Koss KDX 300 Gold In-Ear Headphones

PRODUCT CONCEPT
If 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.”

Design highlights and product accessories include the following:

• Computer optimized dynamic (not balanced armature-type) “micro drivers” said to offer, “the quality usually found in larger, full-size stereophones.”
• Molded polymer earpiece housings with what appear to be miniature outward-facing vents or ports.
• Three sizes of silicone eartips (which Koss calls “ear cushions”).
• Signal cables with padded, patterned fabric sheathes that look much like miniature versions of the fabric wraps commonly seen on high-end audio interconnect cables and that are said to be “resistant to kinks and tangles.”
• A leatherette carrying case with spring-clasp closure.
• The KDX 300 Gold ‘phones are, significantly, covered by Koss’ “No Questions Asked Lifetime Warranty.”

EASE OF USE
I 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 CHARACTER
I 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.

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 the KDX 300 Gold’s superior mid-bass weight, which give the sound of the bass while giving it vital body and depth.

BOTTOM LINE
Consider this product if: you want a well-made and sensibly priced in-ear headphone that offer 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).

Ratings (relative to comparably-priced competition):

• Tonal Balance: 8.5
• Frequency Extremes: 9 (bass)/8.5 (treble)
• Clarity: 8.5
• Dynamics: 8
• Comfort/Fit: 9
• Sensitivity: 8
• Value: 8.5

Summing Up: Koss’ 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.

SPECS & PRICING
Koss KDX 300 Gold Headphones
Accessories: 3 sizes of silicone ear tips, carrying pouch
Frequency response: 10Hz – 20kHz
Weight: 20 grams

Sensitivity: 102 dB SP/1 mW
Distortion: <0.3%
Impedance: 8 ohms
Warranty: Limited Lifetime Warranty
Price: $99.99

KOSS CORPORATION
(800) USA-KOSS
www.koss.com

If you’ve been following Playback’s headphone coverage over the past two years, you may have noticed that I am a fan of Denon’s high-end but not too high-priced AH-D5000 headphone. The AH-D5000 isn’t set up to be neutral, but I’ve used it to explain why literal neutrality and psycho-acoustic neutrality are likely to be two different things especially when it comes to headphones. The Denon 5000s have a somewhat elevated bass range that often does a better job of simulating the dynamic impact of live bass than does many a more “flat” headphone.

I still hold that point of view, because it is rooted in some pretty sensible logic as well as lots and lots of listening to both headphones and live music. But, since my original review of the AH-D5000s, many new high-end headphones have come to market (e.g., the Sennheiser HD-800, the Beyerdynamic T1 Tesla, and the Ultrasone Edition 8, to name a few). As technology marches forward, the colorations of the Denon 5000s have seemed more bothersome (they were always obvious). This lead me to wonder if the maximum supreme Denon model, the AH-D7000, might resolve some of the issues with the 5000, while retaining strengths no other headphone has matched recently.

I’ve been listening to the AH-D7000s for a short while now, and I can offer some observations. While reading this, keep in mind that the street price for the 7000s lies in between the upper-middle headphones in other lines (e.g., the Sennheiser HD-650) and the new ultra-premium headphones (e.g., the Sennheiser HD-800).

Bass Response: Bass remains a relative strength versus most other headphones when you listen to the 7000s. I would rate the depth of the bass as outstanding and the overall level is probably a better compromise between technically balanced and psycho-acoustically neutral bass (the 5000 is really too rich here). There is, however, no free lunch, and the 7000 fall short of the ideal (i.e., live music) in upper bass definition. I think the bass on the 7000s is a little better than on the Sennheiser 800s, though maybe not quite up to the Ultrasone Edition 8s.

Mid-range Response: The mid-range of the 7000s is clear, with excellent instrumental separation. This is high praise, because most headphones have some wobbliness in the mid-range that is pretty obvious. The 7000s don’t entirely escape criticism here, as extended listening reveals a somewhat over-damped sound that may be the result of a shallow dip in the upper mids.

Perhaps related to this, but perhaps not, I didn’t get the sense that the 7000s are at the state of the art in resolving power. Instrumental decay (e.g., the lingering resonances after a guitar is strummed) fades faster than what you would hear live. This slightly reduces the sense of the space in which the recording was made and makes instruments of different construction sound more like each other. You may not be thinking about this stuff as you listen, but the lack of micro-detail reduces the sense of realism you get with the 7000s, just a bit.

Treble Response: Through the 7000s, I notice a very small spike in the lower treble. This makes some vocals sound more sibilant than they really are and leaves a slightly un-natural sheen on some ensemble work.

Overall Balance: The great thing about the 7000s is that the macro-balance from bass to mid to treble is very artfully judged, which is probably the item most people will notice first and consider most significant. In addition the bass depth and weight are impressive. Whatever remaining flaws you might notice seem small, especially if you like the character of the particular spectral balance the AH-D7000s have on offer. The 7000’s bass and mid-range issues are mostly subtractive, so you might not notice them overtly. The region of treble “zing” mentioned above is relatively small, so it could go unnoticed too. For those of you hoping for a sampling of top-shelf sound at a near middle-shelf price, Denon’s flagship AH-D7000s could do the trick.

Playback greatly admires Westone’s superb ES5 custom-fit in-ear monitors (click here for our review), 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 some listeners’ reluctance to have 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 cost not just a little but 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 monitors for absolute sonic supremacy*, it easily earns bragging rights as one the finest—if not the finest—universal-fit earphone on 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).

OVERVIEW
Consider 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).

Ratings (relative to comparably-priced earphones)

• Tonal Balance: 9.5
• Frequency Extremes: 9.5
• Clarity: 9.5
• Dynamics: 10
• Comfort/Fit: 10
• Sensitivity: 9.5
• Value: 10 (true, the TrueFit 4 is expensive, but it’s worth the money)

FEATURES
• The world’s first three-way, four-driver, universal-fit earphone.
• Uses four balanced armature-type drivers (two bass drivers, one midrange drive, and one high frequency driver per earpiece).
• Fitted with Westone EPIC signal cables, which Westone describes as “a supple braided design (that) insures comfort and resists tangles.”
• Shares the same basic earpiece shell design as used on Westone 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.
• Comes with an excellent and extensive collection of eartips, as detailed under COMFORT FACTOR & ACCESSORIES, below. Odds are that one (or more) of the provided eartip options will work beautifully for you.
• Apart from its extensive eartip collection, the TrueFit 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 CHARACTER
The 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/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 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 EQUIPMENT
Most of my listening tests for this review were conducted using an iPod Classic loaded with lossless files, with signals routed through 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 EXAMPLES
A test track that has been in heavy rotation on by 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 voices, 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 edge of their own.

Later on, Bush works down into a 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 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, “…a 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 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 COMPARISON
To 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

• The MSRP of the TrueFit 4 is $449, while the Copper Editions retail for somewhat less—$399.99.
• The TrueFit 4 is a three-way, four-driver design, whereas the Copper Editions feature a single, high-performance, full-range balanced armature driver. Westone proponents might argue that the three-way 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. These arguments notwithstanding, the TrueFit 4 extracts a smooth, well-integrated sound from its multiple driver array.
• In terms of tonal balance, the two earphones essentially 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).
• On the whole, the Westone emphasizes a 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.
• The TrueFit 4 strikes a truly wonderful balance 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 the Monsters convey, while others feel strongly that the Copper Editions impart almost “too much information” 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.
• Both earphones are compact and comfortable, 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.
• What tips the comfort scales in favor of the Westones 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, the Monster’s signal cable is very beefy and sounds great (what else would you expect from Monster?), but tends to transmit some noise.
• The TrueFit 4’s carry Westone’s 1-year warranty, 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

• The MSRP of the TrueFit 4 is $449, while the Shure’s retail for considerably more—$549.
• The TrueFit 4 is a three-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.
• In terms of tonal balance the two models are 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.
• Both earphones emphasize a smooth, 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.
• Both earphones are compact and comfortable, 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.
• The TrueFit 4’s carry Westone’s 1-year warranty, while the SE535’s carry Shure’s excellent 2-year warranty.

COMFORT FACTOR/ACCESSORIES
The Westone TrueFit 4’s include the following accessories:

• Eartips: one pair of triple-flange tips, 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.
• Cleaning tool.
• Line attenuator.
• 3.5mm mini-jack to ¼” phone jack adapter.
• Sturdy fabric shell travel case with zipper 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 LINE
Westone’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.

SPECS & PRICING
Westone TrueFit 4 Universal-Fit In-Ear Headphones
Type: Three-way, four-driver universal-fit in-ear headphone
Driver Complement: Four balanced armature-type drivers (two woofers, one midrange, one tweeter)
Accessories: See above
Frequency response: 10Hz – 18 kHz
Weight: Not specified
Sensitivity: 118dB/mW
Impedance: 31 Ohms
Warranty: 1 year, parts and labor
Price: $449 MSRP

WESTONE LABORATORIES INC.
(800) 525-5071
www.westonemusicproducts.com

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 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 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 CONCEPT
While 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 cord is quite short, at around 1 meter, and is really optimized for 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 USE
The active-plus-passive noise cancelling approach allows part of the value proposition to aim at ease of use.

ANC23s and accessories

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 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 also need to mention that the cables are rather short for desktop/tray table use. Note, too, that the volume control markings are embossed in the black plastic case for the noise reduction circuitry, which makes reading the labels difficult.

SONIC CHARACTER
I tested the ANC23s using an iPhone 4 loaded with tracks ripped from CD 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 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. If you are one of those, I think the one place you 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 EXAMPLES
On 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, 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, the sound is warm and smooth, but maybe slightly too smooth with the result that it sounds a bit dynamically constricted.

BOTTOM LINE
Consider this product if: Subtle bass weight, warmth and smoothness are important, of 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.

Ratings (relative to comparably-priced competition):

• Tonal Balance: 8.5
• Frequency Extremes: 9/8
• Clarity: 8.5
• Dynamics: 8.5
• Comfort/Fit: 9.5
• Sensitivity: 9.5
• Value: 9

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

SPECS & PRICING
Audio-Technica ATH-ANC23 Noise-Cancelling In-Ear Headphones
Accessories: 1 pair of Comply foam ear tips, 3 pairs of rubber ear tips (sizes S, M, and L), carrying pouch, airline adapter
Frequency response: 20 Hz – 20kHz

Weight: 0.9 ounces

Sensitivity: 105 dB (input levels not specified)


Impedance: 32 ohms


Power: single AAA battery (provided)
Cable: 1.3m
Warranty: Not specified
Price: $99.95 MSRP, $79.95 MAP

AUDIO-TECHNICA U.S., INC.
(330) 686-2600
www.audio-technica.com

DTX 300p folded

Farmingdale, NY – February 2011: Enjoy movies while traveling – no problem with video apps on a tablet PC such as the iPad. Listening to music, no matter if you are on a train or in a hotel room, has become as natural as phoning or working while you are on the move.

The new DTX 300p from the audio specialist beyerdynamic in Heilbronn is a perfect solution. As a supra-aural headphone, it sits comfortably on the ear with its soft cushions and provides enough membrane area to give the soundtracks of Hollywood blockbusters the necessary emphasis. At the same time, the sound is so detailed that even fine structures in classical orchestral recordings are heard with an iPod or other MP3 players. The closed design shields against disturbing ambient noise and the listener can concentrate on the audio or video material.

In addition to its acoustic qualities the DTX 300p has more to offer. It practically kills two birds with one stone: Due to stable joints of the stainless steel headband, the headphone can be folded and stored in the supplied soft case. When traveling the headphone is always ready for use. After all, the movie fan wants to know how the story goes on.

Beginning mid March 2011, the DTX 300p will be available in two stylish color variations, white with grey and black with red anodized aluminum ring. Suggested retail price is $59.

Available through qualified dealers and directly from the manufacturer: www.beyerdynamic.com

SPECS & PRICING
Transducer type: dynamic
Operating principle: closed
Frequency response: 25 – 18,000 Hz
Impedance: 32 ohms
Sound pressure level: 104 dB
Sound coupling to the ear: supra aural
Cable: 1.2 m
Connection: mini jack plug, 3.5 mm
Special features: foldable
Accessory: soft case
Suggested Retail Price: $59.00

Press Contact
Alan Feckanin
Business Unit Manager – Consumer Products
beyerdynamic Inc.
56 Central Ave
Farmingdale, NY 11735

Phone 239-283-7880
Main 631-293-3200
Cell 239-292-4692
Fax 239-283-0474
alan@beyerdynamic-usa .com
www.beyerdynamic.com

About beyerdynamic
With a pioneering spirit and the highest quality in demand, beyerdynamic GmbH & Co. KG in Heilbronn, Germany develops and produces first-class audio products. Even today, more than 80 years after the foundation of the company, headphones, microphones and conference systems are developed in Germany and mainly manufactured by hand.

With the development of the DT 48 headphone (1937), which, today, is still manufactured according to the same technical principle, the young engineer Eugen Beyer laid the foundations for the company’s success. Later beyerdynamic microphones became famous all over the world: The E 1000 ribbon microphone was used on the first Beatles tour in 1966. More and more international and national musicians and bands like Abba, Bob Dylan or Udo Lindenberg used the equipment of beyerdynamic in the seventies and eighties.

Over the last few years, especially in the field of digital wireless conference systems, the audio specialist developed exemplary products and new technologies. In 1998 beyerdynamic presented the world innovation: the MCW wireless conference system. The unique Revoluto technology ensures the company’s leadership in technology all over the world.

Professional headsets for TV commentators and headsets with digital noise cancellation for pilots and interpretation systems complement the current product range. The most recent references for engineers from Heilbronn include headphones for 5.1 Surround Sound (Headzone), high-end headphones with innovative Tesla technology (T 1, T 50 p, T 5) and headsets with the patented EarPatron hearing protection technology (e.g. SIS). With the beyerdynamic MANUFAKTUR the traditional company relies on custom-made design and underlines its position as a premium manufacturer.

At the 2011 Winter NAMM Show, Shure Incorporated announced the addition of two new professional headphones to the SRH line: the SRH550DJ Professional DJ Headphones and the SRH940 Professional Reference Headphones.

The SRH550DJ is ideal for both DJ and personal listening use, while the SRH940 is optimized for critical listening, studio monitoring, and mastering. Both of the new SRH headphone models are said to offer superior sound, comfort, and durability for everyday use.

Designed with the DJ in mind, SRH550DJ headphones offer full-range frequency response, 50 mm dynamic drivers for extended bass, Shure’s Supra-aural design for full isolation, and aan djustable, collapsible headband that swivels 90 degrees for flexible wearing positions. This model comes with a threaded, 1.4-inch gold-plated adapter and carrying bag and is priced at $149 (MSRP).

The SRH940 Professional Reference Headphones deliver accurate frequency response for tight bass and smooth, high end extension with minimal distortion. Priced at $349 (MSRP), this model has a collapsible, lightweight design with a padded, comfortable headband. Its accessories package includes a threaded, 1/4-inch gold-plated adapter, two detachable cables (straight and coiled), a replacement set of velour ear pads, and a zippered, hard travel case.

SRH550DJ Professional DJ Headphones:

Full range frequency response
Comfort and durability for DJ use and personal listening
50 mm dynamic drivers deliver extended bass
Supra-aural design for full isolation
Adjustable, collapsible headband that swivels 90 degrees for flexible wearing positions
Accessories package that includes a threaded, 1.4-inch (6.3 mm) gold-plated adapter and a carrying bag
Two-year limited warranty
$149 (MSRP)
SRH940 Professional Reference Headphones:

Accurate frequency response for tight bass and smooth, high end extension with minimal distortion
Collapsible, lightweight design with a premium padded headband that offers superior comfort and portability
Accessories package includes a threaded, 1/4-inch (6.3 mm) gold-plated adapter, two detachable cables (straight and coiled), a replacement set of velour ear pads, and a zippered, hard travel case
Two-year limited warranty
$349 (MSRP)
The new headphones carry a two-year limited warranty and will be available in Spring, 2011. For more information on Shure SRH headphones, visit shure.com.

For more information, visit the official Shure Web site.
Tracy Katz is freelance contributor for Gearwire.

At the NAMM Show, Shure Incorporated debuted its new SE215 Sound Isolating Earphone featuring a Dynamic MicroDriver and a detachable cable. The SE215 is the latest addition to the Shure line of Sound Isolating Earphone models, which includes the SE315, SE425, and SE535.

Available in clear or translucent black, the new SE215 is said to offer detailed sound with enhanced bass with outstanding isolation and comfort. A good choice for live performance and critical listening, the SE215 Sound Isolating Earphones ($119 MSRP) come with an accessories package that includes three pairs of disposable black foam sleeves (S, M, L), three pairs of soft flex sleeves (S, M. L), and a carrying case.

Sound Isolating Earphones provide a combination of sound signatures, noise isolation, and quality, in a small and comfortable design, says Shure. All four models have a detachable cable with wireform fit; the durable, Kevlar-reinforced cable also allows for easy replacement or customization, extends the life of the product, and offers a comfortable, secure fit.

Next in the line, SE315 Sound Isolating Earphones ($249 MSRP)use a Single High-Definition MicroDriver for full range sound with optimized low end. It is available in black and clear and comes with an accessories package that includes three pairs of disposable black foam sleeves (S, M, L), three pairs of soft flex sleeves (S, M, L), one pair of yellow foam sleeves, one pair of triple flange sleeves, and a carrying case.

The SE425 ($349 MSRP) uses Dual High-Definition MicroDrivers for accurate and balanced sound. Available in clear and metallic silver, the SE425 comes with an accessories package that includes three pairs of disposable black foam sleeves (S, M, L), three pairs of soft flex sleeves (S, M, L), one pair of yellow foam sleeves, one pair of triple flange sleeves, a premium carrying case, and a 1/4-inch (6.5 mm) adapter.

Lastly, the SE535 Sound Isolating Earphones ($549 MSRP) use Triple High-Definition MicroDrivers that deliver a spacious sound with rich bass. These earphones are available in clear and metallic bronze and come with three pairs of disposable black foam sleeves (S, M, L), three pairs of soft flex sleeves (S, M, L), one pair of yellow foam sleeves, one pair of triple flange sleeves, a premium carrying case, 1/4-inch (6.5 mm) adapter, airline adapter, and a volume control.

About the new earphones, Shure’s Matt Engstrom, Category Director for Monitoring Products, says, “Rounding out Shure’s Sound Isolating Earphone line, the SE215 comes in at the lowest price point, but like the other models, maintains the superior sound quality, durability, and style for which Shure is known. With the SE215, we now have a complete line of earphones with a detachable cable for audio and music enthusiasts at all levels.”

The new SE215 earphones carry a two-year limited warranty and will be available in spring, 2011. For more details, visit shure.com.

For more information, visit the official Shure Web site.
Tracy Katz is freelance contributor for Gearwire.

At the 2011 NAMM Show, Beyerdynamic launched the DT 1350 professional monitoring headphone featuring Tesla technology.

According to Beyerdynamic, the re-engineered Tesla drivers create a headphone that delivers an enormous degree of efficiency with extremely low levels of distortion, allowing the DT 1350 to produce a perfectly balanced, accurate sound even at the highest volumes.

A combination of efficient ambient noise reduction and maximum sound pressure level of 129 dB make the DT 1350 an ideal compact over-ear headphone for any environment, the manufacturer says. The new headphones would work well for a sound engineer monitoring PA systems, a live musician, a DJ, and so forth, in the studio or at home. The Tesla system is said to provide enormous power for a dynamic, undistorted sound.

Manufactured in Germany, the DT 1350 is functional yet stylish, and both durable and easy to use. The removable, soft ear cushions and flexible headband allow the headphones to sit securely and remain comfortable even during prolonged periods of use. The ear cups swivel 90 degrees, for “single-ear” monitoring.

About Tesla technology, Beyerdynamic notes that the completely re-engineered Tesla sound transducers help achieve almost lossless magnetic flux; this is made possible by the new system geometry, which allows the transfer of magnetic force to the voice coil to be as efficient as possible. Traditional dynamic systems use a neodymium magnet at the center of the system, the size of which was inevitably limited inside the headphone cup. The Tesla principle sees the magnet mounted as a ring around the coil, allowing more energy to be directed to the membrane, which is where it is actually required.

The ring-shaped magnet allows Beyerdynamic’s engineers to place a drill-hole directly behind the center of the membrane in order to minimize disruptive resonances. The use of a special, multilayer membrane effectively suppresses unwanted partial vibrations and resultant distortion, according to the manufacturer.

Another special feature of the Tesla systems is their full-metal design, which prevents any uncontrolled resonances in any part of the casing that might in turn distort the sound. The metal also protects the device against electrical interference.

Beyerdynamic’s DT 1350 headphone will be available in late January, 2011. For more information about the DT 1350 and Tesla technology, please visit beyerdynamic.com.

For more information, visit the official Beyerdynamic Web site.
Tracy Katz is freelance contributor for Gearwire.

Numark Red Wave DJ Headphones Introduced, Unmissable At NAMM (Video)
http://www.gearwire.com/flashplayer/flowplayer.commercial-3.0.2.swf