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The blurb on the box is dramatic: “Overwhelming Bass.” I wondered if my classical and jazz recordings were going to sound like 1970s disco, but Audio-Technica’s ATH-WS70 headphones -- with, as Audio-Technica puts it, Solid Bass -- proved entirely unthreatening, producing only solid, not overwhelming bass that was just right for most of the recordings I auditioned them with.
In the box are the headphones, their nondetachable cord, a one-sheet set of instructions, and a sheet of warnings and cautions in 12 languages. That’s it -- no carrying case, no adapters, no cleaning cloth, or any other extras that seem to have become de rigueur with headphones. Then again, I’m comparing the ATH-WS70s with other “commuter”-class headphones I’ve recently reviewed -- over-ear models that are still considered portable. In that company, the ATH-WS70s are inexpensive at $149.95 USD, and the lack of a case can be forgiven. You could buy a generic case for them and still be ahead of the game.
The ATH-WS70s are made of aluminum and plastic. They have a very sharp-looking, somewhat industrial design and weigh about 8.1 ounces, a tad more than many others. The earcups are 3” in diameter, with an inside pad diameter of 2”. The earcups are on continuously adjustable sliders -- no détentes. The Y-cord is permanently connected to each earcup; a protective rubber tube covers the wire where it enters the cup. This will probably last a good while under normal use, but I wouldn’t pull or tug roughly at the connections. The earcups pivot 90 degrees to lie flat; trying to turn them more than 90 degrees would result in damage. Folded flat, the pair measure 8.25” x 7.1” x 1.25".
Audio-Technica lists the ATH-WS70’s driver diameter as 1.56”, the maximum input power as 1000mW, the frequency response as 10Hz-25kHz, the impedance as 47 ohms, the sensitivity as 100dB/mW, and the cable connector as a 3.5mm L-type, mini-stereo, gold-plated.
If, like me, you want headphones that produce enough bass, you’ve probably been using some of the larger designs, such as Logitech’s UE 9000 ($399) and SMS Audio’s Synch by 50 ($399.95), both recently reviewed. Those are fine but a bit pricey, and while not all that heavy, they’re a bit cumbersome to wear or carry. RHA, a division of Reid Heath Ltd., a Scottish company new to me, offers an alternative: the SA950i headphones ($59.95).
The SA950i headphones are presented without frills or accessories. There’s no carrying case -- just a detachable cable that contains an inline remote control and microphone with controls compatible with iPhone, iPod, iPod Nano, iOS, and some Android devices. Click the multipurpose switch once to pause, twice to go to the next track, and three times to return to the beginning of the current track; two sets of three clicks each take you to the previous track; and pressing a button at either end of this central control raises or lowers the volume. If you’re using your headset with a phone, pressing the volume-down control lets you take calls. The very skimpy user’s manual can be read in less than a minute.
Imagine a cube into which a tennis ball could perfectly fit and you have a good idea of the size of the NuForce Cube compact portable speaker. It’s amazing to think that this tiny aluminum box contains a speaker worthy of notice, and even more amazing to know that it can also serve as a 16-bit/48kHz USB DAC and a headphone amplifier, all for $99 USD.
A box in a box
The NuForce Cube comes in a transparent plastic cube that looks almost exactly like the one Apple used for its sixth-generation iPod Nano. In it is the Cube, a USB cable, a 3.5mm stereo cable, a soft drawstring carry pouch, and a leaflet containing brief instructions, safety warnings, and information about the one-year limited warranty.
Logitech acquired Ultimate Ears four years ago, and have now come out with a line of UE-branded products that includes a smart radio, wireless speakers, and wired and wireless earphones and headphones. The wireless UE 9000 ($399 USD) is their newest model of what I think of as commuter or frequent-flier headphones. Such designs have large earcups (aka “cans”) that cover the entire ear and can often reproduce good bass. Most such designs are built to withstand abuse, have active or passive noise cancellation, are optimized to work with smart phones and iPods, and come with a durable, hard-shell carrying case.
Portable, commuter ’phones aren’t sports headphones -- wearing them while doing anything more active than walking would be a chore. Still, they’re more durably built than the average set of home ’phones. They most benefit those who regularly commute and want to take their tunes with them without losing much in the way of sound quality. Wearing such a device gives one the appearance of being someone who wants to be left alone to chill with his tunes. This is perhaps perfect for a crowded subway car, where you don’t want to talk with anyone or be too bothered by their noise: You can feel safe and secure in your own isolated audio world.
Celebrity headphones still seem to be on the rise. You can’t go to a mall CD shop without tripping over the Beats by Dr. Dre or the Soul by Ludacris -- and now there are SMS Audio’s Sync by 50 models. The “50” refers to popular rapper and entrepreneur 50 Cent, who not only endorses this line, but claims that it’s been designed to suit his own tastes.
My guess is that almost 100% of those who buy these ’phones are paying as much for status as for sound. If you use the Sync by 50s on your train or bus commute or while walking to work, the sizzling blue S on each earcup blinks to let people know your celebrity allegiance. How much are you paying for that status, and what do you get for it?
When I began writing this column over a year ago, it soon became evident that a great percentage of the personal audio products I would cover would be headphones. I discovered Bluetooth, and one of my first reviews was of the Sony DR-BT21G Bluetooth headphones. At the end of that article, I compared them to the jWIN JB-TH710 Bluetooth ’phones. I recommended the purchase of the jWIN set, along with Sony’s TMR-BT8IP Bluetooth transmitter, which can be used with most Apple iPhones, iPods, and iPod Nanos.
But things move quickly in the electronics world. Just as the review was published, the supply of jWIN headphones dried up -- jWIN had dropped the Bluetooth model. I felt terrible about this, having recommended a bargain that was already gone forever.
When I bought my Apple iPod Touch several years ago, I was excited by its versatility, and particularly looked forward to being able to carry it around with me to retrieve e-mail, listen to music via the Internet, and get the latest news. I’d ruled out an iPhone as being too expensive -- the phone itself, and the mandatory service plan. I eagerly read articles that promised more powerful Wi-Fi, more hot spots, and greater range. They never appeared, and still haven’t as I write this. Citywide networks exist, and some of them are free -- but not in my town. I depended on stores and other businesses to provide local Wi-Fi networks. I sought out all the local places (mostly coffee shops) that provided free networks because they know that offering Wi-Fi is a good way to bring in business. When I got my iPod Touch, I haunted Wi-Fi-enabled places just so I could use my cool new device. I drank a lot of coffee.
But after the Touch’s newness wore off, I began taking care of Internet-related business while at home, and just left the Touch behind. I’d heard about Virgin Mobile’s MiFi devices, but they, too, were expensive -- might as well buy an iPhone as subscribe to MiFi. But a month ago, while visiting Walmart, I saw that the price of Virgin’s MiFi 2200 Mobile Hotspot had fallen to $99.99 USD, and that the service plans had changed. Suddenly, MiFi seemed reasonable. No more driving around to connect -- if I couldn’t find a Wi-Fi network, I’d carry my own.
The continuing miniaturization of devices that can record and/or reproduce music blows me away. For the past six months I’ve been using Google to find original album-cover art for recordings I’ve ripped as Apple Lossless (and beyond) files. Don’t ask me to explain it, but if I can throw one of these up on the screen of my Logitech Squeezebox Touch and occasionally glance at it while listening, I get a warm, fuzzy feeling of remembrance that seems to improve the sound. When these recordings were transferred to CD, they usually included extras from other albums by (perhaps) the same artist. The covers for those editions I do not consider original. The upshot is that I’m coming to remember the relatively short playing time of the average LP, and learning things like this: the original edition of one of Ernest Ansermet’s recordings of Stravinsky’s Pétrouchka, about 35 minutes long, occupied two sides of an LP. If we go back to 78 records, the ballet would require even more sides.
During the same time I was remembering the short sides of vinyl, I became acquainted with the miniature Zoom H1 Handy Recorder, made by Samson Technologies. It records music -- or anything else -- on microSD cards, each of which is about the size of an adult thumbnail. The H1’s easy-to-read screen tells me that the 8GB card I installed in it can hold 55.5 hours of material at MP3’s highest setting, 12.5 hours at CD quality (16-bit/44.1kHz), or 3 hours 55 minutes at 24/96 resolution in the WAV format. It does this on a single AA battery that will last five to six hours (Zoom claims ten hours, but I couldn’t achieve that). As I used the H1 over a few weeks, I found out it had other outstanding abilities -- and a major flaw.
The domination of the personal-electronics industry by Apple’s iPhone, iPad, and iPod families of products has inspired the startups of dozens of cottage industries now making accessories for the hugely popular devices. I recently reviewed a watchband that can turn your iPod Nano 6 into a fashionable timepiece. You’d think that every type of gadget for these devices must by now have already been fully explored, but this spring has brought two new and different ideas.
The first, from Breffo, is the Spiderpodium ($19.99 USD). It’s easy to see where the device gets its name: It has a solid rectangular body and eight flexible legs. The rigid central section has a rectangular opening so that you can use the Spiderpodium as a charging base. Each leg is made of rubber-covered metal, the leg’s diameter narrowing at three points, at which the leg can be easily bent; with a little more effort, you can also bend each leg between these points. Flattened out, the Spiderpodium measures 8.2” x 7.4” x 1/4” thick and weighs just over an ounce. It comes in black, white, blue, pink graphite, green, or purple.
Because I have so many recordings and often little time, I hadn’t tried any of the music streaming services. But I swore to myself that I would try MOG, as soon as they’d enabled streaming to my Logitech Squeezebox Touch Wi-Fi music player. As more high-resolution downloads have become available, the Touch has become the heart of the audio portion of my audio/video system. But the minimum resolution of everything I listen to through the Touch is CD quality: 16-bit/44.1kHz. MOG was better than most streaming services, at 320kbps, but not quite there. Would I be happy with the sound quality?
Getting set up
I set up MOG on my computer, first downloading the software, then choosing one of two account options: Basic ($5 USD per month) allows you to stream to your Squeezebox or other supported device (MOG is rapidly expanding the number of devices it supports); Primo ($10/month) allows you to stream to portable devices (such as your phone or iPod Touch), download an unlimited number of songs to your personal music player, and synchronize your Web and mobile playlists. Or you can take advantage of MOG’s free trial period, which provides basic streaming, but the Basic and Primo subscriptions are such good values that I see no risk in jumping right in. There are also Facebook features, with which you can communicate with friends about music, swap playlists, etc.