH-C551s are at their best when reproducing well-recorded material that is full of midrange nuance and textural details. A great example would be Holly Cole’s rendition of Tom Wait’s “Take Me Home” from Temptation [Metro Blue]. The song is propelled by richly textured acoustic bass, expressive and yet restrained piano lines, and especially

by the subtle inflections in Cole’s voice, which the Denons handle beautifully. The AH-C551s let you hear the emotion that develops as Cole delivers this line: “Take me home you silly boy/I’m still in love … with you.” The way Cole’s voice trails off between “in love” and “with you” brings the whole song to life; it’s the sort of small but crucial detail on which the Denon thrives.

CoMFort FaCtor The AH-C551s are very light and compact, and I was able to achieve a good seal using the standard eartips without too much difficulty. For the AH-C551s, Denon has introduced a softer rubber material for its eartips, which generally improves comfort but also makes the eartips somewhat more prone to “collapsing” when the earbud cables get jiggled. For this reason, I sometimes had to re-insert or re-seat the Denons in my ears in to ensure a good airtight seal.

aCCessoriesThree pairs of single-flange rubber eartips (size S, M, L), a hardshell carrying case, and a 31” extension cable.

BottoM lineThe AH-C551 is long on build quality and sonic refinement—especially from the midrange on up. On the whole, this earphone’s tonal balance is somewhat bass-shy, meaning that the Demons are better suited for use in quiet environments than in, say, moving vehicles.

DENON AH-C551


Chris Martens

specs/pricingDenon AH-C551 Earphone

Weight: 5.4 grams (not including cable)sensitivity: 104 dB/mWPrice: $99.99

DENON ElECTRONICS (USA), llC(201) 762-6500usa.denon.com


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From the moment it first appeared on the market, NuForce’s late, great NE-7M earphone/headset became one

of Playback’s favorite “go-to” products in the world of affordable in-ear headphones. Now the delightful NE-7M has passed from the scene, but the great news is that it has been replaced by something—well, actually two things—that are even better: namely, NuForce’s all-new NE-700X in-ear headphone ($65) and NE-700M in-ear headset ($75).

Since I’ve been focusing on other classes of headphone products of late, it had been a while since I had taken out my trusty pair of NE-7M to give them a critical listen. Before jumping into this review to evaluate NuForce’s newest affordable yet still high performance offerings, I decided to go back to the fountainhead, as it were, to re-familiarize myself with the original NE-7Ms. And when I did so, they certainly did not disappoint; I’ve felt from the beginning (and still feel) that the NE-7M offered a wonderfully natural, reasonably detailed, and surprisingly full-bodied sound—a sound few other in-ear ‘phones in or near their price class can equal. Imagine my surprise, then, when the new

NuFORCE NE-700X & NE-700M

overviewConsider this in-ear headphone/ headset if: you seek an in-ear headphone that arguably represents the point of diminishing returns. Relative to the already quite good NE-7M, the new NE-700X and -700M offer better resolution and definition, more extended treble response, and more accurate and thus more neutral tonal balance overall. To state things bluntly, we’ve yet to hear better for less, which means that—by definition—this NuForce pair offers terrific value for money.

look further if: you were hoping for world-class in-ear headphones for chump change; while the NE-700X and -700M are very good, today’s best mid- and top-tier designs are better still (though in terms of value these new NuForce models are hard to beat). Also look further if you want ‘phones that, like the original NE-7M’s, offer an extra touch of bass enrichment; the NE-700X and NE-700M dispense with extra bass “oomph” in order to produce a more accurate sound overall.


Chris Martens

models proved to sound better in every way than their predecessors, and with only a very modest increase in price.

Has NuForce got a new pair of budget-priced classics on their hand? We think that they do.

FeatUresBelow, we’ll list features that apply to both the NE-700X and NE-700M, with a small section to highlighting additional features provided by the NE-700M•Machinedaluminumearpiecehousings(or

“chassis,” as NuForce would call them), said to “minimize vibration and resonance.”

•Earpiecesignalcablesfeaturesubtle,color-coded collars to indicate which is the left or right earpiece (red collar = right earpiece; black collar = left earpiece).

•8mm,titanium-coated“wide-range”drivers.NE-700X headphone:•Fittedwiththree-pin(stereo)3.5mmmini-

jack.NE-700M headset:•Fittedwithinlineomnidirectionalmic

equipped with a multifunction, single-button call answer/end switch.



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•Callanswer/endswitchfunctionsduringphone calls:

•Pressoncetoanswerthecall.•Pressagaintoendthecall.•Callanswer/endswitchfunctionsduring

music playback:•Pressoncetopauseplayback.•Presstwicetoskipforwardtothenext

track.•Pressthricetoresumeplayback. soniC CharaCterIn my original review of the NuForce NE-7M I wrote that it was “balanced just slightly to the warm side of neutrality” and offered “an audible, though relatively unobtrusive, touch of bass forwardness.” I also ventured the opinion that those familiar with headphones in the NE-7M’s price range would “immediately be struck by how smooth and nuanced the NE-7M sounds.” I then went on to say, “Don’t be fooled by the NE-7M’s modest price; its overall sound would put it right in the hunt with many models twice its price.” Well, the simple fact is that the new NE-700X and NE-700M preserve everything we loved about the NE-7M, while improving upon their predecessor in several musically important areas.

First, lets consider tonal balance. The NE-700X and -700M more or less eliminate the -7M’s touch of bass forwardness, yet without making the new models sound thin or “bass shy” in any way. Instead, the low-end of the new models sound taut, well defined and powerful—but never overly “thick” or too heavily weighted. Next, the new models make an improvement at the other end of the audio spectrum, with upper midrange and treble response that is more fully fleshed out than in the NE-7M, yet without making the new generation ‘phones sound overly bright or edgy. On the contrary, the NE-700M and-700M simply sound more open, transparent and revealing—especially in terms of capturing the admittedly difficult-to-reproduce sense of high frequency “air” surrounding instruments and voices.

Second, the NE-700X and -700M offer audibly finer levels of top-to-bottom resolution than the NE-7M did. As you listen to recordings that are rich in subtlety and detail through the NE-700X and -700M, you may find, as I did, that they offer a noticeably more focused and fully resolved sound than the NE-7M ever did. Thus, textural and transient details that were only rendered in part by the

NE-7M suddenly become clearer, more fully realized, and more explicit through the new models. In short, you have the sense—and it is no mere illusion—that the new models are now conveying aspects of the music that were subtly obscured before.

What this all ads up to is the fact that, now more than ever, the NE-700X and -700M invite comparisons with models that carry much steeper, three-figure price tags. That’s an impressive achievement for what are, after all, budget-priced ‘phones. MUsiCal eXaMplesAs long term Playback readers already know, I am fond of using Christopher Roberts’ album Last Cicada Singing [Cold Blue] as a litmus test, of sorts, for an headphone’s ability to reproduce subtle yet highly significant low-

level sonic details. The NE-700X and -700M did not disappoint. Last Cicada Singing features compositions that are performed on an unusual and somewhat ethereal sounding Chinese stringed instrument called the qin (which some have described as a “Chinese zither”). From what I’ve read on the subject,

specs/pricingNuForce NE-700X In-Ear Headphones

Type: In-ear headphones with single, titanium-coated 8mm drive unit.Accessories: See aboveFrequency response: 20Hz – 20 kHzWeight: 15.4 gramssensitivity: 105dB/mWImpedance: 16 OhmsWarranty: 1 year, parts and laborprice: $65

NuForce NE-700X In-Ear HeadsetType: In-ear headset with single, titanium-coated 8mm drive unit. Includes in-line omnidirectional mic module with multifunction call answer/end button.Accessories: See aboveFrequency response: 20Hz – 20 kHzWeight: 15.4 gramssensitivity: 105dB/mWImpedance: 16 OhmsWarranty: 1 year, parts and laborprice: $75

NUFOrCE INC (408) 890-6840www.nuforce.com



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I gather that by tradition music for the qin is thought to include not only the actual notes that are played, but also all—and I do mean all—of the incidental sounds that occur as the instrument is played. In short, the fine points count, including everything from the “click” of plucking noises across strings to the squeak of fingertips gliding over the strings and fingerboard to bend notes upward or downward. As I listened, then, to the album’s

opening track, called “Remote Stories,” I found the next-gen NuForces did an unexpectedly great job of retrieving most of the delicate low-level information this disc has on offer. The acid test, really, is to see if the headphones convey at least something of the sense of real human hands delicately sweeping over the strings and fingerboard of a real instrument. This, I’m happy to report, is a test the NuForces passed with flying colors. Could I

have heard even more finely-resolved detail through expensive top-tier ‘phones? Yes. But for under $100, I felt the NuForces sounded much more refined and accomplished than they had any right to for the money.

To give the NuForce’s an even more vigorous “live music” workout, I put on the late Eva Cassady’s Live At Blues Alley [Blix Street], focusing on the classic R&B track “Take Me To The River.” What makes this particular track such a challenging test is that it offers up the nuanced yet deceptively powerful sound of Eva Cassidy’s vocals while simultaneously presenting a very energetic electric backing band, all captured in the intimate confines of a small-ish club. Two things impressed me with the NE-700X and -700M’s performance. First, they really nailed the “petite person with a very big voice” qualities that make Eva Cassidy’s singing so evocative, while also giving a sense for both the sheer driving force and deft musicianship brought to the party by the backing band. In particular, I was struck by the power and depth of the plunging electric bass line that helps to open the song, and by the crisp, propulsive shimmer and sizzle of the percussionist ride cymbal (which is very realistically recorded on this track). Again, what floored me was the sense that the NuForces simply didn’t sound like “budget-priced” models at all, but rather sounded much like higher-class headphones. In particular, I appreciated that the NuForces could capture the inherent power of “Take Me To The River,” and could do so without lapsing into the overly brash, raw-edged sound that plagues some low-priced headphones on this track.

CoMpetitive CoMparisonTo give you a clear idea of the progress NuForce has made with these two new models, let me compare the NE-700X/NE-700M against the original NuForce NE-7M

NuForce NE-700X/NE-700M vs. NuForce NE-7M•TheMSRPoftheNuForceNE-700Xis$65

while the NE-700M sells for $75, whereas the NE-7M sold for $49. Obviously, prices have crept upward in the transition to the new models, but the good news is that performance has pushed forward as well (so that the new models arguably represent an even better value than the original did—which is saying a lot).

•Thenewmodelsoffermachined,solidaluminum driver housings said to resist unwanted vibration and resonance, and also provide light, rigid, and responsive 8mm titanium-coated drivers.

•Intermsoftonalbalancethetwonewmodels are simply more accurate than the original NE-7M, offering more extended (but not overly bright) treble response, bass that is better balanced (no longer overly-prominent, as in the NE-7M) and that offers better pitch definition, superior transient speed, and a more finely resolved sound from top-to-bottom. In every meaningful way, the NE-700X and NE-700M take significant sonic steps forward relative to the already very good NE-7M.

•Caveat:Wecouldseesomelisteners—especially those who listen in environments where there is a lot of low-frequency noise


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present—wishing for a return to the more bass-forward sound of the NE-7M. Be that as it may, there’s no getting around the fact that the NE-700X/-700M are the more natural and accurate-sounding design.

•TheNE-7Mwasalreadyquitecomfortableto use and wear, and the new models follow in the same path. We found, however, that the slightly larger diameter, ribbed housings of the new models are somewhat easier to grasp (typically between your thumb and index fingers) should you need/want to adjust their positioning on the fly.

CoMFort FaCtor/aCCessoriesNuForce’s NE-700X and NE-700M’s come with the following accessories:•Afabricdrawstring-typecarryingpouch.•Avarietyofeartipsincludingthreepairsof

single-flange eartips (sizes S, M and L), and one pair of triple-flange sleeves.

Key differentiators:•TheearpiecesoftheNE-700XandNE-700M

are mechanically identical, though the 700X is finished in Aqua Silver (a pale, bluish-gray shade of silver), which the -700M is finished in Smoky Bronze.

•TheNE-700Xsignalcableisfittedwithathree-pin (stereo) 3.5mm mini-jack plug.

•TheNE-700Msignalcableisfittedwithaninline, omnidirectional microphone equipped with a multifunction call answer/end button (see FEATURES, above for further details), and with a four-pin (stereo + mic), 3.5mm

mini-jack plug.

Compatibility:•CompatiblewithiPhone2G/3G/4G,iPod

Touch, BlackBerry Storm.•WorkswithiPhone3GS/4Gwithoutvolume

control on mic button.•Workswithmostdevicesthatsupportstereo

via 3.5mm three-pin (700X) or 4-pin (700M) mini-jacks.

•NotcompatiblewithiPhone1stgeneration,with Creative Zen, or with any device requiring a 2.5mm plug.

The NE-700X and -700M are easy to handle and to insert, and the multiple eartips should enable the vast majority of users to achieve a comfortable, airtight seal.

BottoM lineIf you own an iPhone, iPod, or other device that’s compatible with 3.5mm plugs, and are still using box-stock earbuds or headsets, you owe it to yourself to step up to a set of NE-700X’s ($65) or NE-700M’s ($75), which will give you a quite substantial step up in overall sound quality.

No other in-ear headphones or headsets we know of can provide more (or even as much) performance for so little, meaning these mod-els are bargains, pure and simple.




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Every once in a while I encounter products that do so much for so little that their value quotient is off the

charts; the a-JAYS Three in-ear headphones ($59.99) from the Swedish firm Jays is just such a product. How good are these stylish little ‘phones in an absolute sense? They’re good enough that, in terms of sound quality, style, fit, finish, and the accessories they include, they could in may ways pass for models selling for two or even three times their actual price. These sleek Swedish ‘phones build a strong case for upgrading from stock earbuds to something much better, and they prove that you can do so without putting a big a dent in your wallet.

prodUCt ConCeptJays’ affordable a-JAYS product family features four value oriented in-ear models, with the a-JAYS Three standing as the top model in the range. The a-JAYS Three features distinctive 8.6 mm TMD moving coil-type drivers powered by Neodymium magnets, with the drivers contained within an earpiece enclosure that provides tiny front and rear bass ports said to enhance low frequency response.

JAyS A-JAyS THREE

overviewConsider this product if: you want sound quality competitive in many ways with in-ear headphones in the $100-$200 range, but for a fraction of the price. Also consider the a-JAYS Threes if you enjoy products that are cleverly and stylishly packaged, and that come with a genuinely useful set of accessories. Finally, note that the Threes exude an overall vibe that could be called, “Scandinavian Cool”, which many will find very appealing.

look further if: you require strictly neutral tonal balance or want to push for even higher levels of sonic refinement. While even higher levels of performance are out there at a price, the a-JAYS Threes are one of the more satisfying solutions we’ve yet heard in the sub-$100 range.


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Although the Threes are very reasonably priced, they in no way skimp on accessories or other important detail touches. On the contrary, the Threes sport features typically found only on much more costly in-ear models. Among these are:•Arubberizedblackfinishontheearpieces.•Atanglefree,TPE-coated,flatsignalcable

that is easy to coil up into a compact roll when the ‘phones are put in storage.

•Fivepairsofsiliconeeartips(sizeXXS,XS,S,M, and L).

•Anairlineadapter.•Astereosplitterthatmakesitpossibleto

feed two sets of ‘phones from a shared headphone jack.


•Abeautiful,minimalisthardshelltravelcasethat is shaped like a small discus and that slips easily into your pocket or handbag.

JAYS’ corporate identity statement provides clues that help explain what Jays headphones in general, and the a-JAYS Threes in particular, are all about. The statement proclaims—in Swedish-inflected English—that, “We want to design the most authentic sounding and price worthy on-ear and in-ear headphones possible and create a global life style brand for music lovers. We do not want to be a narrow audiophile brand, but still playing as close as possible by the same rules.”

ease oF UseThe a-JAYS Threes are extremely compact in-ear headphones that I found a delight to use, in part because they come with a very broad range of silicone eartips (so that there is a size likely to fit most anyone). Once you find a pair of eartips that allow a good airtight seal in your ear canals, you simply pop the earpieces in place and away you go. The Threes weigh a very light 14 grams.

A great detail touch is the a-JAYS Three’s flat, tangle-resistant signal cable, which not only helps prevent the “rat’s nest” of wire you might encounter with some in-ear models, but that also drapes neatly and smoothly from the earpieces, making them more comfortable to wear for extended periods of time. And when it comes time to store the Threes, the flat cable lends itself to being rolled up in a tight coil the fits neatly within the included travel case.

The JAYS travel case is an attractive piece

of industrial design that provides a distinctly Nordic-looking, two-tone, matte/gloss black discus-shaped container for the ‘phones. My one complaint would be that the case is relatively small, meaning you’ll need to roll-up the headphone’s signal cable tightly in order to leave sufficient room for the earpieces to fit within the case.

soniC CharaCterLet me begin by observing that, while the a-JAYS Three is based on a moving coil-type driver, it achieves much of the sonic purity and clarity I’ve typically associated with balanced armature-type designs I’ve sampled in the past (for example, the classic Etymotic Research ER-4P, and others cut from similar sonic cloth).

Interestingly, Jays’ packaging for the Threes


specs/pricingJays a-Jays Three In-Ear Headphones

Accessories: Five pairs of silicone eartips (sizes XXS, XS, S, M, & L), airline adapter, stereo splitter, travel caseFrequency response: 20 Hz – 22kHzWeight: 14 gramssensitivity: 97 dB (input levels not specified)Impedance: 16 ohmsWarranty: Two years (earphone shell & internal components), one year (cables & connectors), six months (accessories)price: $59.99

JAYs ABwww.jays.se


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offers up two descriptive phrases that imply the headphones offer sonic qualities that, paradoxically, don’t seem to belong together. On one hand, the firm touts the Threes as offering “heavy bass impact”—a potentially scary phrase if ever I heard one (hey, if I wanted a boom box, I’d buy one). In practice, I found there is some truth to the “bass impact” phrase, but that the Threes’ moderate touch of low-end emphasis was nowhere near as heavy-handed as Jays’ promotional phrase led me to expect (er, fear). On the other hand, the product container also lauds the Threes for their ostensibly “Detailed and Balanced Sound”—a statement that also contains real elements of truth given that the Threes do on the whole place a premium on accuracy and (comparatively) neutral tonal balance.

Overall, I would say that the a-JAYS Threes offer what my colleague Tom Martin would call a “u”-shaped frequency response curve, meaning that low and high frequency bands sounds more prominent than midrange frequencies do through these ‘phones. The key, here, is that these bands of high- and low-frequency emphasis are relatively smoothly integrated, so that they typically aren’t egregious or overblown in their effects (though some listeners do find the ‘phones overly bright). On the contrary, they tend to make the Threes sound desirably lively and dramatic, but without severe exaggerations.

Through the upper midrange and on up into the treble region, the a-JAYS Threes provide a delicate, open, “silvery” quality that offers excellent treble extension, detail, and focus. While the Threes may not achieve the sheer

transparency of more costly flagship in-ear models such as the Monster Turbine Pro Copper Editions, their upper mids and highs are, in a qualitative sense, as good if not better than anything I’ve heard in their price class. To experience the vividness and clarity of the Three’s upper mids and highs, try a track rich in treble details, such as “Near South End” from Jacob Young’s Sideways [ECM]. Listen, in particular, to the delicate brushwork on cymbals; the transient sounds, fingering noises, and overtones of the guitar; and especially to the fine, low-level mouthpiece noises and reed sounds from woodwind instruments. At every turn, the a-JAYS Threes sound more like earphone that might cost $159—not a mere $59, which is quite an accomplishment. While upper mids and highs are admittedly somewhat too bright or forward sounding, they for the most part stop well short of becoming painfully harsh or edgy. Instead, listeners will likely be struck by the fact that these affordable little Swedish beauties offer levels of treble clarity and detail that are impressive in light of their price.

The Three’s bass is powerful and well extended, though it, too, sounds somewhat forward in the mix (relative to midrange frequencies, which are pulled back a bit relative to lows and highs). Even so, many would argue that it is far preferable for in-ear ‘phones to offer slightly too much bass, rather than too little—especially given that they may be called upon to perform in environments where there could be lots of low-frequency noise to overcome. More importantly, the Three’s bass is pleasingly clear, articulate, and

well defined. To appreciate what I mean by this comment, try Patricia Barber’s cover of “My Girl” as captured on A Distortion of Love [Polygram]. This track captures an acoustic bass that has either been very closely mic’d or perhaps captured via a direct pickup of some kind, so its sound at once exceptionally clear and very powerful. And those two qualities—bass clarity combined with low frequency power and weight—are precisely what the a-JAYS Threes deliver.

sUMMinG Up For the more than reasonable sum of $59.99, the a-JAYS Threes look, feel, and sound like far more expensive in-ear headphones, making them a fine choice for audiophiles on a budget or for music lovers who want a taste of “the good stuff,” but without blowing holes in their wallets. What’s not to like about that?




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The Indianapolis, IN-based firm Klipsch first entered the headphone market in 2007, focusing primarily on higher-end models such as Custom 3 ($299, no

longer in production) and the Image ($349, and now called the Image X10). Over time, however, Klipsch expanded its product line to create in-ear headphones that embrace much lower price points and that incorporate remote control/microphone functions geared to address the needs of iPod and iPhone owners. A classic case in point would be the Image S4i ($99.95), which Klipsch describes as “an in-ear headset that combines the company’s acclaimed sound and unbeatable comfort with an advanced in-line microphone and remote (control) system.” These are brave words, to be sure, but as you’ll see in a moment they’re not just hollow marketing hype; the S4i has the sonic goods to back up its own ad copy.

Unlike Klipsch’s more costly Image X5 and Image X10 models, which use what Klipsch calls “balanced micro drivers” (i.e., balanced armature-type drivers), the S4i uses an 8.5mm “moving coil micro speaker design with controlled damping.” Most manufacturers who build in-ear headphones using both balanced armature and moving coil drivers will, when speaking off the record, concede that balanced armature offer greater performance potential overall. Interestingly, though, Klipsch claims that the S4i’s moving coil driver (which features a dual magnet motor design) delivers, “smooth, full bodied sound similar to a balanced armature.” Part of the reason I wanted to review the S4i was to learn how it would compare to the more costly Klipsch X10/X10i, which are among the in-


overviewConsider this earphone/headset if: you want a headset that sounds unusually clear and nuanced over most of the audio range (from the upper-bass region on up). Bass is taut and well controlled, but not as powerful or deeply extended as in some competing models (e.g., the NuForce NE-700M). The tonal balance of the S4i is generally neutral, though it exhibits just a touch of midrange forwardness that, I suspect, many listeners will find enchanting. Relative to other in-ear headphones near its price (e.g., the $80 Apple In-Ear Headphone), the S4i delivers a noticeably more articulate and revealing sound that is particularly engaging on delicate instruments or vocals. Klipsch’s patent-pending oval eartips remain the most comfortable that Playback has ever tried. As advertised, the S4i’s 3-button remote/microphone module works exactly as advertised, making this a good choice for iPhone/iPod owners.

look further if: you seek mid- and low bass that is not only well-defined and well-controlled (qualities the S4i offers in spades), but also blessed with power, weight, and depth (areas where the S4i comes up a little bit short). Also look further if you seek optimal tonal neutrality, as the S4i’s traces of midrange forwardness can potentially be off-putting for some listeners.

KLIPSCH IMAgE S4I Chris Martens



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ear models Playback uses as references. But speaking as a dedicated iPhone user, I also wanted to check out the S4i’s 3-button remote control/mic system, which is based on an Apple chip and promises a wide array of functions—especially when used with the iPhone 3GS or the latest generation iPod nano, classic or iPod touch.

FeatUres•8.5mmmovingcoilmicrospeakers.•Offeredintwocolors:blackandwhite.•In-linemicrophonemoduleprovidesa

multifunction play/pause control button (which doubles as a send/end button when handling phone calls). Music automatically mutes and pauses for an incoming call.

•Inboundcalls:Whenaninboundcallisreceived, pressing the play/pause button once allows the listener to answer the call. Pressing the button again disconnects the call and allows music to resume.

•Listeningtomusic:Whenlisteningtomusic, pressing the play/pause button once causes music playback to pause. Pressing the button again allows music playback to resume. Press the button twice in rapid succession causes the iPhone or iPod touch to skip forward to the next track. Press the button three times in rapid succession causes the iPhone or iPod touch to skip backward to the previous track.

•AccordingtoKlipschthe“ImageS4iisamong the first to be fully compatible with the Apple VoiceOver feature on the third generation iPod shuffle, which allows you to hear the name of the playlist, song or artist

with just the press of a button.”•Accessories:theS4icomeswithan

extensive set of accessories, as listed under the COMFORT FACTOR/ACCESSORIES section, below.

•Headset/remotecontrolcompatibilityfactors:At the time of the Image S4i’s release (which pre-dated the arrival of the iPhone 4), Klipsch said, “the remote and mic are supported only by iPhone 3GS, iPod nano (4th and 5th generation), iPod Classic (120 GB), and iPod touch (2nd generation), MacBook, MacBook Pro and Mac Pro (2009 models). The remote is supported by iPod shuffle (3rd generation). Requires latest iPod software. Audio is supported by all iPod models. Mic and call/music button control features (are) functional with 1st generation iPhones and iPhone 3G. Volume Controls are not compatible with 1st generation iPhone 3G. Also compatible with VOIP, Skype, iChat, and audio recording applications.”

•ComeswithKlipsch’spatent-pendingovalcross-section eartips, which are said to “naturally fit the contours—or mimic the shape—of your ear canals.”

•Providescablesandcablestrainrelieffittings that, according to Klipsch, have been rigorously tested for resistance to common household “chemical, cosmetic and cleanser agents.” Moreover, the cables have also been subjected to extensive “tensile strength and flex cycling tests and are then tested for strength and flexibility at every connection point, including the plug, yoke and earphone body.”

soniC CharaCterAs mentioned above, the dominant sonic characteristic of the S4i is the clear, nuanced and evocative sound from the upper bass region on up. Play the S4i and you’ll immediately find that it digs up and reproduces much finer and subtler levels of information most of its like-priced competitors can. This is the real draw of this headset.

Tonal balance is reasonably neutral, though it exhibits a touch of midrange forwardness. This characteristic is not so pronounced that you would notice it when listening to the S4i in isolation, but it becomes apparent if you listen to the S4i in side-by-side comparison with a more neutrally voiced headphone (for example, Klipsch’s own Image X10). The good news is that this quality makes vocals and most kinds of instrumental music come alive in a good way—even though it pushes them just slightly too far forward in the mix. For some this will seem a flaw (albeit a minor one), but for others it’s a quality that make music sound more engaging and alive than it otherwise would.

The S4i is not the last word in bass depth and power, though the bass it does deliver is presented with terrific clarity and definition with absolutely no boominess of any kind. Those who expect bass to have some “meat on its bones” might be little disappointed, but clarity seekers should be very happy.

Important note: for best bass response, try the following adjustment tip that Klipsch recommends. Insert the S4i’s (using the eartip size that best fits you), then gently rotate the headphone body (and eartip) left and right a few degrees and then slightly pull it backward

just a bit. This technique helps the eartips flare out in your ear canal to achieve a comfortable, airtight seal—and with it, optimal bass response.

Unlike many of the headsets Playback has tested, the S4i does not place the in-line microphone on either the left or right earpiece cable, but rather provides a 360 degree mic in a central position on the headphone yoke where the left and right earpiece cable join. This is a superior place to put the microphone and, as Klipsch points out (and I verified in my user tests), it means you don’t need to “talk down” into the mic. During test phone calls, call recipients reported that I sounded much more like myself with the S4i in use than when using my iPhone’s normal mic or other headsets I had tested in the past.

MUsiCal eXaMpleA track that nicely shows off both the S4i’s strengths and weaknesses is “Stormy Monday” from Eva Cassady’s beautifully recorded Live At Blues Alley [Blix Street]. First off, the track reveals the subtle vocal inflections that made the late Ms. Cassady such a wonderful performer to hear. “They call it stormy Monday,” Cassady sings, and then the S4i’s let you hear the delicate vibrato in her voice as she draws out and bends the word “Tuesday” as she completes the opening line, adding, “but Tuuuuuesday’s just as bad…” Part of what makes this song, and in fact this entire album, so enjoyable is the faithful way it captures the live feel of the recording event. Percussion, as heard through the S4i, has that powerful and immediate treble sparkle that can




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only be experienced in a small club, while the electric guitar has the presence, bite, and howl that can best be heard when you’re seated close to the stage. Unlike many headphones it its price class, the S4i even let you hear the subtle, low-level sounds that tell you this is a live recording: namely, whispered fragments of background conversations between club patron, sounds of shuffling chairs, or the occasional click and clink of glassware on tables.

But on bass guitar and kick drum, which are very well recorded on “Stormy Monday”, the S4i’s sound lighter than they should. Bass timbres and textures are fine and are very clearly rendered, but missing is the weight, punch, and sheer power of the bass instruments. When the kick drum sounds, for example, you should hear a deep, clear “pop” that sends a compression wave across the stage floor and straight to your ears. Through the S4i’s, you get more of a thumbnail sketch of the drum sound, but without the body and weight you’d expect. Similarly, the bass guitar should have a big, deep, rolling, and propulsive sound whose classic blues lines gently urge the song forward. Again, the S4i beautifully and accurately sketches the basic rudiments of the bass guitar’s sound, but without capturing the floor-rumbling power that make it such a compelling force. In a nutshell, the S4i’s clarity is laudable, though its lack of bass weight may leave you wishing for more.

CoMpetitve analysisTo give you a picture that shows how the S4i fits into the broader headphone market, I offer

below, comparisons between the S4i and four competitors—two priced below and two priced above the S4i. I include the NuForce NE-700M headset ($75), the Apple In-Ear Headphone/headset ($80), the Monster Cable Turbine ($150), and the Klipsch Image X10 ($349).

S4i vs. NuForce NE-700M ($75)•TheNuForceoffersasubtledegreeof

bass emphasis which makes it stand out in comparison to the S4i, which has a comparable but inverse level of bass de-emphasis. In practice, this means the NE-700M has a noticeably more full-bodied (and equally tightly controlled and well defined) bass sound.

•Acrossmostoftheaudiorange,theS4iandthe NuForce run neck and neck in terms of nuance and detail, though the Klipsch does show a characteristic touch of midrange forwardness on some recordings, where the NE-700M does not.

•TheS4iprovedmoreeffectiveasaheadsetthanks to its centrally positioned, 360-degree mic.

•Bothheadphonescomewithagoodmixofeartips. I found that the NE-700M’s offered superior noise isolation, but that the S4i’s enjoyed a noticeable edge in terms of comfort (Klipsch is really on to something good with its oval eartips).

s4i vs. Apple In-Ear Headphone/Headset ($80)•BasscapabilitiesoftheS4iandAppleIn-

Ear Headphones are similar, since both headphones present slightly recessed mid-

and low-bass. However, I would give the S4i the edge in terms of reproducing subtle bass textures and timbres.

•Intermsoftonalbalance,theAppleIn-EarHeadphones and Klipsch S4i’s offer different sets of tradeoffs. The Apples are quite neutral through the body of the midrange with slight rolled off highs, where the S4is shows hints of midrange forwardness, but have beautifully extended highs. The S4i’s, however, enjoy a significant edge in overall clarity, detail and nuance.

•BoththeApplesandS4i’sworkwellwithiPhones and iPods (no surprise there), though I again preferred Klipsch’s centrally-positioned mic and remote.

•Thoughitisdifficulttodeterminesuchthingsin a journalist’s review, I suspect the S4i will prove to be the sturdier design for long term use. I say this in part because Klipsch’s eartips fit more snuggly on their earpieces

that the Apple eartips do (some Playback readers have complained that the Apple eartips can work loose over time and that Apple does not sell replacement tips).

S4i vs. Monster Cable Turbines ($150)•TheTurbinesmayhaveasubtletouchof

bass emphasis but are basically quite neutral in their overall presentation. In side-by-side tests, the S4i sounds a bit bass-shy and just slightly midrange forward by comparison. Not surprisingly, the Turbines have much greater bass power and impact than the S4i’s.

•Intermsofclarityandnuanceacrossmuchof the audio spectrum, the S4i’s can go toe-to-toe with the more expensive Turbines. In essence, the Turbines offer superior neutrality and evenness of tonal balance, which the S4i’s offer a certain evocative quality that makes low-level details come alive.



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ratinGs (relative to comparably priced in-ear headphones) specs/pricing

Klipsch s4i headset/in-ear headphone

Frequency response: 10Hz – 19kHzWeight: Not specifiedsensitivity: 110 dB/mWImpedance: 18 ohmsWarranty: Two years, parts and laborprice: $99.95

KlIpsCH grOUp, INC. (800)-KLIPSCHwww.klipsch.com



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•TheS4iprovidesiPodheadsetfunctionswhereas the Turbine does not.

•Bothheadphonescomewithagoodselection of eartips. The Turbines may enjoy a very slight edge in terms of noise isolation, but the Klipsches offer superior comfort (you can literally wear them for hours without discomfort or ear fatigue).

S4i vs. Klipsch Image X10i ($349)•Itis,ofcourse,somewhatunfairtocompare

any product to a competitor three and half times its price, but I just had to see how the S4i’s would stack up in comparison to Klipsch’s flagship.

•TheX10iisatruedo-alldesignthatoffers neutral tonal balance, remarkable bass power and extension, and plenty of resolution and detail. Once you hear the X10, you’ve experienced the benchmark the S4i was aiming for. Does the S4i fall short of its bigger brother? Yes, and in almost every area of performance. But that said, I should point out that the S4i does capture at least some measure of the “feel” of its bigger brother, especially in terms of its clear, evocative presentation of sonic details.

•TheImageX10iandtheS4ishareKlipsch’spatent-pending oval eartip design, which is exceptionally comfortable.

CoMFort FaCtor/aCCessoriesThe S4is come with three sets (S, M, L) of single-flange oval eartips, a pair (S/M) of double-flange oval eartips, a clothing clip, a cleaning tool, and spring clasp-equipped fabric carrying pouch.

Klipsch’s oval eartips are, by a not subtle margin, the most comfortable Playback has ever tested. Guest listeners often commented that the Klipsch’s were night/day different from and better than competing in-ear headphones in terms of ease of insertion and long-term comfort.

One thing I did notice is that the shape of Klipsch’s oval eartip design appears to have changed just a bit relative to the original 2007 version (the earlier models were slightly shallower but also more widely flared than the 2010 and later versions). Personally, I found the original 2007 shape gave a slightly better in-ear seal, though the 2010 design may achieve an even more “weightless” feel in the ear canal. Even so, I’d like to see Klipsch bring back the more widely flared shape it originally used, because it made for superior noise isolation and better bass.

BottoM lineThe S4i is a strong competitor in its price class, though perhaps not a slam-dunk winner. The headset is light, small, sturdy and beautifully made. Relative to competitors in or near its price class, the S4i offers an usually high degree of clarity, detail and nuance, though with a touch of midrange forwardness. Bass is taut and well-defined, but not as powerful or deeply extended as in some competing phones. Overall, though, the S4i is a great musical communicator and a good value. It’s also makes a wonderful headset/remote control for owners of contemporary iPhones and iPods.




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The KDX family of sound isolating in-ear headphones represents the middle band of Koss’ in-ear line-up, with the KDX 200

Silver ($79.99) in turn standing as the middle model in the KDX family. Though the KDX 200 Silver enjoys “middle of the middle” status in the Koss family pecking order, it appears to be very well made, sporting polished, solid aluminum earpiece housings, each of which is fitted with a single dynamic “micro driver.”

prodUCt ConCept As near as I can tell, the KDX 200 Silver’s mission profile is blessedly simple and straightforward. According to Koss, it aims to provide a good measure of isolation from external noise sources while delivering “exceptionally rich audio” sound quality that is “crisp and clear”—and to do so for a reasonable price.

A Koss press release on the KDX works to paint the KDX 200 Silver as a highly differentiated product, though I think the Koss description could hold true for many of the in-ear ‘phones that Playback has tested. Of the KDX series, Koss writes:

“The KDX Series is unique from other in-the-ear style headphones because of a direct

coupling technology specifically engineered to partner with the listener’s eardrum. The earbud forms a tight seal with the ear canal becoming acoustically coupled with the eardrum for almost perfect sound translation to the ear. This partnership enhances isolation…”

I think what Koss is getting at is that the KDX 200 is not a conventional (and thus inherently loose fitting) “earbud” of the type typically supplied with iPods or other personal digital music players; it is, by design, something much better than those.

FeatUresDesign highlights and product accessories include the following:•Computeroptimizeddynamic(notbalanced

armature-type) “micro drivers.”•Solidaluminumearpiecehousingssaidto

improve durability, isolation, and overall sound quality.

•Threesizesofsiliconeeartips(whichKosscalls“ear cushions”).

•Signalcableswithpadded,patternedfabricsheathes that look much like miniature versions of high-end audio interconnect cables and that are said to be “resistant to kinks and tangles.”

KOSS KDX 200 SILvER

overviewConsider this product if: you want a well-made and affordable in-ear headphone that offers decent sound isolation and whose sound puts more of an emphasis on crispness and clarity than on sonic richness or warmth. In many respects, the KDX 200 Silver offers sonic sophistication that belies their price—especially in the treble region.

look further if: you prize headphones that offer truly neutral tonal balance and that therefore deliver a good measure of music’s natural warmth and richness. Other phones, including Koss’ own KDX 300 Gold models, do a better job in this respect


Chris Martens



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•Aleatherettecarryingcasewithspring-claspclosure.

•TheKDX200Silver‘phonesare,significantly,covered by Koss’ “No Questions Asked Lifetime Warranty.”

ease oF UseI found the KDX 200 Silver’s solid aluminum earpieces made the headphone easy to handle and to insert. Two detail features I particularly appreciated were the combination aluminum stems and firm rubber signal cord strain reliefs that Koss provided. Together, these features should help minimize the oh-too-common problem of users inadvertently yanking signal cables right out of their headphone’s earpieces

(typically causing irreparable damage)The silicone eartips provided good, though

not class-leading, amounts of sound isolation and were comfortable to wear. While some might wish for more than three eartip sizes, I think others will be grateful that the KDX Silvers do not impose “eartip option overload.”

Contrary to Koss’ claims, I found the fabric wrapped cables, which are very light and thin, actually did seem prone to kinks and tangles (though perhaps that is because the cables had been very tightly coiled when the headphones were still in their packaging box). Even so, I suspect many listeners will regard the cord’s cool appearance and lightweight construction as winning attributes.

One small (and I do mean very small) nit I would pick is that the KDX 200 Silver’s Left/Right earpiece markings are presented in the form of the almost unbelievably small and fine-lined letters “L” and “R” imprinted on the earpieces’ signal cable strain relief sleeves. Depending on the quality of your eyesight, you may need a magnifying glass to see those markings. soniC CharaCterThe KDX 200 Silver offers a taut, well-defined sound that is, in a subtle way, tilted more toward the qualities of crispness and clarity than toward warmth and overall richness. Here’s how that plays out across the bass, midrange, and treble bands of the audio spectrum.

low end: The Silver’s bass is taut and reasonably well extended, but notable for its

tightly controlled presentation that gives more emphasis to textures and pitch definition than to warmth, weight, or perceived bass “slam.” Many listeners, especially those who dislike even trace amounts of bass “boominess” or overhang will find the KDX 200’s bass quality a delight, while others might wish for a bit more foundational mid-bass weight in hopes of achieving a sound with, for want of a better term, a bit more “gravitas.” As a practical example, listen to the deep bass guitar and drum notes at the beginning of Lucinda Williams’ “Rescue”, from West [Lost Highway]. Through the KDX 200’s, the bass clarity and extension, especially on the drum “thomps,” is quite good, yet the senses of richness, warmth, and impact are not all that they could or should be, which becomes apparent if you compare the Silvers side-by-side with good

NeXT page

specs/pricingKoss KdX 200 silver In-Ear Headphones

Accessories: 3 sizes of silicone ear tips, carrying pouchFrequency response: 15Hz – 20kHzWeight: 17 gramssensitivity: 100 dB SPL/1 mWdistortion: < 1.0%Impedance: 16 ohmsWarranty: Limited Lifetime Warrantyprice: $79.99

KOss COrpOrATION (800) USA-KOSSwww.koss.com



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competing models (e.g, the NuForce NE-700X) or with Koss’ own KDX 300 Gold ‘phones.

Midrange: The Silver’s mids are clear, crisp, and evocative, though arguably pushed somewhat forward in the mix. This is, to be candid, a quality many listeners prize and that some headphone makers deliberately seek to provide, even though it may not be really accurate in a strict textbook sense. The upside is that the midrange, which is where most of the music really lives, gets a touch of extra emphasis that can subjectively pull you closer to the music (making many instruments and voices seem more intelligible, lucid, and emotionally involving), but the downside is that overall tonal balance is skewed away from neutrality somewhat. To hear what I mean, try listening to “Senia’s Lament”—a track that thrives on midrange subtleties—from Dobro-master Jerry Douglas’ Lookout for Hope [Sugarhill].

“Senia’s Lament” features Douglas performing glorious, soaring melody lines on his Dobro, and the KDX Silver’s generally did a fine job of capturing the distinctive lilt and twang of the Dobro’s voice—showing, in particular, how evocative and expressive it can be when bending notes. My only complaint was that the headphone’s upper midrange prominence made the Dobro occasionally sound a bit thin, hard-edged and “pingy.” The Silver’s had greater difficulty, however, with capturing the overall balance of sounds contributed by other instruments in Douglas’ band. Having heard Douglas perform this piece live, and having heard the recording through many top-tier headphones and loudspeakers, I

can tell you that the bass and drums heard on this song are meant to provide a deep, dark, anchoring counterbalance to Douglas’ soaring Dobro lines—a balancing act that the more midrange-centric Silvers never quite managed to pull off.

Highs: The KDX Silver’s treble response is nicely extended and very well defined—especially so for a product in this price range. To appreciate what I mean, here, put on a track with really well recorded and richly detailed treble textures, such as the jazz standard “Everytime We Say Goodbye” from the Jimmy Cobb Quartet’s Jazz in the Key of Blue [Chesky]. Listen carefully to Cobb’s delicate and at times almost subliminal brushwork on his snare drum and cymbals and you’ll find the Silvers sound absolutely exquisite. When playing up high, these ‘phones sound way more sophisticated than their price would lead you to expect.

sUMMinG UpKoss’ KDX 200 Silver is well built and reasonably priced. It’s sonic strengths tilt more toward perceived crispness and clarity than toward natural warmth or richness, meaning the Silver will fit some tastes beautifully—but not all. In particular, the Silver will appeal to listeners who find that a dab of midrange forwardness seems to pull them closer to the music in a pleasing way.

universal-fit earphones under $100go to: universal-fit $100-$300 | universal-fit $300+ | custom-fit monitors


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KOSS KDX 300 gOLD The KDX family of sound isolating

in-ear headphones represents the mid-section of Koss’ in-ear line-up,

with the KDX 300 Gold ($99.99) slotting in as the top model within the KDX group. The Gold models use precision-made dynamic drivers (as does the lower-priced KDX Silver model), and feature earpieces that are finished in a soft matte gold color and appear to be molded from a polymer material, where Koss’ somewhat less expensive KDX Silver models (also reviewed in Playback) feature earpieces made of solid, polished aluminum. The Gold earpieces also incorporate what appear to be two tiny, outward facing vents or ports (though Koss product information makes no mention of these). As we’ll see in a moment, the KDX 300 Gold ‘phones not only look different from their Silver siblings, but sound different as well.

prodUCt ConCeptIf you study Koss’ press releases on the KDX 300 Gold and KDX 200 Silver, you’ll have to scan very carefully before you spot any real differences, though there are a few. Specifically, Koss says the Gold model offers wider frequency response (10 Hz – 20 kHz for the Gold vs. 15 Hz – 20 kHz for

the Silver), higher sensitivity (102 dB SPL/1 mW for the Gold vs. 100 dB SPL/1 mW for the Silver), and substantially reduced distortion (< 0.3% for the Gold vs. < 1.0% for the Silver).

For both models, Koss’ stated intent was to produce affordable in-ear headphones that offered a good measure of isolation from external noise sources while delivering “exceptionally rich audio” sound quality that is “crisp and clear.” Also for both models, Koss also draws a distinction between conventional, loose-fitting earbuds (the kind supplied with iPods and most other digital music players) and its KDX-series in-ear headphones, which aim to achieve a good airtight seal between the headphone’s eartips the wearer’s ear canals and thus to become, “acoustically coupled with the eardrum for almost perfect translation to the ear.”

FeatUresDesign highlights and product accessories include the following:•Computeroptimizeddynamic(not

balanced armature-type) “micro drivers” said to offer, “the quality usually found in larger, full-size stereophones.”


overviewConsider this product if: you want a well-made and sensibly priced in-ear headphone that offers quite well balanced sound and a good balance of sonic sophistication, smoothness, and refinement from top to bottom. While not necessarily a spectacular performer in any one area, the Gold is one of those ‘phones that wins you over by doing most things well (its sonic sins are mostly those of omission).

look further if: you want a headphone that draws you into the music through a more vivid and intense midrange-forward sound (if these are your tastes, you might prefer Koss’ slightly less expensive KDX 200 Silver model).

Chris Martens



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•Moldedpolymerearpiecehousingswithwhatappear to be miniature outward-facing vents or ports.

•Threesizesofsiliconeeartips(whichKosscalls “ear cushions”).

•Signalcableswithpadded,patternedfabricsheathes that look much like miniature versions of high-end audio interconnect cables and that are said to be “resistant to kinks and tangles.”

•Aleatherettecarryingcasewithspring-claspclosure.

•TheKDX300Gold‘phonesare,significantly,covered by Koss’ “No Questions Asked Lifetime Warranty.”

ease oF UseI found the KDX 300 Gold earpieces made the headphone easy to handle and to insert. I particularly appreciated the firm but still flexible rubber signal cord strain reliefs that Koss provided—features that could prove to be real lifesavers (or cable savers) should active users inadvertently tug too vigorously on the signal cords (something that most of us know better than to do, but that can happen from time to time if we’re distracted or in a hurry).

The silicone eartips provided a good, though not class-leading, measure of sound isolation and were comfortable to wear. While some might wish for more than three eartip sizes, others will be relieved that Koss has narrowed down their choices to just three.

Contrary to Koss’ claims, I found the fabric wrapped cables were at least somewhat prone to kinks and tangles, although the Gold’s cable work better than the Silvers in this respect

since they are a smidgeon thicker and thus more resistant to sharp bends or kinks.One small criticism I would offer is that the KDX 300 Gold’s’ Left/Right earpiece markings are presented in the form of the micro-miniature letters “L” and “R” imprinted on the appropriate earpieces’ signal cable strain reliefs. Honestly, a guy could go blind trying to read those tiny little letters (bifocal wearers beware). soniC CharaCterI found the tonal balance of the KDX 300 Gold headphones to be notably smooth, and more neutral and accurate overall than is the norm in this price class, with an emphasis on sonic warmth and richness. That said I could also see how some listeners might find the sound of the Golds almost too dark or subdued.

specs/pricingKoss KdX 300 gold Headphones Accessories: 3 sizes of silicone ear tips, carrying pouchFrequency response: 10Hz – 20kHzWeight: 20 grams sensitivity: 102 dB SP/1 mWdistortion: <0.3%Impedance: 8 ohmsWarranty: Limited Lifetime Warrantyprice: $99.99 KOss COrpOrATION(800) USA-KOSSwww.koss.com



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The KDX Gold’s’ superior tonal balance hinges, first, on the fact that the ‘phones produce bass that not only sounds taut and offers good pitch definition, but that also has plenty of foundational weight and punch (something the Silvers don’t do nearly as well). In turn, the Gold’s provide midrange that is at once revealing, yet also smooth and well balanced—never overly prominent or pushed forward in the mix (as is the case with the Silvers). As a result, the Gold’s midrange is more evenly matched with its bass and highs. While some might miss the Silver’s arguably more vivid and evocative midrange-forward sound, others will appreciate the Gold’s greater warmth, smoother sound, and generally more neutral balance. The only complaint, again, might be that the Gold’s more laid-back mids tend to give them a more “distant” and less “up-close-and-personal” presentation.

At the treble end of the audio spectrum the KDX 300 Gold’s offer good though perhaps not class-leading measures of high frequency definition and focus. Interestingly, some listeners initially perceive the Gold’s highs to sound a little recessed, and least relative to the KDX Silvers. I think this perception arises because the Silver’s region of midrange prominence extends up pretty high, making the Silvers seem brighter and more defined at first. But if you listen to the Golds’ highs in isolation (on delicate high percussion instruments, for example) you’ll discover they are in fact surprisingly clear and refined.

Overall, the KDX 300 Golds sound similar to, but a bit darker and just a touch less transparent than one of the strongest

competitors in this class: namely, the NuForce NE-700X. Compared to the NuForce, the KDX Silvers sound noticeably more midrange-forward, with significantly less powerful bass.

To learn how the sonic characteristics I’ve sketched out above play out on real-world music, it may be instructive to describe what happened when I played two good recording through the Golds—recordings that took full advantage of the headphone’s balanced, full-range sound.

First up is “If You Love Me Like You Say” from blues guitarist Debbie Davies’ album Holdin’ Court [Little Dipper]. This track features Ms. Davies playing an aggressively howling Fender Stratocaster guitar while supported by a razor-sharp, hard driving, and punchy-as-all-get-out rhythm section. The Gold’s did a beautiful job with the midrange utterances of the Strat, showing how its sustained notes often expand into a full-on “howl” or “cry.” Similarly, the Gold’s powerful low-end captured the almost locomotive-like propulsive drive of the electric bass and the deep, thunderclap-like smack of the kick drum—qualities that, with some competing earphones, tend to get lost in translation. On cymbals and the very upper end of the Strat’s voice, the Gold’s sound perhaps a little too subdued, but not badly so.

Next, let’s consider “So Sorry” from Feist’s The Reminder [Cherrytree/Interscope]. On this song, where Feist’s vocals are for the most part supported only by an acoustic bass and guitar, plus occasional keyboard passages, the inherent smoothness of the Golds really came into its own. Feist’s voice is an interesting

one, in that it rides right on that fair/foul line between sounding breathy, intricate, and expressive on one hand, yet can, on the other hand, sound occasionally brittle, glassy, and edgy—and thus become off-putting. On “So Sorry”, however, the Gold’s’ inherent smoothness enabled them to reveal the beauty and mystery that characterize Feist’s vocals at their best, while minimizing any tendency toward roughness, edginess, or glare. The acoustic bass sounded great, too, in large part because of the KDX 300 Gold’s superior mid-bass weight, which gives the sound of the bass vital body and depth.

sUMMinG UpKoss’ KDX 300 Gold in-ear headphone is a solid offering in this highly competitive price class. It wins hearts and minds not so much by doing any one thing stupendously well, but rather by covering most important performance bases at a very high level. In particular, the Golds will appeal to listeners who value sonic warmth, richness, and a smooth, refined and well-balanced sound.




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SENNHEISER CX300 The CX300 (now replaced by the

identical-sounding but differently styled CX300 II shown here) comes

packaged with a banner that comes close to describing the product’s sound: “Bass-Driven Sound.” In fairness, though, there’s more to the CX300’s sound than a big bottom end. Bass is robust, but not painfully exaggerated, midrange frequencies are pleasingly clear, and highs are bright and crisp without being overly harsh or strident. Put these factors together and you’ve got an elegant set of mini headphones that sound exciting and alive, and represent a giant improvement over the earbuds you get with most players.

The Sennheisers are a perfect complement to contemporary pop/rock tracks such as “Que Onda Guero” from Beck’s Guero [Geffen] because they put real clout behind propulsive bass lines and give subtle emphasis to delicate, multi-layered treble effects.

BottoM lineThough not the last word in absolute sonic purity or accuracy, these comfortable ’phones offer many of the attributes of higher- end models, and at a bargain price. pB


Chris Martens

specs/pricingAccessories: 3 pairs of single-flange rubber eartips (sizes S, M, L), carrying pouchWeight: 0.42 oz./pr. sensitivity: 112dB/mWPrice: $79.95www.sennheiser.com

tonal balance clarity dynamics comfort/fit value

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SKuLLCANDy SMOKIN BuDS Those of you who have downloaded

free copies of the first Playback Headphone Buyer’s Guide know

that I was very favorably impressed by Skullcandy’s Titan in-ear headphones, which initially sold for around $50/pair (the price for the Titans has since been reduced to $34.95-$39.95/pair, depending on finish). Good though the Titans are, however, some listeners would still prefer a lower cost solution and one that provides basic headset functionality for use with cell phones. For them, Skullcandy offers its cleverly named Smokin Buds, priced at $29.95/pair.

I decided to try out the Smokin Buds to see for myself what advantages a relatively low-priced solution might have vis-à-vis stock Apple earbuds.

FeatUres•9mmdrivers.•In-linemicwithbuilt-insend/endtrack

forward button (note: earlier generation versions came with an in-line sliding volume control in lieu of the mic/headset switch, so be sure to look for the “mic”

label on the packaging if you need or want headset functionality).

•Formaximumpersonalizationvalue,Smokin Buds are offered in—count ‘em—21 different color combinations (our review samples were in a very cool gloss black on rubberized black finish).

•Carrypouch.•Distinctive“AggressiveListening”and

“Defective Product” warranties (see, below, for details).

aBoUt skUllCandy’s UnorthodoX WarrantiesSkullcandy offers an innovative two-part warranty that reflects the company’s involvement in and commitment to extreme sports. According to the Skullcandy Web site, the terms of the warranties are as follows: “Skullcandy headphones are covered one of two ways, Aggressive Listening, which is defined as,

•Aggressive Listening: Skullcandy products that fail or break due to a


overviewConsider this combination headset/headphone if: you seek an in-ear headset/headphone that is comfortable and affordable, that offers very good noise isolation and that produces dramatically more powerful bass and smoother overall sound than that of standard Apple earbuds. The headset functions are a welcome convenience touch, too.

look further if: musical accuracy and neutral (or nearly neutral) tonal balance are what you seek. The Smokin Buds offer very powerful bass with smooth but also somewhat subdued or recessed highs and upper mids. This combination of tonal characteristics delivers a sound that some listeners will find deep, rich, and smooth but that—at the end of the day—is not as accurate as it could be. For just a little more money, Skullcandy’s Titan earphone sounds significantly better balanced and is even more enjoyable for long-term listening.

Chris Martens



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crazy crash on the mountain or a violent headbanging session... or any other reason that is not a product defect, we will still hook you up! Send in what ever remains of your product, and we will send you a coupon good for 50% off any product in our Online Shop. OR

•Defective Product Replacement: Which is defined as any Skullcandy product that is still in one piece and not working properly or any product damaged in shipping. In this case you will recieve a brand new product at no charge. In either case you will need to complete our warranty form.”

soniC CharaCterProbably the most frequent complaint I hear about in-ear headphones is that they offer inadequately powerful bass. The Smokin Buds address that complaint in a big way, with a rich, full, powerful low-end sound. The problem, though, is that with the Smokin Buds bass can sometimes dominate the listening experience to the point of excess, making other frequencies sound too recessed in the mix. Upper midrange and treble frequencies are somewhat rolled-off, too, which can make the Smokin Buds’ bass prominence seem that much more apparent. This package of tonal characteristic will, as I suggested above, appeal to some tastes, but over the long haul I think the majority of listeners might prefer a more neutral and therefore more accurate sound.

If you use an iPod, one strategy for getting more accurate sound from the Smokin Buds is to go into the iPod’s EQ setting menu and

to engage the “Bass Reducer” function. This adjustment effectively pulls the response curve of the Smokin Buds back toward sonic neutrality, making it much easier to hear midrange details and to use and enjoy all of the treble response that’s available.

Noise isolation: the Smokin’ Buds come with three size of soft rubber eartips that, in my experience, proved easy to fit, enabling me to achieve a good, comfortable airtight seal in my ear canals. The Smokin Buds do a very good job of blocking out ambient noise.

MUsiCal eXaMplesThe track “Root Beer” from Thomas Newman’s soundtrack for the film American Beauty [Dreamworks] at once shows off the strengths and weaknesses of the Smokin’ Buds. The song opens with a potpourri of high percussion instruments (gongs, cymbals, and chimes supported—believe it or not—by a whoopee-whistle), and then grabs the listener’s attention with a deep and fairly loud plunging synth bass line. When heard through stock earbuds, the track frankly sounds disappointing if not downright lame; you’ll mostly hear thin-sounding mids with limited highs and anemic bass. Switch to the Smokin Buds, however, and the sound immediately improves. Mids smooth out and become clearer, while the bass line becomes dramatically more powerful.

Even so, the balance you’ll hear with the Smokin Buds is not quite right. The shimmer and sparkle of those initial percussion sounds seems unnaturally muted, almost as though someone had thrown a thin, damp cloth over the instruments, dulling their sound. And, while

the bass line is closer to being right with the Skullcandy’s than with the stock earbuds, it comes across as being over-the-top loud and a bit out of control—meaning you’ve crossed the line from not enough bass (the sound of the stock earbuds) to a bit too much (the sound of the Smokin Buds).

We would prefer listening to the Smokin Buds to stock earbuds any day, but the fact is that for just a little more money you could have Skullcandy’s terrific Titans, which are among the finest budget-priced earphones we’ve ever heard.

Hint: As above, let us mention that iPod users can get much more accurate sound from the Smokin Buds by turning on the iPod’s “Bass Reducer” setting. On the track above, for examples, this leaves you with plenty of bass power, yet relieves the problem of occasionally oppressive, over-the-top bass.

CoMpetitive analysisfor this section of the review, I will compare the Smokin Buds both to a comparably priced solution (the Yurtopia Yurphones recently reviewed in Playback) and to a more expensive solution (the Skullcandy Titans).

smokin Buds vs. Yurtopia Yurphoness•SmokinBudsofferdeeper,morepowerful

bass.•TheYurtopiasprovideamoreaccuratesound

with more nearly neutral tonal balance.•Noiseisolationbetweenthetwoheadphones

is comparable, though the fit of the two headphones is very different (the Smokin Buds are true in-ear headphones while the Yurtopias are semi-custom-fitted phones that rest in the wearer’s outer ear).

•TheSmokinBudsprovideheadsetfunctionality whereas the Yurtopias do not.

specs/pricingskullcandy smokin’ Buds In-Ear Head-phone/Headset Frequency response: 18Hz – 20kHzdriver: 9mmAccessories:• Three sizes of soft rubber eartips (S, M, L)• Nylon carry pouch with zipper closure.price: $29.95

sKUllCANdY, INC.(888) MYSKULL (697-5855)www.skullcandy.com



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smokin’ Buds vs. Titans•ThoughtheeartipsprovidedwiththeSmokin

Buds and Titans differ in terms of material composition, both are very comfortable and can achieve a good, airtight seal in your ear canals.

•Workmanshipfanswillappreciatedtheprecision-cut metal housings of the Titans vs. the plastic bodies of the Smokin Buds.

•TheTitanusesan11mmdrivervs.the9mmdriver used in the Smokin Bud.

•TheTitanissignificantlymoreneutralinbalance and much more open sounding that the Smokin Bud.

•TheTitanisfittedwithaninlineslidingvolumecontrol, whereas the newer generation Smokin Buds come fitted with an inline mic and send/end/track forward switch that provides headset functionality.

CoMFort FaCtor/aCCessoriesThe Smokin Buds come with three sizes of soft rubber eartips that make it easy to achieve a good airtight seal in your ear canals. The gently angled housings and cable strain reliefs of the Smokin Buds make them very easy to insert and to adjust. Smokin Buds ship with a fabric drawstring-equipped carry pouch. BottoM lineSkullcandy’s Smokin Buds represent a worthwhile step forward from stock iPod-type earbuds, offering a smoother overall sound, more powerful bass, and good isolation from

ambient noise. That said, however, they also beg an important question: why settle for some sonic benefits (some of which are a mixed blessing) when, for only a little more moolah, Skullcandy’s Titan in-ear headphones can give you much mor substantial sonic improvements?

The answer, perhaps, lies in the sheer handiness of the Smokin Buds headset functions, which make them just the ticket for those who do much of their music listening via cell phones.




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SKuLLCANDy TITANSkullcandy’s Titans ($39.95 per pair) are

designed to slot into the firm’s lineup above the entry-level Inkd and Smokin’

Buds models and below the more expensive FMJs (or Full Metal Jackets, also reviewed in this Guide). Despite its “middle child” status, however, the Titan is arguably one of Skullcandy’s best-sounding earphones—and

one of the sweetest values in today’s market. Here’s why.

soniC CharaCterMore so than most other in-ear headphones priced at or below $100 per pair, the Titans serve up a sweet combination of near-neutral tonal balance, good dynamic punch, and an unexpectedly big helping of sonic subtlety and detail—especially in the midrange, which is where most of the music really unfolds. Granted, the Titan’s bass is perhaps a little too forward and just slightly overripe, but that’s a nitpick-level detail given how many things these headphones do well, and for so little money. Also, the slightly bass-forward balance actually works in your favor in environments that have lots of low-frequency background noise (for example, moving cars, etc.). The result is a roughly $40 headphone that is easily competitive with models costing twice its price, meaning the Titans are a steal—pure and simple.

MUsiCal eXaMplesTo appreciate how good the Titans really are, try listening to a track that offers multiple layers of textural details, such as “I Could Eat Your Words” from Patricia Barber’s Verse [Blue Note]. Not only do the Titans capture the

dark, smoky inflections in Barber’s voice, but they also do a remarkable job with the vibrant, nuanced Dave Douglas trumpet solo heard in the middle of the song. Other ’phones may get the basics on this track right, but the Titans do so while also revealing small transient and textural details most headphones in their class simply miss.

CoMFort FaCtorThe Titans are extremely light, and I found their foam eartips, which expand to fit the contours of your ear canals, particularly comfortable and effective at achieving a good seal.

BottoM lineAlthough they are among the least expensive earbuds in our survey, the Titans are one of the better budget in-ear headphones we’ve yet heard. They are also very easy to find, since they are carried by a number of big-box retail stores. If the Titans err, it’s in the direction of a hint of excess bass richness, which is a minor flaw some listeners might regard as a serious plus. Those seeking maximum bang for the buck need look no further.


Chris Martens

specs/pricingAccessories: One pair of single-flange rubber eartips (size M), two pairs of bell-shaped foam eartips (size S and L), plus a semi-hardshell carrying case.Weight: 17 gramssensitivity: Not Specified Price: $39.95sKUllCANdY, INC.(435) 940-1545www.skullcandy.com


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SKuLLCANDy FMJ (FuLL METAL JACKET)When first announced, the FMJ ($69.95)

was Skullcandy’s flagship earphone, (though the firm has since introduced

several more costly model). The FMJs produce a big, bold and often spectacular sound—almost to a fault. The FMJs are exciting, but perhaps not as accurate as Skullcandy’s less expensive Titans.

soniC CharaCterCompared to Skullcandy’s less costly Titan earbuds ($39.95 per pair, also reviewed in this Guide), the FMJ’s presentation provides clean and powerful though somewhat overemphasized bass, slightly too prominent highs, and somewhat recessed or withdrawn middle frequencies. While the FMJ’s tonal balance is more neutral than that of many earbuds I’ve heard, the fact is that it is not quite as accurate as the lower-priced Titan. Overall, however, the FMJs offer arguably more energetic dynamics than the Titans and a good measure of detail—detail that would be even easier to appreciate if the earphone’s bass, mids, and highs were a little more evenly balanced.

MUsiCal eXaMplesTo appreciate the FMJ’s strengths, try firing up “Shake Everything You Got” from Maceo Parker’s Roots and Grooves [Live] [Heads Up], a track that features razor-sharp slap bass licks, sizzling percussion, and a horn section to die for. The FMJ’s really click on this material because their bass thwack does full justice to the slap bass, their highs show off the intricacy and power of the percussion, and the horns have enough oomph to cut through the mix in spite of the FMJ’s midrange reticence. But on tracks that feature female vocals, such as “How Do You Stop” from Joni Mitchell’s Turbulent Indigo [Warner Bros./WEA], you may find that the upper register of the singer’s voice sounds more prominent than the middle and lower register does, which isn’t quite right.

CoMFort FaCtorThe metal-jacketed FMJs weigh the same as Skullcandy’s Titans, though subjectively they seem a bit heavier. I had no problem achieving a good seal with the standard eartips.

BottoM lineThe FMJs are among the more affordable earphone in this Guide and as such they offer very good value for money. Their strengths are their dynamic punch, good levels of detail, hearty bass and crisp highs. If you listen mostly in quiet environments, then you might find that Skullcandy’s new Titan would be the more natural-sounding choice, but for noisy environments the FMJ’s voicing has enough extra bass and treble to cut through the sonic haze in a pleasing way.


Chris Martens

specs/pricingAccessories: Three pairs of single-flange rubber eartips (size S, M, L), plus a leatherette semi-hardshell carrying case. As a welcome detail touch, the connector cable for the ‘phones incorporates a tiny cylindrical pod that houses an easy-to-use volume control.Weight: 17 gramssensitivity: Not Specifiedprice: $69.95sKUllCANdY, INC.(435) 940-1545www.skullcandy.com


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Ultimate Ears is famous for its custom-fitted UE-series in-ear monitors, but also makes a wided range of universal-

fit in-ear headphones. The UE600 ($99.99) was originally called the Super.fi 5Pro and sold at a higher price back when this review first appeared. Today, though, the UE600 is positioned as the number three model in UE’s universal-fit earphone lineup. The UE600’s offer tonal balance that is essentially neutral, providing just a touch of added bass warmth with gentle, ever-so-slightly subdued highs. But this voicing works out synergistically for listening through iPods and other digital players, which often tend to sound a bit bright and bass-shy. The UE600’s are sonic smoothies, too, always sounding graceful—never edgy or harsh.

To complement their fine voicing the UE600 exhibit unusually high sensitivity, meaning they can really rock, even at low volume settings. The ’phones can also handle large-scale orchestral passages with ease, and they make dynamic contrasts really jump. Completing the picture, the UE600’s are all-day comfortable, though their up-and-over-the-ear wire routing scheme takes some getting used to; the earpiece wires that hook over your ears are a little on the stiff side.

BottoM lineThe UE600 is a versatile, well-rounded headphone that combines muscular dynamics, smoothness, great tonal balance, and a welcome touch of warmth.


Chris Martens

specs/pricingAccessories: 3 pairs of single-flange rubber eartips (sizes S, M, L), 1 pair of dual-flange rubber eartips (size M), cleaning tool, sound level attenuator, 1/4-inch jack adapter, carrying case.Weight: 0.6 oz./pr. sensitivity: 119d/mWprice: $99.99www.ultimateears.com


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yuRTOPIA yuRBuD EARBuD ENHANCERS Every once in a while, I get out a box-

stock pair of Apple earbuds (the kind that were thrown in for free with your

iPod or iPhone) and spend some time listening to them just to remind myself how they sound. Without meaning to turn those poor, innocent little buds into Playback’s personal audio whipping boys, let me simply observe that stock earbuds don’t sound very good at all. In fact, if I were to review them (which I won’t), they would come in for sharp criticism for their thin and anemic bass, exaggerated and overly prominent mids, and for their almost unlistenable, “hot,” and sizzling upper mids

and highs. But what if I told you that someone has created an easy-to-use adapter product that addresses many of the weaknesses of stock earbuds, while building on strengths not, at first, in evidence—in short, an adapter that turns stock earbuds from a bad thing (with a capital “B”) into a pretty darned good thing? That, in a nutshell, is what Yurtopia’s Yurbud * earbud enhancers are all about. * For the record, Yurtopia prefers that its company

and its product names be spelled entirely in lower-

case letters; but for the sake of clarity I’ve capitalized

the names in this reviews.


Chris Martens

overviewConsider these adapters if: you want to hear just how much better your stock earbuds can sound (hint: we’re talking about a significant—not a small or subtle—jump in sound quality). Also consider the Yurbuds if you’re an active person who wants earbuds that are comfortable to use yet won’t fall out, or if you’re a listener who likes the idea of a semi-custom fitted product that—unlike traditional in-ear headphones—does not protrude overly deeply into the ear canal. There’s a lot of value here for your $20.

look further if: your main emphasis in on sound quality, pure and simple. While the Yurbuds dramatically improve the sound of stock earbuds, they nevertheless come in for some very stiff competition from dedicated in-ear headphones priced at (or just a little above) their price (two examples would be Skullcandy’s Titan in-ear headphones at $34.95 or NuForce’s NE-7M in-ear headset at $49)



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But there’s more to the story than sound quality alone. Yurbuds, you see, not only aim to improve the sound of stock earbuds, but also to enhance their overall fit and comfort in a dramatic and—get this—semi-custom-fitted way. Yurbuds, as it turns out, are the brainchild of Seth Burgett, a triathlete and entrepreneur whose background is in the design of “minimally invasive surgical devices,” and who found that his stock earbuds kept falling out during training runs. Partly out of personal interest, and partly sensing that a viable product concept was in the offing, Burgett sought to create comfortable, easy-to-attach earbud adapters that, in a sense, would mimic some of the characteristics of (typically very costly) custom-fit in-ear monitors. What evolved was the Yurbud: a soft rubber adapter

that slips over the stock earbud, that is offered in a broad ranges of sizes (there are 12 sizes, in all), and that looks and feels much like a custom-fitted/custom-molded product, but at a tiny fraction of the cost.

Yurtopia has developed a simple yet ingenious imaging system, called YurScan (patents pending) for fitting listeners with the correct sizes of Yurbuds earbud enhancers. When ordering Yurbuds, customers are asked to take a photo showing a quarter held alongside the listener’s ears (to provide an accurate size comparison). Alternatively, listeners can supply a photo showing their ears with a pair of stock earbuds in place (again, for size comparisons). The photo is then downloaded to the Yurtopia ordering site, where proprietary YurScan technology analyzes the size/shape of the customer’s ear relative to the reference quarter (or earbud) and then recommends an appropriately sized adapter. According to Yurtopia, I need a size 7 Yurbud adapter and my review samples fit me perfectly.

Those who would rather skip the whole custom fitting process can purchase Yurbuds off-the-shelf at Best Buy in sizes 5 and 7 (the most commonly required sizes), though the YurScan custom-fitting software seems to work so well that I can’t think of any good reason not to take advantage of it.

Once installed, Yurbud-equipped earbuds fit firmly yet very comfortably in the outer ear, while providing small, gently flared nozzles that directs sound into the wearer’s ear canals. The nozzles, though, do not actually extend very far into the ear canals at all, which will no doubt

be a blessing to listeners who don’t care for the feel of traditional in-ear headphones. What athletes/listeners will appreciate, I think, is the fact that Yurbuds grip the ear firmly enough not to fall out during routine exercise yet are still easy to remove or re-insert when the need arises.

soniC CharaCterThere is a night/day difference between the sound of stock earbuds vs. the sound of those same earbuds fitted with Yurtopia’s Yurbud adapters. Sonic improvements appear in four important areas.

Bass: upper, mid, and lower bass frequencies all sound deeper, more full-bodied, and much, much better balanced once the Yurbud adapters are fitted. Instead of thin, anemic and ill-defined bass you’d hear from stock earbuds, the Yurbuds offer bass with real depth, power, and a measure of textural

finesse. The improvement throughout the bass region is downright shocking.

Mids: midrange frequencies sound noticeably smoother and less brash with the Yurbud adapters in place. The stock earbuds exhibit a kind of false (but overly edgy and raw) midrange clarity, while with the Yurbuds fitted the sound, though still somewhat midrange forward, becomes significantly more relaxed and less abrasive.

Upper Mids/Highs: stock earbuds sound almost painfully splashy and “overheated” on upper midrange and high frequency transient sounds, while the Yurbuds smooth things out to a point where, if anything, some might find the highs sound slightly too recessed or “dark” sounding. But trust us on this one: gently subdued highs are infinitely preferable to the almost unbearable sizzle you’d hear from the

specs/pricingYurtopia Yurbud Earbud Enhancers Accessories:• Semi-custom fitted left/right slip-on

earbud adapters.• (Optional) Pair of Apple-type earbuds,

called Yurphones.• Nylon carry pouch with zipper closure.price: $20 (adapters only), or $30 (adapters plus a set of Apple-type earbuds).

YUrTOpIA(314) 633-1801www.yurbuds.com



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stock earbuds.Noise isolation/efficiency: the Yurbuds fit

the contours of your outer ears quite closely, yet without imparting the airtight, “hermetically sealed” feel of traditional in-ear headphones. In the process, Yurbuds block out a lot of external noise while at the same channeling more of the output of your earbuds directly into your ear canals. As a result, you can enjoy very satisfying listening sessions with your iPod or iPhone’s volume controls set to about half the levels you might use with stock earbuds. Noise isolation may not be as good as with properly fitted in-ear ‘phones, but the tradeoff is that the Yurbuds do let you hear at least some external sounds, and are arguably easier to remove or re-insert than in-ear models are. MUsiCal eXaMplesOne record that underscores the improvements the Yurbuds earbud enhancers yield is Larry Coryell, Badi Assad, and John Abercrombie’s Three Guitars [Chesky], which showcases three master guitarists teaming for delicate and at times very intricate ensemble performances. A particular favorite is the album’s final track, “Timeless”, which features the distinct voices of each of the instrumentalists’ guitars, plus delicate hand percussion played by Assad. This is precisely the sort of track that highlights the shortcomings of stock earbuds, because they tend to reproduce picking and fingering noises as well as high frequency harmonics much too aggressively, making them sound somewhat hard and “spitty,” so that they detract from the overall performance. Stock earbuds also fail to capture the depth and

weight of the lower registers of the instruments in play.

But slip on a set of Yurbud adapters and things immediately become much better. The guitars all sound smoother, more full-bodied and richer, with greater depth. Transient sounds such as picks sweeping across strings or fingers gliding into position over frets, suddenly sound more balanced and much smoother, so that they remain clear yet lose the piercing, hard-edged quality that the stock earbuds exhibit. Granted, some listeners might wish for a bit more high frequency extension and “air” surrounding the instruments, but apart from this minor deficiency, the Yurbud-equipped earbuds do a very nice job.

Another revealing track is “You Have Loved Enough”, from Leonard Cohen’s Ten New Songs [Sony], which presents a variety of challenges. Cohen, of course, has a famously low voice that makes up through rich textures and subtle inflections what it may lack in actual range. The track, in turn, relies both on female backing vocalists, deceptively simple keyboard and percussion instrumental support, plus a deep, rolling bass line that helps drive the song forward. Through stock earbuds, the sound is simply a mess. Percussion sounds loud and splashy yet lacks definition, sibilant vocal sounds (and there are a lot of them on this track) are so overwrought that they’ll make you want to turn the song off, and both the bottom end of Cohen’s voice and of the rolling bass line are more or less missing in action. Not good.

But again, the Yurbuds transform the sound of the earbuds, making significant,

across-the-board improvements. Percussion smoothes out, transient sounds remain clearly audible but lose the hard, “pingy” edges they previously exhibited, while sibilant vocal sounds are tamed to a point where they no longer sound painfully overcooked. The biggest change, however, involves the lower register (come to think of it, the only register) of Cohen’s voice and the bass line down below; with the Yurbuds in place, both take on appropriate, depth, weight, and richness, representing a major improvement over the sound of the stock earbuds. CoMFort FaCtor/aCCessoriesThe Yurbuds fit firmly within your outer ears, yet without applying excess pressure. The outlet “nozzle” of the Yurbud adapter channels sounds to your ear canals, yet without inducing the “Help, my ears are being attacked by giant Q-tips!” sensations that some in-ear

headphones entail.You can order Yurbud adapters as a

standalone product, or with aftermarket Apple-type earbuds (which Yurtopia calls Yurphones). BottoM lineIf you’ve been dissatisfied with either the sound quality or ergonomics of box-stock earbuds, help is on the way in the form of Yurtopia’s affordable Yurbuds earbud enhancers. You might think it would be impossible for such simple devices to make a big difference in performance, but in practice the Yurbuds work exactly as advertised. They literally transform the sound of stock earbuds while making it possible for you to listen happily at lower volume levels. They also improve fit and wearer comfort (especially for athlete/listeners), while offering a level of customization unprecedented at this price.





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PlaybackunivErsal-fit EarphonEs $100–$300



Beats by Dr. Dre is a sub-brand of Monster Cable whose stated goal is to make true, studio-grade sound (as

approved by Dr. Dre, of course, as well as by his long-term collaborator/producer Jimmy Iovine) available to consumers at accessible prices. But apart from sonic qualities, Beats by Dre products are designed to look cool, too, sporting a distinctive red-and-gloss-black design motif that’s very attractive. Toward the end of 2008, and following closely on the heels of the launch of the now-iconic Beats By Dre Studio noise-cancelling headphones (also reviewed in this Guide), the firm announced its Tour “high-resolution in-ear headphones.” The Tours are said to convey a sound similar to the full-size Beats Studio over-the-ear headphones, but for less than half the price and in a convenient “earbud” format.

soniC CharaCterI think Dr. Dre’s Tour in-ear ’phones not only equal but actually surpass the sound quality of the famous full-size Beats Studio headphones. Here’s why. The Tours retain the best qualities of the Studios—clarity, detail, and lively dynamics—while mitigating their most significant flaw—audibly colored voicing that overemphasizes bass and upper midrange/lower treble frequencies to a distracting degree. Granted, the Tours add a touch of bass and upper midrange/lower treble emphasis of their own, but they do so in a much subtler, more subdued way than the Studios. The result: better-balanced sound

all around. Whereas the Studios definitely exaggerate certain frequencies, the Tours merely underscore or “dramatize” them a bit, in the process delivering a more accurate sound that works better with a broader spectrum of musical styles. Note, too, that the Tours’ minor colorations can become a plus in environments (such as jetliners) where there are high levels of background noise to cut through.

BEATS By DR. DRE TOuR

universal-fit earphones $100–$300go to: universal-fit earphones under $100 | universal-fit earphones $300 and up | custom-fit in-ear monitors

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overviewConsider these headphones if: you favor a sound that is clear, well-detailed, and dynamically alive, but that has subtle (and not terribly excessive) touches of bass and upper midrange/lower treble enhancement that add a quality of “excitement” to many kinds of music. Also consider the Tours if you like “earbuds” that simply look cool and that incorporate clever tangle-free signal wires that really work.

Look elsewhere if: you are passionate (and finicky) about sonic neutrality and want in-ear headphones that offer the most accurate, uncolored, evenly-balanced voicing possible (if those are your priorities, you might find Monster’s Turbine in-ear headphones a better choice).

Chris Martens



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MUsiCal eXaMpleA richly layered recording such as Lucinda Williams’s “Wrap My Head Around That” from

West [Lost Highway] nicely shows off the Tour’s strengths. The recording opens with a delicate, reverb-drenched motif being plucked on a guitar as we hear Lucinda Williams’ half of a fragmentary phone conversation, her

voice saying, “Yeah, … Um-hmm, … Uhh-huh, …” The Tours give such a vibrant, up-close perspective that we have the uncanny sense of listening in on a private, intimate conversation. But what is the conversation about? The song soon provides an answer.

As a dark and richly syncopated bass and drum rhythm propels the song forward, we hear Williams sing (in a voice that is unmistakably leveling not just a complaint, but an indictment), “You told me you loved me/said you want to be with me… You looked right into my eyes/said I’m not like the other guys…” The ability to capture small but crucial details such as these inflections in the singer’s voice, or the driving, springy feel of the rhythm section is precisely what the Tours are all about. Yes, they give the acoustic bass a little more punch than is accurate, and yes, they make high percussive transients and vocalist’s sibilant “S’s” sound a bit “hotter” than they should, but these ‘phones are so darned expressive and engaging that you may find their minor excesses are not only forgivable, but just plain charming.

Can you get even more clarity and expressiveness than the Tours offer?

Yes, if you’re willing to invest about twice the price. But for many listeners, I suspect the Tours will represent a comfortable and satisfying point of diminishing returns.

CoMFort FaCtor/aCCessories The Tours are quite light and their soft silicone eartips feel great and seal well. I particularly like the way the Tours’ angled earbud housings are designed, providing generous amounts of offset between the eartips and driver enclosures, and leaving plenty of room for signal cable run-out (with the Tours, you’ll rarely have a sense of the signal cables dragging across the outer surfaces of your ears).

The design of the Tours’ tangle-free signal wires (patent pending) is a clever innovation: the wires are molded into thin, flat “ribbons” that roll-up neatly in the case, rather than curling up into a “rat’s nest” ball of wires. Good thinking, Dr. Dre.

BottoM line The Tours are just what the doctor ordered (pardon the pun) for those who want highly expressive in-ear headphones that offer almost-neutral voicing plus a touch of dramatic flair courtesy of subtle amounts of bass and upper midrange/lower treble emphasis. The Tours ‘phones also sound better than most when used in noisy environments. Though a matter of personal taste, I found the Tours’ gloss black and red styling motif very appealing. The ‘phone’s cool, tangle-free red signal cables not only look slick but actually work (try them and you’ll wish everyone made cables this way).


specs/pricingAccessories: •Threepairsofroundrubbereartips(S,M,

L) and two sets of triple-flange “airlock” eartips (S, L)

•CarryingcaseWeight: Not specifiedsensitivity: Not specifiedprice: $150

MONsTEr, llC.(415) 840-2000 www.beatsbydre.comwww.monstercable.com


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ETyMOTIC RESEARCH HF2 The Elk Grove Village, IL-based firm

Etymotic Research is one of the oldest and best-known makers of high-

performance in-ear headphones, producing several models, such as the ER-4 Micro Pro family of headphones ($299/pair), that have come to be regarded as classics. But since the advent of the ER-4 Micro Pros a number of years ago, several market factors have changed. First, we have seen the widespread acceptance of the game-changing iPhone (yes, the ER-4 design pre-dated the arrival of the iPhone), meaning that many prospective buyers not only want high quality earphones, but also require devices that can function as headsets (i.e., that have built-in microphones and other cell phone control features). Second, a number of new competitors have joined the fray, creating pricing pressures, so that many enthusiasts want top-tier (or at least near top-tier) performance at a lower entry price that Etymotic’s ER-4 models can provide.

To address these emerging requirements, Etymotic Research created the hf2 (hf2 stands for “high fidelity | hands-free”) noise-isolating

Chris Martens

overviewConsider this combination headset/earphone if: you favor a sound that is built more for accuracy and tonal neutrality than for any kind of bass or upper midrange/treble embellishments. If anything, the hf2’s tonal balance struck us as offering a slightly warmer and arguably more natural sound than that of the ER-4P. Resolution is very good, though not quite up to the (extremely) high standards set by the ER-4P. Noise isolation is simply excellent, provided you can find a set of ER eartips that seal well and fit comfortably. When fitted properly, the hf2 makes a very viable alternative to larger and more costly active, noise-cancelling over-the-ear headphones.

look elsewhere if: you seek true top-tier levels of resolution in terms of capturing the finest of low-level sonic details and bits of textural information. While the hf2 is one of the stronger performers in its price class in this respect, you’ll enjoy an even more sharply focused sound by by stepping up to the ER-4P. The fit of the hf2s can be controversial. We raise this point because Etymotic’s familiar triple-flange rubber eartips—the units shown in most Etymotic product photos—fit some users beautifully, but can be borderline uncomfortable for others. If the triple-flange eartips don’t work for you, try using Etymotic’s compressible foam and/or mushroom-shaped “Glider” eartips, either of which may provide a more comfortable fit. For sheer sound quality, however, we think the triple-flange tips are tough to beat.




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headset/earphone—one that, in terms of configuration and sound, is in essence an “ER-4 junior.” Like all of the ER-4 models, the hf2 features balanced armature-type drivers. According to Etymotic Research Product Development Engineer David Friesema, the firm believes that balanced armature-type drivers offer, in an absolute sense, the highest overall performance potential (although Etymotic has recently released lower cost models that use moving coil-type drivers).

Accordingly, the balanced-armature-equipped hf2 represents an effort to capture much of the sonic goodness of the ER-4, but at roughly half the price—and with headset functionality thrown in for good measure. Friesema enthusiastically encouraged me to compare the hf2 side-by-side with the ER-4P, which is precisely what I do in this review.

FeatUres•Balancedarmature-typedrivers•Offeredinthreecolors:black,cobalt,

and red.•In-linemicrophonemoduleprovidesa

multifunction send/end control button. Music automatically mutes and pauses for an incoming call.

•Inboundcalls:Whenaninboundcallisreceived, pressing the send/end button once allows the listener to answer the call. Pressing the send/end button again disconnects the call and allows music to resume.

•Listeningtomusic:Whenlisteningtomusic,pressing the send/end button once causes music playback to pause. Pressing the send/

end button again allows music playback to resume. Press the send/end button twice in rapid succession cause the iPhone or iPod touch to skip forward to the next track.

•Accessories:theht2comeswithanextensive set of accessories, as listed under the COMFORT FACTOR/ACCESSORIES section, below.

•Important:apartfromtheassortmentofeartips provided with the hf2, the Etymotic Research online store offers an even broader range of eartips, accessories and spare parts for use with the hf2. If the included accessories don’t quite align with your needs, visit www.etymotic.com/ephp/hf2-acc.aspx to seek out further options.

soniC CharaCterThe Etymotic hf2’s are voiced with an eye toward sonic neutrality, a design choice that I find pleasing but that might not suit all tastes. One reason I say this is that headphones in general cannot produce the deep, tactile, rattle-your-chest cavity bass that you might hear from great loudspeakers and would certainly hear from live music. To compensate for this, many headphone makers dial in some degree of bass enhancement (some more than others), whereas Etymotic tends to apply little if any bass boost, and to use bass enhancement, if any, in a very conservative way. As a result, many competitors focus on giving you more bass, while Etymotic typically gives you somewhat less bass, but bass that sounds almost perfectly neutrally balanced and that is unfailingly taut and well focused.

Interestingly, if you listen to the hf2 in back-

to-back comparisons with Eytmotic’s own ER-4P, you may find—as I did—that the hf2 seems a little less bright and a touch warmer sounding than its more costly and analytical-sounding sibling. Much though I admire the ER-4P, I think many listeners might find the hf2’s sound more natural and accessible overall. What goes on here is that, with the ER-4P, there is a region in the upper midrange where the headphone is just a bit forward sounding (though not to a degree that is distracting or that would draw your attention when listening to the ER-4P in isolation). But when you hear the hf2 alongside the ER-4, the latter’s subtle upper midrange prominence becomes apparent—a comparison that works in the hf2’s favor.

However, when you focus in on the headphones’ ability to render small, subtle, low-level details and sonic information, the advantage shifts back to the ER-4P. While

the hf2 can and does capture a great deal of musical information (meaning it is competitive with if not superior to other models in its price range), the fact is that the ER-4P captures even more (which is one of the reasons the ER-4P is considered a classic design). But that said, I think that the hf2 will prove a delightful revelation for many listeners, giving them the sense that they are at last being given a deep, insider’s view of what’s really contained in their favorite music files.

One worthwhile point to note is that certain of Etymotic’s various eartip designs may give you much better sonic results than others. I say this because I have found, as have many of my colleagues who use Etymotic headphones, that I achieved the best overall sound when using Etymotic’s signature triple-flange rubber eartips (two sizes of which are provided with the hf2). I’m not sure why, but this material and eartip design seems to yield


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Etymotic research hf2 noise-isolating headset/earphone

Frequency response: 20Hz – 15kHzWeight: 1.3 ounce/pairsensitivity: 105 dB/mWWarranty: Two years, parts and laborprice: $179

ETYMOTIC rEsEArCH(888) 389-6684www.etymotic.com




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maximum sonic clarity and impact—especially on crisply delineated transient sounds and on vigorous bass content. In contrast, Etymotic’s foam eartips, which some listeners might prefer for their more comfortable fit, tend to produce a sound that is a smidgeon softer and more diffuse, making it harder to hear low-level details clearly.

I asked Etymotic’s David Friesema about these findings and he sent me this reply:

“Measured at the same reference point, the acoustic differences between the hf2 foam eartip and the 3-flange eartip are minimal. More likely, any observed sonic difference between these two tips is due to a difference in eartip placement in the user’s ear canal. While not always the case, many people can’t get as deep of a seal with the foam eartip.”

Noise isolation: Like the ER-4P, the hf2 can be amazingly effective at blocking out external noise—enough so that you can get way with things like listening to music while other family members watch a TV show in the same room with you. To achieve this level of noise isolation it is, of course, imperative to find a set of hf2 eartips that seal well in your ear canals. Etymotic says the hf2 provide a whopping “35-42 dB (depending on eartip used)” of noise isolation—specifications superior (in some cases dramatically superior) to those quoted for even the best of today’s active noise-cancelling headphones.

MUsiCal eXaMplesTo appreciate the delicacy and finesse the hf2 has to offer, try listening to the first movement of the Hilary Hahn/St. Paul Chamber Orchestra

performance of the Meyer Violin Concerto [Barber & Meyer: Violin Concertos, Sony], paying close attention Ms. Hahn’s string tone. What has long enchanted me about this young virtuoso’s playing is the fact that she achieves a sound that is incredibly articulate and, when appropriate, emphatic and incisive, yet that is never edgy or inappropriately aggressive or hard-edged. Instead, even in the most volatile passages, her tone preserves an underlying element of elegance—even of sweetness. This a distinctive quality I’ve admired when listening to Hahn in concert and a quality I’ve used as a litmus test when evaluating costly loudspeakers. But the great news, here, is that it is also a quality that the Etymotic hf2 effortlessly reveals for listeners to enjoy. Part of why you would invest in a headset/earphone of this caliber is to savor subtleties that show the differences between great performers and merely excellent ones.

To see what I’m talking about in my comments on the pleasingly (but not exaggeratedly) warm and natural sound the hf2 has on offer, listen to the track “Split Window” from Far From Enough [ Nonesuch], the debut album from the great bluegrass/jazz bassist Viktor Krauss. The song opens with a beautifully meditative solo acoustic bass phrase that speaks volumes. Krauss begins the phrase by striking a deep bass note that is left to linger in the air for a few seconds as he sprinkles in an almost subliminal cluster of surprisingly high-pitched high harmonics for contrast. Then, using the hearty middle range of the bass’ voice, Krauss introduces a curving, growling theme that is


TaBLe oF CoNTeNTs


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supplemented, at points, by double stops, and then augmented as the atmospheric and plaintive sound of an electric guitar and other instruments join in. Now this passage can sound very good on a variety of speakers and headphones, but what made the hf2’s rendition of it special was the way in which these little earphones captured both the depth and heartiness of bass—in particular, it evocative and “woody” voice—while also revealing (but not overemphasizing) the delicacy of its harmonics and upper register. In short, the Etymotics naturalism really nailed the bass’s ability to sound earthy and yet refined at the same time. In contrast, many otherwise fine headphones can give this passage a more analytical treatment that somehow misses its deep, rooted-in-the-ground quality.

CoMpetitve analysisTo give you a sense for how the hf2 fares in comparison both with like-priced models and more expensive units, let’s look at how it stacks up relative to the similarly priced Monster Cable Turbine and to Etymotic’s own more costly ER-4P.

hf2 vs. Monster Cable Turbine•TheMonsterCableTurbinesofferasimilar

emphasis on neutral voicing, but provides a response curve shaped with an eye toward achieving a slightly darker, warmer, and perhaps somewhat “richer” sound.

•Thehf2isarguablythemoretextbookneutralsounding design with a greater emphasis on clarity and resolution of low-level detail. The hf2 and Turbine are identically priced, yet the

hf2 provides welcome headset functionality, while the Turbine does not.

•Whilebothheadphonescomewithagoodmix of eartips, I found Monster’s eartips were—on the whole—more comfortable and could more easily be adjusted to achieve a good, airtight seal in my ear canals.

hf2 vs. Er-4p•Etymotic’shf2andER-4Pdesignsare

similarly voiced, though side-by-side comparisons reveal an upper midrange region where the ER-4P sounds a little more prominent than the hf2 does. This difference underscores the fact that the ER-4P can resolve low-level sonic details more effectively than the hf2, but also tends to make the ER-4P sound a bit bright and/or bass-shy in comparison to its less costly sibling. Bass is well controlled in both earphones, but is a bit more prominent in the hf2—a difference that I think many listeners will welcome.

•TheER-4Pcomeswithanevenmoreextensive range of accessories (especially eartips) than the hf2 does, but the hf2 offers the compelling benefit of having headset functionality, while the ER-4P does not.

•Thehf2doesagoodjobwithlow-leveldetails and is one of the clearest sounding offerings in its price class, but the ER-4P gives an even more focused and explicit rendering of subtle musical details (the ER-4P is quite exceptional in this respect).

CoMFort FaCtor/aCCessoriesThe hf2s come with two sets of triple-flange

rubber eartips, a pair of foam eartips, and a pair of flexible mushroom shaped “Glider” eartips, spare filters (designed to prevent earwax from clogging the headphone’s drive mechanisms), a filter changing tool, a shirt clip (to attach the headphone’s signal cable to a garment, if desired) and a soft carrying case.

As noted under SONIC CHARACTER, above, the various Etymotic eartips differ in shape, size, and material composition. My preference (and that of many of my colleagues) is for the sound achieved when wearing the triple-flange eartips. The foam tips may feel better, at least for some listeners, but they also seem to yield a somewhat softer sound that can undercut clarity to some degree.

That said, I feel the triple-flange eartips are a mixed blessing—at least for those (like me) with relatively large-diameter ear canal openings. The problem is that the triple flange tips are basically offered in just two sizes (small and standard). For me, the standard-size triple-flange tips are not quite large enough, so that I have to insert them very, very deeply in my ear canals (uncomfortably so) to get a good seal. What would help, I think, would be a third, larger size of triple-flange eartip.

BottoM lineThe hf2 is a welcome addition to the Etymotic product range, offering—exactly as advertized—many of the sonic benefits of the flagship ER-4P model, but at a lower price and with the added convenience of headset functionality. What I think many listeners will appreciate are the subtle shifts in tonal balance in the hf2 relative to the ER-4P; namely, the

hf2’s slightly less prominent upper midrange frequencies and slightly more prominent bass. These shifts are subtle, not huge, but together they add up to a sound that conveys the natural warmth of music in a rich and welcoming way.

Prospective owners who like the idea of the hf2, but would prefer a headset with a 3-button mic/phone control module, will be pleased to know that Etymotic has plans to offer an hf3 model. The hf3 will be much like the hf2, but will provide a 3-button control for play/pause/end/send, volume control, and track changes.




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The ER4P is the most iPod-friendly of Etymotic Research’s ER4-series in-ear headphones thanks to its greater

sensitivity and slightly enhanced bass (the other ER4 models typically require an auxiliary headphone amplifier to sound their best).

From the lower midrange on up through the highest highs, the ER4Ps offers truly impressive transparency and clarity. Frankly, few other in-ear headphones can surpass the ER4P in terms of midrange clarity, and most don’t even come close. On the Dorati/London performance of Webern’s Five Pieces for Orchestra [RCA Living Stereo] you can hear fingering sounds from individual performers, hall reverberations, and even the soft squeak of a chair when an orchestra member shifts in his seat. The ER4p’s also produce bass that is reasonably warm and full, provided you insert the ER4Ps deeply enough within your ear canals to achieve a good seal—essential for optimal bass. Even then, the ER4P’s bass can sometimes sound slightly pulled back in the mix, though it is wonderfully tight and well defined.

The deep-in-the-ear fit of the Etymotics is controversial. On one hand, these ’phones give greater acoustic isolation than most others on the market. On the other, you don’t so much wear the ER4Ps as you “implant” them, which some listeners find a bit disconcerting.

BottoM lineThose who can embrace the fit and feel of the ER4Ps will be rewarded with headphones that deliver killer midrange transparency, good though not terribly plentiful bass, and awesome noise isolation.

ETyMOTIC RESEARCH ER4PChris Martens


specs/pricingAccessories: 3 pairs of triple-flange rubber eartips (short-stem, size M), 4 pairs of foam eartips (size M), 1 spare pair of filters (designed to prevent earwax from clogging the headphone’s drive mechanism), cleaning/filter removal tool, lanyard clip (to attach the cable to a garment, if desired), 1/4-inch jack adapter, hard-shell travel case, soft carrying case. Note: Etymotics offers an optional adapter that converts the ER4P into the more accurate but much less sensitive ER4S; if you make the conversion, plan on buying an auxiliary headphone amplifier.Weight: <1 oz./pr. sensitivity: 106dB/mWprice: $299www.etymotic.com


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Future Sonics is a leading manufacturer of custom-fit in-ear monitors for musicians, and its Atrio-series earphones strive

to capture the sound of those monitors in an accessibly-priced, universal-fit design. The company invites comparisons between the Atrios and the best in-ear earphones available—the very comparisons made in this survey. Here’s what we discovered.

The Atrios produce exceptionally good bass—powerful, deep, clear, and rich in detail. The only problem is that they tend to push the bass too far forward in the mix, which can overshadow mids and highs, making the ’phones sound less clear than they otherwise

might. In short, while the Atrios have a noticeably warmer sound than many of the headphones in this survey, they also possess that elusive quality of “aliveness” that makes them a blast to use, even though they deviate from strict tonal accuracy.

BottoM lineFuture Sonics’ Atrios are great fun to listen to—especially if you’re a bass aficionado— but they would be even better if they could be re-balanced for a more natural-sounding presentation.

FuTuRE SONICS ATRIOChris Martens


specs/pricingAccessories: 3 pairs dual-flange rubber eartips (sizes S, M, L), 4 pairs of foam eartips (2 each, sizes M and L), cleaning tool, carrying case.Weight: 0.5 oz./pr. sensitivity: 112dB/mWprice: $199www.futuresonics.com


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As Playback readers know, HiFiMAN builds some of the finest full-size planar magnetic headphones on the planet,

but with the new RE-262 earphone ($150) the firm is “thinking small” and looking to bring elements of the famous HiFiMAN sound to a new market at a very accessible price. But despite its mid-level price, the RE-262 reflects some of the same kinds of innovative—and distinctly performance oriented—thinking that has influenced HiFiMAN’s higher-end products. Thus, as you’ll see in a moment, the RE-262 isn’t “just another good mid-priced earphone.”

prodUCt ConCeptAt first glance, HiFiMAN’s mid-priced RE-262 earphone seems like a conventional design—one based on good, solid, straightforward ingredients, but that doesn’t offer spectacular internal components that catch the eye. The RE-262 features an earpiece housing that might be mistaken for molded plastic, but that is actually made of metal and then finished in gloss black. Inside, the RE-262 uses 9mm moving-coil type drivers whose motors feature neodymium magnets. Impedance is a relatively high 150 ohms, while sensitivity is a low-ish 95dB, meaning that the RE-262 can certainly be driven by iPods and the like, though it sounds even better when pushed by robust portable amps.

But look closer and you will find that the RE-262 breaks with typical earphone conventions, in that—get this—it comes prewired for use with balanced-output portable

or desktop amps, This is a design trend we’ve occasionally encountered with expensive, high-end, full-size headphones, but it is almost unheard of in the world of in-ear ‘phones. In practice, this means the RE-262’s signal

HIFIMAN RE-262


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overviewConsider this product if: you want one of the better mid-priced earphones currently available—one that offers a rich, vibrant, lush sound. The RE-262 is one of small handful of mid-priced earphones that plays far above its price class. Consider the RE-262 for its two versatile (though admittedly unorthodox) fitting options, or if you like the idea of an earphone that is ready to take advantage of coming balanced-output amplifier options.

Look further if: you want a simple, plug’n’play solution that’s easy to fit and to optimize; the RE-262 requires a bit of experimentation and trial-and-error adjustment to give of its best. Also consider other options if you prize completely neutral tonal balance, since the RE-262 has a somewhat bass-forward sound with slightly subdued highs (neutrality seekers might consider HiFiMAN’s upcoming $249 RE-272 as a better alternative).

Chris Martens



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cable comes fitted with a balanced 3.5mm mini-jack plug—that is, one with four rather than the expected three conductor sleeves (see photo). Why configure an earphone for use with balanced amps? Judging by listening experiences I’ve had with balanced full-size headphones and amps, I’d say the expected sonic benefits include heightened sonic purity, detail, and superior overall driver control.

To be perfectly frank, though, there aren’t all that many balanced-output portable amps on the market just yet (Ray Samuel’s new SR-71B Blackbird is one, and HiFiMAN’s own HM-801 digital music player/amp will be another once the firm’s balanced-output amp modules become available). But obviously HiFiMAN is looking to give the RE-262 a performance-oriented “growth path” for the future. In the here and now, however, most of us own cellphones, digital music players and portable amps that provide traditional unbalanced output jacks, and to accommodate our needs the RE-262 ships with an unbalanced-to-balanced adapter cable.

But HiFiMAN’s innovative thinking doesn’t end with giving the RE-262 capabilities for use with balanced amps, because the firm has also taken a fresh look at ways of achieving an optimal fit—both in terms of sound quality and wearer comfort. Most earphones have a recommended “normal” wearing position, and the RE-262 is no exception. Some earphones, like the RE-262, are designed to be worn with their signal cables draping downwards from the wearer’s ears, while others are designed so that cables will be routed up and over the ears (and some models support both approaches).

But no matter what cable-routing scheme is used, most earphones sound and feel their best when three essential conditions are met:•First,theeartipsoftheearphonesneedto

achieve a good airtight seal in the wearer’s ear canals in order to achieve powerful full-range sound (a poor seal almost invariably makes for thin, anemic-sounding bass).

•Second,theearpieces/eartipsshouldideallyrest fairly deeply within the wearer’s ear canals (an often overlooked aspect of performance that can spell the difference between rich, vibrant sound and dull, lifeless sound).

•Third,theearpieces/eartipsneedtoofferlong-term wearer comfort (no matter how it sounds, an earphone that’s uncomfortable is bound to go unused in the longer term).


specs/pricingHiFiMAN rE-262 In-Ear Headphone/HeadsetAccessories: Three pairs of single-flange eartips (S, M, L), two pairs of double-flange eartips (M and L), one detachable clamp for clipping the signal cable to garments, five pairs of user-replaceable filters (for keep ear way from clogging the RE-262’s sound output tubes), one padded leatherette presentation box, and three color-coded adapter cables, as below:• Black adapter: unbalanced 3.5mm jack to balanced 3.5mm socket with standard left/right channel orientation.• Grey adapter: unbalanced 3.5mm jack to balanced 3.5mm socket with reversed left/right channel orientation.• White adapter: balanced 3.5mm jack to balanced 3.5mm socket with reversed left/right channel orientation. Frequency response: 15Hz – 22kHzWeight: 0.6 oz. sensitivity: 95 dB SP/1 mWImpedance: 150 ohmsWarranty: 1-year replacement warrantyprice: $149

HiFiMAN/HEAd dIrECT(347) 475-7673www.hifiman.uswww.head-direct.com


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HiFiMAN took a long, hard look at these

requirements and (after much trial-and-error experimentation) came to a highly unorthodox conclusion. Specifically, HiFiMAN determined that while many listeners get good results with RE-262 worn in its “normal” position (earpieces right side up, with signal cables draping downwards), others achieved an optimal fit with the RE-262’s worn (no joke) upside down and with the channels reversed (left earpiece in the right ear and vice versa,

with signal cables wrapped up and over the wearer’s ears—see photos).

In order to support this admittedly unusual alternative wearing position, HiFiMAN ships the RE-262 with two additional adapter cables:•Acolor-codedbalanced-to-balancedadapter

cable with left/right channels reversed, and•Acolor-codedunbalanced-to-balanced

adapter cable, also with left/right channels reversed.

Frankly, I initially thought this whole approach was too strange to embrace, but once I tried wearing the RE-262’s in both positions I discovered that I am one of those wearers for whom the “upside-down-and-backwards” fitment work best. In fact, it gave me a night/day improvement in comfort and sound quality (though you might well prefer the normal wearing position). The point, here, is that the RE-262 gives you two very different fitting options, both of which deserve careful consideration (according to HiFiMAN, if one approach doesn’t work for you, the other almost certainly will).

ease oF UseDepending on the user, the RE-262 can be tricky to fit at first. Some wearers find it’s pretty much a plug-n-play design, while others (like me) have to work a bit harder to get optimal results.

For anyone trying the RE-262, I would encourage running three sets of tests when

you first receive the earphones:•First,carefullytryoutthevariouseartipsthat

HiFiMAN supplies in order to find the size/type that creates the best seal in your ears. Sometimes, you may find that a not-so-obvious option actually gives the best results.

•Second,tryboththenormal(rightsideup and forward) wearing position and the alternate (upside down and backward) wearing position. You will likely find, as was the case for me, that one position works markedly better than the other.

•Third,onceyou’vesettledoneartipsandthewearing position you want to use, try gently pushing inward on the RE-262 earpieces, and note how the depth of the fit influences sound quality. I found that—up to a point—a deeper fit enabled the earphones to produce a significantly richer, more vibrant sound.

The wearing position you choose will also help you determine which (if any) of the three


Normal wearing position (right earpiece in right ear)

Alternate wearing position (left earpiece upside down in right ear)



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included adapter cables to use.Using Amps with Balanced Outputs•No adapter: Use this approach if wearing the

RE-262’s in the “normal” position (right side up with normal left/right channel orientation).

•White adapter: balanced 3.5mm mini-jack to balanced 3.5mm socket, with left/

right channels reversed. Use this adapter if wearing the RE-262’s in the “alternate” position (upside down with the left/right earpieces reversed).

Using Amps, Cellphones, or digital Music players with Unbalanced Outputs

•Black adapter: unbalanced 3.5mm mini-jack to balanced 3.5mm socket with normal left/right channel orientation. Use this adapter if wearing the RE-262’s in the normal position.

•grey adapter: imbalanced 3.5 mini-jack to balanced 3.5mm socket, with left/right channels reversed. Use this adapter if wearing the RE-262’s in the “alternate” position.

With many earphones, all you need is a good in-the-ear seal in order to achieve optimal sound, but the RE-262’s are different. While they do require a good seal, they are also quite sensitive to how deeply they are positioned in one’s ears. When fitted correctly, the RE-262 produces a deep, rich, vibrant sound. Don’t settle for anything less, and keep experimenting until you get all the performance you’ve paid for. The end results more than justify the extra set-up time and effort required.

soniC CharaCterAt their best, the RE-262’s have a big, smooth, full-bodied, and almost “lush” sound that is highly engaging and very comfortable to listen to for long periods of time. Several factors contribute to that sound.

deep, powerful, Well-defined bass: Bass is one the RE-262’s strengths, with the earphone delivering extremely good extension, desirable qualities of weight and punch, and—most importantly—good pitch definition and focus. While I would concede that the RE-262 delivers a somewhat bass-forward sound, what makes the low end of this earphone work is not so much the quantity but the sheer quality of the bass it delivers.

As a test of pure bass depth, for example, listen to the RE-262’s reproduce the descending organ passages found in the Pie Jesu section of the Rutter Requiem [Reference Recordings]. More than most earphones, the RE-262 shows real muscle and extension, creating the sense of deep pitched, shuddering columns of air. Most earphones run out of steam on the Rutter Requiem (some of them comically so), but not the HiFiMAN’s; they just wade right in and get the job done.

But the RE-262’s not only go low, as on pipe organ material, but also tackle with gusto those low frequency instruments that have more transient snap and punch, or that rely on subtle variations in low-frequency textures and timbres. Listen closely, for example, to Avishai Cohen’s acoustic bass on “Bass Suite No. 1” from Cohen’s Adama [Stretch Records]. You’ll find it captures the initial “jump” and resonant sustain of the bass strings, while giving you a clear-cut sense for the resonances of the large wooden body of the instrument. Note, too, the way that the RE-262 captures very subtle variations in Cohen’s finger and plucking notes—letting you feel as much as hear the effort he puts into bending or sliding some notes. But perhaps the most spectacular effect comes when Cohen accents certain plucked or sustained bass notes by rapping his knuckles against the body of the instrument to create counter-rhythms. Those knuckle raps sound amazingly realistic.

Few earphones this price can dig more deeply (or articulately) into music’s lower octaves the way that this one can.

Articulate, vibrant, lifelike Mids: Most of




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the music really does live in the midrange, and the RE-262’s honor that fact with mids that are evenly balanced and that—more importantly—are rich in luscious tonal colors and textures. The result is a sound that, more so than is the norm for this class, pulls you in and holds your attention through both its richness and dynamically expressive qualities. This, along with the killer bass mentioned above, is what makes the RE-262 sound like a higher-end model than its price would suggest.

One recording that shows these qualities to particularly good effect is violin virtuoso Hilary Hahn’s performance on the first movement of the Meyer Violin Concerto [Sony]. While portions of this movement are briskly paced, I would not call it a showcase for violin pyrotechnics; instead, what makes the movement work are its slower passages where the voice of the solo violin sings out sweetly and purely—at times sounding terrifically alone and exposed. The RE-262’s let you hear how Hahn deftly balances technical mastery of her instrument with an equally important quality of musical soulfulness. I’m not talking about sloppy romanticism, here, but rather about honest emotion and sensitivity to the sheer beauty of the music—a quality that fills Hahn’s performance with energy, purpose, and life. What the RE-262’s do so well is to put the you in touch with the articulacy and liveliness of music without turning listening into a sterile technical exercise whose objective is to see which earphone can reproduce the most detail or carve the most abrupt transients.

Clear, smooth Highs: Many earphones that strive for a detailed sound do so at the expense

of highs that are either overly prominent or that easily become edgy and brittle sounding. Happily, the RE-262 has neither problem, as its highs are unfailingly graceful and smooth, albeit ever so slightly subdued. Even so, I think many listeners will appreciate the compromise HiFiMAN has drawn.

The RE-262 offers a healthy measure of treble detail, but without any of the downsides that treble detail sometimes implies: there is no tendency toward piercingly overblown high-frequency transients, no blare or glare in the critical upper midrange/lower treble region, and no overheated treble textures scorching their way into your skull. Instead, the RE-262’s highs are always clear, yet at the same time gentle, engaging, and easy to live with.

Like certain fine high-end loudspeakers, the RE-262 thrives on well-recorded treble material, though it will not create the illusion of treble “air” or “detail” in recordings that don’t actually possess those qualities (which is all to

the good). But when the recording is up to the task, the RE-262 can sound extremely detailed and revealing.

For a good example of this, listen to the track “Farrucas” from flamenco guitarist Pepe Romero’s Flamenco [Lim, K2HD CD remaster of the Philips original]. What makes this recording jump to life is not only Romero’s fleet-fingered guitar work, whose light-speed runs and trills the RE-262 handles with ease, but the spectacular rhythm accompaniment, which includes the sound of flamenco dancers shoes reverberating within the recording space, as castanets and handclaps keep time in the background. This track features a remarkable variety of high-pitched transient and textural sounds—all of them at play at once, and the RE-262 does a great job of delineating them cleanly and clearly. There is no mistaking, for instance, a handclap for the snap of a castanet or the harder, sharper crack of shoe heels striking the floor. Each treble sound is preserved, separate and distinct from

the others.If there is any deficiency here, it might be

that the RE-262’s highs are just slightly softly or lightly balanced relative to the real thing. By this I mean that there are some competing headphones in this price class (e.g., the Phonak PFE 122) that offer a heightened sense of treble focus or that do a somewhat better job of conveying the high frequency “air” between instruments. But that said, I would add that few other mid-priced earphones in my experience could equal the RE-262’s uncanny combination of treble clarity and smoothness.

sUMMinG UpHiFiMAN’s RE-262 is an excellent mid-priced earphone with a number of unexpected and unconventional design elements. First, it comes pre-wired for use with balanced-output portable amps and therefore requires (included) adapter cables for use with conventional unbalanced portable amps, iPods, etc. Second, it offers two possible wearing positions: a normal position and an unorthodox alternate position (where the earphone is essentially worn upside down and backwards—again necessitating included adapters).

But look beyond the RE-262’s unconventional aspects and you’ll find its strengths center on it rich, vibrant, luscious sound, which is always engaging and easy to enjoy for long-term listening sessions. Sound quality, pure and simple, is what makes this little HiFiMAN earphone shine brightly, and at a very reasonable price.




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Toward the end of 2008 Monster Cable announced the release of ambitious new in-ear headphones called the “Turbine

In-Ear Speakers,” priced at $150. Three things caught my attention in this announcement.First, Monster stated that the Turbines were “personally designed by (Monster CEO and founder) Noel Lee, undergoing three years of rigorous research, development, and refinement.” Frankly, it’s uncommon for the heads of large companies to take such a personal, hands-on role in creating individual new products, so I was eager to see how Lee’s brainchild would sound.

Second, the Turbines were announced with the same price as another new high-performance in-ear headphone from Monster (namely, the Beats by Dre Tours reviewed elsewhere in this Guide), which led me to wonder if the products might be one and the same. The answer—as you’ll see if you read both reviews—is that they are actually quite different (though both have merit).

Third, I was struck by Monster’s promise that the Turbines deliver sound comparable to that of “full-size high-end speakers”—a claim I’d ordinarily be inclined to discount as mere marketing hyperbole. At CES 2009, however, Noel Lee spoke convincingly of his desire to offer the Turbines as a means of making legitimate high-end sound accessible to a new generation of listeners who want portable solutions and who could not manage the costs or space requirements associated with traditional high-end loudspeakers.

Does the Turbine meet Lee’s ambitious goals? In many ways, I think it does.

soniC CharaCterAs is often the case with accomplished full-range loudspeakers, the sonic goodness of the Turbine headphones starts right in the heart of the midrange (where most of the music is anchored), and then spreads outwards from there to encompass high and low frequency extremes. When you first put the Turbines on, you’re likely to notice how smooth and evenly balanced their midrange frequencies are, or to note their easygoing, unforced clarity (sonic details unfold naturally without histrionics or artificial highlighting). Next you’ll notice how


MONSTER CABLE TuRBINEChris Martens

overviewConsider these headphones if: you know and love genuinely accurate sound, or if you are the sort of person who enjoys “going deep” to savor the rich inner details and textures that can spell the difference between good recordings and great ones. In many respects, these no-nonsense in-ear ‘phones can compete with models twice their price.

Look elsewhere if: you seek headphones that add subtle (or perhaps not-so-subtle) sonic colorations calculated to appeal to specific tastes or sonic preferences. Like faithful and factual news reporters, the Turbines consistently “tell it like it is,” without injecting sonic editorial embellishments of their own.



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the Turbine’s bass provides rich yet taut and powerful foundational support for the music, while steering clear of pockets of boominess or bloated excess. Finally, you’ll find the Turbine’s highs are clear, extended, and reasonably detailed, yet without applying false layers of treble “sheen” on top of high-frequency harmonics. In short, the Turbine’s core sound is accurate, well balanced, and fundamentally “honest.”

If you’re willing to spend twice what the Turbines cost (or more) you can—if you search carefully—find ‘phones that offer a little bit more detail, resolution, and refinement, but in terms of accurate tonal balance the Turbines can compete with the best I’ve yet heard.

MUsiCal eXaMpleLet me use two recordings to illustrate the Turbines’ real-world performance.

Sometimes the simplest recordings can be the most revealing, and so it is with British jazz vocalist Norma Winstone’s rendition of the Cole Porter song “Everytime We Say Goodbye” from Distances [ECM]. The track opens with sparse instrumentation—just the sound of Klaus Gesing’s lilting sax and Winstone’s breathy, nuanced voice, so that even the smallest details and textures are laid bare. The Turbine’s answered the call by nailing the reedy, contemplative, almost melancholy sound of Gesing’s sax, while revealing layer upon layer of tonal colors and subtle points of emphasis in Winstone’s voice. In a recording like this one there is no place for a headphone to hide: it either gets the fundamentals right,

or its colorations are instantly exposed—a test the Turbines passed with flying colors.

But as lovely though the Turbines can be on delicate material, they also have sufficient grunt and moxie to hold their own on more full-bodied fare. A good example would be their sound on “There Goes The Neighborhood” from Sheryl Crow’s The Globe Sessions [A&M]. The track has several key core sonic elements:

an absolutely enormous-sounding kick drum, two raw and grindingly distorted electric guitars, a vigorously loping electric bass, barking saxes applied mostly as accents and, of course, Crow’s own feisty and sometimes howling vocals. The Turbines were impressive on this track, partly because they kept their composure when multiple, powerful bass instruments were holding forth at once, and partly because they so effortlessly delineated the multiple, raucous midrange voices performing at full song.

The point I’m hoping to get across is that

the Turbines are versatile performers that can capture both the sound and “feel” of quite diverse types of music—perhaps their greatest strength.

CoMFort FaCtor/aCCessoriesThe Turbines are very light and their soft silicone eartips (similar to those provided with Monster’s Beats by Dr. Dre Tours) feel great

and seal well. The Turbines are a just-right size: big enough to grasp easily, yet

small enough to adjust easily for an optimal fit. The Turbine’s compact, metal housings (which are patterned after the beefy “Turbine” RCA jacks

that Monster provides on many of its high-end audio cables) have a

reassuringly solid feel and are said to help fight unwanted resonance.

Unfortunately, the Turbines don’t get the cool new “tangle-free” signal cables Monster created for the Beats by Dre Tours ‘phones. But the good news is that they do get cables featuring the firm’s signature “MicroStrand” conductors arranged in a patented “Magnetic FluxTube” configuration.

BottoM lineMonster Cable’s Turbines are wonderfully versatile, well-balanced and accurate in-ear headphones. Though not cheap at $150, they are worth every red cent; to do better (and then only a little better), you’d need to spend about twice as much (or maybe more). Self-proclaimed “Head Monster” Noel Lee has done music lovers everywhere a great favor in creating this product.


specs/pricingAccessories: •Threepairsofroundrubbereartips(S,M,

L) and two sets of triple-flange “airlock” eartips (S, L)

•CarryingcaseWeight: Not specifiedsensitivity: Not specifiedprice: $179.95

MONsTEr, llC.(415) 840-2000 www.monstercable.com


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Long-term readers of Playback and those who downloaded free copies of the first Playback Headphone Buyer’s Guide

know that we think quite highly of Monster Cable’s Turbine in-ear headphones (priced at $179.95). They are generally well balanced, comfortable to wear, and expressive—in short, one of the better ‘phones we’ve heard at their price point. Since the Turbines have few shortcomings, and their “sins” are mostly minor sins of omission, it’s only in side-by-side comparison with even higher performance (and, of course, more costly) models that one realizes that it’s possible to push the sonic performance envelope even further than the Turbines can go. For me, this realization led to one key question: what might happen if Monster pulled out the stops to build an even higher-end in-ear headphone?

No sooner had I posed the question than I discovered, at CEDIA 2009, Monster Cable’s announcement of a new top-tier model called the Turbine Pro Gold (MSRP, $299.95), which is billed as a product “designed for serious audiophiles and audio professionals.” From the outside, the Turbine Pros Golds look for all the

world like deluxe, gold-plated versions of the Turbines. If you are skeptical, as I sometimes am, this might lead you to ask: how different are the Pro Golds, really? Monster Cable isn’t terribly forthcoming with detailed design information, but their basic description of the Turbine Pro Golds does give some hints. Specifically, the new model:•Featuresa“low-mass,ultra-widebandwidth

driver for superior accuracy.”•Comeswithso-calledSupertipeartips

that appear slightly different in shape and consistency from the ear tips provided on the original Turbines, promising “maximum sound isolation.”

•Incorporatesnoticeablymoresubstantialsignal cables featuring “MicroStrand conductors with ultra-low impedance for subtle detail and clear audio reproduction.” The signal cable features Monster’s patented “Magnetic FluxTube” construction (as also used in Monster’s audiophile interconnect cables).

•Providesspecialheavy-dutycablestrainreliefs on each earpiece, plus a more robust fitting where the main signal cable splits at

Chris Martens

universal-fit earphones $100–$300go to: universal-fit earphones under $100 | universal-fit earphones $100 – $300 | custom-fit in-ear monitors

TaBLe oF CoNTeNTs

MONSTER CABLE TuRBINE PRO gOLD

overviewConsider this headphone if: you like the basic sound of Monster’s $150 Turbines but would appreciated heightened levels of detail plus even more extended bass and treble frequency response. Also consider the Turbine Pro Golds for their robust build quality and their outstanding warranty, which provides for one-time free replacement should they ever fail (even if you break them). Finally, consider the Turbine Pro Golds for their inherent comfort and noise isolation.

look elsewhere if: you seek the very last word in sonic detail, nuance and textural finesse. Excellent though the Turbine Pros are in each of these areas, they nevertheless can be narrowly outperformed by some of the top competitors in their price class. Though it may seem like splitting hairs, some top competitors convey just a bit more low-level musical information, inviting you to savor subtle inner details in the music.



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a Y-junction to provide cable runs to the left and right earpieces.

•Offersabeefymini-jackconnectorwithgold-plated contacts.

Promising though these changes appear in theory, the real question is how or if these ostensible improvements enhance the Turbine Pro Gold’s sound? And a good follow-up question would be, how do the Pro Golds compare with the best models in their class? I’ll address both questions in this review.

soniC CharaCterIf you compare the Turbine Pro Golds to the original Turbines you’ll be a very happy camper because the Gold models offer three welcome, across-the-board improvements. First, they offer significantly higher levels of detail and resolution, letting you extract more worthwhile low-level information from your favorite recordings. Next, the Pros provide even deeper and more solid bass than the original Turbines, which were no slouches in that department. Third, the Pro Golds provide significantly more extended treble response, making it much easier to pick out high frequency harmonics and the elusive sense of “air” surrounding instruments. Finally, overall frequency response is very evenly balanced (also a great strength of the original Turbines), though perhaps shaded ever so slightly toward the warm side (that is, the more bass-prominent side) of strict neutrality.

Based on what I’ve written thus far, you might think the Pro Golds would be among the top-tier performers in its price class, and you

would be mostly (though not entirely) correct in that assessment. On the one hand, the Turbine Pro Golds really do take worthwhile steps forward from the Turbines, which is very much to their credit. On the other hand, I found their performance was in some respects narrowly surpassed by the best $300 models from competitors such as Klipsch and Sennheiser.

In side-by-side comparisons with competing headphones, I found the Turbine Pros offered a very good measure of clarity, but perhaps lacked that elusive “Nth degree” of resolving power and definition that can sometimes spell the difference between very good headphones and truly great ones. While the Turbine Pros reveal most of the music most of the time, they occasionally miss the very subtlest layers of low-level musical information—layers of information their strongest competitors are often able to retrieve. Granted, I’m drawing a very subtle distinction here. Make no mistake:

the Turbine Pro Golds are extremely good headphones that do a fine job of precisely reproducing transient and textural details in the music; it’s just that some competitors do even better than the Pro Golds do.

Two other tradeoffs, however, tend to work in favor of the Pro Golds. First, the Pro Golds are among the most comfortable and easy to adjust headphones in their class, whereas several of their strongest competitors use somewhat cumbersome over-the-ear wire routing guides that can make it harder to adjust the ‘phones for a perfect fit. (With in-ear ‘phones, it is fair to say that good fit = good

specs/pricingMonster Cable Turbine pro In-Ear Headphones

Accessories: three sets of single layer ear tips, two sets of triple layer ear tips, two sets of Supertips, and one set of foam tips, plus two carry cases.Weight: Not specifiedsensitivity: Not specifiedImpedance: Not specifiedWarranty: Limited lifetime warranty against manufacturing defects, plus additional coverage where Monster declares “we’re offering a one-time replacement of your Turbine Pros, even if YOU break them.”price: $299.95

MONsTEr llC(415) 840-2000www.monstercable.com



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sound, so that ease of adjustment is a big plus). Second, the Turbine Pro Gold’s slightly warmer than neutral tonal balance will, at least for some listeners, represent a better sonic compromise than the arguably more accurate but also slightly more lightly balanced sound of competing ‘phones.

MUsiCal eXaMplesTo hear many of the Turbine Pro Gold’s strengths in action at once, try a vigorous and well-recorded live jazz track such as “Shake Everything You Got” from Maceo Parkers Roots & Grooves [Heads Up]. The track opens with a deep, punchy, rolling slap-bass groove that evolves against a backdrop of exuberant crowd noises until punctuated by the hard, sharp “pop, pop, pop, ker-swisssh” of three high-energy snare drum shots and a high-hat thwack that together mark the launch of the body of the song. In the past, the original Turbines would have done a very nice job with this passage, but the Turbine Pro Golds are better still, doing a better job of capturing the subterranean punch of the bass, the explosive crack of the snare, and the brilliant crash and closure of the high-hat.

Things get even better as the horn section enters, carrying the song’s melodic line above the prodigious grooves rumbling down below. The Pro Golds do a wonderful job of catching the brassy bite of the horns swells while at the same time letting you hear and feel the locomotive like power and, well, “traction” of the musical foundation that the rhythm section provides. Unlike lesser earphones, the Turbine Pro Gold keeps its composure in the presence

of complicated and dynamically demanding material that requires the headphone to reproduce challenging bass, midrange, and high-frequency musical lines at the same time. If anything, the Turbine Pro Golds seem to revel in this kind of stuff—something that can’t be said of all competing phones.

On very high resolution recordings, such as “I Can’t Stand the Rain” from Sara K’s Hell or High Water [Stockfisch SACD], I found that the Pro Golds sounded very good—in many respects delivering sound quality reminiscent of high quality, high-end loudspeaker systems. The Pro Golds let you hear the plaintive power

of Sara K’s voice and the strong and sure handed but never overblown performances of her veteran sidemen. But when heard through some of the Pro Gold’s top competitors that same track can—at its very best—take on deeper dimensions, offering up an even more vivid and intense presentation that reminded me of what it’s like to listen to microphone feeds directly through a recording console. While the Turbine Pro Gold gets all the basic elements of music reproduction right, some of its most accomplished competitors capture even more finely shaded textural and timbral details, giving you a more intimate, up-close-and-personal view of the music.

CoMpetitive CoMparisonDuring my listening tests I compared the Turbine Pros against two of the strongest in-ear headphone I’ve heard in the $300 price class: the Klipsch Custom 3 (now discontinued, but a class leader in its day), and the Sennheiser IE7.

Turbine pro gold vs. Klipsch Custom 3The Turbine Pro Gold is noticeably more comfortable to wear than the Custom 3. This is partly down to the fact that the Pro Golds are small and compact and feature what I would call “plug’n’play” wiring, while the ear pieces of the Custom 3’s are larger and incorporate an over-the-ear cable guide that is somewhat “fussy” to adjust properly. Another differentiator is that the Pro Gold signal cable features a smooth jacket whereas the cable jacket of the Custom 3 is made of a rough-textured fabric that can scrape on your skin or

clothing, creating distracting “rustling” noises that sometimes get transmitted up to (and through) the Klipsch ear pieces.

Sonically, the Turbine Pro Gold offers extremely smooth frequency response with deep, powerful bass, but the Custom 3 sounds even richer and more evocative, delivering superior highs, more nuanced bass, and slightly higher levels of openness and transparency—especially in the critical midrange. The Custom 3 is also somewhat more sensitive and therefore an easier load for iPods to drive.

Turbine Pro Gold vs. Sennheiser IE7 The Turbine Pro Gold is substantially more comfortable to wear (and to adjust) that the IE7. Again, the difference is attributable to the Turbine Pro’s compact size and straightforward wiring. By comparison, the IE7’s have relatively large and somewhat awkwardly shaped earpieces and they use relatively stiff over-the-ear cable guides that can make proper adjustment tricky to achieve.

Sonically, the Pro Gold has a somewhat darker tonal balance than the IE7, which some listeners might prefer. The tradeoff, however, is that IE7 does a more accurate and expressive job of capturing low level details and small shifts in dynamic emphasis, while delivering exceptionally clear upper mids and highs, plus taut and very well-defined bass.

Comparison summaryDifferences between the Turbine Pro Golds and their top in-class competitors certainly are not large in an absolute sense, so that the superior




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ruggedness and comfort of the Pro Golds might tip the scales in their favor. However, careful listening will also reveal that top competitors in the $300 price class do offer some small but worthwhile sonic advantages.

CoMFort FaCtor/aCCessoriesThe Turbine Pro Golds come with a wide assortment of ear tips: three sets of single layer ear tips, two sets of triple layer ear tips, two sets of Supertips, and one set of foam tips. I found the new Supertip material to be very comfortable and sufficiently flexible to offer a good, airtight seal. The Turbine Pro Golds, much like the original Turbines, are ideally sized to allow easy inserting and

adjustment for a good fit in your ear canals. The Monster Turbine Pro Goldss also come

with two carrying cases, one that is a particular handy pocket-sized pouch with a magnetic closure.

BottoM lineMonster Cable’s Turbine Pro Gold takes worthwhile steps forward from the firm’s already excellent Turbine, offering greater detail and broader frequency response with rock solid bass. Though not the last word in overall sonic resolution and refinement in its price class, the Turbine Pro Gold will win friends with its well-balanced sound, superior comfort, and absolutely unbeatable warranty.




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Phiaton (pronounced “fee’ ah ton”) is a subsidiary of the very large South Korean consumer electronics firm

Cresyn Company, Ltd., which employs over 12,000 people worldwide. Here in the U.S. Phiaton has set its sights on the higher-end headphone and iPod speaker system markets, offering two families of products:

the performance-oriented Primal Series (PS) models, and the more lifestyle-oriented Moderna Series (MS) models. Since I, like many Playback readers, tend to think that beauty is as beauty does, I was drawn to Phiaton’s PS range, which initially started with just two products—the PS 500 over-the-ear full-size headphone and the PS 200 in-ear-

headphone ($249) that we’ll look at here. More PS-series models have been added over time.

I first learned of the PS 200 in a pre-Christmas 2008 press release and was intrigued by the product description I found. The PS 200 incorporates decidedly high-end design touches such as aluminum earpiece housings, “Dual Balanced Armature drivers with passive crossovers,” and an Acoustic Impedance Control mechanism that “opens and closes holes on the rear side of the speaker unit” in order to improve bass response. I wanted to try the PS 200s partly out of pure curiosity; I wanted to find out if a relative newcomer could build in-ear headphones competitive with models from more established players such as Sennheiser and Shure. Did Phiaton succeed? Read on to learn the answer.

soniC CharaCterOn first listen, the PS 200s initially struck me as sounding very clear, but also a bit bright and lightly balanced. Over time, though, I felt the drivers loosened up and smoothed out somewhat (just as happens with some loudspeakers), while I became more adept at fitting the ’phones to achieve a more airtight seal in my ear canals and thus enjoyed substantially better bass performance.

It’s easy to get a “pretty good” fit and decent performance with the PS 200s, but I would encourage you to set your sights higher than that. Here’s how. Spend some time trying out the PS 200’s various sizes of silicone rubber eartips, and also—this is important—try different positioning options until you achieve a

great fit and thus much better bass response. Once the fit is right, the PS 200s deliver very fine bass, and their overall tonal balance becomes more neutral and richer sounding.

Hint: when fitted properly, the PS 200s should feel almost like swimmer’s earplugs do, so that each rubber eartip creates a truly airtight seal in your ear canals (the fit should be firm, but not oppressively so). To test if the ’phones are properly fitted, try pulling outward on the earpiece housings, very gently. When


overviewConsider these headphones if: you want a very revealing set of headphones that, for the most part, sound highly detailed and full-bodied. The only minor drawback is a very slight upper midrange/treble “burr” that occasionally puts an edge on certain sibilant or hard transient sounds. A nice extra is the PS 200’s cleverly designed carry case. All in all, the PS 200 is a fine first effort from a promising newcomer.

Look further if: you prize frequency response smoothness over sonic detail, per se. The PS 200s focus on delivering detail, and lots of it, on a 24/7 basis (although at the expense of that occasional treble “burr” we mentioned above). But on the whole, this headphone’s plusses far outweigh its weaknesses.

PHIATON PS 200Chris Martens



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you do this, you should feel a slight vacuum in your ear canals, indicating that there are no air leaks.

One last point: be aware that these are very detailed-sounding headphones, and for better or worse, they tend to put recordings under the sonic equivalent of a microscope. With the PS 200s, unlike some dual-armature designs I’ve heard, the headphone’s dual drivers speak with one coherent voice, which indicates that Phiaton has definitely done its homework. The only performance drawback is—as noted above—a subtle rough spot in the upper midrange/treble response curve that can sometimes put a bit of an edge on certain notes.

MUsiCal eXaMples The PS 200’s strengths are nicely revealed by master bass guitarist Dean Peer’s solo album Ucross [XLO Recordings, re-mastered reissue]. Many of Peer’s compositions, such as this album’s first track called “Risks & Missions,” are based on lines played in the bass’s normal range interwoven with counterpoint lines played as very high frequency bass harmonics (created by lightly placing a fingertip from one hand against the string at a specific interval position and then lightly tapping or strumming the string with a fingertip from the other hand). The net effect is of hearing two instruments at once (though they are one and the same): one with the deep, powerful, low voice of a normal bass guitar and the other with a surprisingly high, ringing, chime-like voice. On “Risks & Missions,” the PS 200s did a fine job of capturing the twin voices of Peer’s bass,

nailing the dark, voluptuous power of the lower melodic lines while cleanly reproducing the abrupt transient attack and soaring sustain of the high harmonics. The PS 200s bring so much clarity to the party that at times you might feel as if yours ears/brain have been “hard-wired” to the bass guitar’s pick-ups: it’s wonderful stuff.

But sometimes the Phiaton’s natural clarity can be marred by hints of edginess that make the ’phones sound momentarily bright, even slightly abrasive. On the song “If Our Hearts Ain’t In It,” from Eric Bibb’s Get Onboard [Telarc], for example, Bibb’s consonants sometimes take on a strident quality, while cymbals and electric guitars occasionally exhibit an excessive degree of “bite.” About 1:22 into the song Bibb sings the line “Ask forgiveness for all our sins/and vow to change our ways…”—a line that should sound soulful and very clear, yet smooth. Through the Phiatons, however, the word “Ask” sounds more like “Assssk,” with the “s” sounds overwrought, while the high-hats keeping time in the background take on a bright, glassy sheen that sounds a bit unnatural. To be fair, moments like these don’t come along very often, but when they do, the PS 200’s normal clarity temporarily transitions into a more harsh and hard-edged quality that’s more a curse than a blessing.

CoMFort FaCtor/aCCessoriesThe PS 200s are very light and come close to matching the comfort standard set by our all-time comfort champs, the Klipsch Image earphones. Importantly, the size and shape

of the PS200s’ beautifully made aluminum earpiece housings make it easy to grasp and maneuver the ’phones to make on-the-fly adjustments to achieve a better fit.

The PS 200s come with an airline adapter, three sets (and sizes) of silicone rubber eartips, and one of the best-designed carry cases we’ve seen. Phiaton plainly comes from the “a place for everything and everything in its place” school of thought because the case provides a molded plastic tray with cut-outs for each earpiece, positioning stubs for holding spare eartips, a socket for the airline adapter, and the whole tray—get this—serves as a spool on which you can wind up the signal cable (why aren’t all cases this well done?). The tray, in turn, is wrapped in a durable canvas-covered outer shell that has a magnetic closure flap. Very nice.

BottoM lineThe PS 200 represents a strong first effort from a firm that plainly wants to make its mark in this marketplace. These headphones are well made and offer a detailed and full-bodied sound that will delight many listeners. The Phiatons would easily have qualified for a Playback Recommended rating but for those occasional slight touches of treble edginess we observed. If those could be resolved, the PS 200s would leap from good to great in an instant.


specs/pricingAccessories: •Threepairsofround,single-flangerubber

ear tips (S, M, L)•Airlineadapter•CarryingcaseWeight: 5 grams (without cord)Sensitivity: 95dBWarranty: One year, parts and laborPrice: $249 pHIATON INC.(866) 313-3203www.phiaton.com


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In mid-2010, Phiaton launched its unorthodox but award-winning “half in-ear” design for earphones, a motif first applied

in the firm’s active noise-cancelling PS 20 NC model (also reviewed in this Guide) and in the standard PS 210 earphone. That same basic architecture is also used in the PS 210i earphone/headset ($139), which is the subject of this review.

Traditional earbuds, as we all realize, are light, comfortable, and small, and they are typically positioned entirely in the listeners’ outer ears; the only catch, frankly, is that tend to serve up pretty mediocre sound. True in-ear headphones, on the other hand, are designed to be inserted fairly deeply within the wearers’ ear canals where they rely upon an airtight seal in order to achieve optimal performance.

As a rule, in-ear ‘phones sound a lot better than standard earbuds do, but the catch is that not everyone finds them comfortable. By design, Phiaton’s half in-ear PS 210i combines elements of both, promising much of the comfortable, casual fit and feel of an earbud, but with the substantially higher levels of sonic performance associated with full-on in-ear ‘phones.

prodUCt ConCeptFrom a technical standpoint, “half in-ear” design means that the PS 210i earpiece housing is conceptually divided into two sections. The outer section consists of an aluminum enclosure that houses the earphone’s driver, while a sharply angled inner section serves as a “waveguide” or

sound-tube that directs the driver’s output into the wearer’s ear canals, and provides a tiny “Wave Guide damper”, as well.

At the juncture of the inner and outer sections of the PS 210i earpieces, there is a large-diameter, disc shaped structure that rests in the outer ear and that contains what Phiaton describes as a “Housing Damper.” As best I can determine, the housing damper acts as a mechanical buffer, of sorts, between the driver


overviewConsider this product if: You want an affordable and very easy-to-fit earphone that offers the easygoing usability of an earbud but the superior sound quality of an in-ear headphone (and that, oh-by-the-way, is configured for use as a headset, too). Look to this earphone for a sound that is full-bodied, with wide-open mids and a good measure of articulacy.

Look further if: You need high levels of sound isolation, an area where the PS 210i is less capable than some of its competitors. Also look further if you prize tonal balance that is strictly neutral (or at least nearly so), as the PS 210i exhibits a narrow (and thankfully not-too-obtrusive) band of upper midrange/lower treble emphasis.

PHIATON PS 210i Chris Martens



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enclosure and the waveguide tube.Adding to the PS 210i’s appeal is the fact

that it is also an iPhone/iPod-compatible headset fitted with a compact, inline mic/remote module that provides a simple switch that provide call send/end or pause/play functions.

ease oF UseWith the PS 210i as with any traditional in-ear headphone, you’ll want to spend a bit of time deciding which of the four sizes of included eartips gives you the most comfortable fit and best seal. But with that said, let me emphasize that the “feel” of the PS 210i is very different from that of most in-ear headphones, and in a

good way. When properly sealed, many earphones feel

somewhat like swimmer’s earplugs, meaning they give the sensation that you have placed moderately firm rubber stoppers in your ears. In contrast, the PS 210i’s fit lightly, gently, and comfortably in your ear canals, even when properly sealed, so that you may at first question whether the fit can possibly be “tight enough” for the earphones to work properly. But listening tests will quickly convince you that the Phiaton’s featherweight fit in no way compromises its bass performance.

Frankly, this is a huge point in the PS 210i’s favor from an ease-of-use standpoint, and one that directly addresses two of the main

complaints I’ve heard from listeners wary of in-ear headphones. Those two complaints hold that A) it’s unpleasant to put close-fitting objects in your ear canals in the first place, and/or that B) it’s too much of a hassle to have to have to fine-tune the fit of the ‘phones to get a ‘just-right’ seal.

Happily, the PS 210i tackles both objections head on, and in two ways. First, it has the uncanny ability to provide a usable in-ear seal without, in a subjective sense, feeling as if it fits tightly at all. (I think this is because the large disc-shaped “housing dampers” mentioned above wind up carrying most of the weight of the earpieces, so that the rubber eartips don’t have to.). Second, the PS 210i lets you achieve an adequate seal without having to make endless, finicky “tweaking” adjustments. The result is a joyous state of simplicity: you just pop the PS 210i’s in your ears, they work without fuss or bother, and you’re happy—end of story.

But one other factor also helps the cause of user friendliness. Specifically, the PS 210i earpieces are shaped so that, once in place, they tend to stay in place (unlike, say, box-stock Apple earbuds, which can fall out of your ears if you happen to move too suddenly). While there might be better earphones for extremely active, athletic listeners (e.g., the Yurbud Yurtopias, which seem almost to “lock” in place in your outer ears), the PS 210i stays in position better than many competitors do.

Putting all these factors together, the PS 210i stands as one of the most comfortable, easy-to-use earphones we’ve tested (though another great one in this respect, and arguably


specs/pricingPhiaton PS 210i “Half In-Ear” Earphone/HeadsetAccessories: Four pairs of silicone eartips (XS, S, M, L), carrying caseFrequency response: 10Hz – 27kHzWeight: 8.2 grams (without cord)sensitivity: 98 dB (input power level not referenced)Impedance: 32 ohmsWarranty: 1 year, part and laborprice: $139 pHIATON COrpOrATION(949) 756-8918www.phiaton.com


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the class leader, is Klipsch’s excellent but also considerably more expensive Image X10i).

Drawbacks: there are only two minor drawbacks to the PS 210i design, and one of them might even be a plus for some listeners. First, the PS 210i offers decent but not great sound isolation, which is a drawback for those listening in noisy environments, but a potential plus for those who want to maintain at least some sonic contact with the outside world. Second, the left/right channel markings on the earpieces (which take of the form of small, fine-lined letters “L” and “R”) are so tiny that even young, clear-eyed listeners in our offices commented that, “those are just too small to read.” Color-coding is simpler and would work better.

soniC CharaCterThe PS 210i is defined by robust but not overblown mid-bass response, an unusually open-sounding midrange region, and clear-sounding highs that are for the most part well balanced. The overall effect, then, is of an earphone that sounds full-bodied and whose wide-open mids make it quite engaging and engrossing to hear. There is then a sharp contrast between the way the Phiaton feels (which is to say, very light) and the way it sounds, where in many respects the PS 210i comes across as a heavyweight.

I should mention, though, that the PS210i exhibits a fairly narrow band of extra emphasis that spans the transition region between the upper midrange and lower treble. Interestingly, this band of emphasis helps some recordings—making them sound clearer and

more articulate than they typically might, but it also imparts just a hint of unwanted “edge” on others. The good news is that this area of coloration is comparatively small in magnitude, so that it generally doesn’t upset the PS 210i’s otherwise appealing sound.

To see how these characteristics play out with real-world musical material, let start by looking at the Phiaton’s performance on Holly Cole’s rendition of the Tom Wait’s classic “Jersey Girl” from Cole’s Temptation [Blue Note]. The track opens with a simple but very effective drum pattern (keyed by brushes on a snare) that accompanies an acoustic bass figure that starts with a vigorous low note that sustains for a long moment before the bass line begins to ascend. The PS 210i does a beautiful job with the acoustic bass as the earphone’s robust low end supplies just the right touch of weight and warmth to capture rhythmic swagger and punch that the bass brings to the song. The snare drum sounds great, too, thanks to the PS 210i’s open midrange, which reveals the gritty, swirling sound of brushes sweeping over the textured snare drum head, and that also lets you hear the distinctive “skin” sounds of the taut drumhead itself.

But the real treat is hearing the sound of Holly Cole’s voice through the Phiatons, a voice that can sound provocative and self-confident in one moment, yet plaintive and delicate the next. The song opens with the lines, “’Got no time for the corner boys/down the street makin’ all that noise…”—lines that some earphones tend to slur just a bit, but that sound wonderfully articulate and




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intelligible through the PS 210i. Going beyond sonic clarity, per se, the Phiatons also show sufficient nuance to reveal the sly double entendre and humor implicit in Cole’s crooning voice as she tells us she plans to, “…take my baby to the carnival/well I’ll take you on all the rides…” But the earphone’s clarity isn’t limited to the midrange alone on this track, as the high-rend also contributes to an overall impression of openness and extension. As the track plays, for example, you at times hear gentle rhythm accents added by a tambourine, where the PS 210i does a great job of capturing the crystalline, high-pitched ringing of the instruments’ disc shaped zils.

Above, though, I suggested that the PS 210i’s narrow band of upper midrange/lower treble emphasis sometimes had occasional, minor downsides. For an example of this, try listening to “You Don’t Know Me At all” from Bettye LaVette’s The Scene of the Crime [Anti]. Now LaVette’s powerful and evocative R&B voice admittedly has a bit of a raw edge to begin with, but through the Phiatons that edge become more apparent than it normally would, at times becoming a little too cutting and strident for its own good. To hear what I mean, pay close attention to the line where LaVette sings, “Oh, believe me, if you think I’m gon’ come back when you call/AAaaoooh baby, you don’t know me at all.” On that blistering “AAaaoooh baby” phrase as heard through the PS 210i, LaVette’s voice cuts like a blowtorch, which is kind of a mixed blessing. Expressive? Yes. Gracious and listenable? Not so much.

Still, I want to make sure I don’t leave you with the wrong impression. Most of the time,

and on a majority of well-made recordings, the PS 210i simply sounds sumptuous. For a great example of this quality in action, try the song “If” from Joni Mitchell’s Shine [Hear Music]. The deep, powerful sound of an electric bass and an acoustic drum kit anchors the song, with the bass sounding appropriately dark and weighty through the Phiatons, while the drum kit also sounds terrific. In particular, the PS 210i’s capture the taut “thwack” of the kick drum, the crisp “pop” of the snare, and the gentle shimmer of high-hats opening and closing. But the best part is the way PS 210i reproduces the deeper, smokier undertones of Joni Mitchell’s mature voice—a voice that has, over time, become darker and more richly textured than Mitchell’s youthful voice as heard

on, say, Blue. Those darker, more mature tonalities perfectly fit the lyric theme of “If”, as Mitchell—sounding a bit like the writer of the book of Proverbs—dispenses time-proven nuggets of wisdom and advice based on hard-won life lessons.

sUMMinG UpPhiaton’s half in-ear PS 210i is an eminently likeable earphone that combines some of the best aspects of earbuds and true in-ear headphones. Better still, the PS 210i even offers the convenience of headset functionality. Over the course of my listening tests, I kept thinking to myself that the best catchphrase for this product might be this one: featherweight feel meets heavyweight sound. While not ideal

for use in noisy environments, this Phiaton is so easy to use and rewarding to hear that you’ll find yourself instinctively reaching for it to carry in your pocket (or handbag) for everyday use.




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If you’ve read Playback Editor Chris Martens’ recent coverage of custom-molded in-ear headphones (from JH Audio,

Sensaphonics, Westone, and Ultimate Ears), you’ll know that the level of noise reduction from in-ear headphones is not a given. To put it numerically, if the noise in the environment is at, say, 80 db (a reasonable number for the interior or an airplane or train, with peaks rising well above that average level) and ideally you’d like the environment to have a background noise level of 30 db., then you need 50 db of noise reduction from your headphones. You probably won’t get that much, but with well-known brands quoting 30-40 db of noise reduction, you can see that there is room for even more silent backgrounds.

The objective here isn’t silence for the sake of silence. The spatial cues in music and harmonic signatures of instruments consist of very small signals. Mask those with noise and you lose some of the magic. With that thought in mind, we’ve recently tested the Phiaton PS 20 NC in-ear headphones with active noise-cancelling features.

prodUCt ConCeptWhile most high-end in-ear headphones rely on mechanical noise isolation to block external

sounds, the Phiaton PS 20 NC in-ears also use electronic noise cancellation to do the job. This should allow great noise reduction and could also help tune the noise reduction to particularly difficult frequencies (e.g., the 125 Hz drone of an aircraft engine).

Phiaton claims that its Noise Blocker technology attenuates 95% of the external noise from the environment. In addition, the signal processing circuitry is set up so that the headphones continue to work even if the Noise Blocker battery runs out of power.

The PS 20 NC is designed for use with mobile devices. The impedance is 26 ohms, which makes them appropriate for iPhones and the like. The sensitivity is specified at 101 db, but with no input level. However testing showed that an iPhone could easily drive the PS 20 NC to satisfying volume levels and (gulp!) beyond.

ease oF UseThe active-plus-passive noise cancelling approach is the one typically used by larger over-the-ear headphones, of course, and it has also been applied on occasion with in-ear ‘phones. With the PS 20 NC, part of the focus of the active technology is on ease of use.

First, by relieving the earphones of the need

for mechanical resistance to outside sounds, the PS 20s don’t have to have quite as tight a seal to the ear canal. This should allow the designer to create a more comfortable earphone, at least when compared with those models that create pressure points (a problem, in my experience, with some models in the excellent sounding Etymotic line). In our early testing, I’d say that the comfort level of the PS 20 is well above average. My comfort reference is the Klipsch Image X10i among in-ear ‘phones, and I’d say the PS 20s are about


overviewConsider this product if: Mid-range and treble clarity and smoothness are critical to you.

Look further if: Bass power and dynamic range are high priorities.

PHIATON PS 20 NC Tom Martin



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90% .as comfortable. However, the oval shape of the Klipsch earpiece still distributes pressure more evenly, and thus the Klipsch in-ear models are easier to insert.

There is a secondary benefit of the electronic noise cancellation approach. Relative to other earphones, the bass performance of the PS 20s is somewhat less dependent on the exact seal one achieves against the ear canal. This advantage varies with the earphone we’re comparing against, but it is there. I like being able to insert the earphone and not have to play around with it to get the seal just right (to achieve both adequate bass and balanced sound between the left and right earpieces).

Other than that, the PS 20 NCs have a small electronics box in line with the signal cable. This little box has a clip to go on your belt, or it can rest on a table next to you your source device. Overall, the signal cable is about six feet long, which is a bit more than you might need, but at least this offers some flexibility. A small carrying pouch is also included, as are ear tips of various sizes.

I found the tips easy to insert in the ear canal, but the larger than average driver housings require some dexterity to maneuver around my ear lobes, but you learn to deal with this. Once inserted, the low-pressure seal is quite comfortable (your mileage may vary, of course, due to differences in ear shapes).

I found the noise reduction from the active circuitry to be appreciable, but not huge. As a guess, I’d say the impact is in the 6-9 db realm. That is a significant gain if the pure mechanical seal is about the same as with other in-ear headphones. I’d say the seal with

the PS 20 NC is a little less attenuating, so the net result is about the same attenuation at the better non-custom in-ears. Hence my emphasis on the comfort gained with this approach.

soniC CharaCterAll of this doesn’t matter much if the sound isn’t accurate; so let’s get down to the sonic character on offer here. I tested the PS 20s using an iPhone 4 loaded with tracks ripped from CDs in Apple Lossless format, the Moon Audio Silver Dragon LOD (Line Out Dock) cable and a NuForce Icon Mobile amplifier. I tested them in flight on an American Airlines flight, as well as in an office setting.

The sound of the PS 20s could give the makers of high-end earphones fits, because the PS 20s sound impressively good, especially in light of their price. Spend extra money and you can get some small improvements (small at least in the way most people think about it). For example, if you gave the PS 20s and a pair of $500 earphones to a friend, I can imagine two reactions. First, they might say the two earphones basically sound the same. They might also say they’d like a more “exciting” sound, meaning they’d like some particular frequency band to be more emphasized.

If musical accuracy is what you’re after, though, the PS 20s will do quite nicely. From about 300 Hz to 8kHz they sound pretty flat, which is a much greater achievement than might at first appear to be the case. For reasons we’ve covered elsewhere, the upper part of this range is a series of compromises


specs/pricingphiaton ps 20 NC In-Ear Headphones

Accessories: 4 sizes of ear tips, carrying pouch, airline adapterFrequency response: 15 Hz – 22kHz Weight: 1.15 ounces sensitivity: 101 dB (n/a input) Impedance: 26 ohms Warranty: Not specifiedprice: $149 pHIATON COrpOrATION(949) 756-8918www.phiaton.com


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that even the best headphones struggle to master. So, I was impressed with the PS 20. Female vocals, a particular challenge for headphones of all stripes, are presented by the PS 20s with an open but not shrill sound. Above and below this band the Phiatons seem to roll off slowly, but in a smooth way and with low apparent distortion. Above the mid-bass region, there is enough energy that the PS 20s don’t sound too thin, though in absolute terms I’d like to have a bit more lower mid range and more midbass.

Cymbals and other high frequency instruments are presented with admirable detail, though I think you would sense that mid and upper treble could have a touch more energy and refinement. Overall this is what I’ve referred to in the past as an “n” shaped frequency response curve and it is desirable for those who find themselves wanting clarity and smoothness in equal doses. It also works for those who object to boom and sizzle.

Because of the noise reduction circuitry, the PS 20s are also rather good at resolving low-level detail. This is important for a sense of a real acoustic environment as well as for articulating the particular beauty of certain instruments. I wouldn’t say the PS 20s are state-of-the-art here, but in practical terms they do quite well. This strength is complimented by what sound like low-distortion drivers that don’t muddy the sound, yielding good separation between instrumental lines. The net result of all this is that the PS 20s give you a very good ability to really hear “into” the music.

So, with all this goodness spilling over,

what’s the catch? Well, musically there really isn’t one. But in strict terms two limitations stand out. First, as I mentioned above, the mid and low bass energy is rolled off. On my standard Jack Johnson electric bass test series—tracks 7-9 from On and On [UMVD Labels], the weight and air are notably diminished from the sound of a live mix. I’m pretty sure some people will find the balance at least a little light. On music that really depends on bass power, the Phiatons don’t sound bad, but you wouldn’t use adjectives like ‘punchy’

or ‘solid’ to describe them. Note that lots of headphones don’t do low bass very well, so I’m simply saying that the PS 20 follows that common path.

The second imperfection is an occasional sense of edge or distortion on high level transients when the ‘phones are being pushed to rather high levels. These two items—reduced midbass and some dynamic edge—mean the PS 20s might not be ideal for power music and the like. Finally, of course, there are areas that I’ve characterized as strengths in

the PS 20 but where the PS 20 is not the best available headphone if you have an unlimited budget. These remarks have to be taken in the context of the intended market.

Which brings us to the question of value, which, like judgments about beauty, is ultimately up to you. But consider the facts: The PS 20s cost $149; they sound very good, particularly if musical accuracy in the critical midrange is the goal; they’re comfortable; they work better than many standard earphones on airplanes; and they can be driven by an iPod sans amplifier. That seems like the basic recipe for high value to me.

sUMMinG UpThe Phiaton PS 20 NC offers a remarkably clear, low distortion and musical sound with excellent comfort for a serious noise-cancelling in-ear headphone. While the bass could be stronger, the value equation here is quite good, especially for those whose musical taste runs to smaller bands and groups.




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Newspapers seem to be full of ads from manufacturers touting highly sophisticated hearing aid products,

yet it has been rare to see such firms leverage their considerable technical expertise to create headphones for music lovers—until now. The Swiss firm Phonak, one of the world’s largest and most respected developers of hearing aid technologies and devices, has taken the plunge into our world, offering its family of Audéo Perfect Fit Earphones, which promise extremely high sound quality at mid-tier prices. As a case in point, consider Phonak’s flagship Audéo PFE 122 in-ear headphone/headset ($179), which is the subject of this review.

prodUCt ConCeptOn its Web site, Phonak poses a rhetorical question that may be on many of your minds: “Why is Phonak producing earphones?” The company’s simple answer is this:

“Thanks to decades of experience, Phonak has extensive knowledge of the ear in terms of acoustics and of comfort. With our Audéo Perfect Fit Earphones, our extensive knowledge now helps music lovers enjoy an exceptional listening experience.”

Phonak has addressed the comfort part of this equation in three specific ways. First, the PFE 122 earpiece is designed to be easy to handle and to insert, so that wearers can quickly achieve a good seal between the PFE 122’s eartip and their ear canals; the earpiece is also sized and shaped to comfortably fit a very wide range of users. Second, Phonak

ships the PFE 122 with three sizes of silicone eartips along with a set of Comply-brand compressible foam eartips. Phonak points out that the silicone tips “are washable and better for use during exercise,” while the Comply tips “are better at filtering out ambient noise, making them the best choice for travel or use in noisy environments.” Finally, the PFE 122 also ships with a set of silicone ear guides that route the earphone’s signal cables up and over the wearer’s ears, and are said ensure a


overviewConsider this product if: you want a well thought out and carefully executed mid-priced earphone/headset that—in virtually every important way—sounds so refined and sophisticated that it seems to belong in a different and higher price class. Also consider the PFE 122 if you like the concept of an earphone that offers multiple, versatile voicing options—not just one “signature sound.”

Look further if: Hey, wait a minute; in this price class, we’re hard pressed to come up with reasons why you would look further (although Etymotic Research’s excellent hf2 does provide worthy competition). To get decisively better performance, you’ll need to spend a lot more.

PHONAK AuDéO PFE 122 Chris Martens



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“perfect fit and reduced cable noise.”With an eye toward addressing the

“acoustics” part of the equation, Phonak says the PFE 122 is indirectly based on its most advanced “digital hearing aid technology, which gives Swiss-precision sound with the greatest comfort” (although the PFE 122 is a purely passive earphone—not a self-powered, digitally-controlled transducer). But the influence of Phonak’s long experience in the hearing-aid marketplace can most definitely be seen in one very interesting design

detail: namely, the PFE 122’s use of passive audio filters that help shape the earphone’s response curves to match user’s tastes or ear characteristics. As Phonak points out,

“The purpose of this filter is to provide you with the best quality sound that matches what you would hear naturally when not wearing ear tips. Hearing differs significantly from one person to another, and unlike standard earphones, Audéo PFE allows you to select the filter that works best for you.” (Italics are mine).

phonak offers three color-coded types of passive audio filters:

•Blackfilters,whicharesaidto“providestronger bass and treble” (and that, on paper, offer what may be the most accurate tonal balance overall).

•Greyfilters,whicharesaidto“providestronger middle tones” (and that vie with the Black filters for most accurate sound overall).

•Greenfilters,whicharesaidto“providestronger bass while still maintaining high-quality midrange.”

The PFE 122 ships with a set of Grey filters installed, but also comes with a filter changing tool and a filter pack that includes a spare set of Grey filters, plus two pairs of Black filters. For purposes of this review, Phonak

also provided a pack of Green filters so that I could evaluate all three types on a side-by-side basis. The key point to bear in mind is that, unlike any other earphone, Phonak’s PFE 122 gives you three different, well-documented, and highly repeatable voicing options. Cool.

ease oF UseI found that, exactly as advertised, the PFE


specs/pricingPhonak Audéo PFE 122 In-Ear Headphone/HeadsetAccessories: Three pairs of silicone eartips (S, M, L), one pair of Comply foam eartips, one pair of silicone over-the-ear cable guides, box of six audio filters (2 Grey filters/4 Black filters) with changing tool, cleaning tool, carrying pouchFrequency response: 5Hz – 17kHzWeight: 15 grams sensitivity: 107 dB SP/1 mWImpedance: 32 ohmsWarranty: 2 years, part and laborprice: $179

pHONAK U.s.(800) 679-4871www.phonak.com

AUdÉOWOrld(866) 900-7174www.audeoworld.com


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122 is unusually easy to handle and to insert, so that fitting the earphones to my ears was a snap. One design touch that really helps here is the “leg”-shaped outer section of the Phonak earpiece, which provides a just-right amount of offset from the eartips (a point many designers overlook), and that gives you a convenient structure to grasp as you snug the earphones into a comfortable position. The only question users will need to settle for themselves is which of the PFE 122’s four different eartip options give the best overall fit and seal. I preferred the silicone eartips overall, though the Comply foam tips can also give excellent results (if, of course, they fit your ear canals well).

The next question to settle is which of Phonak’s three available passive audio filter options best matches the characteristics of your ears (and personal tastes). I describe the effects of each of Phonak’s PFE filters under SONIC CHARACTER, below.

Then, users need to decide whether or not to use Phonak’s included silicone ear guides for the PFE 122’s signal cables. Normally I find such cable guides to be more of a bother than a benefit, but Phonak’s ear guides proved an exception to this rule. They helped to keep potentially unruly signal cables under control while at the same time providing a flexible and silky-smooth fit. Good work, Phonak.

Finally, the Phonak’s handy built-in mic with call send/end switch enables the earphone to work beautifully as what is essentially a high-fidelity headset. Office mates who assisted me in testing this aspect of the PFE 122 told me that the Phonak mic reproduced the sound

of my voice far more accurately and naturally than ordinary desk phone (or cell phone) handsets do.

soniC CharaCterOne of the first points to bear in mind about the PFE 122 is that, in terms of tonal balance, it doesn’t have just one “sonic character,” but three distinctly different characters—depending on which sets of passive audio filters you choose to install. Below, I’ll offer my observations on the sonic effects of each of the three available types of filters (though you should be aware, as always, that your perception of their sound might differ from mine).

Black filters: I found that Phonak’s Black filters yielded an extremely clear, well-balanced and neutral sound—one I found very musically satisfying and suitable for enjoying many different types of musical material.

grey filters: Although these were not my personal preference, I could see how a case might also be made for Phonak’s optional Grey filters, because they provided a relatively restrained touch of midrange-emphasis—one that many listeners might find to give a more vivid, intense, or “up close” musical presentation overall.

green filters: Phonak’s Green filters, contrary to what I expected on the basis of the description provided on the firm’s Web site, didn’t so much provide “stronger bass,” but rather rolled off the PFE 122’s highs (and to some extent trimmed midrange response, too), thus yielding a considerably darker sound overall. The Green filters might be appropriate in cases where listeners seek to use darker tonal balance as a means of compensating for low-frequency background noises or, perhaps, as a way of solving problems with recordings that sound excessively bright or edgy.

My description of other key aspects of the PFE 122’s sound is based on use of my preferred set of Black acoustic filters, so that the results you might achieve with these earphones could vary depending on which sets of filters you decide to use. Note, however, that many of core elements of the “Phonak sound” come shining through no matter which filters you choose—though the filters do of course influence the shape of the earphone’s frequency response curve.

Clarity, focus, and resolution: Phonak’s PFE 122 offers a remarkably open, transparent, and fine-grained sound—sort of like the

sonic equivalent of stepping up from a low- or medium-resolution digital camera to a very high-resolution model. Indeed, I felt the Phonak sounded much more like an earphone from the $300-and-above price class than it did a model selling for well under $200. What I mean by this is that the PFE 122 effortlessly reproduced small, fine, low-level textural details that tend to “fly beneath the radar” for most mid-$100 ‘phones. But what is important is not just that the PFE 122 captures these details, but the way in which it handles them. Some ‘phones create a false sense of detail through the expedient of exaggerated treble response, but that isn’t what the Phonaks do at all. On the contrary, the PFE 122’s let sonic details unfold in a perfectly natural, comfortable, and almost self-effacing way, without any hyper-dramatic “spotlighting” or fake edge enhancements.

Transient speed and delicacy: Transient response is another area where the PFE 122 sounds more expensive and sophisticated than its actual pricing would suggest. So much vital information is (or at least should be) found at the beginnings and endings of individual notes, because transient sounds enable us to tell whether notes are played softly or aggressively, presented with a smooth or more vigorous touch, and left to ring out and sustain or deftly damped and quieted. And when sophisticated combinations of transient sounds come along in the music, the Phonak consistently surpasses expectations by rendering transients with speed and cat-quick agility, yet also with an effortless and unforced quality that tells you the PFE 122’s aren’t




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having to work hard to deliver their transient magic. Can really expensive universal-fit in-ear headphones surpass the PFE 122 in this area of performance? They can, but typically they do so only at much higher price points (think in terms of models costing nearly twice what the Phonaks do, or even more).

To appreciate what I mean, here, listen to the beautifully recorded title track from Paquito D’Rivera’s Portraits of Cuba [Chesky]. This lovely jazz recording features a sizzling Latin rhythm section where you’ll get a chance to savor the distinctive “thuuump” of congas, the bouncy snap of a wood block keeping time, the gentle shimmer of cymbals, soft backing chords from a piano, and the voices of a myriad of drums—all joining forces to establish a fast, energetic pulse for the song against which Rivera and his fellow horn section players can present solo lines or occasional soaring ensemble swells. What is impressive is the manner in which the Phonaks keep the timbres and dynamic envelopes of the various instruments separate and distinct—so that each instrumental voice sounds believable and true to itself.

What’s also fascinating is to hear how the PFE 122’s convey a sense of space within the soundstage, showing how some instruments are positioned more distantly from the microphone array (but perhaps closer to the walls of the recording venue), while others are obviously closer to the mic array and thus sound a bit more “alive” and immediate. And because the Phonaks offer such high levels of resolution, listeners can use the timing and

tonal aspects of reverberant sounds, which are easily heard through these ‘phones, to judge the overall size and acoustic properties of the recording space, adding a heightened sense of realism.

These observations document desirable sonic qualities that would be welcome in earphones priced well above $300, but are really remarkable for a model that sells for a much more accessible $179, meaning that Phonak’s PFE 122 is a legitimate bargain. The value proposition of Phonak’s PFE 122’s is compounded further still by their clever passive audio filters, which give users three different voicing options to choose from—options few* if any other earphones offer.

*Granted, Sennheiser’s expensive IE8 flagship in-ear

‘phones do provide user-adjustable bass-level trimming

controls, but I would say those controls offer a much

narrower window of adjustment than Phonak’s versatile

voicing filters do.

Summing upTo say we are favorably impressed by the Phonak PFE 122 would be a gross understatement. This is one of the best mid-priced in-ear headphones we’ve ever heard, and one whose three versatile types of passive audio filters give you something no other headphone does; namely, voicing options that can be tailored to fit the characteristics of your ear and/or your personal listening tastes. Enthusiastically recommended.




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PlaybackunivErsal-fit EarphonEs $300 and up



klipsch first entered the headphone market roughly four years ago and the very first model I tried was the firm’s original, flagship Image in-ear headphone. When the review samples arrived,

the tiny ‘phones seemed almost impossibly small and light, but I soon discovered that they delivered a big, well-focused sound and were amazingly comfortable. I was so impressed by the performance of the Images that I nominated them for a Golden Ear award in our sister publication, The Absolute Sound. In the years since, that original Image model has been renamed as the Image X10 and it has given rise to an entire Klipsch product family of lower-priced Image models.

Now, however, Klipsch has updated the Image X10 model by giving it a tiny, inline remote control/microphone module geared to address the needs of iPod and iPhone owners, thus creating the new Klipsch Image X10i. Interestingly, despite its newfound iPod/iPhone-compatible features, the X10i carries the exact same list price as its predecessors: $349.99.

As was the case with the original Image and Image X10, the X10i uses a single, full-range “balanced micro driver” (i.e., a balanced armature-type driver)—a design approach that the X10i shares in common with other high performance in-ear headphones such as the Etymotic Research ER-4P. I wanted to try the Image X10i, partly to see how its sound compared with the original 2007 Image model as well as with other modern day competitors. I also wanted to check out the X10i’s 3-button remote control/mic system, which is based on an Apple chip and promises a wide array of functions—especially when used with the iPhone 3GS/4 or the latest generation iPod nano, classic, iPod touch or iPad.

overviewConsider this combination headset/earphone if: you want a headset that offers the desirable combination of a rich, full-bodied sound with a good measure of top-to-bottom clarity, nuance, and sonic purity. Especially consider the X10i if you want one of the lightest, smallest, and most comfortable in-ear headphones on the planet (qualities enhanced by Klipsch’s signature, patent pending oval eartips). Note, too, that the X10i’s 3-button remote/microphone module works exactly as advertised, making this a good choice for iPhone/iPod owners.

look further if: you seek the Nth degree of resolution, clarity, and focus. While the X10i is extremely good in these areas, the world has moved forward so that a few of today’s best in-ear models (one example would be the Monster Turbine Pro Copper Editions) have raised the performance bar higher still (though they do not, as yet, offer the X10i’s iPod/iPhone-friendly features).

universal-fit earphones $300 and upgo to: universal-fit earphones under $100 | universal-fit earphones $100 – $300 | custom-fit in-ear monitors

KLIPSCH IMAgE X10I Chris Martens



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FeatUres•Singlefull-range“balancedmicrodriver”

(balanced armature motor assembly)•In-linemicrophonemoduleprovidesa

multifunction play/pause control button (which doubles as a send/end button when handling phone calls). Music automatically mutes and pauses for an incoming call.

•Inboundcalls:Whenaninboundcallisreceived, pressing the play/pause button once allows the listener to answer the call. Pressing the button again disconnects the call and allows music to resume.

•ListeningtomusiconamoderniPod/iPhone:When listening to music, pressing the play/pause button once causes music playback to pause. Pressing the button again allows music playback to resume. Pressing the button twice in rapid succession causes the iPhone or iPod touch to skip forward to the next track. Pressing the button three times in rapid succession causes the iPhone or iPod touch to skip backward to the previous track.

•AccordingtoKlipschtheImageX10iis“fullycompatible with the Apple VoiceOver feature on the third generation iPod shuffle, which allows you to hear the name of the playlist, song or artist with just the press of a button.”

•Accessories:theX10icomeswithanextensive set of accessories, as listed under the COMFORT FACTOR/ACCESSORIES section, below.

•Headset/remotecontrolcompatibilityfactors:According to Klipsch, “the remote and mic are supported only by iPhone 3GS/4, iPod nano (4th and 5th generation), iPod Classic (120 GB), and iPod touch (2nd generation),

MacBook, MacBook Pro and Mac Pro (2009 models).” A Klipsch representative pointed out that the X10i is also compatible with the iPad. In turn, Klipsch adds that, “the remote is supported by iPod shuffle (3rd generation). Requires latest iPod software. Audio is supported by all iPod models. Mic and call/music button control features (are) functional with 1st generation iPhones and iPhone 3G. Volume Controls are not compatible with 1st generation iPhone 3G. Also compatible with VOIP, Skype, iChat, and audio recording applications.”

•ComeswithKlipsch’spatent-pendingovaleartips, which are said to “naturally fit the contours—or mimic the shape—of your ear canals.”

•Arguablythelightest,smallest,mostcomfortable in-ear headphone that money can buy.

soniC CharaCterGiven the X10i’s diminutive size, you might think it would produce a tiny, restrained or “petite” sound, but exactly the opposite is the case. The X10i produces a big, smooth, full-bodied sound with generally ample bass and excellent natural clarity, though it is not the last word in absolute bass or treble extension (at least not relative to the strongest competitors now on the market). More so than many in-ear headphones, however, the X10i possesses a certain effortless richness that makes its sound immediately accessible and easy to enjoy for hours at a time.

Tonal balance is nearly neutral, though some might find it just slightly tilted toward the

“warmth” end of the audio spectrum. There is little if any of the midrange forwardness you might hear in, say, Klipsch’s Image S4i; instead, the X10i’s midrange is evenly balanced and offers fine levels of detail and focus—qualities that, in my experience, are hallmarks of well-executed single balanced armature designs.

Important note: for best bass response, try the following adjustment tip that Klipsch recommends. Insert the X10i’s (using the eartip size that best fits you), then gently rotate the headphone body (and eartip) left and right a few degrees and then slightly pull it backward just a bit. This technique helps the eartips flare out in your ear canal to achieve a comfortable, airtight seal—and with it, optimal bass response.

Unlike many of the headsets Playback has tested, the X10i (like the S4i) does not place its in-line microphone on either the left or

right earpiece cable, but rather provides a 360 degree mic in a central position on the headphone yoke where the left and right earpiece cable join. This is a superior place to put the microphone and, as Klipsch points out (and I verified in my user tests), it means you don’t need to “talk down” into the mic. During test phone calls, call recipients reported that I sounded much more like myself with the X10i in use than when using my iPhone’s normal mic or other headsets I had tested in the past.

MUsiCal eXaMpleAbove, I’ve alluded to the fact that the X10i’s single balanced-armature design gives it desirable qualities of focus and sonic purity. To hear those qualities in action, try listening to the Yo-Yo Ma performance of Massenet’s Méditation from Thaïs [The Essential Yo-Yo Ma, Sony]. Listen closely to Ma’s bowing changes and especially to his beautiful dynamic swells,


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Klipsch X10i earphone/headset

Frequency response: 5Hz – 19kHzWeight: 10.5 gramssensitivity: 110 dB SPL/mWImpedance: 50 ohmsWarranty: Two years, parts and laborprice: $349.99

KlIpsCH grOUp, INC.(800)-KLIPSCHwww.klipsch.com




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and you’ll discover that the X10i gives you a vibrant, highly detailed and yet never cold or analytical–sounding presentation of the performance. Through the X10i’s, Ma’s cello sounds like a cello (not—as some earphones tend to make it sound—like a viola), with a rich, golden, woody tonality that’s full of energy and life. Capturing the warmth of music is one of the things the X10i does best.

The X10i also does a good job with bass instruments, as you can verify by putting on tracks such as “The Lesson” or “Sifu” from bassist Victor Wooten’s Palmystery [Heads Up]. On either track, you’ll hear much (though perhaps not quite all) of the depth of Wooten’s electric bass and the even deeper “thwup” of occasional kick drum accents. But perhaps even more importantly, you’ll hear plenty of delicate mid- and upper-bass details, including the distinct, harmonically rich, “ringing” sound of Wooten’s round-wound bass guitar strings on sustained notes, plus the sure-handed intricacy of his fingering techniques. While a few competing in-ear phones (e.g., the Sennheiser IE 8 and Monster Turbine Pro Copper Editions) can go a bit lower and with greater authority, the X10i’s mid-bass articulacy is exemplary.

Finally, it is worthwhile to try a track that is rich in high frequency details and reverberant information to see what the X10i can do. A good example would be Imogen Heap’s “Bad Body Double” from Eclipse [RCA]. Imogen Heap’s voice is very closely mic’d on this track, and varying degrees of reverb and other processing tricks are selectively applied, giving the song a decidedly flamboyant, techno

edge. Here, the X10i rewards the listener with excellent midrange detail, though it misses out on just a touch of the high-frequency reverberant information that can, under ideal circumstances, makes this track so special.

CoMpetitve analysisTo give you a picture that shows how the X10i fits into the broader headphone market, I offer below, comparisons between the X10i and two competitors—one priced below and one priced above the X10: the Etymotic Research hf2 headset ($X179) and the Monster Cable Turbine Pro Copper Edition ($399).

X10i vs. Etymotic research hf2 Headset ($179)•TheX10iverynarrowlyedgesoutthe

Etymotic headset in terms of overall clarity and focus, and offers a somewhat warmer, richer, more full-bodied sound (attributable in part to Klipsch’s superior elliptical eartips).

•BoththeKlipschandEtymoticmodelsproved effective as headsets (their remote control functions are essentially identical), but I think the Klipsch’s centrally positioned, 360-degree mic seems to work a touch better than the Etymotic’s side-positioned mic.

•TheEtymoticcomeswithagoodmixoftypes of eartips, while the Klipsch comes only with three differently sized set of elliptical tips. But that said, I found the Klipsch eartips were substantially more comfortable and much easier to fit (the Etymotic hf2’s can also achieve very good sound, but they are tricky to fit properly).




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•TheEtymoticheadset($179)costssignificantly less than the X10i.

X10i vs. Monster Cable Turbine pro Copper Edition ($399)•TheTurbineProCopperheadphonesoffer,in

a strict textbook sense, even more perfectly neutral tonal balance than the X10i does, with—at the limits—even greater extension at both frequency extremes. More importantly, though, the Turbine Pro Copper raises the bar for detail, resolution, and coherency, making the X10i sound slightly softly focused by comparison.

•TheX10iprovidesheadsetfunctionalitywhereas the Turbine Pro Copper Edition does not.

•TheImageX10iprovidesKlipsch’spatent-pending oval eartips, while the Turbine Pro Copper comes with a broad variety of types of eartips, including five different sizes of Monster’s new double-layer gel-type SuperTips. I would give the Klipsch eartips the nod for comfort and ease of insertion, but would recommend Monster’s SuperTips for their superior overall sound and isolation properties (but note, the SuperTips do tend to feel a bit stiff, which some listeners may find uncomfortable).

•Monster’sTurbineProCopperEditions($399)are slightly more expensive than the X10i.

CoMFort FaCtor/aCCessoriesThe X10i come with three sets (S, M, L) of single-flange oval eartips, a pair (S/M) of double-flange oval eartips, a clothing clip, a

cleaning tool, an airline adapter, and mini-jack-to-phone-jack adapter, and a magnetic clasp-equipped leather carrying pouch.

Klipsch’s oval eartips are the most comfortable Playback has ever tested. Guest listeners often commented that the Klipsch’s were night/day different from and better than competing in-ear headphones in terms of ease of insertion and long-term comfort.

One thing I did notice is that the shape of Klipsch’s oval eartip design appears to have changed just a bit relative to the original 2007 version (the earlier models were slightly shallower but also more widely flared than the 2010-and-beyond versions). Personally, I found the original 2007 shape gave a slightly better in-ear seal, though the 2010 design gives an even more “weightless” feel in the ear canal. Even so, I’d like to see Klipsch bring back the more widely flared shape because it made for superior noise isolation and better bass.

BottoM lineThe Image X10i is a true flagship-class in-ear headphone that is incredibly small and comfortable, yet that offers a big, full-bodied sound with very good levels of detail and sonic purity. While some of today’s top in-ear models may narrowly edge the X10i in terms of absolute sonic performance, few can match its all around mix of convenience, comfort, versatility and sound quality. The X10i also makes a fine headset/remote control for owners of contemporary iPhones and iPods.




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Monster Cable’s Turbine Pro Copper Edition headphones ($399.99) may look similar to the firm’s Turbine

and Turbine Pro Gold models, but they are based on different technology and sound considerably different from their siblings. In fact, the Copper Editions claim, along with Monster’s Miles Davis Tribute earphones, the top two slots in the Monster Cable lineup. As I mentioned in my earlier Miles Davis Tribute review, the defining characteristic that distinguishes both of these two top-tier Monster models from their Monster siblings and from other would-be competitors, is their exceptional sonic resolution, detail, and focus. Astute readers will surely want to know which are the superior performers, the Turbine Pro Copper Editions or the Miles Davis Tribute models. That’s one key question I’ll attempt to answer in this review.

In a recent conversation with Monster founder Noel Lee, I gleaned some insights into the key differences between the Miles

Davis model and the similar but definitely not identical Turbine Pro Copper Editions. Despite the fact that the products share similar technology and overall appearance Noel Lee asserted that they do not sound exactly the same. By design, the Miles Davis Tribute model offers a subtle touch of midrange emphasis (intended, in a very subtle way, to complement classic jazz recording of the late ‘50’s and mid-‘60’s), whereas the Turbine Pro Copper Edition offers a more nearly textbook-flat (or neutral) frequency response curve.

Both the Miles Davis Tributes and the Copper Editions use single, full-range drivers, since Lee believes that multi-driver in-ear headphones, while appealing in theory, tend to have audible problems with driver blending and thus with overall sonic coherency. Given this, it was not too surprising to find that Lee likened the sound of the Copper Editions to that of hyper-revealing electrostatic loudspeakers (such as the MartinLogan CLX), which also use a single driver to cover most

MONSTER CABLE TuRBINE PRO COPPER EDITION Chris Martens

overviewConsider this in-ear headphone if: you seek an in-ear headphone that arguably does all things well (actually, exceptionally well). The Turbine Pro Copper Editions headphones offer neutral tonal balance, remarkable purity and coherency, and exceptional levels of resolution, detail, and focus. If you had to sum up the Copper Edition’s performance in one word, that word might be “immediacy.” These ‘phones draw you right into the center of the music as few others can.

look further if: you prefer headphones that give you a somewhat more distant and relaxed perspective on the music—or that emphasize smoothness at the expense of losing small amounts of sonic detail. This isn’t to say the Copper Editions are not relaxing or smooth, but rather to point out that they are all about being accurate and revealing, sometimes conveying more musical information (sometimes pleasant, but sometimes not) than the listener might have bargained for.




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of the audio spectrum. If you’ve ever heard a pair of statement class electrostats in action, then you know that Lee’s performance claim is a very ambitious one, to say the least. Can a set of $400 in-ear headphones really go toe-to-toe with multi-thousand dollar world-class loudspeakers? That, too, is a question I’ll try to tackle in this review. With that thought in mind, let the listening begin.

soniC CharaCterListening through the Turbine Pro Copper Edition headphones is a little like looking at an ordinary household object through the lens of a microscope. It’s a heady experience, really, because the exact nature of small edges and textural details suddenly becomes clear and explicit, while details that were at the limits of acuity for the naked eye suddenly snap into focus, becoming plain as day. This is, by way of analogy, precisely the same kind of heightened focus and resolution that the Copper Editions bring to fine audio recordings. If there is any catch, here, it is that the Copper Editions also bring the same scrutiny to not-so-fine recordings. But, if your tastes are like mine and if you are by nature inquisitive, you may find the resolving power of the Copper Editions downright addicting.

Bass performance is taut, powerful, and deeply extended—though to hear the Copper Editions at their very best, you may want to try Monster’s new double-layer, gel-type SuperTips (see my notes under the COMFORT/ACCESSORIES section, below).

Highs are fine-grained, smooth and also well extended in a way that can leave some

competing headphone sounding “closed in” or even slightly rolled off by comparison. Much like the Miles Davis Tribute models, the Copper Editions reveal the high frequency air between instruments, effortlessly reproducing subtle reverberant sounds and spatial cues in music, and nicely capturing the “decay trails” you might hear as individual notes ring out for a moment and then fade to silence. The overall effect is to make the Copper Editions seem more informative, revealing and immediate in their impact.

The broad middle of the midrange is where the Copper Editions sound significantly different from the Miles Davis models. Where the Miles Davis models provide—by design—a gentle touch of midrange emphasis (which some might rightly consider to be a coloration, albeit a benign one), the Copper Edition’s midrange is gently pulled back to a level that closely approximates ideal, textbook neutrality. To my way of thinking, this characteristic unequivocally makes the Copper Editions preferable to the admittedly excellent Miles Davis Tribute models. The longer you listen to and live with the Copper Edition headphones, the more you come to trust and appreciate their “what-you-hear-is-what-you-get” honesty, integrity, and purity. Good work, Monster Cable.

MUsiCal eXaMplesOne of the pleasures of very accurate headphones like the Copper Editions is that they can do justice to virtually any type of music, not just to a handful of genres. This means you can put on very delicate pieces at


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Monster Cable Turbine pro Copper Edition In-Ear Headphones

Accessories: See aboveWeight: Not specifiedsensitivity: Not specifiedImpedance: Not specifiedWarranty: Limited lifetime warranty against manufacturing defects, plus additional coverage where Monster offers a one-time replacement of your Miles Davis Tribute ‘phones, “even if YOU break them.”price: $399.95

MONsTEr llC(415) 840-2000www.monstercable.com


one moment, just to savor their inner detail and subtleties, and then fire up blockbuster pieces a moment later, just to experience their grandeur, power, and overall impact. I tried just such a sequence with the Copper Editions, first starting out with the second movement of David Chesky’s “Concerto for Bassoon and Orchestra” [Chesky/Symphony Orchestra of the Norrlands Opera, Chesky, SACD],

The Chesky piece starts slowly, with a somber and haunting string passage that sets the mood, punctuated by almost funereal bells chiming in the background. When the bassoon entered, its voice was captured with a kind of crystalline clarity that fully exposed the instrument’s evocative and at times plaintive

sound. At first, the bassoon plays in its upper register, sounding almost forlorn and mournful, but then it gradually works its way downward toward its lower register—becoming more forceful and throaty-sounding as it descends. What floored me about the Copper Edition’s performance was its almost eerie quality of precision and focus. Bowing changes for the strings, for example, sounded spot on, as did the subtle reed noises and tubular body resonances of the bassoon. What was truly impressive, though, was the way the Copper Editions captured the almost subliminal “clicks” of the bassoon’s valves opening and closing, or the whisper-quiet sound of the bassoonist’s fingers flying over the surfaces



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Neil Young’s sidemen created a powerful sound very much like that achieved by some of Elvis’ own more rollicking bands from the past. There’s a lot going on in the track, where you’ll hear a rock-solid rhythm section, explosive horns, pedal steel guitar and Young’s own howling harmonica—all serving as a foundation for Young’s penetrating yet insouciant vocals, and for his backing singers.

First off, I was wowed by Copper Edition’s ability to capture the sheer vitality, energy and drive of the band. Through the Monster ‘phones, the bass guitar, I soon discovered, had a kind of “journey-to-the-center-of-the-earth” depth and power, while snare and kick drum had terrific clarity and punch that pushed the track forward with inexorable force. Similarly, the horns had a beautifully appropriate brassy bite, while the Copper

Editions simply nailed the sustained “crying/singing” voice of the pedal steel guitar. And thanks to their superior resolution, the Monsters let me hear the subtly and expertly interleaved lines of Young’s team of female backing vocalists. But the biggest treat of all was Young’s voice, itself. The Copper Editions effortlessly revealed the cocky edge that Young brought to the song, while also showing off his sly humor, all the while emphasizing the strength and depth of Young’s (and the bands’ ) sincere admiration for Presley and his achievements. It’s the Copper Edition’s special ability to dig beneath the surfaces and textures of note to expose underlying emotional themes that makes it so special and compelling.

CoMpetitive CoMparisonLet me compare the Turbine Pro Copper Editions to three strong competitors: the Klipsch Image Image X10i, Shure SE 530, and Sennheiser IE 8.

Monster Cable Turbine pro Copper Edition vs. Klipsch Image X10i•TheKlipschImageX10i’sretailforabout

$349 while the Copper Editions are slightly more expensive at $399.99.

•TheImageX10iprovidesheadsetfunctionswith a built-in iPod/iPhone remote, where the Copper Editions do not.

•Sonically,bothdesignsleveragesimilarstrengths in terms of high resolution and sonic purity. That said, however, I think the Copper Editions enjoys a clear-cut edge in terms of retrieving even finer levels of detail.

•Tonalbalancebetweentheheadphonesis

generally similar, but with the Image X10i offering a slightly warmer, “darker” cast than the Copper Editions. By comparison, the Copper Editions offer better (and also more accurate) extension at both frequency extremes, and a more taut and focused presentation overall.

•Bothheadphonesarecompactandcomfortable, and come with a useful array of eartips, though the range of standard eartip options offered by Monster is much more elaborate. That said, however, there is no dodging the fact that the Image X10i’s are smaller, lighter, and significantly more comfortable for long term use than the Copper Editions.

•Eartips:TheKlipschheadphonescomewith patent-pending elliptical eartips said to more closely mirror the real-world shape of human ear canals; the elliptical eartips work like a charm. On the other hand, Monster Cable has done considerable research into the sonic effects of various eartip materials and configurations, and their double-layer, gel-type Super Tips are hands down the best sounding eartips we’ve yet tried.

•TheTurbineProCopperEditionscarryMonster’s unbeatable “lifetime” warranty, which provides one-time free replacement of the phones “even if YOU break them.”

Turbine Pro Copper Edition vs. Shure SE 530•TheShureSE530’sretailfor$499.99without

the push-to-hear control option, or $549.99 with the option, while the Copper Editions are less expensive, selling for $399.99. Research suggests, however, that the street

of the instrument. Frankly, few earphones and not many high-end loudspeakers can offer this level of focus.

To try something a bit more raucous and less contemplative, I next put on “He Was The King” from Neil Young’s Prairie Wind [Reprise]. The track is an homage to Elvis Presley, and



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price for the SE 530’s may well be lower than that of the Copper Editions.

•TheShureisatwo-way,three-driverdesign,whereas the Copper Editions feature a single, high-performance, full-range driver. Shure proponents argue that the three-driver design allows for driver specialization/optimization by frequency range, where Turbine Pro Copper Edition adherents contend that its single-driver design eliminates any possibility of driver-to-driver textural discontinuities. While I think the Shures handle driver blending as well or better than any other multi-driver in-ear headphones on the market, I would say that the sheer purity of a good single-driver design is tough to beat. Some listeners may find the Monster’s offer superior sonic purity to the Shures (I do), while others might not feel the difference, if any, is significant.

•TheShure’sgreateststrengthisrich,natural,and thoroughly neutral tonal balance coupled with a good measure of resolution and detail. My sense is that the Monster headphone is fully the equal of the Shure in terms of accurate tonal balance, but that it also offers slightly higher levels of resolution as well as an elusive quality of “cut from whole cloth” sonic integrity from top to bottom.

•TheSE530’sroutesignalcablesupandoverthe ear, where the Copper Editions do not. Some users are perfectly comfortable with over-the-ear cable routing, while others find it uncomfortable and annoying.

•Again,Monster’suniquewarrantygivesadded peace of mind.

Turbine Pro Copper vs. Sennheiser IE 8•TheSennheiserIE8’sretailfor$449.95,

while the Copper Editions sell for $399.99. Research suggests, however, that the street price for the IE 8’s may well be lower than that of the Copper Editions.

•TheIE8offersauseradjustable“soundtuning” feature, where the Copper Editions do not.

•TonalbalancefortheIE8’sandCopperEditions is similar, though the Copper Editions do sound just slightly more extended at the frequency extremes (though this is a subtle difference that some listeners might not notice at first).

•Bothdesignsofferveryhighdegreesofpurity and coherency, though I would say the edge goes to the Copper Editions. That said, however, note that ultra-high levels of transparency and detail are not necessarily what all listeners are looking for (one man’s “excellent resolution” can be another man’s “too much information”). Listeners who crave resolution, detail and focus will probably gravitate toward the Copper Editions, while music lovers who want their sonic details be presented with absolutely uncanny smoothness might possibly prefer the IE 8s.

•Bothheadphonesofferanexcellentarrayof eartips, and both require considerable trial-and-error experimentation to find out which eartips work best for a given user. In an absolute sense, Monster’s dual-layer, gel-type Super Tips are among the most sonically effective I’ve yet heard, though their somewhat stiff consistency means not all users will find them comfortable for long term

listening session.•Onthewhole,thecompactCopperEditions

are easier to fit and more comfortable for very long listening sessions than the somewhat more awkwardly shaped IE 8’s. In part, the Copper Editions benefit from the fact that they do not require over-the-ear cable routing, though the IE 8’s are helped by the fact that their earpieces are very light. By comparison, the Copper Editions metal earpiece housings, though compact, can seem a bit “chunky” at times.

•Onceagain,Monster’suniquewarrantygivesadded peace of mind.

CoMFort FaCtor/aCCessoriesMonster’s Turbine Pro Copper earphones come with two carrying cases (a flip-top magnetic closure case in suede, and a spring-clasp pocket pouch), and a very extensive set of eartips (including five sizes of gel-type, double-layer Super Tips; five sizes of foam-type, multi-layers Super Tips; three sizes of conventional rubber eartips, and one pair each of conventional triple-flange eartips and foam eartips). Also included in the package is a disc-like rubber eartip carrier with spaces for up to six pairs of eartips (the carrier looks a little the cylinder of a classic six-shot revolver), a shirt clip (to keep the signal cable from flopping around loose), and a ¼-inch phone jack adapter.

As a special perk, owners also receive a special Monster Cable headphone test/demonstration CD, which provides a variety of test tones and an assortment of musical selections spanning a number of genres.

Do make a point of trying Monster’s very special dual-layer, gel-type Super Tips. Once you find the right fit, you may find these eartips offer sonic performance second to none. One small caveat, however, is that the Super Tips are a bit stiffer in consistency than some silicone rubber tips, and for this reason Monster provides an assortment of Super Tips in very finely graduated sizes. Take the time to find the exact right fit for best results.

The Copper Editions are compact and easy to position for a good fit. They are among the most comfortable in-ear headphones I’ve tried, though they are not quite the equal of our all-time comfort champs—the Klipsch Image X10i.

BottoM lineLet me come right out and say it: Monster Cable’s Turbine Pro Copper Edition headphones are one of the three finest “universal fit” in-ear ‘phones I’ve ever heard, and they are personal favorites of mine (I would certainly put them on my short list for “desert island” earphones).

They offer excellent resolution, terrific dynamic expressiveness, and a neutral sound that I’ve come to prize for its unfailing openness and honesty. If you want headphone that can show what’s really in your recordings and that present their findings with a powerful and addictive quality of immediacy, the Copper Editions could be an ideal choice for you.




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Playback readers who follow my blog series on AVguide.com will already know that Monster’s Miles Davis

Tribute headphones are, along with their sibling models the Turbine Pro Copper Edition ‘phones, the top two models in the Monster Cable lineup. What, exactly, qualifies them to claim these two top spots? The answer, in simple terms, is that they offer greatly heightened levels of resolution—not just relative to other Monster Cable models but also with respect to most other in-ear headphones on the market. Billed as “the ultimate jazz experience headphones,” the Miles Davis Tribute models aim to dig deeper into the essence of good recordings than many of their competitors do.

When I first encountered the Miles Davis model, it occurred to me that they might in essence be a re-badged (but functionally identical) version of the Turbine Pro Copper Edition ‘phones. When I asked about this, however, Monster Cable founder Noel Lee told me that while the two products share similar technology they do not sound exactly the same. By design, the Miles Davis Tribute model offers a subtle touch of midrange

emphasis, whereas the Turbine Pro Copper Edition offers a more nearly textbook-flat (or neutral) frequency response curve.

Anyone interested in the Miles Davis Tribute model will quickly grasp that it is more than a headphone, since it also serves as a collector’s item targeted toward those who cherish the musical legacy of Miles Davis. With this end in mind, the Mile Davis Tribute ‘phones prominently display Miles Davis’ signature (for example, on the earpieces of the headphones, on the yoke of the their signal cable, on the housing of their 3.5mm connector plug, and so on), and they even come with a special display case made to look like a miniature replica of Miles Davis’ trumpet case. To complete the package, the Miles Davis Tribute headphones comes with a copy of Columbia’s Legacy Edition, 2-disc CD set commemorating the 50th anniversary of the release of Davis’ jazz masterpiece, Kind of Blue.

Naturally, these memorabilia touches contribute to price of the Miles Davis Tribute earphones, which retail for $499.95 (by comparison, Monster’s Turbine Pro Copper Edition headphones sell for $399.95). But that said, a bit of price shopping reveals that the

MONSTER CABLE MILES DAvIS TRIBuTE


Chris Martens

overviewConsider this in-ear headphone if: you seek an in-ear headphone that offers good sensitivity, very high levels of resolution, and generally neutral tonal balance, but that deliberately provides a subtle, gentle band of midrange emphasis that complements many styles of music (including—not surprisingly, classic jazz recording from the late 1950s and early ‘60’s). Also consider this headphone if you would enjoy a distinctive and functionally appealing piece of Miles Davis memorabilia.

look further if: you like the general concept of the Miles Davis headphones, but would prefer a model whose frequency response curve does not include the MDT’s light touch of midrange emphasis. If you are looking for more nearly textbook-neutral response, the Monster Cable Turbine Pro Copper Edition will be more to your liking (and a bit less expensive, too).



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street price of the Miles Davis Tribute model is only about $40 higher than that of the Turbine Pro Coppers, so that if you prefer the sound of the Miles Davis ‘phones, there’s no good reason to let the price differential stand in your way.

In this review, I hope to give you a clear picture of the sound qualities that make the Miles Davis model so special, and that differentiates it from the Turbine Pro Copper Edition.

soniC CharaCterIf I might use an optical analogy, let me say that listening through the Miles Davis Tribute headphones is a little like looking at a very finely detailed photograph through the lens of a high-quality magnifying glass. Suddenly, small details and textures that seemed almost in focus beforehand become explicit, crystal clear and easy to see. It’s a heady experience, actually, since there can be (and often are) those moments where you hear new elements or aspects of recordings for the first time—even those you thought you knew quite well. The feeling is a bit like finding hidden treasure.

Bass performance is taut, solid and well extended—provided, that is, that you find a set of eartips that seal well. I achieved best results using Monster’s new double-layer, gel-type SuperTips (but see my notes under COMFORT/ACCESSORIES, below, for comments on using the SuperTips).

Highs are silvery, smooth and also well extended in a way that can leave some competing headphone models sounding

just a bit “dark” or even slightly rolled off by comparison. More than many high quality in-ear headphones, the Miles Davis Tribute models reveal the high frequency air between instruments, the subtle reverberant sounds that reveal the acoustic qualities of recording spaces, and the “decay trails” of individual notes. At first listen, you might (depending upon your past listening experiences) find the Tributes seem a little bit bright, though I think the actual case is that they are not so much “bright” as they are informative and revealing.

The broad middle of the midrange is where the Tributes really come alive, and it is where—by design—they offer a very, very gentle touch of midrange emphasis. While this characteristic may represent a mild, calculated departure from strict textbook neutrality, it is also a quality that complements many styles of recorded music (especially early generation jazz recordings). To put these remarks in context, though, let me add that the midrange-forwardness of the Miles Davis Tributes is so subtle and carefully judged that these ‘phones actually wind up being more accurate than some competing models ostensibly designed for “ruler flat” response.

MUsiCal eXaMplesBy way of checking out Monster’s claim that the Miles Davis Tributes offer “the ultimate jazz experience headphones,” I put on “Dear Lord” from disc 4 of John Coltrane’s The Classic Quartet: The Complete Impulse! Studio Recordings to see what I might learn. The results were very impressive, with the MDT’s

offering a beautiful if somewhat “zoomed-in” view of Coltrane’s soaring and evocative saxophone sound, which was amplified, in a sense, by the Monster’s ability to capture Coltrane’s mouthpiece, reed and breathing sounds, which made the performance all the more expressive. I was also struck by the sheer amount and depth of low-level sonic information the MDT’s were able retrieve as they reproduced the sound of Coltrane’s quartet members playing alongside him. In particular, the Mile Davis Tributes did a great job of capturing the taut, dry “skin sound” of the snare drum keeping time, or the silvery treble overtones and gradual decay of cymbal notes ringing out into the room. If I had to sum up the unique qualitative flavor of the Miles Davis Tributes in one word, the word I would choose would be “intimacy.” These headphones pull you in close to the performance, giving you the sensation of being to able to listen to the music from a privileged, “insider’s” point of view.

But so that I don’t leave you with the wrong impression, let me also mention that the Miles Davis Tributes are good for types of music quite different from jazz, so that it can fairly be said that these ‘phones will—when the occasion arises—boogie and rock with the best of them. For proof of this, try listening to a potent, down’n’dirty track such as “Mustang Sally” from the soundtrack album from the film The Commitments [MCA]. For those not familiar with the film, director Alan Parker crafts a story where a group of rough-and-tumble Irish musicians decide to form a band


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specs/pricingMonster Cable Miles davis Tribute In-Ear Headphones Accessories: See aboveWeight: Not specified sensitivity: Not specified Impedance: Not specified Warranty: Limited lifetime warranty against manufacturing defects, plus additional coverage where Monster offers a one-time replacement of your Miles Davis Tribute ‘phones, “even if YOU break them.” price: $499.95

MONsTEr llC (415) 840-2000 www.monstercable.com


TaBLe oF CoNTeNTs


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dedicated to appreciation (and reinterpretation) of classic American R&B and blues material. Parker chose to cast real musicians in the lead roles, which gives the film (and the music) an incredibly authentic, high-energy feel. From the moment the track starts, the Miles Davis Tributes latch on to the song’s hard-driving bass guitar and drum rhythm lines with a powerful iron grip, while simultaneously rendering each gritty texture and detail in lead singer Andrew Strong’s full-bodied and lovably gravelly voice. The Monster’s don’t so much play the groove; they become the groove in a

way that makes listeners want to get up and move. Again, there’s that quality of musical intimacy—the sense of being able to hear and then become engaged with the music in much the way that musicians themselves do.

Are there ever moments where the Miles Davis Tribute’s midrange forwardness becomes problematic? I found the midrange emphasis so subtle that it was rarely bothersome, though there were moments—on solo piano material or certain songs featuring female vocalist, for example—where the MDT’s tended to shine a slightly too bright spotlight on the instruments at hand. But as I say this, I’m keenly aware that this “slightly too bright spotlight” has a definite appeal all its own, so that it can potentially be just the sonic quality certain listeners have been yearning for.

COMPETITIVE COMPARISONLet me compare the Miles Davis Tribute headphones relative to three worthy competitors: the Etymotics ER-4P, the Klipsch Image X10i, and the Shure SE 530. Miles Davis Tribute vs. Etymotics ER-4P• The Etymotics ER-4P’s retail for $299 while

the Miles Davis Tributes are considerably more expensive.

• Sonically, both designs offer similar strengths in terms of their high resolution and sheer sonic purity. That said, however, I think the Mile Davis model enjoys a noticeable edge in terms of retrieving even finer levels of detail.

• Interestingly, Monster’s Noel Lee told me that he greatly admires the Etymotic ER-4 series headphones, and used them as one of his competitive benchmarks during development

of the Monster headphones. • Bass performance: both headphones are

capable of very good bass performance, but where the Etymotics tends more toward the taut and lean (some would say “overly lean”) end of the spectrum, the MDT’s bass is effortlessly powerful and full-bodied, yet still very tightly controlled. I think typical listeners would find the MDT’s bass superior overall—and much easier to achieve (see comments on eartips, below).

• Both headphones come with an extensive set of eartips designed to accommodate a broad range of ear sizes and shapes, as well as user preferences. The Etymotic’s eartips can be a bit finicky and difficult to fit, whereas the Monster’s double-layer gel-type SuperTips were relatively easy to fit (in part because they come in five sizes) and offer the difficult-to-achieve combination of comfort, excellent isolation, and terrific bass response.

• The Miles Davis Tributes carry Monster’s unbeatable “lifetime” warranty, which provides one-time free replacement of the phones “even if YOU break them.”

Miles Davis Tribute vs. Klipsch Image X10i• The Klipsch Image X10i’s retail for

$349.99 while the Miles Davis Tributes are considerably more expensive.

• The Image X10i serves both as a headphone and as an iPhone-compatible headset, where the Miles Davis Tributes are headphones, only. The X10i inline microphone module incorporates a 3-button remote control for use with newer generation iPods.

• Both the X10i’s and Miles Davis Tribute

models emphasize resolution and detail (or sonic purity), though their tonal balance is significantly different. In terms of absolute resolution, the Miles Davis Tributes go even further than the X10i’s do, though the difference is not terribly large. On the whole, the Miles Davis Tributes have a somewhat brighter, more midrange-forward sound, whereas the Image X10i’s have a slightly warmer, darker, and more “euphonic” tonal balance.

• The X10i is, hands down, the lightest and most comfortable in-ear headphone we have tested, and its patent-pending elliptical eartips are remarkably effective. In contrast, Monster’s double-layer, gel-type SuperTips may enjoy a slight performance edge, though their somewhat stiffer composition makes them slightly less comfortable and also somewhat more difficult to fit than the Klipsch elliptical tips.

• The Monster ‘phones offer a superior warranty, and appear more robustly built than the X10i.

Miles Davis Tribute vs. Shure SE 530• The Shure SE 530’s retail for $499.99 without

the push-to-hear control option, or $549.99 with the option, meaning they are roughly the same price as the Miles Davis Tributes.

• The Shure is a two-way, three-driver design, whereas the Miles Davis Tributes feature a single, high-performance, full-range driver. Shure proponents argue that the three-driver design allows for driver specialization/optimization by frequency range, where Miles Davis Tribute adherents contend that its single-driver design eliminates any possibility




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of driver-to-driver textural discontinuities. My experience has been that the Shures handle driver blending as well or better than any other multi-driver in-ear headphones I’ve tried. That said, however, the sheer purity of a good single-driver design is tough to beat. Some listeners may find the Monster’s MDT’s (much like its Turbine Pro Copper Edition ‘phones) delivers greater sonic purity than the Shures do.

• The Shure’s greatest strength is rich, natural, and thoroughly neutral tonal balance coupled with a good measure of resolution and detail. Compared to the Miles Davis Tributes, I would say the Shure’s enjoy an edge in terms of overall neutrality (though the difference is not a large one), but that the Monster headphone offers higher levels of resolution and super sonic integrity and coherency overall.

• The SE 530’s are designed to route signal cables up and over the ears, where the Miles Davis ‘phones do not. Some users are comfortable with over-the-ear cable routing schemes, while others find wires over the ears to be uncomfortable and distracting.

• Again, Monster’s unique warranty gives added peace of mind.

COMFORT FACTOR/ACCESSORIESThe Miles David Tribute headphones come with two groups of accessories, one geared for performance and the other geared toward enhancing the product’s appeal as a collector’s item.

Performance-oriented Accessories:• Multiple eartips, including standard single-

flange rubber eartips (sizes S, M, L); multi-flange rubber eartips (sizes S, L); compressible foam eartips (sizes S, L); and dual-layer, gel-tip SuperTips (sizes S, S/M, M, M/L, and L). Odds are that you will find one or more of these eartip options a comfortable fit. The size and shape of the Miles Davis Tribute earpieces makes it easy to insert the ‘phones in your ear canals and to achieve a good fit.

• Important Note: For best sonic results, I would encourage listeners to try each of the five sizes of the double-layer, gel-type SuperTips, which I think offer the greatest performance potential overall. One caveat to note, though, is that the outer shells of the SuperTips are a bit stiffer and a little less resilient than most traditional silicone rubber eartips, making the SuperTips more “fit sensitive” than most. You’ll want to take some extra time to experiment until you find a “just right” fit in order to hear the SuperTips at their best.

• “Revolver”-type eartip carrier with spaces for six pairs of eartips.

• Detachable garment clip (to keep the signal cable from flopping loosely).

• Two daily-use headphone cases, one a flip-top case with a magnetic closure hasp, and one a squeeze-to-open pocket pouch with a spring clasp.

Collector’s Item Accessories:• Headphone display case designed as a

miniature replica of Miles Davis’ trumpet case

(you could conceivably use this in day-to-day applications, but it’s really too nice for that; instead, I think it makes a better desktop conversation piece.).

• Columbia Legacy Edition 2-disc CD set commemorating the 50th anniversary of the release of Kind of Blue. Features outtakes from the Kind of Blue recording sessions, plus addition live performance material.

BOTTOM LINEMonster’s Miles Davis Tributes are not only cool collector’s items, but also genuinely excellent headphones that offer tons of resolution, plenty of dynamic expressiveness, and a generally neutral sound that is, by design, presented with a gentle touch of midrange emphasis. Only you can decide whether the voicing of the MDT’s will conform to your own musical tastes and preferences, but either way I think most listeners could agree that this headphone presents music with rare evocative power and




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SENNHEISER IE 7


Chris Martens

the IE 7 sound a bit thin or even “bass shy,” which isn’t actually the case.

MUsiCal eXaMpleOn the title track of Marcus Miller’s The Sun Don’t Lie [Pra Records], you’ll hear Miller on a Fender Jazz bass guitar ably supported by synthesizers, piano, steel drum, and a percussion battery. The Sennheiser’s strengths for the most part complement the track perfectly, capturing the dark, potent “pop” of Miller’s lowest slapped notes (man, can the IE 7s ever go low), while also revealing the almost vocal quality of sustained bass notes, which sing with a prolonged “Mwaaahh” that’s incredibly evocative. All the intricate inner textures of the synth are exposed as is the characteristically round tone and unmistakably Caribbean voice of the steel drum. But high percussion, though very clear, has a bit of excess sizzle, sheen, and bite that—though undeniably exciting—sounds a little larger than life. This characteristic complements some material, but not all.

CoMFort FaCtor The IE 7s are quite light, with an earpiece design that requires you to route earpiece cables up and over your ears, with cables

running through a stiff, bendable tube that doubles as an custom-fit ear clip. I found the IE 7s quite tricky to position so as to achieve a good seal, and some guest listeners gave up before ever experiencing a really good fit (meaning they missed out on the IE 7’s potentially superb bass response). With this headphone more than most in its cleass, you need to keep experimenting with eartips and positioning until they seal well, thus producing great bass.

BottoM line The IE 7s are superb high-end earbuds that are fully competitive with other top models in this price class. Strengths include relatively high sensitivity (which helps give an energetic, full-bodied sound), excellent bass, and clear, well-balanced midrange. Highs, as noted, are crisp but a little too forward—a characteristic some will love, but others not so much. Fit can be a bit finicky, so plan on experimenting for best results.

specs/pricingAccessories: Three sets each of single-flange and double-flange rubber eartips (sizes S, M, and L), two sets of bell-shaped foam eartips (size S and L), cleaning tool, cable clip (for securing the cable to garments), and two-piece hardshell case with magnetic closure. Weight: 14 gramssensitivity: 120dB/mWprice: $389.95sENNHEIsEr ElECTrONIC COrp.(860) 434-9190www.sennheiserusa.com

The German firm Sennheiser has long been known for producing excellent lower-cost earbuds such as the CX300

covered in Playback’s very first “Killer Earbud” survey, but at the 2008 Consumer Electronics Show the firm announced its ambitious new line of IE-series in-ear headphones, which aim for the very highest levels of performance. When this review was written, the IE models were just beginning to appear on the market, so we were fortunate to obtain a sample of the IE 7, the next-to-the-top model in the range. We’re pleased to report that it’s everything you might expect a top-tier, German-made product to be: crisp, precise, and beautifully built.

soniC CharaCterLike the best of its competitors in this price class, the IE 7 offers a clear, focused, highly transparent sound. The earphone is also quite sensitive and easy to drive, so that it produces a big sound that is dynamically alive. Tonal balance is reasonably neutral and characterized by tight and robust (but not overblown) bass, and smooth, evenly weighted midrange. Highs are clean and clear, but treble response is skewed slightly to the bright side of neutrality. Some perceive the forward-sounding highs as enhancing clarity, while others feel they make

tonal balance clairy dynamics comfort/fit sensitivity value

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Sennheiser’s IE 8 ($449.95) is the firm’s flagship in-ear headphone and it’s a product I’ve wanted to hear ever since

I got an introduction the IE8 and IE7 models at a Sennheiser tradeshow booth well over a year ago. At the time, the booth guide explained that while the second-to-the-top-of-the-line IE 7s and top-of-the-line IE 8s were both intended as top-tier performers, the IE 7 offered—deliberately—slightly brighter or more “treble rich” tonal balance overall, while the IE8 offered more neutral voicing (which is always music to my ears, if you’ll pardon the pun).

But what I didn’t realize during that initial booth tour was that the IE 8 actually offers user adjustable voicing—a feature not commonly

seen in in-ear headphones (in fact, off the top of my head, I can think of only one other—the Phonak PFE 122—that provides the feature). This is why I’ve dubbed the IE8 the “Flexible Flagship.” Unlike most top-tier models, the IE8 not only offers a very satisfying core sound, but also offers its owners a range of “sound tuning” options that in particular affect the headphone’s bass balance.

Here’s how the IE8’s “Sound Tuning” feature works. Each of the IE 8’s earpieces provides a small, recessed frequency-response adjustment screw, complete with finely graduated adjustment markings (so that you can experiment and easily repeat settings that work best for you). When the screws

SENNHEISER IE 8


Chris Martens

overviewConsider this in-ear headphone if: you want a headphone that does all things well, combining accurate tonal balance, very good levels of detail and resolution, and an uncanny quality of sonic smoothness. Also look at the IE 8 if you like the idea of the headphone’s user adjustable “sound tuning” feature.

look further if: you find the IE 8’s oblong earpieces somewhat uncomfortable or hard to fit (the only way to know this is to try a pair and see what you think). Note, too, that while the IE 8 offers very fine resolution, detail, and focus, there may be one or two competitors that can narrowly edge it out.



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are turned full counter-clockwise, frequency response measurements are as flat (or neutral) as possible. But, because some listeners perceive measurably flat response as being a bit bass-shy, Sennheiser lets you dial in more bass emphasis by turning the screws in the clockwise direction (more rotation = more bass emphasis).

As you’ll discover in a moment, the “sound tuning” adjustment screws affect only bass balance, but interestingly they give the subjective impression of adjusting the “tilt” or slope of the headphone’s entire response curve. As you turn the screws toward the full-neutral position, the headphone sounds brighter and a perhaps a bit more open through the midrange, while with the screws turned the other way, toward maximum bass emphasis, the headphone takes on a darker, deeper, warmer cast. No matter your preference, I think a big part of the IE8’s appeal—apart from its strong core performance—is that fact that it provides a mechanism for catering to a broad spectrum of listener tastes and preferences.

Somewhat unusually, the Sennheiser Web site does not list the IE 8’s among its “Audiophile Headphones,” (though I certainly think it ought to), but rather lists them among the firm’s “Professional Headphones.” Go figure. My advice: just declare yourself a “professional music listener” and then go give the IE 8’s a try.soniC CharaCterThe IE 8 is defined by three main sonic characteristics. First and foremost, the IE 8 offers smooth, well extended, and generally

neutral tonal balance. In this key area of performance, I feel that the IE 8 takes its place among an elite group of three so-called “universal fit” (as opposed to custom fit) in-ear headphones that, for me, represent the absolute crème de la crème within today’s market (but note that this review was written prior to the arrival of the Shure SE535 or the Westone TrueFit 4 —Editor). The other two headphones in my select “group of three” are the Shure SE 530 (which will be superseded later this year by the new SE535) and the Monster Cable Turbine Pro Copper Edition. What distinguishes the IE 8 from its competitors, however, is its unique “sound tuning” feature, which allows users to dial-in precise amounts of additional bass output either to suit their listening tastes or to help the headphones adapt to environments where excessive low-frequency background noise is present.

More so than many in-ear ‘phones, the IE 8’s seem extremely sensitive to wearers achieving a truly airtight seal between the ‘phones and their ear canals (actually, all in-ear ‘phones are like this to a degree, but I found that the low bass performance of the IE 8’s absolutely falls apart if there are air leaks of any kind). Happily, the Sennheisers come with an extremely broad array of eartips for users to try, so that there should be a solution for just about everyone. And once you do find eartips that seal properly it’s “fasten your seatbelts” time, since the IE8’s offer absolutely stupendous bass response—response so deep and powerful that some might find it a little overpowering, at least at first.

Second, the IE 8’s are highly detailed and

therefore extremely revealing headphones. When you switch to the IE 8’s from most other in-ear ‘phones (even quite good ones), it is typical to be struck by just how much more musical information the IE 8’s are able to capture or resolve. In a general sense, this means that listening sessions with the flagship Sennheisers take on a quality of discovery, as bits and pieces of the overall musical tapestry suddenly snap into fine focus in ways they might not have done before. Where other headphones might vaguely hint or suggest at what’s going on in the mix, the IE 8’s wade right in and show you what’s happening in explicit, graphic detail.

Third, however, comes a sonic characteristic that doesn’t always prove compatible with high levels of resolution and detail: namely, an overarching quality of smoothness that makes the IE 8’s relaxing to listen to over long

periods of time. Frankly, most other ‘phones that reveal as much detail as the IE 8’s do tend also to expose rough edges in the music in sometimes unpleasant ways. In contrast, though, the IE 8’s pursue detail and resolution with real gusto, yet somehow manage to stop just short of becoming edgy or obnoxious. I’m not quite sure how Sennheiser pulled this off, but I’m glad that they did.

MUsiCal eXaMplesIn some respects there is nothing quite so revealing of an audio component’s sonic potential as a good solo piano recording, and knowing this I put on the virtuoso pianist Joel Fan’s West of the Sun—Music of the Americas [Reference Recordings]. I focused in particular


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specs/pricingSennheiser IE 8 In-Ear Headphones Accessories: See above.Weight: 15 grams with cable (5 grams without cable)sensitivity: Not specified (maximum output, 125 dB SPL)Impedance: 16 OhmsWarranty: 2 yearsprice: $449.95

sENNHEIsEr ElECTrONICs COrpOrATION1 Enterprise DriveOld Lyme, CT 06371(860) 434-9190www.sennheiserusa.com




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on two tracks: first, Fan’s performance of Astor Piazzolla’s moody “Preludes (3) for Piano: no 2, Flora’s Game, Milonga Prelude” and then his rendition of the muscular first movement of Albert Ginastera’s “Sonata for Piano No. 1, Op. 22: Allegro marcato.” What made this listening experience so informative was hearing the dramatically different voicings and overall emotional cast that Fan brought to each piece.

For the Piazzolla piece, Fan pulled forth a fluid, lilting, mysterious sound from the piano tinged with a touch of melancholy. Through the IE 8’s the effect was almost that of hearing the soundtrack of a dance sequence from a beautiful yet also haunting dream. The Sennheisers rendered individual piano notes cleanly and sweetly, while allowing the dynamic envelopes of individual passages to ebb and flow in a gentle, ethereal way—so that the music seemed almost to be floating on a cushion of air.

Then, when Fan transitioned to the Ginastera composition, the mood and overall sound of the piano abruptly changed, taking on a vigorous, punchy, angular quality, so that notes (and their accompanying harmonics) seemed almost to explode outward and upward from the bottom of the piano’s soundboard. Where many headphones would have taken on a harsh, strident edge on the Ginastera piece, the IE 8’s simply drew a deep breath and then burst forth at full song, but without—and this is very important—so much as a trace of edginess and glare.

My point is that the IE 8’s have the delicacy and subtlety to show the almost dreamlike inner workings of the Piazzolla piece, but

also the power, muscle, clarity, and drive to do justice to the Ginastera Sonata. But at all times, listeners will appreciate and enjoy the Sennheiser’s exquisite mix of clarity, definition and—most impressively—unfailing smoothness. It’s that latter quality that make you want to keep listening to the IE 8’s long after other headphones would have become tiresome.

CoMpetitive CoMparisonsLet me provide comparisons to show how Sennheiser’s IE 8 stacks up relative to two of its closest competitors, the Shure SE 530 and Monster Cable Turbine Pro Copper Edition.

Sennheiser IE 8 vs. Shure SE530•TheSE530listsforbetween$499.99and

$549.99, while the IE 8 retails for $449.95. Research shows that street pricing for both models falls significantly below retail pricing, and that the two products are similarly priced.

•TheSE530offersahandyPTH(Push-to-Hear) module as an option that allows users to momentarily turn down the music and instead to hear natural room sounds (via an inline mic) at the push of a button. The IE 8 does not offer such an option.

•TheIE8offersauseradjustable“soundtuning” feature where the SE 530 does not.

•TheIE8offersdetachable/replaceablesignalcables where the SE 530 does not (though Shure’s next-generation SE 535—slated for release later this year—will incorporate this feature).

•TheSE530isathree-driverdesignwhich proponents say gives the Shure an

advantage in terms of optimizing drivers to cover specific portions of the audio spectrum. On the other hand, the IE 8 arguably enjoys a narrow edge in overall sonic purity and coherency.

•Tonalbalanceforbothheadphonesissimilar,at least when the IE 8 is left in its default bass output setting. Of course, the IE 8 does allow dialing-in additional bass should the circumstances warrant.

•Bothheadphonescomewithextensivesetof eartips, so that users should plan on spending time experimenting to find which tips work best for them.

•Bothheadphonesuseover-the-earcablerouting schemes, which will please some listeners but frustrate others. On the whole, the SE 530 is easier to fit owing to the fact that its earpieces are smaller and more smoothly shaped (in contrast, the IE 8 earpieces are somewhat large and more angular so that its creased edges can and sometimes do come into contact with ear surfaces). Once properly fitted, though, long term comfort between the two headphones is comparable.

Sennheiser IE 8 vs. Monster Cable Turbine pro Copper Edition•TheCopperEditionsretailfor$399.99,

while the IE 8’s retail for $449.95. Research suggests, however, that the street price for the IE 8’s may well be lower than that of the Copper Editions.

•TheIE8offersauseradjustable“soundtuning” feature, where the Copper Editions do not.

•TonalbalancefortheIE8’sandCopperEditions is similar, though the Copper Editions do sound just slightly more extended at the frequency extremes (though this is a subtle difference that some listeners might not notice at first).

•Bothdesignsofferveryhighdegreesofpurityand coherency, though when push comes to shove I would say the edge goes to the Copper Editions. That said, however, note that ultra-high levels of transparency and detail are not necessarily what all listeners are looking for (one man’s “superb detail” can be another man’s “more information than I bargained for”). Listeners who crave resolution, detail and focus will probably gravitate toward the Copper Editions, while music lovers who want their sonic details be presented with absolutely uncanny smoothness will likely prefer the IE 8s.

•Bothheadphonesofferanexcellentarrayof eartips, and both require considerable trial-and-error experimentation to find out which eartips work best for a given user. In an absolute sense, Monster’s dual-layer, gel-type Super Tips are among the most sonically effective eartips I’ve yet heard, though their somewhat stiff consistency means they may not be the last word in wearer comfort.

•Onthewhole,thecompactCopperEditionsare easier to fit and more comfortable for very long listening sessions than the somewhat more awkwardly shaped IE 8’s. In part, the Copper Editions benefit from the fact that they do not require over-the-ear cable routing, though the IE 8’s are helped




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along by the fact that the IE 8 earpieces are featherweight designs. In contrast, the Copper Edition’s solid metal earpiece housings, though compact, can feel a bit “weighty” at times.

•TheIE8carriesasuperbtwo-yearwarranty,but the Copper Editions come with an unbeatable limited lifetime free replacement warranty—even if users are responsible for breaking the headphones.

CoMFort FaCtor/aCCessoriesThe Sennheiser IE 8 come in a neat rectangular packing case with a flip-open lid and a multi-level series of foam packing trays within (one level contains the headphones, themselves, while another contains their hard-plastic carrying case plus accessories, and so on). One word of caution: the packing case fits together a bit like a challenging children’s puzzle, so that it takes some time to figure out how to get at the contents. Patience is the order of the day.

Inside the packing case you’ll find:•OnepairofIE8headphones,equippedwith

a detachable, user-replaceable signal cord.•Onehard-shell,foam-linedcarryingcasefor

the IE8’s, with a built-in winding spool for the signal cables, holders for two spare sets of eartips, a clamp that holds the included cleaning/”sound tuning” adjustment tool, and a chamber where you can insert an included dry salt pad that draws moisture away from the IE 8’s.

•Alargeassortmentofeartipsincludingthreesets of standard rubber tips (sizes S, M, L),

three sets of dual-flange or “lamellar” tips (sizes S, M, L), two pairs of foam rubber tips (sizes S, L) and two pairs of “mushroom form” tips (sizes S, L).

•Onecableclip(forholdingthesignalcabletoa garment so that it doesn’t flop around).

•Onepairofsnap-on,softrubberearhooks(designed to make the IE 8’s, which are designed for over-the-ear cable routing, more comfortable).

•Asetofseven(!)userinstructionmanualsinvarious languages, including English.

I found the IE 8’s noticeably easier to fit and more comfortable to wear than the IE 7 models I’ve previously reviewed. There are two main reasons for this improvement. First, the IE 8’s earpieces seem smaller and better shaped than the IE 7’s peculiarly sharp-edged earpieces. Second, unlike the IE7, which uses a stiff, built-in, over-the-ear cable guide, the IE 8 provides flexible and, should the need arise, replaceable signal cables that can be equipped with soft, snap-on rubber ear hooks if you so desire. Personally, I found the ear-hooks a bit cumbersome, so I elected not to use them, but the good news is the IE 8 design leaves the choice to you.

In an absolute sense, however, I would say the IE 8 offers good but not great levels of comfort, primarily because its earpieces are relatively large and angularly shaped—at least in comparison to some other top-tier headphones such as the Klipsch Image X10i or the Monster Cable Turbine Pro Copper Edition. Both of those compact designs are more relaxing to wear for long periods of time.

An appealing detail is Sennheiser’s beefy hard-shell carrying case, which neatly provides a place for you to coil up the IE 8’s signal cables, plus storage areas for a few necessary accessories, a cool “silica gel” chamber that helps wick moisture away from the ‘phones when they’re not in use, and a tough outer shell that offers meaningful protection for these expensive beauties when you are on the go.

BottoM lineSennheisers IE 8 is one of the three finest “universal fit” in-ear headphones I’ve ever heard. It offers the terrific combination of neutral tonal balance, very high levels of sonic coherency and purity, and exceptional smoothness. But for many users, the pièce de résistance will be Sennheiser’s distinctive “sound tuning” feature, which makes the IE 8 a truly flexible flagship that can adapt to fit its owners’ tastes and preferences.




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If you polled a group of high-end headphone aficionados to ask which universal-fit in-ear headphones they regarded most highly as

performance icons, I’m betting that Shure’s venerable SE530 would appear near the top of the list. Or at least it would have done so until quite recently, given that Shure has now opted to replace its well-loved flagship with the new SE535 ($549), which is the subject of this review. This leads us, of course, to ask several key questions. First, how does the SE535 differ from the SE530, and second, does it sound different and better than its predecessor?

At first glance differences between the SE530 and the SE535 appear subtle, but after you experience the 535 and live with it for a while they come to seem quite significant. First off, the SE535, unlike the original 530, features a detachable, user-replaceable signal cable. Lead wires for the left and right earpieces attach via small, gold-plated, plug-and-socket type connectors. Not only does this arrangement allow users to buy new cables should they ever accidentally break a wire (which, sadly, is surprisingly easy to do with any earphone), but it also allows the earpieces

to swivel on the ends of the cables, making it much easier to obtain a comfortable fit. On the old 530’s, the stiff lead wires tended to dictate terms to the user, meaning the headphone felt comfortable for some wearers but rubbed others (quite literally) the wrong way. The SE535, however, comes a lot closer to the ideal of being a true, “one size fits all” design.

The SE535 uses the very same two-way architecture and triple balanced-armature driver array (with two vented bass drivers and one treble driver) as in the SE530, but with one very significant difference. The internal shape

SHuRE SE535


overviewConsider this in-ear headphone if: you seek an in-ear headphone that does everything that made Shure’s original SE530 famous, only better. In the SE535 you’ll find smooth and evenly balanced tonal response (already a strength of the old 530), but in a model that exhibits newfound openness and transparency, greater treble extension, and that produces wider soundstages. What’s more, the new SE535 is significantly more comfortable to wear thanks to new user-replaceable signal cables that plug into the SE535 earpiece assemblies. The SE535’s cables can now swivel on its earpieces, helping to facilitate a comfortable fit—a welcome change.

look further if: you require a flagship-class in-ear headphone that allows user-configurable bass tuning (in which case you’ll want to check out the Sennheiser IE 8), or if you prefer an in-ear model that offers neutral voicing coupled with almost hyper-precise rendition of low-level sonic details (in which case you’ll want to hear Monster’s Turbine Pro Copper Edition ‘phones). But frankly, the SE535 is so good in so many areas that it belongs on the short list for any serious listener—and for all the right reasons.

Chris Martens



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and layout of the SE535 earpiece housing, which Shure terms the “acoustic network,” has been substantially revised to allow noticeably more extended treble response and wider perceived soundstaging. On paper these might sound like small changes, but in reality they alter the entire character of the SE535’s midrange and treble response, giving the headphone a notably more spacious, open-sounding and detailed presentation overall. Unlike the original 530, the SE535 comes in two cool new colors: clear or metallic bronze, both very attractive (our samples were the bronze versions). Finally, the SE535’s standard accessory set is somewhat different than the SE530’s.

Put all these changes together and you have an in-ear headphone that does everything the SE530 could do, only better, and that takes meaningful steps forward both sonically and in terms of usability and wearer comfort.

soniC CharaCterAs was the case with the original SE530, the SE535’s greatest strength is its smooth, neutrally-voiced, and natural-sounding tonal balance. But thanks to the SE535’s revamped acoustic network, those bedrock Shure virtues are now coupled with newly improved measures of treble extension, openness and transparency. Together, these qualities give the SE535’s a presentation that is at once engaging and detailed, yet also warm and relaxed. Let me expand on this point for a moment.

The original SE530 was often quite rightly praised for its smoothness and neutrality, but

even in its heyday it was possible to find in-ear headphones such as the Etymotics ER-4P that seemed to edge out the then top-of-the-line of Shure ‘phones in terms of sonic purity, focus and clarity. With the SE535, however, that “purity/clarity gap” has essentially been closed (and then some). Without losing any of the strengths that made the SE530 so good, the SE535 now reproduces high-frequency harmonic information and treble transient and textural details much more effectively, yet without—and this is the real stroke of genius here—sounding overtly bright in any way.

Rather than going for a huge increase in treble output, which could easily have done more harm than good, Shure wisely opted to go for a judicious, incremental improvement in the SE535—essentially taking what was already a very strong design and making it better. I think many listeners will appreciate the “first, do no harm” decisions that Shure’s engineers have made in creating the SE535.

While fans of detail and definition, and I admit I am one, might still wish for a bit more transient speed, more tightly defined treble textures, and even greater high-frequency extension, the fact is that the new SE535 offers significantly expanded performance envelopes in all three areas, so that to go further might be to risk taking things over the top.

MUsiCal eXaMpleTo appreciate the SE535’s overall balance and smooth frequency response, listen to it on a wide-range orchestral piece such as the Gordon Getty’s “Plump Jack Overture” from Orchestral Works by Gordon Getty [Sir

Neville Mariner, Academy of St. Martin in the Fields, Pentatone SACD]. This composition is roughly twelve minutes long, but in that brief span of time it provides a delightful and quite athletic orchestral workout that is a tough test for any headphone. The “Plump Jack Overture” (the title is an allusion to the Shakespearian character Falstaff) starts with an abrupt series of concert bass drum thwacks counterbalanced with low brass and low woodwind outbursts, with angular string passages adding commentary up above. The opening section is a real head-turner provided your headphones are up to the task, which the SE535’s most certainly are.

First, they do of fine job of capturing the weight and slam of the massive bass drum thwacks without breaking a sweat. Next, they do an unusually convincing job with the low brass and low woodwind instruments—

instruments that pose problems for many headphones, some of which have trouble rendering their deep, throaty, full-bodied sonorities. But instead, the SE535 seemed almost to revel in handling the sound of these instruments, giving them the full, rich, round tonality they require.

But apart from handling these “power” instruments well, the SE535 can turn on a dime to exhibit great clarity and delicacy when required. At one point, for example, Getty’s dramatic orchestration calls for a simple chime to sound, and the SE535’s nailed its ringing overtones with a just-right touch of lingering shimmer that seemed to float on the air for a delicious few seconds. Similarly, the SE535’s showed real finesse later in the overture as they caught the incisive yet never edgy or


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Shure SE535 In-Ear Headphones

Type: 2-way, triple balanced-armature- type drivers (two vented bass drivers, one treble driver)Accessories: See aboveFrequency response: 18Hz – 19 kHzWeight: 1 oz.sensitivity: 119dB/mWImpedance: 36 OhmsWarranty: 2 years, parts and laborprice: $549

sHUrE INC.(847) 600-2000www.shure.com




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strident sound of rapid violin bowing changes, and the delicate ripple of trilled flute passages.

My point is that the SE535 is a very well-rounded performer that is rarely if ever caught off guard, whether the music calls for big explosive dynamics, powerful yet also tuneful mid- and low-frequency sounds, or delicate treble details. This refined, “do-all” quality is a big part of the appeal of Shure’s new flagship model.

CoMpetitive CoMparisonLet me compare the SE535 versus two of its closest competitors: the Monster Turbine Pro Copper Edition and Sennheiser IE 8.

Shure SE535 vs. Monster Cable Turbine Pro Copper Edition•TheMSRPoftheShureis$549,whilethe

Copper Editions retail for significantly less—$399.99.

•LikeitspredecessortheSE530,theSE535is a two-way, three-driver design, whereas the Copper Editions feature a single, high-performance, full-range driver. Shure proponents argue that the three-driver design allows for driver specialization/optimization by frequency range, where Turbine Pro Copper Edition adherents contend that its single-driver design eliminates any possibility of driver-to-driver textural discontinuities. That said I felt the SE535 did an excellent job of integrating the output of its multiple driver array.

•Intermsoftonalbalancethetwomodelsarefairly evenly matched, though there are some differences worth noting. In general, the

Shure tends to sound slightly warmer through the midrange and a touch more full-bodied in the mid-bass, with highs that sound natural and clear—though not overly prominent. In contrast, the Copper Editions are slightly leaner-sounding through the midrange and mid-bass, but offers even better extension at both frequency extremes—especially in the upper treble region, where the Monsters can sound exceptionally lifelike (at least on good recordings).

•Onthewhole,theShureemphasizesa smooth, natural sound blessed with generous, though not necessarily class-leading, amounts of sonic detail. As mentioned under SONIC CHARACTER, above, these qualities give the SE535’s a presentation that is at once engaging and yet relaxed. By comparison, the Monster tends to be more assertive and “up front” in reproducing subtle transient sounds and low-level details.

•RelativetotheSE530,theSE535hastaken significant steps forward in terms of improving treble extension, openness and transparency. Even so, critical listeners may find the Copper Editions enjoy a narrow but clear-cut edge in terms of retrieving fine layers of low-level detail. Note, however, that the sound of the Copper Editions tends to be a double-edged sword of sorts. Some listeners enjoy the sense of heightened resolution and focus the Monsters convey, while others feel strongly that the Copper Editions impart almost “too much information” and thus tend to impose an undesirably intense listening experience.

For those uncomfortable with the sound of the Copper Editions, the SE535 offers what some listeners will likely consider a more livable compromise between smoothness and warmth, on the one hand, and the ability to deliver still quite generous amounts of detail and resolution on the other.

•Bothheadphonesarecompactandcomfortable, and both come with an unusually broad and useful array of eartips. In the past, I would have said the Copper Editions were noticeably more comfortable than the original SE530s. Now, thanks to the SE535’s new detachable/swiveling cabling arrangement, I’d call the comfort factor contest a draw.

•TheSE535’scarryShure’sexcellent2year warranty, but the Turbine Pro Copper Editions carry Monster’s unbeatable “lifetime” warranty, which provides one-time free replacement of the phones “even if YOU break them.”

Shure SE535 vs. Sennheiser IE 8•TheMSRPoftheShureSE535is$549,while

the Sennheiser IE 8’s retail for $449.95.•TheIE8offersauseradjustable“sound

tuning” feature, where the SE535’s do not. Some listeners might question whether adjustable sound tuning is really a useful feature in the first place, given that the IE 8’s—when heard in a quiet environment—tend to sound best with their bass controls set in the “Flat” position. However, if you do much listening in environments where there is a lot of low-frequency noise present, you’ll come to appreciate the fact that the IE 8’s

allow you to temporarily dial-up their bass balance to help overcome background noise.

•TonalbalancefortheIE8’sandSE535’sissimilar (at least when the IE 8’s bass tuning control is set in the “Flat” position), though the SE535 offers a somewhat smoother and more coherent sound overall. In comparison, the highs of the IE 8 tend to sound extremely extended, but also a tiny bit “dry” or “wiry.” In contrast, the SE535’s highs consistently sound revealing, yet silky smooth.

•Bothheadphonesofferanexcellentarrayofeartips, though you may find you need to do considerable trial-and-error experimentation with either model to find out which eartips work best for you.

•Onthewhole,theSE535iseasiertofitandmore comfortable for very long listening sessions than the somewhat more awkwardly shaped IE 8’s. Again, the SE535’s new signal cable design works wonders here.

CoMFort FaCtor/aCCessoriesShure’s SE535’s arrive in a brushed aluminum packing case which contains the earphones themselves, plus a plethora of accessories. Specifically, the SE535 comes with: •Asturdy,fabriccoveredclamshell-typecase

with a zipper closure; •Avarietyofeartips(or“sleeves,”asShure

calls them) including one pair of cylindrical compressible foam sleeves, three pairs of bell-shaped “Soft Foam” sleeves (sizes S, M and L), three pairs of pliable rubber “Soft Flex” sleeves (sizes S, M, and L), and one pair of triple-flange sleeves;

•Anairlineadapter;




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•Amini-jack-to-1/4-inch-phoneplugadapter,•Aninlinevolumecontrol,and•Acleaningtool.

The SE535’s are compact and easy to position for a good fit, and their swiveling, detachable signal cables make them much more comfortable than the original SE530’s. BottoM lineBuilding upon the rock-solid platform of Shure’s classic SE530 in-ear headphone, the new SE535 takes subtle yet sonically significant steps forward in terms of improved openness, treble extension, transparency and soundstaging. It is also much more comfortable to wear and offers the convenience of user replaceable signal cables (meaning you won’t be out of action for long even if—heaven forbid—you should happen to break a cable, which happens from time to time). In short, the SE535 is nothing less than a flagship reborn, and as such I count it as a surefire winner.




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You could argue the Ultimate Ear’s TripleFi 10 is one of the most technically advanced designs of any earphone

in this (or any) Guide, since it is one of only two three-way earphones in this group (the other is Westone’s TrueFit 4). That’s right: The TripleFi 10 features separate, miniature bass, midrange, and high-frequency drivers—all fitted into an enclosure smaller than the tip of your pinkie finger. But does this technical prowess translate into great sound?

soniC CharaCterThe TripleFi 10’s offer broad, smooth frequency

response with a light touch of very low bass emphasis and—way up high—a barely perceptible hint of treble roll-off. But the overriding impression these headphones create is that they are well balanced and deliver a hearty and engaging sound. Though we liked Ultimate Ears’ UE600’s (also reviewed in this Guide) quite well, the TripleFi 10’s are even better, offering more evenly balanced frequency response, slightly more extended highs, and a more nuanced sound overall. Two of the TripleFi 10’s particular strengths are exceptionally good noise isolation and overarching smoothness—especially through the critical midrange. At higher frequencies the TripleFi 10’s convey slightly less low-level sonic information than some competing models do, but they offer the offsetting benefit of arguably superior smoothness.

MUsiCal eXaMple The TripleFi 10 is at its best on full-range audiophile recordings, such as Steve Strauss’s cover of the classic Springsteen song “Youngstown,” from Just Like Love [Stockfisch, SACD]. The track starts with a concert bass drum figure that emulates the clank of heavy factory machinery, and the TripleFi 10’s nailed the deep, lingering “thwacks” of that drum as

well as any earbuds I’ve heard. They also did a good job with Straus’s evocative baritone voice, though they tended to smooth over some of the gritty, gravelly textures that are so characteristic of his sound. On the same track, the TripleFi 10’s also sounded lovely on Chris Jones’s guitar and dobro accompaniment, although they rounded off the very highest guitar and dobro harmonics, and suppressed the sense of high-frequency “air” I expected to hear. The resulting sound was rich and pleasingly romantic, but came up just a bit short in terms of transparency and detail.

CoMFort FaCtor The TripleFi 10’s are light earbuds whose earpiece cables are routed up and over the listener’s ears. A reinforced section of the cable acts as a moldable, custom-fit earclip that worked well for me but that some might find a bit too stiff for optimal comfort. Ultimate Ears provides a broad selection of various types of eartips, so it is never a problem to find a set that fits and seals well.

BottoM line The TripleFi 10 is Ultimate Ears’ best-performing, universal-fit, in-ear headphone, and it is a top tier performer in terms of frequency response, smoothness anddynamics. Overall, the TripleFi 10’s tend towarda slightly “romantic” presentation that is satisfyingly rich in tonal colors, though it falls just short of achieving the elusive “Nth” degreeof transparency and cohesiveness that someaudiophiles might crave.

Chris Martens

specs/pricingAccessories: Three sets each of silicone single-flange eartips (sizes S, M, and L), one set each of universal-fit dual-flange eartips and foam eartips, ¼” jack adaptor, level attenuator, 26” extension cable, and hardshell carrying case. Note: Later this year, Ultimate Ears plans to drop the dual-flange eartips and instead to supply two sets of foam eartips. Weight: 17 gramssensitivity: 117 db/mWprice: $399.99UlTIMATE EArs(866) 837-7734www.ultimateears.com

tonal balance clairy dynamics comfort/fit sensitivity value

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Playback greatly admires Westone’s superb ES5 custom-fit in-ear monitors (reviewed elsewhere in this Guide), but we also understand that some music

lovers would prefer to go with universal-fit in-ear ‘phones rather than going down the custom-fit path. Part of this has to do, we think, with reluctance on the part of listeners part toward the idea of having custom ear-mold impressions taken (a process that admittedly looks a bit scary and feels weird for first-timers, but that actually doesn’t hurt a bit), and part has to do with price (since custom-fit monitors typically cost a lot more than even the most expensive universal-fit models). But having looked at and listened to things from both sides of the universal-fit vs. custom-fit divide, we’re still left with one key question: can anybody build a universal-fit earphone whose sonic sophistication seriously rivals that of today’s greatest custom-fit in-ear monitors? Interestingly, Westone may have an answer for us all.

The Westone TrueFit 4 ($449) is the world first three-way, four-driver, universal-fit in-ear headphone, and as such is one of the—if not the—most sophisticated universal-fit earphones ever created. In simple terms, its mission is to come as close as possible to the sound quality of the firm’s top-tier custom-fit models, yet at a much more manageable price point. Does it succeed? I think it certainly comes very close. But, even if the TrueFit 4 is not quite able to challenge Westone’s top-tier custom-fit monitor for absolute sonic supremacy*, it easily earns bragging rights as one of the finest—if not the finest—universal-fit earphones available on

WESTONE TRuEFIT 4 Chris Martens

overviewConsider this in-ear headphone if: you value well-balanced performance and an earphone that does all things well. Look at the TrueFit 4 if you want a universal-fit model that offers the kind of powerful, intimate, and vivid sonic presentation that rivals, though it does not quite equal, the performance of today’s finest custom-fit in-ear monitors, but for hundreds of dollars less. Note, too, that the TrueFit is easy to insert, comfortable to wear, and can be fitted out (via interchangeable eartips) for use by a wide variety of listeners (something no custom-fit monitor can claim).

look further if: you want the highest possible levels of sonic detail, resolution, and noise isolation. To get those things, you’ll eventually need to step up to a full-blown custom-fit in-ear monitor. But be aware that custom-fit monitors, great though they can be, cost significantly more and are by definition less flexible (because they’re designed to fit one and only one listener).

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NeXT page



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the planet.* Actually, Westone representatives have pointed

out that while both their ES-series and TrueFit-series

products aim for accuracy, they are targeted toward

extremely different markets and end-users. Specifically,

the ES models are built with very high output capabilities

and with the needs of stage performers in mind, while

the TrueFit models are geared more for listening to

recorded music (though Playback has discovered

that the ES5 also works exceptionally well for that

application).

FeatUres•Theworld’sfirstthree-way,four-driver,

universal-fit earphone. •Usesfourbalancedarmature-typedrivers

(two bass drivers, one midrange drive, and one high frequency driver per earpiece).

•FittedwithWestoneEPICsignalcables,which Westone describes as “a supple braided design (that) insures comfort and resists tangles.”

•Sharesthesamebasicearpieceshelldesignas used on Westone’s TrueFit 3 earphone. Though Westone does not particularly tout this feature, the fact is that the TrueFit shell shape is ergonomically designed so that it A) is very to handle, insert, and adjust, and B) seems to fit the natural curvature of most wearer’s outer ears. One further benefit of the TrueFit shape is that it naturally lends itself to over-the-ear cable routing.

•Comeswithanexcellentandextensivecollection of eartips, as detailed under COMFORT FACTOR & ACCESSORIES, below. Odds are that one (or more) of the eartip options will work beautifully for you.

•Apartfromitsextensiveeartipcollection,theTrueFit 4 comes with a useful set of other accessories including a well-made travel case, a cleaning tool, a line attenuator, and a ¼” phone jack adapter.

soniC CharaCterThe TrueFit 4 is among the most accurately balanced in-ear headphones Playback has yet sampled. Perhaps the only slight deviation from strict textbook accuracy would be a very subtle hint of bass emphasis, which we regard as an intelligent design compromise that actually helps the headphone sound more accurate in environments where there is low-frequency noise present (which, come to think of it, is most environments).

One area of the audio spectrum that the TrueFit 4 handles particularly well is the potentially tricky upper midrange/lower treble region—a region many earphones get wrong. What the TrueFit 4 manages to do is to sound articulate and well extended, yet without becoming edgy, brittle or overly bright. Similarly, it also manages to serve up a welcome touch of treble smoothness, but not at the expense of sounding dull or rolled off.

But good though the TrueFit 4’s tonal balance is, its greatest strengths may lie in other more qualitative aspects of sound reproduction. The TrueFit 4 actually offers a well-integrated package of sonic virtues, including good transient speed, high levels of resolution and detail, a highly articulate sound overall, and excellent handling of both large- and small-scale dynamic contrasts. Put these qualities together and you wind up with a

sound that is remarkably vivid and vibrant—the very words I would use to describe the sound of many good custom-fit in-ear monitors.

Does this mean the TrueFit 4 is truly the equal of custom-fit monitors? Not exactly, and here’s why. First, the TrueFit 4’s noise isolation, though very good as universal-fit earphones go, is not as good as the isolation afforded by custom-fit designs (nor should we expect it to be, given the huge price differentials involved). Similarly, the TrueFit 4’s sound, whose articulation and vividness place it near the top of the universal-fit class, nevertheless falls a little short of the performance that, say, Westone’s nearly twice as expensive ES5 custom-fit monitors can deliver.

But let’s put things in perspective; the TrueFit 4 is easily one of the three or four best universal-fit earphones Playback has ever tested (the others are the Monster Turbine

Pro Copper Edition, the Sennheiser IE8, and the Shure SE535). What is more, one could make a strong argument that, with all factors considered, the TrueFit 4 is the most well rounded performer of the bunch. Thus, if you want a big taste of what custom-fit sound is about, but without paying the inevitable custom-fit price, consider the TrueFit 4, which really does push the limits of universal-fit technology. anCillary eQUipMentMost of my listening tests for this review were conducted using an iPod Classic loaded with lossless files, with signals routed through

specs/pricingWestone TrueFit 4 Universal-Fit In-Ear Headphones Type: Three-way, four-driver universal-fit in-ear headphonedriver Complement: Four balanced armature-type drivers (two woofers, one midrange, one tweeter)Accessories: See aboveFrequency response: 10Hz – 18 kHzWeight: Not specifiedsensitivity: 118dB/mWImpedance: 31 OhmsWarranty: 1 year, parts and laborprice: $449 MSRP

WEsTONE lABOrATOrIEs INC.(800) 525-5071www.westonemusicproducts.com



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a Moon Audio Silver Dragon LOD (line out dock) cable to an ALO Audio Rx MkII portable headphone amplifier.

Additional listening involved lossless digital files played from Windows PC though a Furutech GT2 USB cable to a NuForce Icon HDP USB DAC/headphone amplifier.Still other tests involved CDs and SACDs played through a Musical Fidelity kW SACD player, with signals routed through Rega Couple interconnects to a Burson Audio HA-160 headphone amplifier (sometimes used with Burson Audio’s AB-160 tube buffer, sometimes not).

MUsiCal eXaMplesA test track that has been in heavy rotation on my iPod for the past several months is “Joanni” from Kate Bush’s Aerial [Sony]. The song can be viewed as a hymn of sort to Joan of Arc, but with a distinctly modern twist in the form of a driving, heavily syncopated, and eerily propulsive instrumental theme (carried by both high and low percussion, strings, and a variety of other instrumental flavorings), which is juxtaposed against Bush’s sometimes delicate and ethereal, but sometimes earthy and almost guttural vocals. The mix, obviously, features a lot of textures and tonalities being pushed forward at once, so it makes a formidable workout for any headphone.

The TrueFit 4’s did a fine job with the track, starting with their ability to capture the deep, plunging “thwoomp” of the low percussion notes that set the song’s pulse, while at the same time doing a good job with the sparkle and shimmer of high percussion accent notes.

About the only thing lacking was that elusive, Nth degree of treble definition, focus, and openness that can—through the very best headphones (whether in-ear or full-size)—let the sounds of the high percussion instruments take on a life of their own, with notes lingering on the air long after notes have been struck.

But what was really impressive was the way the Westones handled Bush’s deceptively difficult-to-reproduce voice. The trick is that it is easy to overdo the upper register of her voice, as on the lead-in line of the song’s chorus, where Bush soars up high to sing, “Whoooo’s that girl?” But happily the Westones nailed this line, letting it soar without adding any overwrought edges of their own.

Later on, Bush works down into her lower register, belting out lines with a forceful touch of earthy grit as she sings, “Joanni, Joanni wears a golden cross/She looks so beautiful/With her armor on.” On these lines, the Westones follow right along, revealing the surprising depth and punch of Bush’s lower-pitched lines, but without lapsing into unwarranted rawness. My point, here, is that the TrueFit 4’s engage the listener both with tonal qualities and with constantly shifting points of dynamic emphasis, in the process doing much to convey the life and energy of the music.

I got similarly good results when playing another revealing (and, in its way, sonically demanding) audiophile favorite; namely, “I Could Eat Your Words” from Patricia Barber’s Verse [Blue Note]. While this track has been overused for audio demos, it is undeniably well recorded, and contains numerous rich




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sonic treasures—if your earphones are up to the task. The song opens with Barber’s solo voice half-singing/half-speaking a measured introduction, with only open chords on a piano for accompaniment. It’s an intimate moment (or at any rate is supposed to be), showing a lilting, delicate quality in Barber’s voice that is perhaps not so clearly presented on many of her other recordings. The Westones did very nicely on these opening passages, beautifully rendering the softer and breathier qualities in Barber’s voice, while letting the piano chords ring out and sustain, as they should.

But the whole personality of the song shifts gears as Barber sings, “…and teacher I want you tonight,” then adds after a brief, pregnant pause, “I could eat your words…” Once that line is launched, a growling and highly evocative acoustic bass lines joins, while Barber’s voice takes on a noticeably darker, more overtly seductive, and sultry-sounding quality. What’s interesting is the way that the bass serves as a both a rhythmic engine and as a “sea anchor” of sorts, holding the song on course while giving Barber’s voice and piano the freedom to move forward in more adventurous, exploratory ways. The Westones really caught the energy, depth, textures, and gentle forcefulness of the bass, while also revealing the subtle, seductive shift in Barber’s vocals and piano lines. But a special treat comes in the form of a haunting, plaintive trumpet solo that’s presented about two-thirds of the way through the song. When that delicious moment arrives, the sound of the horn is incredibly exposed in the mix, and the Westone does it full justice, letting you

hear the latent (but here carefully restrained) power inherent in the instrument, while also highlighting its darker, more somber qualities, which are at once jazzy-sounding, yet tinged with hints of melancholy.

As was the case with the Kate Bush track referenced above, the Westones did a very good but not quite great job with treble textures on “I Could Eat Your Words.” Thus, the Westones let you clearly hear the sounds of the percussionist’s brushes sweeping over the textured snare drum head, but they don’t have the fullest measure of shimmer and high-frequency “air”—qualities that the more costly Westone ES5 custom-fit monitors easily reveal. But this minor drawback notwithstanding, the TrueFit 4’s gave an otherwise wonderfully accurate and emotionally engaging presentation on this song.

CoMpetitive CoMparisonTo give reader an idea of how the TrueFit 4 stacks up against other top-tier universal-fit earphones, we provide a comparison to two of its nearest and strongest competitors: the Monster Turbine Pro Copper Edition and the Shure SE 535.

Westone TrueFit 4 vs. Monster Turbine pro Copper Edition•TheMSRPoftheTrueFit4is$449,whilethe

Copper Editions retail for somewhat less—$399.99.

•TheTrueFit4isathree-way,four-driverdesign, whereas the Copper Editions feature a single, high-performance, full-range driver. Westone proponents would

no doubt contend that the three-way/four-driver design allows for driver specialization/optimization by frequency range, where Turbine Pro Copper Edition adherents would say that the Copper’s single-driver design eliminates any possibility of driver-to-driver textural discontinuities. These arguments notwithstanding, the TrueFit 4 extracts a smooth, well-integrated sound from its sophisticated multiple driver array.

•Intermsoftonalbalance,thetwoearphonesessentially offer competing interpretations of sonic neutrality. In general, the Westone tends to sound slightly warmer, smoother and more full-bodied, while the Copper Editions may at first seem slightly leaner-sounding, but with superior definition, a taut and well-controlled presentation, and excellent extension at both frequency extremes—especially in the upper treble region, where the Monsters can sound exceptionally lifelike (at least on good recordings).

•Onthewhole,theWestoneemphasizesa smooth, natural, and unfailingly vibrant sound that is complemented by generous amounts of sonic detail and articulation. By comparison, the Monster tends to be more assertive and “up front” in reproducing subtle transient sounds and low-level details—qualities that some listeners love, but others find a bit overbearing.

•TheTrueFit4strikesatrulywonderfulbalance between smoothness, neutrality, and natural warmth on the one hand, while offering good extension, openness, detail, and articulation on the other. As I’ve

mentioned above, the TrueFit 4’s “secret weapon” is its uncannily vivid and vibrant sound, which keeps listeners coming back for more. By comparison, critical listeners may find the Copper Editions enjoy a narrow but clear-cut edge in terms of retrieving fine layers of low-level detail. Note, however, that the sound of the Copper Editions tends to be a double-edged sword of sorts. Some listeners enjoy the sense of heightened resolution and focus that the Monsters convey, while others feel strongly that the Copper Editions can be almost “hyper-analytical” and thus impose an undesirably intense listening experience. For those uncomfortable with the sound of the Copper Editions, the TrueFit 4 offers a still richly detailed but perhaps more livable compromise.

•Bothearphonesarecompactandcomfortable, and both come with a broad and useful array of eartips. I found the Westone’s worked best (for me, but not necessarily for you) with their “bulb-shaped” soft rubber eartips, which are extremely comfortable. The Copper Editions, in turn, sounded best (again, for me) with their special Monster double-layer, gel-type SuperTips. The catch, though, is that Monster’s SuperTips sound terrific, but tend to feel a little stiff and thus can be tricky to fit—at least at first.

•WhattipsthecomfortscalesinfavoroftheWestones is their unusually comfortable over-the-ear cable routing and EPIC cable, which help to suppress noise that might other wise be transmitted via the cable. By comparison,




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the Monster’s signal cable is very beefy and sounds great (what else would you expect from Monster?), but tends to transmit some noise.

•TheTrueFit4’scarryWestone’s1-yearwarranty, while the Turbine Pro Copper Editions carry Monster’s unbeatable “lifetime” warranty, which provides one-time free replacement of the phones “even if YOU break them.”

Westone TrueFit 4 vs. Shure SE535•TheMSRPoftheTrueFit4is$449,whilethe

Shure’s retail for considerably more—$549.•TheTrueFit4isathree-way,four-driver

design, while the SE535 is a two-way, three-driver design. Both earphones do a good job of smoothly integrating output from their multi-driver arrays, though I would say the TrueFit 4 achieves a more articulate sound overall.

•Intermsoftonalbalancethetwomodelsare fairly evenly matched, though I think the Westones achieve superior treble extension while still maintaining a desirable degree of treble smoothness. Both earphones offer a welcome touch of natural warmth (linked in both cases, I think, to a subtle touch of bass emphasis), but with the Shure exhibiting perhaps a touch more midrange emphasis.

•Bothearphonesemphasizeasmooth,natural sound with decent (indeed generous) amounts of sonic detail, but I think the Westones achieve finer levels of overall resolution and transparency, with a top end that sounds noticeably more open and airy. But the Westone’s sound is really defined

and differentiated by its inherent qualities of sonic vividness and vibrancy, which really help bring the music to life.

•Bothearphonesarecompactandcomfortable, and both come with broad, useful array of eartips. The comfort factor contest is pretty much a draw; the TrueFit feature a well thought out earpiece shell design and Westone’s cool EPIC signal cables, while the SE535’s benefit from Shure’s absolutely ingenious swiveling (and,

please note, user-replaceable) signal cable design.

•TheTrueFit4’scarryWestone’s1-yearwarranty, while the SE535’s carry Shure’s excellent 2-year warranty.

CoMFort FaCtor/aCCessoriesThe Westone TrueFit 4’s include the following accessories:

•Eartips:onepairoftriple-flangetips,two

pairs of compressible foam tips (sizes M and L), three pairs of “bulb-shaped” gray rubber tips (sizes S, M, and L), and three pairs of “bell-shaped” silicone tips.

•Cleaningtool.•Lineattenuator.•3.5mmmini-jackto¼”phonejackadapter.•Sturdyfabricshelltravelcasewithzipper

closure and a patented Westone carabiner-style belt clip.

As discussed above, the TrueFit 4 is easy to handle, insert, and adjust thanks to the inherently ergonomic design of its earpiece shell (a design also shared with Westones’ TrueFit 3 model). Not only is the TrueFit 4 comfortable to wear for long periods of time, but its design and EPIC cables also help to suppress noise that might other wise be transmitted through the cable into the earpieces.

BottoM lineWestone’s TrueFit 4 is very well balanced performer that does most things extremely well, and whose few performance compromises take the form of relatively minor sins of omission. This is without a doubt one of the finest universal-fit earphones on the planet, whose greatest strengths are an accurate and inherently vivid and vibrant sound.

For those unwilling or unable to take the plunge into the world of custom-fit in-ear monitors, the universal-fit TrueFit 4 may well be the next best thing.




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PlaybackCustom-fit in-Ear monitors



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custom-fit in-ear monitorsgo to: universal-fit earphones under $100 | universal-fit earphones $100 – $300 | universal-fit earphones $300 and up

In the world of high-end, high-accuracy in-ear monitors, Jerry Harvey is regarded as a both a pioneer and as a bit of a legend.

Harvey’s work in this area began at Ultimate Ears—a company that he helped found and for which he created a number of custom-fit in-ear headphone designs that have come to be regarded as classics by the performance-minded musicians and audiophiles who know and love them. Eventually, though, Ultimate Ears was sold to Logitech, with the result that Harvey exited the audio arena for a time, only to return in 2009 as the leader of his new company: JH Audio.

JH Audio focuses on one thing only: building high-performance custom-fit in-ear monitors, and at the very top of the firm’s product pyramid resides the JH16 Pro ($1149). In a brief conversation with Harvey at the Can Jam Chicago 2010, I learned that the JH16 Pro embodies everything Mr. Harvey has learned over his long and successful career as a headphone designer. Despite its diminutive size, then, the JH16 Pro is chockfull of technology; it is a three-way, triple-bore in-ear monitor based on eight (!) miniature

JH AuDIO JH16 PRO Chris Martens

overviewConsider this custom-fit in-ear monitor if: you want to go to the sonic “mountaintop” and are prepared to invest in what is certainly one of the finest (if not the finest) in-ear headphones on the planet. Positive qualities include excellent resolution, neutral tonal balance, and remarkable “cut-from-whole-cloth” sonic integrity. Sensitive and easy to drive, the JH16 Pro can be powered directly by an iPod, though to tap this monitor’s full potential you’ll need and want to use a great DAC and headphone amplifier.

look further if: you want to do “due diligence” and thus to check out other top-tier custom fit options available. Some models to consider would include the Sensaphonics 2MAX and the Westone ES5. Playback will be reviewing these and other custom-fit competitors in the future, but based on our listening experiences thus far, we think JH Audio’s JH16 Pro can stand tall in any company.



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balanced-armature drivers (grouped as four low-frequency drivers, two midrange drivers, and two high-frequency drivers) said to offer “lower distortion, increased headroom and greater detail and accuracy.” In turn, the JH16 Pro claims the widest frequency response (10Hz – 20kHz) and the highest sensitivity rating (118dB @ 1 mW) of any of the JH Audio models. In short, the JH16 Pro is Jerry Harvey’s masterpiece.

Does the JH16 Pro’s sound quality live up to its “buzz?” In very many respects it does. I know that when I first received my JH Audio review samples, I found them simply revelatory—so much so that I found myself listening to them every chance that I got. Relative to even the best universal fit models I have tested, they offered superior noise isolation, with greater resolution and terrifically smooth, neutral tonal balance.

Part of my favorable reaction is simply due to the custom-fit format itself, which offers—I have discovered—terrific potential for coupling drive mechanisms to the wearer’s ears in an effective way while blocking out extraneous noise. But part of my reaction is also due to pure and simple design excellence on Jerry Harvey’s part; excellence that manifest itself in the way that Harvey gets the eight drivers of his JH16 Pro to sing with one common voice—something that, in practice, is much easier said than done. This review will explore both the concept of custom-fit in-ear models in general, and the particular performance attributes of the JH16 Pro, which I regard as one of the best of their breed.

FeatUres•Custom-fit,solidacrylicearpiecesprovide

noise isolation (-26 dB) audibly superior to that of any universal-fit in-ear model Playback has tested, plus a comfortable fit and terrific ease of insertion.

•Earpiecescanbemoldedinanyof54custom colors, where users can (in most cases) pick solid or translucent colors (translucent colors show the inner structural details of the headphones). External artwork can be applied to the earpieces for a modest $50 upcharge.

•High-qualitysignalcablesareofferedineither clear or black jackets in 18-inch, 48-inch, or 64-inch lengths.

•Passivethree-waycrossover•Useseightminiaturebalanced-armature

drivers (four low-frequency drivers, two midrange drivers, and two high-frequency drivers).

•Tripleboredesign(where“bores”areoutlettubes for each of the three groups of drivers).

•Gold-platedmini-jack.•Comespackedinawatertight“OtterBox”

custom labeled with the owner’s name.•Accessoriesincludeacleaningtool(for

removing ear wax from the bore tubes), and a felt drawstring pouch.

soniC CharaCterIf, like me, much of your past listening experience has been gleaned through exposure to high-quality universal-fit in-ear headphones, then the jump to custom-fit in-ear ‘phones will likely prove a sonic revelation, for several good reasons.

First, there is the matter of noise isolation, which with most custom fit models—the JH16 Pro included—is dramatically superior to the best that universal-fit models can achieve. Interestingly, this difference isn’t something you can tell from a specifications page, since some universal-fit models claim isolation specs

specs/pricingJH Audio JH16 pro custom-fit in-ear monitor Type: Three-way, 8-driver (balanced armature), triple-bore, custom-fit in-ear headphonesAccessories: Otter Box custom labeled with owner’s name, JH16 Pro with earpieces molded in the owner’s choice of custom colors (see JH Audio web site for options), felt drawstring carrying pouch, cleaning tool.Frequency response: 10Hz – 20kHzWeight: Not specifiedsensitivity: 118 dB SPL/mWImpedance: 18 ohmsWarranty: 2 years, parts and laborprice: $1149

JH AUdIO (866) 485-9111www.jhaudio.com



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roughly as good as (if not better than) the -26 dB isolation figure specified for the JH Audio JH16 Pros. Instead, it’s a difference you can only appreciate through firsthand listening experiences. Under real-world conditions the JH Audios proved substantially quieter than their universal fit counterparts—and by not subtle margins. Frankly, you won’t believe how much residual noise there is, even in seemingly quiet rooms—until, that is, you hear a good set of custom-fit in-ear ‘phones such as the JH Audios make most if not all of that noise disappear. By creating extremely quiet backgrounds, the JH16 Pros also provide an environment in which you can hear what their driver’s are doing and fully appreciate the resolution and finesse on offer.

One point I should mention is that while custom-fit in-ear ‘phones offer

characteristically better noise-isolation that universal-fit models, there are meaningful differences between the amounts of noise isolation achieved by different brands of custom fit earpieces. Having compared the JH Audios to several other top-tier custom-fit models (see Competitive Analysis, below), their noise isolation is very good, but not the best that can be achieved.

Second, the JH16 Pro’s offer wonderfully neutral and accurate voicing and tonal balance—an area where they are at least the equals of the best in-ear models I’ve heard thus far. There is always a sense of evenhandedness and proportion about the JH16 Pro’s sound, so that no one segment of the audio spectrum is emphasized at the expense of another. Instead, the JH16 Pros are remarkably honest transducers that steadfastly

refuse to “punch up” one frequency band or another in ways that might seem exciting at first, but that ultimately don’t sound quite right. Long after the short-term thrill of more “colorful” but less accurate headphones has faded the neutrality of the JH16 Pros remains a gift that keeps on giving, making these headphones a more satisfying choice for long-term listening.

Third, the JH Audios offer excellent overall resolution and detail, so that they invite you to explore the inner “nooks and crannies” of well-made recordings. But unlike many in-ear headphones that offer detail at the expense of a somewhat glassy, bright or overly forward sound, the JH16 Pros are instead revealing in a delightfully natural and unforced way. Details just “happen” with these headphones; they never take dominance over the fundamentals of the sound. Frankly, I can think of only a handful of full-size ‘phones that offer as much (or in a few cases more) resolution than the JH16 Pros, but most of them are large, open-back designs that offer little if any isolation from background noise. In contrast, the JH16 Pros serve up a consistently detailed sound even when used in relatively “hostile,” noisy environments.

MUsiCal eXaMplesOne beautiful jazz track that shows off many of the JH16 Pro’s strengths is “Le Temps Passe” from Michel Jonasz’ Le Fabuleuse Histoire De Mister Swing [EMI]. This is a well recorded track that gives both instruments and the singer’s voice a rich, intimate quality that the JH Audio’s seem uniquely well-

qualified to reproduce. Listen to the sparse percussion with which the track opens and note the dry, taut “skin sounds” of the drums, and the way the JH16 Pros capture the rich, reverberant sound of their notes interacting with the acoustics of the recording space. Then, pay close attention to the synth voices that enter, some of which produce positively subterranean bass. The low-end power of the JH16 Pros is much in evidence on those synth notes, but so, too, is their tautness and control. Low frequency notes are potent and deeply extended, but never loose, overblown, or out of control.

Next drink in the shimmer of a cymbal “tree” that is struck, so that notes show a delicate, sparkling clarity—almost like sunlight reflecting off the rippled surface of a pool. As the cymbals ring, you might be struck, as I was, by the JH Audio’s ability to serve up very high levels of inner detail, but in a gentle and unforced way, without any of the artificial “spotlighting” or etching that some headphones impose. Finally, note the way that the JH16 Pro’s deftly handle the subtle inflections and unusual vibrato effects of Jonasz’ voice (which, on this track, might briefly conjure up the mental image of a male vocalist “channeling” the spirit or overall feel of some of the late Edith Piaf’s vocals). At its best, Jonasz’ voice, like Piaf’s, is not so much about sounds, per se, but rather about the emotions behind the sounds—something the JH16 Pro’s make abundantly clear.

“Le Temps Passe” is a fascinating track in that is starts simple, with almost minimalist instrumentation, and then gradually adds




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layer upon layer until the instrumentation becomes comparatively complex. Where some headphones tend to become flummoxed and to sound congested when serious musical complexity comes along, the JH16 Pro simply revel in it, always maintaining clarity and composure, and demonstrating a wonderful ability to delineate individual musical threads within the broader musical tapestry. I can’t say for sure, but I suspect it was this very capability that Jerry Harvey had in mind when giving his JH16 Pros such elaborate, multi-driver arrays (again, two drivers for the highs, two for the mids, and four for the bass—in each earpiece). By distributing the musical workload across a multitude of drive units Harvey ensures that no one driver ever gets overtaxed—in the process giving the overall musical presentation a relaxed, effortless quality you can both hear and feel.

CoMpetitve analysisTo give you an idea of how the JH16 Pro compares to other top-tier custom-fit in-ear monitors, I discuss its performance relative to two leading competitors: the Sensaphonics 2MAX ($850) and the Westone ES-5 ($950).

JH16 Pro vs. Sensaphonics 2MAX ($850)•TheJH16Procostsroughly$300morethan

the Sensaphonics 2MAX.•TheJH16Proisathree-way,8-driverdesign,

where the 2MAX is a two-way, 2-driver design.

•Overall,IfoundthevoicingoftheJH16Protobe more evenly and neutrally balanced than that of the 2MAX. The JH16 Pro comes as

close as any in-ear headphone I’ve heard to achieving ideally neutral tonal balance, with beautiful integration and balance between mids (where most of the music lives), bass and highs. By comparison, the 2MAX offers two subtle regions of emphasis—one in the mid-bass and the other in the upper midrange/lower treble region. These “regions of emphasis” in the 2MAX typically did not register as overt colorations, per se, but rather struck me as offering judicious touches of dramatic emphasis, which some listeners might prefer.

•Resolutionlevelsbetweenthetwomonitorsare comparable, though I would give the nod to the JH16 Pro’s by a narrow margin. Note, however, that the 2MAX’s offer exceptional noise isolation so that they manage to achieve—thanks to their ultra-quiet backgrounds—appealing qualities of sonic intensity and focus.

•Oneofthebiggestdifferentiatorsbetweenthe JH16 Pro and the 2MAX involves the construction of their custom-molded earpieces, where JH Audio uses solid acrylic earpieces, while Sensaphonics uses soft-gel silicone earpieces. The difference in feel is significant.

•TheJH16Pro’ssolid,smoothacrylicearpieces make them extremely easy to insert. Indeed, the JH Audio earpieces lend themselves to an insertion process where you gently rotate the JH16 Pro earpieces until they “snap” into position, achieving a very good seal and an extremely comfortable fit in the process. The JH16 Pros offer noticeably better noise isolation that any




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of the universal-fit in-ear ‘phones I’ve tried, though some other custom-fit ‘phones that can achieve even better levels of noise isolation.

•The2MAX’ssoft-gelsiliconeearpiecestake a bit more effort to fit correctly (in part because the 2MAX earpieces fit quite deeply within the ear canal). To achieve an optimal fit, you must first rotate the 2MAX earpieces into approximately the correct position, and then press—gently but quite firmly—over the ear canal area to get the earpieces to seal correctly. The resulting fit can seem disconcertingly tight at first, but the end result is very comfortable, while the level of noise isolation achieved by the 2MAX’s is spectacularly good—better than that achieved by any other headphone (regardless of type) that Playback has tested thus far.

JH16 Pro vs. Westone ES5 ($950)•TheJH16Procostsroughly$200morethan

the Westone ES5.•TheJH16Proisathree-way,8-driverdesign,

where the ES5 is a three-way, 5-driver design.

•ThevoicingoftheJH16Proissomewhatmore smoothly and neutrally balanced than that of the ES5. By comparison, the ES5 exhibits a gentle region of upper midrange emphasis that tends to make certain midrange instruments, vocalists, and transients sound slightly more prominent in the mix. While this prominence can impart a sense of superior clarity, the tradeoff is that the Westones can occasionally sound “spitty” on hard upper midrange transient

sounds, where the JH16 Pros sound unfailingly smooth.

•ResolutionlevelsbetweentheJJ16Pro’sandES5’s are comparable.

•Oneofthebiggestdifferentiatorsbetweenthe JH16 Pro and the ES5 involves the construction of their custom-molded earpieces. The JH Audio uses solid acrylic earpieces, while Westone uses a combination of solid acrylic material for the main bodies of their earpieces they also use a separate, thermally sensitive, “soft-feel” material for the portion of the earpiece that inserts into the ear canal. As the Westone earpieces come up to temperature, their tips become semi-flexible and thus conform to the shape of the ear canal to achieve a better seal.

•TheES5earpiecesinasense“splitthedifference” between the JH Audio and Sensaphonics earpiece designs. On the one hand, the Westones have the easy-to-insert qualities of the all-acrylic JH Audio earpieces, while also offering some if not all of the superior noise isolation characteristics that the Sensaphonics’ soft-gel silicone earpieces provide.

BottoM lineThe JH16 Pro is the finest in-ear monitor that Jerry Harvey has ever designed, which is saying a mouthful when you look back at some of the groundbreaking products that he designed while at Ultimate Ears, and it looks and feels the part of a true flagship product. The two qualities that make the JH16 Pros most special are the overall smoothness and neutrality of their tonal balance coupled with

the seamless coherency of the sound achieved by their eight balanced-armature drivers.

Though the JH16 Pro is sensitive enough to be driven directly from an iPod, you’ll need a very good DAC and headphone amplifier to realize the full scope of the sonic benefits the JH Audio ‘phones provide. Is it worth taking the plunge to invest in good set of custom-fit in-ear monitors? Yes, it definitely is if the monitors in question are the JH16 Pros. Though they are undeniably expensive, the JH16 Pros provide an audio experience that not even today’s best universal-fit in-ear headphones can hope to equal. For now, we think the JH16 Pro represents the sonic “mountaintop” among in-ear headphones.




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For a company whose primary products are custom-fit in-ear monitors, Sensaphonics has a

somewhat unusual name; indeed, the firm’s full name is Sensaphonics Hearing Conservation, Inc.—a moniker that tells you a lot about the firm’s core values. These folks not only want to build in-ear monitors that sound great in the here and now, but that will help protect your hearing so that you can continue to savor music for years to come. But how, exactly, does Sensaphonics convert its stated goal of “hearing conservation” into practical reality? To seek answers, I requested a review sample of the firm’s 2MAX in-ear monitors ($850), which Dr. Michael Santucci, the head of Sensaphonics, recommended as his firm’s most neutrally voiced and therefore most accurate-sounding model.

The short answer to the question regarding hearing conservation is that the company builds the custom-fit earpieces for all of its in-ear monitors using different materials and techniques than most of its competitors employ—all with an eye

toward providing superior noise isolation. Sensaphonics forms its earpieces from a flexible material called soft-gel, cold-cure silicone, whereas most of its competitors form earpieces from relatively rigid acrylic materials (or in some instances from a hybrid combination of acrylic and softer materials). According to Dr. Santucci and to Sensaphonics production team members I spoke with, soft-gel silicone is considerably more difficult to work with than acrylic from a manufacturing standpoint, but it offers compelling benefits that make a profound difference for the earphone wearer.

First off, soft-gel silicone earpieces are firm enough to hold a precise shape, yet have enough flexibility or “give” to accommodate the natural flexing of the wearer’s ear canal and pinna (flexing that occurs naturally when listeners move their heads, change facial expressions, or open or close their jaws, etc.). In contrast, hard acrylic earpieces are rigid and do not flex. As a result, acrylic earpieces are often deliberately made just slightly undersize (and are also subtly smoothed

SENSAPHONICS 2MAX Chris Martens

overviewConsider this custom-fit in-ear monitor if: you would like what is without a doubt one of the quietest headphones on the planet (regardless of type). As is the case with great loudspeakers whose sonic excellence derives in part from superior enclosures, the Sensaphonics 2MAX in-ear monitor offers superior earpieces that block out more noise than most competing monitors can, in turn letting you hear more musical details and nuances for a breathtakingly intimate and focused listening experience. As you might expect, the 2MAX can be used successfully in noisy environments where other monitors would be far less enjoyable (because they would allow too much background noise to seep through).

look further if: you require absolutely dead-neutral tonal balance. The 2MAX does show very slightly elevated response both in the mid-bass and upper-midrange/lower-treble regions, adding a subtle touch of dramatic emphasis that complements most types of music. But frankly, the 2MAX sounds so much clearer, more focused, and—here’s that word again—intimate than competing monitors that you might willingly overlook its minor deviations from strict tonal neutrality.



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in shape), partly in the interest of wearer comfort, but also to accommodate flexing of the ear. Sensaphonics earpieces, on the other hand, are made at exactly the size of the user’s ear-mold impressions, and they extend more deeply into the ear canal than most. As a result, the Sensaphonics earpieces achieve a firm yet very comfortable fit and create a more perfect seal in the ear, so that they do a downright amazing job of blocking out noise.

Second, soft-gel silicone also does a very good job of damping unwanted vibration and thus helps block mechanically induced noise. Thus, noises that in other earphones might be transmitted up through the signal cables and into the earpieces tend to be minimized in the Sensaphonics ‘phones.

Third, there are a number of collateral benefits to having what audiophiles might call a reduced “noise floor.” By helping to push noise levels to extremely low levels, the Sensaphonics earpieces give you an opportunity to really hear clearly what the 2MAX’s two balanced armature-type drive units are doing. Finally, one further upshot of having quiet backgrounds is that listeners instinctively tend to use lower volume levels, and they can do so without any sense of quashing dynamics or of “missing out” on part of the music. Although the rated sensitivity of the 2MAX is not as high as that of some competing in-ear monitors, the ultra-quiet backgrounds they provide make them seem much more sensitive than their specifications would suggest.

If you ever have a chance to buy and try a set of Sensaphonics ‘phones you may find, as

I have, that they come as a revelation. While it takes a bit of work to get the soft-gel earpieces properly inserted/fitted, the sense of quiet they bring reminds me somewhat of what it is like to visit an ultra-quiet anechoic chamber in an acoustics laboratory. You might never realize just how much noise you put up with on a daily basis until the Sensaphonics monitors come along and make most of that noise go away.

Finally, let me reiterate one key point I mentioned above. Though the 2MAX is neither the most expensive nor—on paper—the most elaborate of Sensaphonic’s various custom-fit in-ear monitors, it is—along with its sister model the 2X-S—the firm’s most neutrally voiced and most accurately balanced model. (Other more complicated and costly models in the lineup are geared primarily for use as stage monitors worn by performing musicians.). Happily, this is one instance where you have an opportunity to spend less but to get more—assuming your primary intent is to listen to recorded music.

FeatUres•Custom-fit,soft-gelsiliconeearpieces

provide superb noise isolation (up to -37 dB), which makes the 2MAX the quietest headphone Playback has ever tested—regardless of type. Note that the 2MAX provides backgrounds said to be as much as -10dB quieter that those afforded by competing monitors, which is—trust us on this one—a very significant difference.

•High-quality,fieldreplaceablesignalcablefitted with a gold-plated mini-jack and offered in 52-inch or optional 60-inch lengths.

•Passivetwo-waycrossover.•Usestwohigh-qualityminiaturebalanced-

armature type drivers.•ComespackedinaclearhardshellPelican

road case that is custom labeled with the owner’s name. The case interior provides well-padded chambers both for the monitors and for accessories.

•Accessoriesincludeacleaningtool(forremoving ear wax from the monitor’s bore tubes), a 1/8-inch – 1/4-inch adapter, a shirt clip (mounted on the signal cable), and a fabric carrying pouch

soniC CharaCterMuch like the JH Audio JH16 Pro in-ear monitors reviewed elsewhere in this Guide, the Sensaphonics 2MAX monitors offer a quite substantial jump upward in performance relative to even the finest universal-fit in-ear monitors we have tested thus far.

First, there is the matter of noise isolation, where the 2MAX is quite simply the best performing headphone (of any type) that we’ve yet tested. Let me give you two analogies to help explain what wearing the 2MAX monitors is really like. First, to picture how dramatic the effects of the 2MAX earpieces really are, imagine you are visiting a recreational swimming pool where there is lots of outdoor activity and background noise, and that you suddenly thrust your head beneath the surface

specs/pricingsensaphonics 2MAX custom-fit in-ear monitor

Type: Two-way, 2-driver (balanced armature), custom-fit in-ear monitorsAccessories: Clear hard shell Pelican road case custom labeled with the owner’s name (case provides a fully-padded interior), fabric carrying pouch, shirt clip, cleaning tool, and 1/8-inch –1/4-inch adapter.Frequency response: 20Hz – 16kHzWeight: 1 ouncesensitivity: 105 dB SPL @ 0.1 VoltImpedance: 23 ohms, minimumWarranty: 1 year, parts and labor.price: $850

sENsApHONICs HEArINg CONsErvATION, INC.(877) 848-1714 (toll-free)www.sensaphonics.com



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of the water. Immediately, a huge portion of the background noise is blocked out, and what residual noise does remain becomes far less penetrating and distracting. Second, let me observe again that putting on the 2MAX monitors is a bit like paying a visit to an anechoic chamber in a lab. Background noises, which are much more present with us than we typically realize (even in seemingly “quiet” rooms), suddenly vanish so that we’re left only with very low-levels of residual noise. When the music comes on through the 2MAX, it appears against a deep, dark, comfortably silent background so that its intricacies and contours stand out in crisp, sharp relief. More than most in-ear headphones, the 2MAX’s help you grasp the fact that reduced noise and increased sonic resolution and detail are in reality two sides of the same coin; in truth, the two qualities travel together.

The voicing of the 2MAX, as mentioned in our introduction above, involves two subtle regions of emphasis, one in the mid-bass and the other in the upper-midrange/lower treble region. The operative word here is “subtle,” meaning that these characteristics tend not to registers as “colorations” at all, but rather serve to add a gentle touch of dramatic impact complementary to most genres of music. Note, too, that if you do listen in very noisy environments (for instance, within the interior of small regional commuter jets and the like), the 2MAX’s judicious bit of response curve shaping tends to help the music carry through despite whatever residual noise may penetrate the Sensaphonics earpieces (good though soft-gel is at blocking out noise, some does

manage to push through).One important point I should mention is

that, even though the 2MAX does provide a touch of upper-midrange/lower-treble boost, it emphatically does not sound edgy or overly bright. In fact, the 2MAX’s extreme highs are very smooth and, if anything, very slightly rolled-off. In practice, this leads to a best-of-two worlds scenario, where the 2MAX sounds lively, engaging and richly detailed, yet is never plagued with the somewhat brittle, glassy, edginess that occasionally afflicts other “highly detailed” headphones.

If I had to give you just two words to help summarize the overall sound of the Sensaphonics 2MAX monitors, the two I would choose are “intimacy” and “focus.” When you switch back and forth between the 2MAX and competing in-ear headphones, you may be struck—as I often was—by a sense that the 2MAX draws you into closer contact with the music, giving you an up-close-and-personal view of individual instrumental and vocal lines as they unfold.

MUsiCal eXaMplesI’ve spoken about the 2MAX’s compelling characteristics of sonic intimacy and focus, and to hear those qualities in action, try listening to the brief track “Prelude” from Kate Bush’s Aerial [Sony]. The track opens with a wash of nature sounds—birds chirping in trees in the distance, but then focuses in on one group of birds (or what initially seems like a group of birds) chirping rhythmically and at a slightly lower pitch from close at hand. A child’s voice begins to narrate, addressing

her Mummy and Daddy and saying, “…the day was full of birds … it sounds like they’re saying a word…” And as this happens, the sound of the nearby birds morphs—very subtly and almost subliminally at first—so that embedded within the chirping sounds we slowly begin to recognize an almost human voice, chanting repeatedly, “Don’t go home, Suzie. Don’t go home, Suzie.”

Through some headphones this effect is so subtle that it more or less gets lost or swallowed up by background noise; we can’t really be sure whether we’ve actually heard a voice or simply imagined one. But not so with the 2MAX in play; it makes the gradual unfolding of the voice plain as day, so that we become aware of it (and are certain of its presence) right from the outset, and can hear how the voice gradually becomes clearer, more explicit, and in a sense more insistent as the chant continues. Over time, the 2MAX’s sheer clarity and explicitness becomes addictive, so that one nearly experiences withdrawal symptoms when reverting back to using less revealing earphones.

But good though the 2MAX can be with small, delicate, evanescent details, it can also carry itself with purposeful and charismatic touches of punch and swagger when the need arises. To hear what I mean, try the track “Joanni,” also from Kate Bush’s Aerial. Of this album critic John Diliberto has written “…many of the songs attain more epic proportions, like the dynamic ‘Joanni,’ a hymn to Joan of Arc.” Initially, the song is propelled forward by a dark, deep, syncopated percussion pattern (featuring conventional

drums and congas) with strings carrying the melody and Bush’s almost ethereal voice soaring high overhead. But within a few bars Bush introduces a powerful, loping, deep-plunging bass line while dialing the intensity of the percussion pattern way up, at which point the song’s energy level blasts right through the roof. What caught my ear was the way the 2MAX’s simultaneously caught the taut skin-sounds of the drums, the sweetness of the opening wash of strings, and the delicacy and penetrating clarity of Bush’s voice—all at the same time. But when the loping bass line arrived and the percussion section became more vigorous and insistent, the 2MAX’s really came into their own, taking the musical bit in their teeth and running with it. The sheer depth and potency of the bass and the more muscular “pop” of the drums were very impressive, yet they in no way disrupted or overran the purity and clarity of Bush’s vocals.

Given some of the 2MAX’s tonal variations, as described above, it would probably be fair to say the Sensaphonics monitors very subtly enhanced the perceived power of the low-frequency instruments, while the 2MAX’s gentle dab of upper-midrange/lower-treble emphasis no doubt helped Bush’s vocals to stay front and center in the mix. But my point is the 2MAX’s characteristics work, not just on this track but on many others, to help convey the sense of energy, life and drama that are so much a part of music listening.

CoMpetitve analysisTo show you how the 2MAX compares to other




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top-tier custom-fit in-ear monitors, I’ve chosen to compare its performance with that of two leading competitors: the JH Audio JH16 Pro ($1149) and the Westone ES-5 ($950).

sensaphonics 2MAX vs. JH Audio JH16 pro ($1149)•The2MAXcostsroughly$300lessthanthe

JH16 Pro.•The2MAXisacomparativelysimpletwo-

way, 2-driver design, whereas the JH16 Pro is a three-way, 8-driver design.

•Asmentionedabove,the2MAXofferssubtletouches of tonal emphasis both in the mid-bass and in the upper midrange/lower treble region, offering a judicious touch of dramatic emphasis that some listeners might prefer. By comparison, the voicing of the JH16 Pro is somewhat more evenly and neutrally balanced than that of the 2MAX. Neutrality is one of the JH16 Pro’s greatest strengths.

•Resolutionlevelsbetweenthetwomonitorsare comparable, though in an absolute sense I would give the nod to the JH16 Pro’s. Note, however, that the 2MAX’s exceptional noise isolation enables them to provide appealing qualities of sonic intimacy and focus.

•Oneofthebiggestdifferentiatorsbetweenthe 2MAX and the JH16 Pro involves the construction of their custom-molded earpieces. Sensaphonics uses soft-gel silicone earpieces while JH Audio uses solid acrylic earpieces, and the difference in feel and overall functionality is significant.

•The2MAX’ssoft-gelsiliconeearpiecestakea bit more effort to fit correctly than the JH16 Pro’s acrylic earpieces do (in part because

the 2MAX earpieces fit quite deeply within the ear canal). To achieve an optimal fit, you must first rotate the 2MAX earpieces into approximately the correct position, and then press—gently but quite firmly—over the ear canal area to get the earpieces to seal correctly. The resulting fit can seem disconcertingly tight at first, but the end result is very comfortable, while the level of noise isolation achieved by the 2MAX’s is spectacularly good—better than that achieved by any other headphone (regardless of type) that Playback has tested thus far.

•Bycomparison,theJHAudioearpieceslend themselves to a simple, straightforward insertion process where you gently rotate the JH16 Pro earpieces until they seem almost to “snap” into position, achieving a very good seal and a comfortable fit in the process. While the JH16 Pro can and does handily outperform any universal-fit in-ear headphone in terms of noise isolation, the 2MAX gives even quieter backgrounds.

2MAX vs. Westone ES5 ($950)•The2MAXcosts$100lessthantheWestone

ES5.•The2MAXisatwo-way,2-driverdesign,

where the ES-5 is a three-way, 5-driver design.

•Atfirstglance,thevoicingofthe2MAXandof the ES5 seems pretty similar, but if you listen carefully certain key differences do appear. First, the ES5 exhibits somewhat less mid-bass boost than the 2MAX, but perhaps stronger mid-to-low bass. Second, the ES5 has less of an upper-midrange/lower-treble

rise than the 2MAX, instead offering and even subtler region of broad midrange emphasis that tends to make certain midrange instruments, vocalists, and transients sound just a hair more prominent in the mix. Finally, the ES5’s offer upper treble that is noticeably clearer and more extended than that of the 2MAX’s do, though at the expense of an occasionally “spitty” sound on certain hard-edged upper midrange transient sounds. On the whole, I think many listeners might find the 2MAX the warmer, more dramatic, and more engaging monitor, while the ES5 is the more accurate monitor and one that offers a certain pristine purity and clarity—especially at higher frequencies.

•Resolutionlevelsbetweenthe2MAX’sandES-5’s are comparable, though I would very narrowly give the edge to the ES5. But again, note that the 2MAX’s ultra-quiet backgrounds give the Sensaphonics’ monitors qualities of intimacy and focus that are tough to beat.

•Oneofthebiggestdifferentiatorsbetweenthe 2MAX and the ES5 involves the construction of their custom-molded earpieces. The 2MAX features Sensaphonics’ signature soft-gel silicone earpieces, while the Westone earpieces use a combination of solid acrylic material coupled with a separate, thermally sensitive, “soft-feel” material for the portion of the earpiece that inserts into the ear canal. As the Westone earpieces come up to temperature, then, their tips become semi-flexible and thus conform to the shape of the ear canal to achieve a better seal.

•TheES5earpiecesinasense“splitthe

difference” between the Sensaphonics and JH Audio earpiece designs. On the one hand, the Westones have the easy-to-insert, “snap-into-position” qualities of the all-acrylic JH Audio earpieces, while also offering some (though not all) of the superior noise isolation characteristics that the Sensaphonics’ soft-gel silicone earpieces provide.

BottoM lineThe Sensaphonics 2MAX in-ear monitor offers the best noise isolation and therefore the quietest backgrounds of any headphone Playback has tested thus far. Quieter backgrounds, in turn, translate into more detailed and nuanced sound, helping to give the 2MAX a signature sound that is intimate and beautifully focused. Though the 2MAX does offer a bit of mid-bass and upper-midrange/lower-treble emphasis these deviations from strict textbook neutrality are relatively minor. Overall, the 2MAX offers listeners a clear, smooth sound that is intensely engaging and that does a great job of conveying the energy, life, and drama of live music.




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Ultimate Ears has been making high-quality, custom-fit, in-ear monitors since 1995, but I would argue their new In-Ear Reference Monitors are the firm’s most

significant product to date. Here’s why. Where many in-ear monitors are designed primarily for performing musicians and thus have response curves designed to cut through the din of (sometimes exceedingly loud) onstage performances, the In-Ear Reference Monitors were designed from the ground up with just one goal in mind: sonic accuracy. While other in-ear monitors offer admittedly colorful response curves that may have a certain charm all their own (but that ultimately are not as accurate as they could be), the IERM’s were designed to provide ruler flat frequency response whose objective is to show you precisely how your favorite recordings really sound, without introducing questionable sonic embellishments, enhancements, or “sweeteners” of any kind. In short, Ultimate Ears’ IERM’s are designed to serve as a transparent conduit for the music at hand—a design goal we think most Playback readers will instinctively appreciate and applaud.

In approaching the IERM design, Ultimate Ears chose to collaborate with the engineering staff at Capitol Studios (of Capitol Records fame), in order to develop the optimally flat, neutral, and uncolored response curves that were required.

uLTIMATE EARS IN-EAR REFERENCE MONITORS Chris Martens

overviewConsider this custom-fit in-ear monitor if: you have always wanted in-ear monitors that for the most part honestly reveal how recordings actually sound, without injecting interesting but inaccurate colorations of their own. The IERM’s are—as is so often the case with really fine audio components—sonic chameleons, meaning they don’t really have a signature sound of their own, but rather take on the tonal colors of the individual recordings you choose to play. The IERM’s are also very quiet and comfortable to wear for long periods of time

look further if: you require the most detailed sounding in-ear monitors available (both Westone’s ES5 and the JH Audio JH16 PROs offer stiff competition, here), or the highest degree of noise-isolation possible (where the Sensaphonics 2MAX is our reigning class leader). Note, too, that the IERM’s response can sound very subtly rolled off up near the top of the top octave (which spans the range from 10 kHz to 20 kHz), meaning the IERM doesn’t necessarily capture the elusive sense of “air” surrounding instruments as effectively as some competitors do. But for overall balance and the sheer smoothness of its response curve, UE’s In Ear Reference Monitor is tough to beat.



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According to Ultimate Ears the goal was to create an in-ear headphone so faithful to the input signals it is fed that its sonic character will be, “consistent, natural and revealing creating an accurate base line of pro audio reproduction that can be trusted by the professional recording engineer and producer no matter the environment.” Excellent noise isolation was also a prime concern. In short, UE’s intent was to create a versatile and credible in-ear monitor that could reliably be used to monitor and mix recordings both in the studio and at live events—a goal that UE and Capitol collaborators say the IERM successfully meets. And the same qualities that make the IERM a good monitor are also sure to make it a favorite among audiophiles.

From a technical standpoint, the IERM seems comparatively straightforward. It is a three-way, in-ear monitor that uses three high-performance balanced armature type drivers (serving as woofer, midrange driver, and tweeter), which are connected via a passive electronic crossover network. Output from the three drivers is directed through “dual acoustically tuned sound chambers” (which some competitors refer to as “bores,” as in the phrase, “our headphone uses a dual-bore design”) for what UE terms “the ultimate in separation, detail and clarity.” Custom-fit earpieces are made of solid acrylic material, and the IERM’s are fitted with “rugged, low-profile, low-distortion” signal cables.

Unlike most other UE in-ear monitors, whose earpieces typically would be offered in a rainbow-like array of custom colors, the IERM has been given a distinctive look all

its own—and one that reflects the product’s design heritage. The IERM earpiece housings are therefore molded in clear acrylic with jet-black outer panels, with the Capitol Studios logo displayed on the right earpiece and the signature “UE” logo on the left earpiece.

How do the In-Ear Reference Monitors sound? You’ll want to read the rest of this review for a detailed answer, but suffice it to say the IERM’s are among the most neutral and evenly-balanced in-ear monitors we’ve yet heard, and they are very revealing. In our view, it is to UE’s credit that the firm had the vision and open-mindedness necessary to think outside the box and to create this studio/audiophile-grade product in the first place.

FeatUres•Custom-fit,earpiecesfeatureoutershells

molded from solid acrylic, and the fit is noticeably better than the norm in a field where the bar has already been set quite high.

•DistinctiveInEarReferenceMonitorearpiecedesign scheme calls for clear acrylic earpieces with black outer panels that proudly display the “UE” logo on one side and the “Capitol Studios” logo on the other.

•“Rugged,low-profile,low-distortion”signalcable fitted with a gold-plated mini-jack.

•Passivethree-waycrossover.•Threehigh-qualityminiaturebalanced-

armature type drivers.•Comespackedinahardshellroadcase

whose interior provides well-padded chambers both for the monitors and for accessories. As a cool detail touch, the

owner’s name is embossed on the outside of the road case.

•Infact,UEhasgoneall-outinthepackagingfor the IERM’s, which arrive in a beautiful presentation case that contains the user’s manual, plus a padded chamber that conceals and protects the road case. Very tasteful.

•Accessoriesincludeacleaningtool(forremoving ear wax from the monitor’s bore tubes), a gold-plated mini-jack to ¼-inch phone jack adapter, and a special “buffer jack” cable for use when plugging the IERM’s into portable devices.

soniC CharaCterThe tonal balance of the IERM comes very, very close to the ideal of sonic neutrality, with perhaps the only (extremely minor) deviation being a tendency to sound ever-so-slightly rolled off at the very highest frequencies. What

words cannot easily express is how remarkably smooth the IERM’s response curve is, so that you come away with the sense that the IERM’s have done a much better than average job of ironing out the small response curve bumps and dips that most other in-ear ‘phones exhibit. I found that the IERM’s bass was powerful, well-defined, and deeply extended, yet in no way artificially “pumped up.” For those who are used to listening through earphones that do make deliberate attempt to add extra bass “oomph” the IERM will prove eye-opening. I say this because the IERM offers bass weighting that is accurate and highly realistic, yet that

specs/pricingUltimate Ears In-Ear reference Monitors

Type: Three-way, 3-driver (balanced armature), custom-fit in-ear monitorsAccessories: Hard shell road case (custom labeled with a padded interior), cleaning tool, mini-jack to ¼-inch phone jack adapter, portable “buffer jack” cable. Frequency response: 5Hz – 20 kHzWeight: Not specified.sensitivity: 112 dB @ 1 kHz, 1mWImpedance: 35 OhmsWarranty: 1 year, parts and labor price: $999 UlTIMATE EArs BY lOgITECH (800) 589-6531 www.ultimateears.com



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holds plenty of bass “thwack” and “slam” in reserve for moments when the recording happens to call for those qualities. And that’s the point: down low, the IERM will do exactly what the music tells it to do—no more and no less, which is how things should be.

Midrange frequencies are the IERM’s great glory, since they are smooth, well balanced and neither overly prominent nor recessed. Instead, the IERM finds the straight and narrow path down the middle, serving up vocal and instrumental timbres that can, on good recordings, display rich, pure, vibrant, and always natural-sounding tonal colors. As I

spent time with the IERM’s, listening carefully to vocal and instrumental material, the one-word description that repeatedly came to mind was this: authenticity. These monitors have an uncanny way of keeping faith with recordings, showing you what was done well in the studio (or in the live recording venue), but also reporting any flaws they encounter. In practice this means you don’t so much listen to the IERM’s, but rather listen through them to learn what the recording is all about. As you come to trust the IERM’s overall tonal balance and sonic honesty, you’ll find yourself using them to assess recordings or audio components in

the signal chain. In short, through the IERM’s, what you hear is what you get.

The IERM’s treble response is clear and extremely smooth, though I thought there was a touch of roll-off at the very top of the audio spectrum. While the IERM never sounds “dull” or unduly subdued, it does not convey high-frequency harmonics, “air,” or textural and transient details quite as effectively as, say, the Westone ES5 does. Still, if this characteristic represents a small deviation from the absolute sonic truth, then the good news is that it is a minor and subtractive error, which is far preferable to the alternative (excess brightness pretty much sets my teeth on edge).

Overall resolution levels are extremely good, though both the Westone ES5 and JH Audio JH16 Pros offer very stiff competition and may offer even greater resolving power, though only by a hair. But the tradeoff is that no other in-ear monitor I’ve heard can top or even equal the effortless smoothness and overall balance of the IERM’s response curve.

Ultimate Ears did an absolutely masterful job of molding the custom-fit earpieces of my sample pair of IERM’s, so that they achieved an excellent seal in my ear canals, while also serving up a heaping helping of comfort. What makes the IERM so fun to use is the fact that the earpieces are easy to handle and seem simply to “snap” into place with a minimum of fuss and bother (whereas some earpieces can take a fair amount of work to insert correctly). Over time, I’ve come to think that translating earmold impressions into great fitting custom earpieces is part science and part art, and it’s obvious that UE has mastered both.

MUsiCal eXaMplesOne disk that highlights a number of the IERM’s strength is the eponymous jazz recording from Floratone [Floratone, Blue Note/EMI]—a band in which eclectic guitarist Bill Frisell and his cohorts figure prominently. As is often the case with Frisell’s projects, the beauty of Floratone not only hinges on angular, otherworldly melodies but also a variety of sometimes dark and brooding and sometimes light and ethereal textures and embellishments. The result, on most tracks, is a densely layered sound that, through some headphones and many loudspeaker systems, runs a serious risk of turning into a complicated and incoherent sonic “mush.” But through the Ultimate Ears IERM’s no such problems occur. Instead, there is real weight, power, and definition on bass passages, while complicated instrumental lines and textures are cleanly presented and beautifully delineated.

Put on the track “Swamped” from Floratone and you’ll immediately hear the round, sweet, and somewhat chime-like signature sound of Frisell’s guitar take up the melody, supplemented by the deep, earthy growl of a syncopated acoustic bass line and a clear, simple rhythmic pattern played predominantly on the percussionist’s high-hats and snare drum. What’s so pleasing about the IERM’s presentation on this track is that each instrument is given its due, so that each sounds full, complete, and three-dimensional—independent of what the other instruments are doing. Nothing is compressed or exaggerated, so the music simply unfolds naturally without any need for embellishment.




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Later, on “Lousiana Lowboat”, a different set of challenges arises, as we again hear Frisell’s guitar accompanied by drum kit and bass, but this time with the output of the guitar and bass channeled, in part, through electronics effects boxes. Thus, we hear the natural sound of the guitar and bass overlaid with effects that extend but also fundamentally alter the instruments’ natural voices. The inherent accuracy and clarity of the IERM’s make it easy to tell exactly where natural instrumental timbres leave off and the effects-driven voicings begin. But there is also one further sonic challenge, as the bass drum and tom-toms on this track are very low pitched and tricky to reproduce well (indeed, the voice of the lowest drum is positively subterranean). Here, the IERM really shines as it wades right in and delivers shuddering, ultra low-frequency bass drum thwacks without skipping a beat, and while effortlessly capturing the skin sounds of both the bass and tom-tom drum heads.

Finally, to really appreciate the benefits of the IERM, it’s worth putting on some material whose content is strongly midrange-centric, if only to hear how smooth and suave-sounding the IERM’s mid-band response really is. A good example would be “I Am a Town” from Mary-Chapin Carpenter’s Come On, Come On (Columbia). Two things are gripping about this track: first, the timbre’s of Carpenter’s voice, which are at once breathy sounding yet at the same time earthy and full-bodied, and second, the absolutely gorgeous voice of the acoustic bass (playing way up high in the cello or even viola range) that accompanies

Carpenter’s voice throughout the song. The IERM’s do a great job with Carpenter’s voice, capturing both its high, lilting, almost whispered breathy qualities, but also revealing its earthier, lower registers, which carry inflections reminiscent of Southern gospel. But add to this the bass (whose upper register sounds amazingly smooth and evocative) and you’ve got something truly stunning. There is really no other way to put this but to say that the Reference Monitors make the bass sound about as vibrant and realistic-sounding as any headphone possibly can. Through the IERM’s, there is a powerful, you-are-there immediacy to the bass’ sound that is truly breathtaking (which is precisely why high-level accuracy is something worth pursuing).

CoMpetitve analysisTo show you how the IERM stacks up relative to other top-tier custom-fit in-ear monitors, I’ll compare its performance with that of two leading competitors: the Westone ES5 ($950) and the JH Audio JH16 Pro ($1149).

Ultimate Ears IERM vs. Westone ES5•TheIERMcosts$49morethantheES5.•TheIERMisathree-way,3-driverdesign

whereas the ES5 is a three-way, 5-driver design.

•Bothmonitorsarequiteaccurateinoveralltonal balance. However, I would give the IERM the nod for overall neutrality and smoothness of its response curve. That said, however, let me also mention that the ES5’s very subtle touches of tonal emphasis in in the upper midrange and lower treble bands, enable it

to reveal delicate low-level treble details a bit more effectively than the IERM does.

•Resolutionlevelsbetweenthetwomonitorsare very closely matched, though in an absolute sense the ES5 may enjoy a very narrow edge. However, the IERM’s superior smoothness and top-to-bottom neutrality

make it the more accurate transducer overall.•Oneofthebiggestdifferentiatorsbetween

the IERM and the ES5 involves the construction of their custom-molded earpieces. Ultimate Ears has given the IERM’s solid acrylic earpieces, while Westone uses dual materials for the ES5 earpieces




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(solid acrylic outer shells with thermally-sensitive, soft feel material for the ear-canal section). Although the manufacturers have taken different design approaches, both monitors offer excellent comfort and very good noise isolation.

•BoththeIERMandES5earpiecesaffordasimple, straightforward insertion process where you gently rotate the earpieces until they seem almost to “snap” into position, achieving a very good seal and a comfortable fit in the process. That said, I should point out the IERM is probably “first among near-equals” in terms of overall comfort and ease of use. Note, though, that the ES5’s soft-feel ear-canal sections, which—once they warm up—conform to exact shape of the wearer’s ear canal, yield significantly better noise isolation and quieter backgrounds than most in-ear monitors can provide.

Ultimate Ears IERM vs. JH Audio JH16 Pro•TheIERMcosts$150lessthantheJH16Pro.•TheIERMisathree-way,3-driverdesign,while

the JH 16 Pro is a three-way, 8-driver design.•Uptothispoint,theJH16Prohasbeen

Playback’s reigning neutrality champ, so we were eager to compare the IERM to what we considered our gold standard. Here’s how that comparison plays out. Both monitors offer excellent neutrality and overall balance, though their voicing is not, strictly speaking, identical.

•TheIERMofferspowerfullowbassandremains almost perfectly balanced from the bottom end all the way up through the

midrange and lower treble regions, with just a hint of top end roll-off.

•IncomparisonwiththeIERM,theJH16Proalso offers potent bass, but with perhaps not quite as powerful a deep low-end presentation as the IERM; the JH16 Pro’s mids and highs therefore sound just a hair more prominent than its low-end does. The JH16 Pro’s treble response is beautifully extended and shows no signs of roll-off at all.

•IfyouconsidertheresponsecurvesoftheIERM and JH16 PRO side-by-side, the IERM sounds beautifully smooth and balanced, but just a touch more warmly balanced (because of its subtle treble roll-off). In turn, the JH16 Pro sounds nearly as smooth and equally well-balanced, but with a subtle touch of midrange/upper-midrange forwardness, which I attribute to the fact that the JH16

Pro’s bass range response is pulled back ever-so-slightly vis-à-vis its midrange and treble response.

•Sowhichistheneutralitychamp?I’dgivethenod to the IERM, by the slightest of margins.

•Resolution:Intermsofabilitytoresolvefine,low-level textural and transient details both monitors are good, but the JH 16 Pro enjoys a narrow edge, in part because its extended but unexaggerated treble response makes details easy to discern, yet without imposing any sort etched or artificially “spotlighted” sound.

•TheearpiecedesignsoftheIERMandJH16 PRO are conceptually similar, as both use solid acrylic earpiece designs. Yet in terms of execution the IERM and JH 16 PRO earpieces are—at least in the case of my review samples—functionally different.

My JH16 Rro’s are extremely easy to fit and remove (the best custom-fit models I’ve tried in this respect), but they do not offer the last word in noise isolation, which suggests to me that the earpieces may fit a bit more loosely than some competing custom-fit earpieces do. In contrast, the IERM’s offer a subtly tighter fit (yet one that is still quite comfortable, once you get them properly inserted) and concomitantly better noise isolation (UE claims -26 dB for the standard versions with acrylic housings, though a special-order, soft-silicon version boosts isolation to a whopping -32 dB). So good is the UE fit that I would rate it second only to the Sensaphonics 2MAX monitors in terms of noise isolation, which is most impressive.

BottoM lineRecognizing that accuracy is at times an elusive goal, I would say that Ultimate Ears’ In-Ear Reference Monitor is arguably the most accurate and neutral sounding in-ear monitor Playback has tested to date, which is a terrific achievement. In our view, sonic honesty is one of those rare gifts that keeps on giving, and it’s a gift you can enjoy every single time you put a set of IERM’s in your ears and settle back to enjoy your favorite recordings. We might also mention that the IERM makes a very useful tool for those of us who work as equipment reviewers, because this trustworthy monitor makes it easy to assess what other components in the signal chain are doing.




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According to a company background document, Westone was founded in 1959 by the late Ronald Morgan,

Sr. (and his wife Mickey), when Mr. Morgan first sought to create “better fitting custom-fit earpieces for the hearing instruments he sold as a Beltone representative.” In a very pragmatic sense Westone has been focused on building custom-fit in-ear products from the very beginning, though the company’s business has expanded over the past 51 years to embrace several distinct (though inter-related) families of products including hearing care and protection products, ultra high-isolation earpiece systems created for the U.S. military, and a broad range universal-fit and custom-fit in-ear headphone designed for personal and professional audio applications.

Plainly, Westone is a company that offers serious know-how involving “all things ear,” but their greatest strengths may be in the area of custom-fit in-ear monitors. Indeed, a company representative recently pointed out to me that many key designers who now work for some of Westone’s best-known competitors actually got their starts in the industry while working with Westone (talk about having a long and influential history!).

This past summer, I met with the Westone

team at the Can-Jam Chicago 2010 event and asked them which model stood out as the company’s most accurate and most neutrally voiced in-ear headphones for critical music listening. Without hesitation the Westone team members pointed me towards the then newly-released, top-of-the-line professional Elite Series ES5 monitor, which—though billed as a “monitor for performing artists”—is also said to be the firm’s premier high-end offering for critical listeners who prize “well-balanced” sound. Thinking that the ES5’s would make a review subject of interest to Playback readers, I immediately requested a pair for review.

The ambitious ES5 ($950) is a three-way design that uses five balanced armature-type drivers and that promises to “deliver sound quality, clarity and response comparable to monitors with more drivers—at a much more affordable price” (an indirect reference, I think, to the eight driver-equipped, $1149 JH Audio JH16 Pro, which has caught the attention of a lot of listeners of late).

Interestingly, and unlike many other custom-fit monitors I have seen, the ES5 offers earpieces that are constructed of two quite different materials. Westone uses solid acrylic for the outer shells of the earpieces, but then molds the inner ear canal sections

WESTONE ES5 Chris Martens

overviewConsider this custom-fit in-ear monitor if: you would like in-ear monitors that offer high sensitivity, very good overall accuracy with near-neutral tonal balance, and plenty of resolution and textural delicacy. Also consider the ES5 if you like the idea of a “best of two world’s” earpiece design that is easy to handle and insert, yet offers excellent noise-isolation thanks to inner ear-canal section that is molded of a thermally sensitive, soft-feel plastic material. What is the ES5 best at? The answer is balanced performance across all areas—a quality that fosters high levels of user satisfaction over time.

look further if: you require absolutely dead-neutral tonal balance (where the JH Audio JH16 Pros and Ultimate Ears IERM’s enjoy a narrow edge), or the highest degree of noise-isolation possible (where the Sensaphonics 2MAX is the undisputed class leader). But consider this: the ES5 offers significantly better noise isolation than the ultra-neutral JH Audio JH16 Pro, and somewhat smoother and more neutral voicing than the ultra-quiet Sensaphonics 2MAX. Again, the ES5 is all about delivering a balanced mix of virtues, so that it does all things well.



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of the earpieces from a thermally-sensitive, “soft-feel” plastic material. Frankly, the inner ear-canal sections of the ES5’s don’t feel particularly soft when you first handle them (at room temperature), but once they warm up the earpieces tips soften considerably, conforming to the exact contours of your ear canals to create a highly effective and comfortable seal.

All of this sounds promising on paper, but how do the ES5’s work out in practice? Based on my experience with the ES5’s over the past several months, I would say they are a product audiophiles will like right off the bat, but will come to love over time. Why is this? I think it has much to do with the fact that while the ES5’s may not be spectacular class leaders in any one performance area, they offer—in terms of sound quality and wearer comfort—one of the most balanced combination of virtues you are ever likely to find.

MUsiCal eXaMplesTo experience the treble delicacy I mentioned above, try listening to “Remote Stories” from Christopher Roberts’ Last Cicada Singing [Cold Blue]—a recording of solo performances by Roberts on a Chinese fretless instrument called the Qin. I’m told that one of the standing conventions for music performed on the Qin is that all elements of the sound—including fingering and plucking noises, string squeaks, and even seemingly accidental harmonic overtones—are regarded as part of the music. So it is with Roberts’ performance on “Remote Stories” where the ES5’s reveal each small nuance of the sound, doing an extraordinarily good job at moments where Roberts slides or

bends notes in order to make the instrument “sing” in an almost human way.

But the Qin is also a deceptively large instrument that, for all its apparent treble delicacy and refinement, can also produce a surprisingly deep, rich, full-bodied sound when the occasion arises. The ES5’s capture this aspect of the instrument, too, letting you hear the deep, dark fundamentals of the Qin’s lower-register notes, even as they expose the subtler nuances of the instrument’s upper register (and associated high harmonics). Listen, in particular, to the powerful, resonant voice of the Qin when Roberts sharply bends notes downward in pitch, where the ES5’s treat you to what feels like the sonic equivalent of a roller-coaster ride when you come to that first big drop.

For a different take on the ES5’s sonic themes of delicacy, richness, and power, put on “River Blues” from Eric Bibb’s Get On Board [Telarc Blues]. On one hand, the song is built primarily around the warm, richly textured sound of Bibb’s voice, which the ES5’s capture vividly and intimately, yet without exaggeration. But the musical “spices” that really help drive the track forward are a simple yet evocative acoustic guitar, a powerful but minimalist acoustic bass, and the crystal clear sound of a kick drum, snare drum, and high-hats keeping time.

The guitar, as the ES5’s show very clearly, serves as both a counterpoint to Bibb’s voice, and as a contrasting backdrop, so that the dark, richness of Bibb’s voice stands out in sharp relief when heard alongside the much higher-pitched guitar lines floating above.

But if the guitar and voice supply welcome contrasts, the acoustic bass and percussion instruments are what give the song its living, breathing pulse. The ES5’s do a great job with the authoritative but not overblown thump of the kick drum, the rounder and more woody-sounding thrum of the acoustic bass, the crisp snap of snare drum rim shots, and the quiet shimmer of the high-hats opening and closing. Though the instrumentation is minimalist, the overall sound of the ensemble creates an overarching impression of just-right richness and completeness—an impression the ES5’s convey beautifully.

With the ES5, no one aspect of the sound dominates over the others; instead, balance—and the sonic richness and diversity it can express—is this monitor’s greatest strength.

CoMpetitve analysisTo show you how the ES5 compares to other top-tier custom-fit in-ear monitors, I’ve chosen to compare its performance with that of two leading competitors: the JH Audio JH16 Pro ($1149) and the Sensaphonics 2MAX ($850).

Westone ES5 vs. JH Audio JH16 Pro ($1149) •TheES5costs$199lessthantheJH16Pro.•TheES5isathree-way,5-driverdesign,

whereas the JH16 Pro is a three-way, 8-driver design.

•Bothmonitorsarequiteaccurateinoveralltonal balance. However, as mentioned above, the ES5 offers very subtle touches of tonal emphasis both in the mid-to-low bass and in the upper midrange/lower treble regions, whereas the JH16 Pro is arguably more

neutrally balanced (neutrality is arguably the JH16 Pro’s greatest strength).

•Resolutionlevelsbetweenthetwomonitorsare very closely matched. Though in an absolute sense the JH16 Pro’s may resolve finer details, the ES5’s superior noise isolation provides offsetting benefits, giving the Weston a noticeably more focused sound (especially when listening in any but the quietest environments).

•Oneofthebiggestdifferentiatorsbetweenthe ES5 and the JH16 Pro involves the construction of their custom-molded earpieces. Westone uses dual materials for the ES5 earpieces (solid acrylic outer shells with thermally-sensitive, soft feel material for

specs/pricingWestone ES5 custom-fit in-ear monitor

Type: Three-way, 5-driver (balanced armature), custom-fit in-ear monitorAccessories: Hard shell road case custom labeled with a padded interior), desiccant pod (to keep the monitors dry), cleaning tool, and vial of Oto-Ease fluid.Frequency response: 8Hz – 20 kHzWeight: Not specified.sensitivity: 120 dB/mWImpedance: 20 ohms, minimumWarranty: 1 year, parts and labor.price: $950 WEsTONE(800) 525-5071www.westone.com




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the ear-canal section), while JH Audio uses solid acrylic earpieces. The difference in feel and overall functionality is significant.

•BoththeES5andJH16Proearpiecesafforda simple, straightforward insertion process where you gently rotate the earpieces until they seem almost to “snap” into position, achieving a very good seal and a comfortable fit in the process. What differentiates the ES5 and the JH16 Pro are the ES5’s soft-feel ear-canal sections, which—once they warm up—conform to exact shape of the wearer’s ear canal, yielding significantly better noise isolation and quieter backgrounds that the JH16 Pro can provide.

Westone ES5 vs. Sensaphonics 2MAX ($850)•TheES5costs$100morethanthe2MAX.•TheES5isathree-way,5-driverdesign,while

the 2MAX is a two-way, 2-driver design.•Atfirstglance,thevoicingoftheES5and

2MAX seems similar, but careful listening reveals certain key differences.

•First,the2MAXofferstworegionsofmildsonic emphasis: a mild rise in the upper bass region and an also a mild rise in the upper-midrange and lower-treble region.

•Bycomparison,theES5alsoofferssomeemphasis in similar (though not identical) frequency bands—but a notably lighter touch of emphasis in both cases.

•TheES5alsooffersarguablysuperiorlowbass performance than the 2MAX and noticeably clearer and more extended treble response. As a result, the ES5 puts a strong bass foundation beneath the music, while exhibiting exquisite, “silvery” highs, which

sound terrific. The only drawback I observed is that the ES5, when pushed hard, can show an occasionally “spitty” sound on very hard-edged upper midrange/treble transients.

•ThebottomlineisthattheES5isthemoreaccurate monitor and one that offers a certain pristine purity and clarity—especially at higher frequencies, while the 2MAX offers a somewhat warmer, perhaps more dramatic sound that is highly engaging.

•Resolutionlevelsbetweenthe2MAX’sandES5’s are comparable, though I would give the edge to the ES5.

•Bothmonitorsofferveryquietbackgroundsand better noise isolation than models that use solid acrylic earpiece, but at the end of the day the 2MAX’s are Playback’s reigning noise isolation champs. The 2MAX’s ultra-quiet backgrounds give the Sensaphonics’ monitors qualities of intimacy and focus that are tough to beat.

•Oneofthebiggestdifferentiatorsbetweenthe ES5 and the 2MAX involves the construction of their custom-molded earpieces. As above, the Westone earpieces use a combination of solid acrylic material coupled with a separate, thermally sensitive, “soft-feel” material for the portion of the earpiece that inserts into the ear canal. It can take a few minutes for the Westone earpieces come up to temperature, at which point they achieve a better seal and a more comfortable fit.

•Bycontrast,the2MAXfeaturesSensaphonics’ signature cold-cure, soft-gel silicone earpieces, which are supremely flexible and achieve an incredibly effective

noise-isolation. One catch, however, is that it can be tricky at first to learn how to properly insert the somewhat rubbery-feeling Sensaphonic’s earpieces.

•TheES5earpiecesinasense“splitthedifference” between the Sensaphonics and JH Audio earpiece designs. On the one hand, the Westones have the easy-to-insert, “snap-into-position” qualities of the all-acrylic JH Audio earpieces, while also offering some (though not all) of the superior noise isolation characteristics that the Sensaphonics’ soft-gel silicone earpieces provide.

BottoM lineWestone’s ES5 is a remarkably well-balanced performer that offers near-neutral tonal balance, excellent focus and resolution, comfortable fit and very high levels of noise isolation. Though not necessarily a spectacular, best-in-class performer in any one area, the ES5’s broad and well-judged combination of virtues is what makes it so appealing.



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