Ah, how the times change. When I reviewed Etymotic Research's ER-4S in-ear headphones in the July 1995 Stereophile, they seemed expensive to me at $330, but well worth that seemingly high price: at the time, they were the best headphones I'd heard. Nowadays, with reference headphones costing well north of a kilobuck, the price of the ER-4S seems relatively reasonable.
Sennheiser's long-awaited (seven years) HD 800 sure isn't subtleat least, not in appearance. The HD 800's large earpieces are made from a combination of absorbing composites and functional metal accents, and are huge. Of course, they have to be to house the 56mm ring-radiator transducersand to mount them so they're firing "back" to your ears from the front. Also not subtle is the price: $1399.95.
I once spoke to a blacksmith (named Smith, actually) about the wonderfully patterned bowie knives he made of Damascus steel. Struck by the contrast between the massive brutality of the knives themselves and the delicate beauty of the steel from which they were wrought, I asked Smith why he worked in Damascus, expecting him to extol its legendary temper or its aggressive cutting edge. After all, he was a pretty macho guy with a physique like, well, the village blacksmith's (Google it, young 'uns). He thought for a minute before responding, quietly, "Beauty is its own reward."
You know me. I'm not perzackly an audio slut, but I am easy. When Audio Advisor's Wayne Schuurman called me to pitch the Vincent KHV-1pre tube-transistor headphone amplifier, he pretty much had me at "tube" and "headphone." But I wasn't familiar with Vincent Audio.
When Audio Advisor's Wayne Schuurman contacted me about reviewing the Vincent Audio KHV-1pre headphone amplifier, I felt confident that I had everything I needed to handle the task, owning, as I do, both the AKG K701 and Sennheiser HD-650 headphones, which have long been my references. That oughta get 'er done, I thought.
Meeting strangers at social events, I've learned not to say that I write about hi-fi for a living. It's generally a conversation killer—unless your idea of scintillating repartee is "People make a living doing that?" (Short answer: Not many, and not really.)
I first saw the Shure SE530 at the 2006 Consumer Electronics Show, when it was dubbed the E500. The '500 shared the current product's three-armature driver technology and in-ear, sound-isolating, sleeve fitting scheme, but that early prototype seemed almost crude in comparison with the SE530.
All of a sudden, it seems there's a renaissance in in-ear monitors. Used to be there was just Etymotic, but now Etymotic, Shure, and Ultimate Ears are all producing high-performance in-ear headphones. It's almost enough to make me suspect we audiophiles have become a marketing juggernaut.
I've been a little remiss in writing about one of the best tools for travel I've experienced recently: Ray Samuels Audio's Emmeline The Hornet ($350), a tiny (3" L by 2" W by 1" H) rechargeable portable headphone amplifier. I tend to travel with my iPod packed with hi-rez music files and a pair of low-impedance headphones. That's not a marriage made in heaven, so I also need a headphone amplifier. Over the years, portable headphone amps have gotten better and better while getting smaller and smaller. The Hornet is the smallest I've discovered so far and is my current favorite.
Oh mama, was I ever excited when I heard rumors of the existence of AKG's K 701! If you're among the audiophiles who sneer at those of us who like headphones, you're probably rolling your eyes and thinking I must lack a rich inner life.
But hold on there, Skippy—some of us use those cans in our prosumer studios, in recording sessions, and even in barn-burning late-night critical listening sessions where we employ ancillary equipment that would beggar your jaded high-end sensibilities. We're not talking about the three-buck, upchuck disposable 'phones your friendly flight attendant flogs before your in-flight main feature. We're talking about serious tools that can reveal a flea fart in a cathedral.