下面还有频响曲线,试音效果,价格,总结等一大堆重要评价. 不用这么麻烦了，还是拿金山慢慢去拼吧 <BLOCKQUOTE><font size="1" face="宋体">引用:</font><HR>发起人 answer:
<B>不用这么麻烦了，还是拿金山慢慢去拼吧</B><HR></BLOCKQUOTE>！<P> 我翻译了几段，欢迎批评。<P>Beyerdynamic DT 931 Headphones
拜耳动力 DT931 耳机<P>Introduction
简介<P>Beyerdynamic has long been a name synonymous with headphones. They were in fact the first company to develop a pair of dynamic headphones with their DT48 back in 1937. The DT 931 is currently Beyer’s flagship pair of headphones which combines their years of experience in both the hifi and professional market.
很久以来，拜耳动力就是一个耳机的代名词。事实上，他们早在1937年推出的DT48是全球第一副动圈耳机。现在拜耳动力的旗舰耳机DT931则凝聚了他们在高保真和专业音响市场的多年经验。<P>Beyerdynamic was established in 1924 by Eugen Beyer. Eugen constructed some of the first amplifiers and loudspeakers for film applications when sound was first being introduced into cinemas. He has also been credited with designing the world’s first dynamic headphones and the world’s first dynamic interviewing microphone. Beyer currently produces a whole range of professional and consumer microphones, headphones and conferencing systems which are respected the world over.
拜耳动力是在1924年由尤金 拜耳所创立。当音响开始被引入电影院时，尤金制造了第一批应用于电影的放大器和喇叭。尤金也被公认为是世界上第一只动圈采访话筒和第一副动圈耳机的设计者。目前，拜耳生产的全系列专业和民用话筒，耳机和会议系统享誉全球。<P>Specifications
技术指标(这段大家都看的懂吧)
Headphone Type: Utilizes dynamic transducers based on an open circum-aural principle.<P>Frequency Response Range: 5-35,000Hz
Nominal SPL: 96dB
Nominal Impedance: 250 ohms
Total Harmonic Distortion: = 0.2%
Weight (without cable): 295g
Headband pressure: ~ 2.5N
Termination: 1/8” Gold Plated Stereo Jack Plug (a 1/4” stereo jack plug screw in adaptor is included)<P>One Year Limited Warranty <P>These headphones’ specifications didn’t differ greatly from the rest of the headphones seen in this review. It featured the same open, dynamic and circum-aural design principles as seen in all other headphones except for the Grado SR325 which sports a supra-aural design. The only specification which really sets it apart from other headphones is its amazing frequency response. The frequency response range on the DT931 is truly remarkable. It is definitely the widest range seen in this review.
DT931的技术指标和这篇评论中的其他耳机并没有很大不同。此耳机采用了在本评论中除了Grado SR325以外所有耳机的开放式，动圈，包耳设计，Grado SR325则采用了压耳式设计。唯一使DT931和其他耳机区分开来的是其令人惊奇的频率相应。DT931的频响范围是确实值得注意的，其无疑是这本评论中最宽的。<P>The 250 ohm impedance of the DT 931 definitely requires some form of amplification. I have tested these headphones without an amplifier utilizing a portable CD player and acceptable volume levels can be achieved but sound quality is severely degraded to the point where it’s not worth using them.
DT931的250欧姆阻抗显然需要某种形式的放大器。我曾在没有耳放的情况下用CD随身听试听DT931，虽然响度可以接受但音质确明显变差到不值得使用的地步。<P>The nominal SPL rating on the DT 931 puts it on par with others in the test. It’s 2dB lower than the Grado unit and 2dB higher than the AKG unit. Although, the 931’s SPL isn’t as low as Ultrasone’s published figure of 90dB, Beyer’s 96dB SPL shouldn’t be cause for alarm.
DT931的灵敏度处在和本测试的其他耳机相同的水准。其数值比Grado低2dB但比AKG高2dB。和Ultrasone发表的低达90dB的数值相比，拜耳的96dB是不值得大惊小怪的。<P>The THD was a welcome addition to the list of the DT931’s specifications. We can see that their quoted figure of 0.2% is very low which theoretically gives minimum distortion or coloration.
在DT931的技术指标中列出失真率是很受欢迎的。我们可以看到，其列出的0。2%是一个非常低的失真率，在理论上，可以使失真或染色减至最小。<P>The weight of this unit was about 40-50g heavier than other units seen in this review. Whilst 295g is hardly heavy, keeping weight to a minimum especially in a headphone design usually makes the unit more comfortable especially over extended periods of time. The rest of these headphones’ specifications including their warranty period and termination were standard and didn’t differ greatly from other units in this review.
这款耳机比本评论中的其他产品重大约40-50克。虽然295克实在算不上重，但在耳机设计中尽量减轻重量会使其产品有较好的舒适性，对长时间使用时尤为重要。
耳机技术指标的剩余部份包括了与本评论中其他产品大致相同的保修期和插头尺寸。<P>(下面的部份都是些是否舒服，是否坚固耐用之类。楼上说的对，这篇评论很长，好象是HD600，AKG501，DT931等5副耳机的比较。我看过此文，但不记得在那里了。哪位知道给个网址。)<P>Features
These headphones feature high gauss neodymium magnets, computer aided design (CAD) ear cups, a new diaphragm material, coiled cord and patented “breathable” viscose ear pads. <P>The DT931’s magnet system also features precision coil winding to allow for more detailed imagery and reproduction. This also helps to give the DT931 it’s amazing frequency response and neutral tone. <P>The CAD ear cups were the other component responsible for the DT931’s amazing frequency response. They have been custom designed to offer the greatest frequency response whilst minimising distortion and coloration. Judging by the frequency response graphs they have largely succeeded in achieving this. <P>The coiled cord and viscose ear pads form some of the comfort features of these headphones. Viscose is actually a type of rayon; it is silver/grey in colour and feels similar to velvet. Beyer made the unusual step of including a coiled cord with the DT 931. Whilst this cord design may seem handy and quite tidy at first it becomes more of a hassle if extra cord length is required. <P>Finally, this unit also featured a double headband design with separate left and right locking adjustment mechanisms. The double headband features an adjustable inner headband constructed of a soft material (similar to felt) connected to an outer headband which is constructed of sturdy plastic. This design ensures that the listener receives maximum comfort with no build quality compromise. <P>Build Quality
The DT931 headphones have an all plastic construction. The outer headband on this unit was constructed of extremely sturdy plastic which seemed stronger than both the HFI-2000 and the K 501. As stated above the outer headband has a purely structural function and lends nothing to the unit’s comfort. Keeping this in mind, Beyer opted to make the outer headband as strong as possible with no regard for comfort as it does not come in contact with the listener’s head. <P>The unit’s ear cups are made from similarly sturdy plastic with Beyer’s durable viscose material on the inner side. The swivelling mechanism on this unit was also sturdier than that seen on other units in this review. It features two plastic semi circular posts which are attached to the unit’s main outer headband. These semi circular arms have a locking design on their ends which allow them to secure the ear cups firmly whilst still making it possible for a user to remove the ear cups for pad replacement if necessary. Most other ear cup swivelling mechanisms simply locked with the ear cup at the point where it met with the headband. This design was sturdier because it attached the headband to the ear cup via two points instead of the standard one. <P>The double head band design also allows the user to easily replace the inner headband should it become soiled/damaged or worn out. This was a far better option than other headphones which either have no padding or offer padding which is not easily user replaceable. <P>Comfort <P>These headphones proved to be very comfortable but were not quite up to the comfort levels offered by the AKG K 501. The main problem of comfort stems from the DT931’s ear pad design. Although Beyer has attempted to keep their ear pads “breathable” I still found that heat buildup became an issue after several hours of use. There was simply not enough air circulation inside the pads to keep the ear cools during long listening sessions. This was no doubt due to the viscose material’s tendency to retain heat. The velvet found on the Sennheiser’s HD 600 and the material found on the K501 did a far better job of allowing air to circulate inside the ear cups. Apart from this Beyer’s ear cup design was very spacious and well padded which made the headphones quite a comfortable experience. They were definitely not as uncomfortable as ear pads found on the SR325 or HFI-2000 headphones. <P>Beyer’s head band design was also intelligent with a space between the inner and outer headbands allowing for ample air circulation. This ensured that there was no potential heat build between the two headbands. Adjusting the head band size on this unit was not as easy as the simple push/pull mechanism found on the Sennheiser and Grado Labs units nor was it as easy as AKG’s self-adjusting head band. It did require the user to remove the headphones from their head to adjust the locking mechanism which controls the inner headband. I found this headband design to be slightly more troublesome than the others featured in this review but it should only need to be adjusted once. <P>Beyer’s connecting cord also proved to be another source of concern. First off, Beyer chose to attach the connecting cord to both ear cups which can be cumbersome. Although this practice is not uncommon it would’ve been nicer to see a single sided connecting cord as found on the HFI-2000 and K 501.
Secondly, the connecting cord is coiled similar to a telephone handset cord. This poses a big problem if you intend to use anywhere near Beyer’s advertised 3M cord length. I found that the connecting cord starts to pull on the headphones after about 1.5M of cord which is a great hassle if you like to sit further away from your components. These headphones are also quite light at 295g so the cord’s pull can quite easily dislodge them from your head which places the drivers in a less than optimal position. At worst, if you have a slightly smaller head it would be quite possible for the connecting cord to pull the headphones straight off your head which could potentially damage them. I found this cord far more distracting than that found on the Grado Labs unit as my components are situated some distance from my chair. I found that the best and maybe only way to remedy this problem was to utilize a good quality headphone extension cable.
Overall, the DT931’s comfort was above average except for the two quirks mentioned above. The heat build up in the ear cups may not pose as a problem in colder countries so your mileage may vary. The connecting cord on the other hand was quite a problem. The coiling may seem neat at first but it proves to be too impractical if you like to utilize the full length of your cable. <P>Tweaks and Possible Improvements/Modifications
Many people claim that this pair of headphones with certain systems can be overly bright. This may be true in some cases so many users have found ways to connect resistors to increase this headphones’ impedance. This rolls off the treble and creates an even more linear frequency response graph.
If you decide to try this modification make sure that it is wired correctly and your resistors have room to dissipate heat. As always poor quality resistors may result in signal degradation leading to poor performance. Find the details about the modification here. We have opted not to review any pair of headphones in this review with tweaks/modifications as it may pose as an unfair advantage to a particular pair of headphones.
<A HREF="http://www.acidhardware.com/reviews/headphoneroundup" TARGET=_blank>http://www.acidhardware.com/reviews/headphoneroundup</A>
楼上辛苦了.<img src="http://www.jddsy.com/nubb/non/smilies/smile.gif"> 谢谢楼上的网址和鼓励<img src="http://www.jddsy.com/nubb/non/smilies/smile.gif"><P>Five Way Headphone Roundup
Written By: evilcthul<P>这是一篇耳机的评论文章，作者是evilcthul。评论涉及5副耳机：<P>AKG Acoustics K 501
Beyerdynamic DT931
Gradolabs SR 325
Sennheiser HD 600
Ultrasone HFI-2000<P>文章里既有各自耳机的介绍和评论，又在其间穿插了各个耳机间的对比，是篇好文。不过实在是太长了。我先把最重要的‘听感测试“部份的原文贴出来，再慢慢的译成中文。<P>Listening Test Bed<P>Antique Sound Labs MG Head DT OTL Headphone Amplifier<P>Rega Planet 2000 CD Player Sponsored by Synergy Audio Visual (Australia)<P>Interconnects and power cables were proudly sponsored by Interlink House:
2 x M-7 Signature Power Cords Fitted with Australian Plugs
SCR (Solid Core Silver Ribbon) Interconnects<P>Headphone cables and adaptors were proudly sponsored by Ted’s Excellent Cable:
15 ft. Earcandy Headphone Extension Cable
3.5mm mini-stereo male to 1/4” stereo female phone plug<P>A Purist Audio Design - System Enhancer Rev B CD was also used to aid the burning in of components.<P>Listening Section
In general, I prefer to listen to my CD collection at moderately low levels. These headphones have all had minimum of 40 hours burn in time whilst cables, amplification and source components have all had a burn in time of at least 100 hours if not more.<P>I’ve divided this listening section into several categories denoted by bold headings. The beginning of this section will deal with the effects (if any) of burn in.<P>Burn In<P>AKG K 501
The AKG K 501 didn’t seem to benefit to a substantial degree from burn in. Its already wide sound stage may have deepened slightly after burn in but on the whole there wasn’t much of a noticeable difference. I personally felt that placement of instruments in the sound stage was slightly more defined after burn in which could’ve come as a direct result of becoming accustomed to the pair of headphones rather than a burn in procedure. This could be best described as a natural maturation of the sound stage. Its tone became slightly more balanced whilst instruments seemed to integrate more seamlessly within the artificial space. This lead to a smoother and more even tempered rendition of the music.<P>Nonetheless, in terms of the headphones’ tone production I did notice some slight differences. The lower range and midrange became slightly warmer which resulted in a slightly thicker texture on the whole.<P>Beyerdynamic DT931
The Beyerdynamic DT931 benefited quite nicely from burn in. On the whole I felt that the Beyer’s treble harshness was slightly reduced but it was by no means entirely cured. Bass impact also improved somewhat but again, it was a very subtle difference. Soundstage gained a bit of depth which was only really noticeable in pieces with a sparser texture eg. Smaller jazz groups or chamber music.<P>Gradolabs SR325
The Grado Labs SR325 showed quite a few marked improvements over the course of its burn in time. The SR325’s more constricted, highly positional sound stage opened slightly and gained a bit of air especially in the mid range. This helped with depth perception and minutely improved the SR325’s out of head localization. I also felt that the SR325’s bass became more rounded and warm but didn’t lose its impact. Unfortunately, the treble didn’t lose any of its brightness which I felt was a major let down.<P>Sennheiser HD600
The Sennheiser HD600 showed some pronounced improvements after burn in. Most notably, the midrange became slightly more detailed and articulate which I especially noticed on string and brass passages. All ranges also seemed to warm slightly whilst soundstage also gained some depth and a degree of air. The midrange also felt slightly more linear in nature after burn in.<P>Ultrasone HFI-2000
The Ultrasone HFI-2000 didn’t exhibit much change over its burn in time at all. It still maintained its relatively subdued tone but it gained a slight amount of clarity which lead to the headphones giving a tighter presentation. Unfortunately this improvement was a case of too little too late as we’ll see in the listening section of this review. Soundstage showed negligible improvement after burn in time.<P>The burn in process produced varied effects on each pair of headphones. Some of the effects ranged from the very subtle to quite obvious but all were quite predictable. No pair of headphones made a serious departure from its initial character after the burn in process. <P>Conclusion
In conclusion, I wouldn’t recommend that someone purchase a pair of headphones that they don’t like which they feel might suit them after the burn in process. If you don’t particularly like the pair of headphones at the time of purchase then you will almost certainly feel the same towards them after burn in. Burn in is more of a maturation and ironing out process. It allows time for the headphones’ tone to develop but it won’t change it to such an extent that listening with a particular pair of headphones becomes a whole new experience.<P>Orchestral Listening Notes<P>The recording used in this section was Antonin Dvorak Symphony No. 9 in E minor, Op. 95 ‘From the New World’ performed by the Los Angeles Philharmonic Orchestra conducted by Zubin Mehta<P>I particularly concentrated on movements II (Largo) and IV (Allegro con fuoco) for this review. They provide an interesting contrast to each other and highlight different performance characteristics of the various headphones.<P>
AKG K 501
The AKG’s K501s were specifically designed for classical listening and it really shows. They have an immensely large sound stage which almost borders on the artificial at some points in the recording. This sound stage in general was calmly laid back, extremely natural and well balanced. It was also the largest sound stage featured in this review and captured many of the spatial cues experienced during a live performance of this orchestral work. This large sound stage can most likely be attributed to AKG’s Varimotion system which we detailed earlier.<P>The soundstage produced by the K 501 in movement II had immense depth, width and air which seemed to render the music accurately as if it were in a slightly reverberant, high ceiling concert hall. This in turn made the K 501 perfect for orchestral listening as it was able to place each instrument in its soundstage with a varying degree of subtlety and definition that was unsurpassed by any other pair of headphones. I found that this superior instrumental separation and placement allowed for the intricacies of any given musical line to be easily appreciated within the context of the piece. Although this sound stage seemed to offer the best in terms of both out of head localization and spatial representation it was not without its problems which we will discuss in the next paragraph.<P>I found that the sound stage made the brass section seem slightly too distant at times which seemed unnatural. This was made most apparent during their sustained chords before the cor anglais solo. This gave the effect of blunting their overall tone which leads to reduced brass impact during this section. The soundstage also tended to roll the higher range harmonics on woods woodwinds causing their tone to become less pronounced and a tad hollow. An example of this was during the cor anglais solo which lost some of its richness and vitality. However, despite this, the K 501 still managed to keep the whole presentation intimate by having the other instruments placed further back within the sound stage which gave the cor anglais a chance to stand out during its solo section.<P>This soundstage gave me the overall effect that the brass seemed to float somewhere in the middle of the soundstage rather than more projected towards the front whilst woodwinds seemed slightly clouded. I felt that this dulled woodwind tone was most disappointing during the cor anglais solo as the unique reed timbre of the instrument and the articulation of the player was slightly obscured. Strings during the second half of the piece were spot on at the front of the sound stage with a marked degree of intimacy, warmth and vibrancy.<P>In regards to the strings, the K 501 lacked additional coloration and I found that each harmonic especially during slower sections was faithfully reproduced. Violins playing in their higher registers didn’t cause any listening fatigue as the K 501’s treble was less prominent than on other headphones and complimented its wide soundstage. Whether the instruments were celli or violins the performance was always balanced and neutral which would do any string player justice. These headphones would definitely suit a string lover perfectly as its sound stage and tonal characteristics would be perfect for someone who listens to this type of music. The only caveat would be that this pair of headphones lacks an analytical edge which some users prefer when listening to string repertoire.<P>Movement IV saw much of the same except it revealed that the K 501 was slightly lacking in the bass department. The energetic string opening to movement IV lacked impact and a slight grit which could be heard on other pairs of headphones. It sounded a bit too laid back especially in a rhythmic sense. The K 501 did have an interesting effect on double bass and celli in this section as their harmonics seemed to linger in the soundstage during the rests for a substantially longer period of time than on any other pair of headphones. I personally preferred the slightly slowed harmonic decay but some listeners may prefer more ‘speed’ and transition into dead silence during slight gaps to act as more of a contrast.<P>In particular timpani felt lacking in terms of visceral impact which I felt slightly detracted from the overall presentation of the music especially in movement IV. I personally felt that the K 501’s bass was typical of AKG’s design. The bass is definitely present attempts to give a degree of neutrality but there only seems to be enough there to tantalize the listener rather than satisfy.<P>In summary, some of what this bass lacked in visceral impact, it made up for in its more rounded tone. This bass had particular warmth in its upper lower range which leads to its more polite tone. I found that this sometimes made the headphones seem slightly too polite at times especially as observed with the timpani in movement IV. It gave the effect that the pair of headphones was slightly shy at delivering the full impact of the percussion section. The AKG tends to deliver the bass as less of a physical experience which may disappoint some listeners.<P>The piercing trumpet theme was reproduced with gusto on the K 501. It definitely didn’t lack definition or ‘speed’ at any point in the recording and kept its rhythmic drive nicely. The trumpet solo was also complimented by the K 501’s sound stage which prevented it from sounding too sibilant in its more extreme sections which was a great plus. The sound stage also kept this solo sounding open ended with a good degree of reverberation on the trumpet’s upper register.<P>Beyerdynamic DT931
The Beyerdynamic DT 931 was very close to the HD 600 in its presentation of the music. It presents itself as an ultra neutral performer with a slight bias toward treble and decent bass. The bass in general was on par with the HD 600 but lacked physical impact. The musical presentation offered by this pair of headphones is somewhat more involving than that offered by the K 501, HD 600 and HFI-2000 but it definitely isn’t on the same intensity level as the SR325. Midrange isn’t quite as pure as the HD 600 as it can feel brighter at times but the DT931 makes up for this by being less laid back and slightly more analytical.<P>Sound staging on the DT931 was adequate but it was slightly more constricted than the HD 600 and less deep than the K 501. It seemed more intense toward the front whilst the edges seemed to offer a moderately involving yet laid back experience. This sound stage was a slight change from others seen in this review and definitely wasn’t as directional as that offered by the SR325.<P>Movement II highlighted the DT931’s ability to offer the listener an involving yet not overly fatiguing presentation of the music. The brass chords built up with relative ease but had a slight hint of glare due to the DT931’s tendency to offer a slightly bright presentation. The cor anglais solo was also well presented with slightly more intensity than found on the HD 600 at the sacrifice of neutrality and presence. I also found that the overall tone presented by the DT931 sounded slightly less warm than on the HD 600 whilst the intensity during the cor anglais solo came at the price of it sounding a tad brittle and unsupported. In addition to this it was also lacking a slight amount of air and space between notes which left it sounding less developed but more immediate. This tone with its reduced ambience seemed to have a greater focus but suffered slightly in terms of musicality.<P>Strings were rendered nicely and kept brisk with excellent articulation. They were presented quite neutrally but remained tight with a speedy harmonic decay. Unison string sections sounded particularly solid and highlighted the DT 931’s ability to paint a vivid musical image without producing a subdued or lifeless tone. The strings remained smooth but again had a slight hint of glare. It wasn’t quite as apparent as the SR325 but it was slightly off putting especially during calmer moments of the music as this glare often interrupted the relaxed feel of the music.<P>Movement IV managed to show some of the DT931’s weaknesses. The trumpet melody sounded particularly bright on the DT931 but fortunately it didn’t have the impact of the SR325 which would’ve lead to a similar high degree of listening fatigue. This thankfully was the only time during the piece where I felt that the treble brightness was overwhelming. At other times the treble seemed slightly glaring, quite detailed but not overly fatiguing. The bass on the DT931 was a hybrid between the HD 600 and AKG K 501. It was tight and defined but lacking in impact whilst only hinting at a slight amount of warmth and body. I particularly felt that this was the case when timpani and double basses were concerned. Double basses in the introduction had their initial impact but subsequently felt a bit dry especially on their longer bowed passages. I prefer my lower end strings to have a more rounded tone and unfortunately this wasn’t quite the case when it came to the DT931.<P>Gradolabs SR325
The Gradolabs SR325 headphones stood as a direct contrast to the AKG K 501’s laid back nature and the Ultrasone HFI-2000’s un-involving tone. The 325s present themselves as a highly analytical pair of headphones which definitely don’t shy away when it comes to the high or low extremes of the audible range. They exhibit a level of immediacy in their sound stage which is definitely an intensity level above any headphones seen in this review. They have an uncanny ability to portray the extremes of the frequency range and aren’t at all shy to show it. To sum up the SR325 in the context of this review, if we considered that the HFI-2000 seemingly veils the music at some points in a recording we could safely say that the SR325 grabs the veil by the fist full and hurls it away with reckless abandon.<P>These headphones have a relatively constricted sound stage probably due in part to their smaller air chambers and supra-aural design. Their sound stage seems more positional with less out of head localization. That is to say these headphones seem to reproduce instruments/vocals in a smaller range of seemingly defined positions. These were approximately left, right, centre, left edge and right edge. This gives the listener the net effect that most of the sound seems to be positioned in the middle of the listeners’ head or very close to the head rather than around him/her. Out of head localization was quite limited especially on heavy orchestral music. This soundstage was unfortunately a far cry from that offered by the K 501 and on the whole lacked a degree of subtlety seen on other headphones in this review.<P>Movement II via the SR325s provided a whole new experience from listening to the other European headphones in this review as the SR325 had its own very unique way of portraying the music. The brass came through as extremely pure with minimal coloration towards the beginning but as they sustained some of their block chords I felt that the treble became glaring and harsh. This contrast was made most apparent as the trumpets held their notes over the lower brass parts. Strangely, this glare didn’t cause the treble to lose any detail which made it feel especially fatiguing. The bass was equally as striking as the treble. They were portrayed with an immense heft and presence which in turn gave the listener the effect that the brass section painted an immense but tight wall of sound complete with the extremes of an edgy treble and viscid bass.<P>Cor anglais came through as pure but intense due to the fact that the SR325 produced every detail of its timbre. This intensity did not come without a sacrifice and I found that the SR325 in general lacked some much needed warmth which leads to a very cold presentation of the music. I felt that this warmth was sacrificed in order to provide an ultra analytical and presentation of the music making the Grado SR325s the most detailed headphones in this review. Unfortunately, this lack of warmth also meant that the Grado’s treble harshness was not offset.<P>Strings came through as strikingly articulate and lacking in any coloration but higher frequency strings tended to have a bit more emphasis when compared with the lower range during bowed passages. In the context of an entire string section playing in unison, this could give the SR325 an unbalanced presentation. During faster moments of percussive string playing brightness was not an issue as it was offset by the SR325’s other tendency toward bass.<P>Movement IV’s string introduction was reproduced with the utmost energy on the SR325. Celli and double basses had an unforgiving and tight attack which was reinforced by the SR325’s hefty, stabbing bass. Initially, all seemed well until the SR325 hit the trumpet restatement of the theme which proved too glaring. Whilst the theme was reproduced with a sharp bite and an intense presence that was unheard of on other headphones in the review, it proved to be too fatiguing in the end due to the harshness imparted by the SR325’s treble. This was compounded by the fact that the SR325 also lacks a wide sound stage hence the treble’s harshness wasn’t offset or reduced making the melody seem quite jarring. I also felt that this was the case, to a lesser extent, with the softer clarinet solo toward the middle of the piece which lost quite a degree of its intimacy which can again be attributed to the SR325’s treble. This solo is also played very softly which made it seem brittle on the SR325 because it lacked underlying warmth which was present on other headphones. This warmth gave the solo some much needed support and fleshed out some of the quieter moments.<P>The SR325 managed to reproduce timpani and cymbals during movement IV with the utmost accuracy out of all the headphones we tested. In general percussion was presented with speed, weight and tightness that was definitely unsurpassed by any other pair of headphones in this review. The sheer speed of some of the passages in section IV especially toward the end and the trombone statement of main theme were produced with the utmost energy and impact leading to a true sense of visceral bass. I found that this bass was the closest to the physical sensation that most people would be used to from a pair of loudspeakers. It had enough weight to be both heard and felt. Unfortunately the bass wasn’t without slight abnormalities. Its speed could at times lead to a feeling that the bass felt too clinical, uncompromising and analytical at times whilst its sheer impact could become cause for serious listening fatigue if there was a sustained percussion passage. At times the bass also seemed to have too much emphasis which lead to the SR325 obscuring some of the other musical lines.<P>Overall the SR325 attempts to play on its merits in a ‘who dares wins’ fashion. It has minimalist comfort but it attempts to make up for this with its musical performance. The SR325 paints the extremities of the audible range with audacity and nearly succeeds in doing so. The SR325 dares to be different in its presentation and design but unfortunately comes up slightly short mainly due to its treble problem.<P>Sennheiser HD600
The Sennheiser HD600’s performance was the most balanced and rounded in this review. It was a desirable blend combining some of the immediacy but none of the harshness or extremities of the Grado SR325 with the musicality and relatively linear sounding nature of the Beyerdynamic DT931, and some of the AKG K 501’s sound stage laid back nature for good measure. Personally, for me they were one of the most involving but least fatiguing headphones and were always a pleasure to use.<P>The Sennheiser HD600’s sound stage was a good compromise between the depth offered by the K 501 and the immediacy offered by the SR325. Its moderately deep sound stage was significantly less directional than what the SR325 had to offer which made it seem more natural on the whole. The sound stage also sacrificed a slight bit of air and width when compared to the K 501 but made up for this by having instruments sound more intimate and less distanced. Out of head localization was surprisingly good on the HD 600 and sometimes effectively blurred the barriers of what a good speaker system could achieve. I felt that this mainly came as a result of Sennheiser’s open metal transducer cover design.<P>The HD 600 during movement II exhibited its characteristic midrange purity and clarity especially during the brass chorale. I felt that out of all the headphones tested the HD 600 had the smoothest dynamic transition during the brass passage. These headphones were able to build effortlessly and intricately toward the climax and seamlessly resolve to the cor anglais solo making the listening experience non-fatiguing, and even proportioned. The cor anglais solo as portrayed by the HD 600 proved to be intimate, warm but slightly laid back. It was not bright and proved to be lyrical with a good sense of continuity. This solo was further enhanced by a greater sense of space and ambience around each note which allowed the cor anglais’ timbre to develop. Strings in this section were equally as well balanced with a detailed but relaxed flavour. They were rendered with a nice liquidity to them which was only found on the HD600. Overall, the strings seemed to be warmer than portrayed by other headphones whilst they had a genuine sense of purpose as their musical lines built to their respective climaxes. Harmonics also seemed especially fluid as they bubbled to the surface of the musical tapestry.<P>Movement IV demonstrated how the HD 600 can seemingly integrate into a whole range of musical styles and different textures with minimal effort. The HD 600 reproduced the cello and double bass parts with richness and a lively attack which kept it true to the recording. It had slightly less heft than the SR325 which I felt was a good compromise between a portrayal of the music’s presence and the need to keep the overall representation non-fatiguing. The trumpet theme was also accurately portrayed with a sense of balance and timing which was in between the Grado SR325 in terms of speed and the K 501 in terms of ton which lead to the impression that the HD 600 gave the right amount of definition without sacrificing any aspects of musicality, a near perfect blend. Timpani and cymbals were even tempered but didn’t quite have the impact of the SR325 which for better or worse gave the HD600 a greater degree of neutrality. The timpani sounded very slightly muddied in its bass by a lack of edge and a slight lingering of its notes during faster passages but thankfully these instances were rare and didn’t detract from the overall performance of the HD 600. Bass in general had weight but lacked the ‘slam’ of the SR325 which I felt was more appropriate given the HD 600’s purer but less analytical midrange.<P>Ultrasone HFI-2000
The Ultrasone HFI-2000’s performance was somewhere in between the K 501 and the Sennheiser HD 600 but it frustratingly lacked detail and definition especially on its lower range. The in front localization system on the HFI-2000 had negligible effect on its performance. It doesn’t really add a greater sense of out of head localization or depth perception as advertised. This was rather disappointing given the fact that one of the HFI-2000’s main marketing pitches was its revolutionary sound staging technology. Instead, the HFI-2000 had a very bog standard soundstage. It wasn’t constricted but it lacked air and at times gave a very vague placement of instruments which left its performance lacking when compared to the other headphones. Its soundstage was also not helped by the fact that the ear pads were badly designed as discussed earlier.<P>In movement II the HFI-2000 performed admirably. It was one of the more laid back headphones in this review with a smooth but thin tone which was hindered by a bias towards treble and a lack of definition at quicker points in the music (this was more apparent in movement IV than movement II.) This was made clear during the cor anglais solo which lacked a degree of air but made up for this with a gentle and silken smooth presentation of the music. String passages seemed relatively mellow and less involving but lent slightly on the bright side. This brightness wasn’t exhibited as a harsh treble leading to sibilance or glare but rather a contrast to the HFI-2000s lack of definition at some points in the music. I found that the treble was quite uncharacteristic of the HFI-2000’s tone therefore listeners could easily misinterpret it as excess treble brightness. This treble became the source of minor annoyance and a bit of an anomaly on the HFI-2000’s part.<P>In movement IV the HFI-2000 performed similarly but lacked overall drive which made this movement feel less compelling and generally un-involving. The HFI-2000 started to exhibit signs of less detail toward the louder moments of this movement which could lend to the headphones giving a muddied presentation at some points in the music. This was especially present in the theme to the piece with full the full accompaniment of brass and timpani. The headphones lost the edge on its lower register and exhibited signs of flab and blurring whilst treble still seemed prevalent on the music’s surface. At times during movement IV this was further compounded by the softer moments of the piece having a full compliment of detail contrasting the louder moments which became extremely clouded and ill-defined. This seemed unbalanced in both loud and soft sections because it gave the overall effect of a seemingly clumsy mass of mid and low range supporting a detailed and crisp treble. This ultimately stripped a chunk of musicality from the HFI-2000’s performance as it simply wasn’t reproducing the music faithfully.<P>Thankfully, although this pair of headphones had some serious problems in regards to its detail it had more than adequate bass impact during movement IV. It wasn’t as pronounced as the Grado SR325’s bass but it did have a nice degree of speed and bite. This seemingly gave it a lively nature but detail was sorely missed. Overall, I personally felt that this headphones’ bass was well presented but unfortunately lacked detail as explained above which gave left a very lacklustre impression. Users looking for bass will be satisfied at first by the physical aspect then be seemingly frustrated by the lack of detail and subtlety which most audiophiles crave.<P>Jazz and Vocal Listening Notes<P>In this section we deal briefly with Jazz and vocal music via these headphones. We’ve attempted to give a general overview of each headphones’ performance characteristics so that users can appreciate what sort of performance they would receive if they purchased a pair of headphones for listening to these particular styles of music. The two pieces used in this section are as follows:
Jazz: The Dave Brubeck Quartet Strange Meadow Lark
Vocals: Buena Vista Social Club featuring Omara Portuondo and Ibrahim Ferrer No me llores más <P>AKG K 501
The AKG K 501 in Strange Meadow Lark had a very subdued and relaxed tone. The piano came through as a gentle wash of sound that was musical yet laid back which perfectly fitted this style of music. Paul Desmond’s sax had its characteristic purity yet it kept its reedy tonality which I felt gave the sax a good degree of intimacy. The sax playing sounded less rich than on the HD 600 but in general its tone seemed more neutral and less committal, perfect for this laid back style. Percussion and double bass was nicely placed within the K 501’s sound stage and had the correct amount of emphasis which kept it light yet detailed which was perfect for its accompaniment role.<P>This laid back, polite presentation of the music was only disrupted by one unfortunate anomaly. The AKG K 501’s sound stage by nature is so large that when listening to a quartet it’s hard not to feel that it is in some way inappropriate. At times the instruments sounded too distant from one another giving the effect that there could somehow be more than four players or the venue in which they were performing in was highly reverberant. I felt this was made especially apparent when the bass/kit was relegated to the back of the sound stage giving them a very airy and indecisive tone which in turn took away impression that they were the rhythmic driving force behind the group. Overall, this stripped the impression of solidarity from the rhythm section which detracted from the music. The sound staging problem could’ve come as a trade off because K 501 was specifically designed with orchestral listening in mind.<P>The K 501 again managed to impart its relaxed tone to the vocal piece whilst Latin percussion and other accompanying instruments were plagued by the sound stage which made them feel distant in relation to the singers. Vocals came through as soothing yet smooth with a hint of slight hint of punch whilst high register trumpet solos were dulled which made sure that they didn’t possess too much attack to overwhelm the listener. This was highlighted during the second half of the piece where there is a trumpet melody accompanied by a sax riff. During this passage I felt that the melody was at times obscured by the soundstage and didn’t quite have the desired amount of zest due to the instruments being placed further toward the back of the K 501’s sound stage.<P>Beyerdynamic DT931
The Beyerdynamic DT 931 in Strange Meadow Lark had a generally neutral but slightly more involving tone. The piano came through as refined with a delicate hint of brightness which gave it some character. Paul Demond’s tone was treated with care by the DT 931 and came out on par with the K 501 but had a slight hint of glare toward some of the higher register. The timbre of the sax was also slightly more apparent on the DT 931 compared to the K 501 as the sound staging placed the instruments more toward the front and middle. Bass/kit came through as well defined with a hint of presence but not enough to spoil the performance of the saxophone or piano. Sound staging was not an issue with the DT 931. It remained opened toward the edges and solid toward the middle which fitted the character of this piece.<P>The Beyerdynamic DT 931 gave a very transparent and solid performance during the vocal piece and avoided adding warmth or fleshing out parts of the music that were thinner. In general, I found that male/female vocals sounded smooth yet didn’t fail to convey any of the performers’ diction or inflections in their tone throughout the piece. The unison vocal section showcased the DT931’s ability to give a neutral yet refined presentation of the two performer’s voices which were well separated with a great deal of air between them which allowed the listener to consider each voice part separately. This was a luxury not found on other headphones in this review. Trumpet sounded a tad piercing but not to the extent of the SR325. The sax riff was reproduced accurately with a good deal of weight and a slight hint of grit which fitted this style perfectly. The rhythm section had a strong rhythmic drive and a sense of purpose but could’ve benefited from a sharper attack especially during sections when the bongo drums took the lead.<P>Gradolabs SR325
The Gradolabs SR 325 in Strange Meadow Lark gave a very up front presentation of the music. Piano was rendered with increasing impact as it travelled up toward the higher registers with speed and precision which kept it sounding slightly dry. The piano had a more distinctive drive to it on this pair of headphones which was note entirely true to this style of music. Sax was bright as expected hinting at a piercing edge, with its tone sounding slightly more brittle and less pure than on the other headphones tested. Its highs were also very detailed without much air which I felt gave a fatiguing performance. The bass line was more boisterous than usual on the SR 325 with a great deal of drive but very little warmth. The energetic of nature of the bass line made it feel as if it were genuinely walking along and driving the group rather than plodding along simply as accompaniment. Sound staging was adequate on the SR 325 but it sounded a bit too clumped for this more relaxed style of jazz. A larger sound stage would’ve helped to develop the piano and sax’s harmonic decay and perhaps give a slight roll off to the treble.<P>The Gradolabs SR 325 during the second piece gave the vocals a truly boisterous and playful tone. If you like your Latin percussion hot, your sax gritty and your trumpet shrill then these would be the headphones for you. Percussion was kept sharp with bongo drums in particular having an articulated snap to them. The sax riff was heavy bordering on slightly choking and stood as a direct contrast to Desmond’s more pure sax playing. It was interesting to see that the SR325 could easily portray these two saxophone styles. Demond’s playing had more of an emphasis on midrange clarity whilst this style of sax aims for a sense of sheer weight and bass impact. This gave the desired effect and the grittier feel of the sax in this piece was rendered with detail and a degree of reed harshness that was characteristic of this music. Trumpet was truly biting at some points in the recording but for short periods of time this fitted the music perfectly. I personally thought that the trumpet solo had a certain vitality and a rhythmic drive not felt on the other headphones. The higher register of the trumpet genuinely felt like sharp bursts which again pushed the envelope in terms of treble. Sound staging was also very tight with three distinct groupings in a relatively confined space which added to the intensity of the recording. These groupings in order of distance were the singers, trumpet/sax and finally the rhythm section.
Sennheiser HD600<P>The Sennheiser HD 600s in Strange Meadow Lark undeniably gave a very warm and intimate presentation. In these terms, the HD600 could be criticised for being less neutral but I felt that its overall performance sounded better with the subtle degree of coloration that it added. Piano was full bodied, fluid and didn’t hint at glare. It was kept laid back and slightly subdued toward the higher register which kept it from becoming fatiguing. Paul Desmond’s tone was more rich and full than on any other pair of headphones. The HD600 sacrificed a slight amount of its neutrality in exchange for presenting a more lyrical and intimate version of the saxophone melody whilst bass/kit was kept relatively flowing but smooth. The HD 600’s sound stage was relaxed yet kept the instruments within a smaller space which is characteristic of a small jazz quartet..<P>In the vocal piece the Sennheiser HD 600 gave another sterling performance. Its delicate treatment of the voice parts combined with a mellow yet open tone gave this piece a truly free flowing presentation. I felt in particular that the HD 600’s tone was excellent at portraying vocals with a pinpoint natural accuracy. Its midrange purity, slight warmth and well rounded nature gave the music a truly solid but musical presentation which never hinted at any degree of harshness. You could almost swear that you felt Ibrahim or Omara’s joie de vivre in their singing as the HD 600 gave an intimate performance packed with midrange sweetness and even tonality for good measure. The trumpet solo’s treble sounded slightly rolled in this piece which gave it some initial impact but reduced the impact of its sustained high notes. The sax was a great deal warmer on the HD 600 than normal but this kept it proportional to the voice part. It lacked the reedy timbre and slight grit found on other headphones which was only a very minor issue. The rhythm section sounded equally as full bodied most notably with bongos having their full depth whilst maintaining speed and weight. The HD 600 didn’t quite have the snap as heard on the SR325 but it wouldn’t be expected to given the nature of its low and mid range.
Ultrasone HFI-2000
The Ultrasone HFI-2000 in Strange Meadow Lark was presented in a neutral but slightly thin light with a hint of weakness in its bass. Piano had a slight harshness in its treble which again was contrasted by a relatively non-involving low/mid range. The treble on the piano’s high register seemed far too detailed compared to the mid/low range which leads to a greater sense of movement instead of a laid back nature which would’ve been more fitting for this piece. Sax was even tempered with only a hint of bias on treble which gave it a relatively neutral performance. Again, this presentation of the sax could’ve done with a degree of warmth to add a bit of solidarity and intimacy to the sax’s tone. The bass had a bit of flab on its notes which kept which gave it a less precise attack but this wasn’t too detrimental to this style of music as the bass doesn’t have a particularly fast line to play. The drum kit was also muddied and lacked a definitive edge which was a minor annoyance. Sound staging was little vague especially in regards to the kit but on the whole it was on par with the DT 931.<P>The Ultrasone HFI-2000 during the vocal piece lacked rhythmic drive toward the beginning which was only offset by the flow of the vocal line. Omara’s voice sounded slightly bright compared to Ibrahim’s which was a disappointment as it spoiled some of the unison sections of the piece. Trumpet on the HFI-2000 surprisingly wasn’t too bright and seemed more distant than it should be. I felt the sax sounded relatively relaxed on the HFI-2000 especially toward the lower register and seemed to lack support making it sound slightly brittle. I felt that the tendency for the HFI-2000 to display the sax in an un-involving manner came as a major disappointment as it didn’t fit the style of this music. The rhythm section also suffered on the HFI-2000 especially bongo drums which came through as dull and lacking in definition. This was similar to the experience before where the HFI-2000 had the initial impact but allowed the sound to lose energy in the lower register and decay far too quickly.<P> Listening Test Bed
测试器材<P>耳放：Antique Sound Labs MG Head DT OTL Headphone Amplifier<P>
CD机： Rega Planet 2000 CD Player
Sponsored by Synergy Audio Visual (Australia)。由Synergy Audio Visual (Australia)赞助。<P>线材：
Interconnects and power cables were proudly sponsored by Interlink House:
2 x M-7 Signature Power Cords Fitted with Australian Plugs
SCR (Solid Core Silver Ribbon) Interconnects<P>Headphone cables and adaptors were proudly sponsored by Ted’s Excellent Cable:
15 ft. Earcandy Headphone Extension Cable
3.5mm mini-stereo male to 1/4” stereo female phone plug<P>煲机CD碟片：
A Purist Audio Design - System Enhancer Rev B CD was also used to aid the burning in of components.<P> Listening Section
听感部份<P>In general, I prefer to listen to my CD collection at moderately low levels. These headphones have all had minimum of 40 hours burn in time whilst cables, amplification and source components have all had a burn in time of at least 100 hours if not more.
通常我喜欢在较小的音量下欣赏我所收藏的CD。这些(参加测试)的耳机都经过至少40小时的煲机，而线材，耳放和音源则煲机不少于100小时。<P>I’ve divided this listening section into several categories denoted by bold headings. The beginning of this section will deal with the effects (if any) of burn in.
我(作者)把本听感测试部份分成几个段落。开始的部份讲谈谈煲机到效果(如果有的话)。<P>Burn In
煲机<P>AKG K 501<P>The AKG K 501 didn’t seem to benefit to a substantial degree from burn in. Its already wide sound stage may have deepened slightly after burn in but on the whole there wasn’t much of a noticeable difference. I personally felt that placement of instruments in the sound stage was slightly more defined after burn in which could’ve come as a direct result of becoming accustomed to the pair of headphones rather than a burn in procedure. This could be best described as a natural maturation of the sound stage. Its tone became slightly more balanced whilst instruments seemed to integrate more seamlessly within the artificial space. This lead to a smoother and more even tempered rendition of the music.
AKG K 501似乎没有从煲机得到很多好处。已经很宽阔的声场也许变深了一点，但总的来讲则没有什么值得注意的区别。我个人感觉在声场中乐器的定位似乎精确了一点，但这有可能归功于对耳机的适应而不是煲机本身。<P>Nonetheless, in terms of the headphones’ tone production I did notice some slight differences. The lower range and midrange became slightly warmer which resulted in a slightly thicker texture on the whole.
无论如何，在耳机的音色上，我确实注意到了一点不同。中音及较低频部份变得暖了一些，从而造成了稍厚实的层次感。 The Beyerdynamic DT931 <P>拜耳动力 DT931<P>The Beyerdynamic DT931 benefited quite nicely from burn in. On the whole I felt that the Beyer’s treble harshness was slightly reduced but it was by no means entirely cured. Bass impact also improved somewhat but again, it was a very subtle difference. Soundstage gained a bit of depth which was only really noticeable in pieces with a sparser texture eg. Smaller jazz groups or chamber music.
拜耳动力的DT931从煲机中得益不少。整体上，我感觉DT931高音的的刺耳感被降低了一些但并没有完全根除。低频的冲击力也有所改善，但同样区别不大。声场在深度上有进步，但只在那些层次比较分明的曲目，如较小的爵士乐队和室内乐上才能注意到。<p>[被 farsight 编辑过（日期 12-06-2001）] Gradolabs SR325<P>The Grado Labs SR325 showed quite a few marked improvements over the course of its burn in time. The SR325’s more constricted, highly positional sound stage opened slightly and gained a bit of air especially in the mid range. This helped with depth perception and minutely improved the SR325’s out of head localization. I also felt that the SR325’s bass became more rounded and warm but didn’t lose its impact. Unfortunately, the treble didn’t lose any of its brightness which I felt was a major let down.
在煲机的过程中，Grado SR325表现出几处值得一提的改善。SR325的那种受限制的声场稍微打开了一些，并增加了一定的空气感，在中频尤为突出。这种现象对音场深度感的表现有所帮助，而且也稍微改善了一点SR325的(声场)在头外的的定位。我同时也感到SR325的低音变得较圆润和温暖，但并没有失去冲击力。不幸的是，高音区的过亮并没有得到改善；而我觉得这一点恰恰是SR325的最主要缺点。<P>Sennheiser HD600
The Sennheiser HD600 showed some pronounced improvements after burn in. Most notably, the midrange became slightly more detailed and articulate which I especially noticed on string and brass passages. All ranges also seemed to warm slightly whilst soundstage also gained some depth and a degree of air. The midrange also felt slightly more linear in nature after burn in.
煲机后，HD600表现出一些明显的改进。最值得注意的是，其中音区的细节和清晰度有少许增强，我尤其在弦乐和铜管乐上注意到这一点。整个音域都变暖了一点，同时音场也获得了一些深度感和空气感。通过煲机，中音也感到了较好的线性。<P>Ultrasone HFI-2000
The Ultrasone HFI-2000 didn’t exhibit much change over its burn in time at all. It still maintained its relatively subdued tone but it gained a slight amount of clarity which lead to the headphones giving a tighter presentation. Unfortunately this improvement was a case of too little too late as we’ll see in the listening section of this review. Soundstage showed negligible improvement after burn in time.
在整个煲机的过程中，HFI-2000并没有表现出什么变化；仍然维持着其相对柔和的音色，但在清晰度方面有一点改善，从而使耳机有了比较”紧凑“的表现。不幸的是，这种改善对于我们的这次听感测试来讲是太小也太晚了。声场在煲机后表现出几乎可以忽略不计的改善。<P>The burn in process produced varied effects on each pair of headphones. Some of the effects ranged from the very subtle to quite obvious but all were quite predictable. No pair of headphones made a serious departure from its initial character after the burn in process.
煲机的过程在不同的耳机上产生了不同的效果；包括从非常细微到相当明显，但这些效果都是可以预期的。在整个煲机过程中，没有一副耳机严重偏离了其原有的特色。<P>Conclusion
In conclusion, I wouldn’t recommend that someone purchase a pair of headphones that they don’t like which they feel might suit them after the burn in process. If you don’t particularly like the pair of headphones at the time of purchase then you will almost certainly feel the same towards them after burn in. Burn in is more of a maturation and ironing out process. It allows time for the headphones’ tone to develop but it won’t change it to such an extent that listening with a particular pair of headphones becomes a whole new experience.
结论
总体来讲，我不推荐大家购买一副你不喜欢但觉得在煲机后也许会合适的耳机。如果你对某一副耳机在购买时特别的不喜欢，我基本可以肯定在煲机后你仍然会对它有同样的感觉。煲机较大程度上是一种熟化和整理(ironing out,把衣服熨平)的过程。此过程使耳机的音色有发展的机会，但不会达到使聆听某一副特定的耳机变成一种全新经历的程度。<P>(煲机部份已全部译完，下一部份是交响乐听感测试，曲目用的是德沃夏克的第九交响曲，还是让我回家听两遍后再译吧)
辛苦,辛苦. <BLOCKQUOTE><font size="1" face="宋体">引用:</font><HR>发起人 See一See:
<B>可以将过亮的高频摩掉一部分！？真的么！？瞧瞧去！！！</B><HR></BLOCKQUOTE>
难！
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