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  • Marketing tricks - WATT quantity alone is not enough

    The wattage is the most important sales argument for most amplifiers and speakers. It is often misunderstood and equated with volume (and the theory that more is better - like megapixels with cameras). Bigger numbers always seem to cost more, and numbers are easy to sell - A has more than B, so A must be better. Volume is a function of SPL (sound pressure level), measured in decibels (dB). Speakers are typically specified with the maximum wattage they can handle and the sound pressure level, e.g. "87dB @ 1W/1Meter". In other words, the 87dB loudspeaker produces 87 decibels with only 1 watt of amplifier power at a distance of 1 meter. Now consider that double the wattage is required to achieve a 3dB increase in volume level. So a 100 watt amplifier will deliver a 3dB higher volume level than a 50 watt amplifier. However, 3dB is not as noticeable as one would expect. To actually achieve a doubling of the perceived volume, an increase of 10dB is necessary. Let's take the 87dB loudspeaker as an example first and double the amplifier power: 1 Watt = 87dB 2 Watt = 90dB (Doubling the power to achieve an increase of 3dB) 4 Watt = 93dB 8 Watt= 96dB 16 Watt = 99dB (about twice as loud as on a 1 Watt amplifier) 32 Watt = 101dB 64 Watt = 104dB 128 Watt = 107dB 256 Watt = 110dB 512 Watt= 113dB Here you quickly realize that a higher volume not only has something to do with a more powerful amplifier, but that the loudspeaker sensitivity is also a variable. If you have a 97db @ 1W/1Meter sensitive loudspeaker, you get the following result: 1 Watt = 97db 2 Watt = 100dB ... 16 Watt = 109dB With the "87dB" loudspeaker, you would need about a 250 watt amplifier per channel to achieve the same volume as a 16 watt amplifier with the "97dB" loudspeaker. Of course, it is important to keep in mind how high a loudspeaker (manufacturer's specifications) can be amplified without causing damage. Therefore it also depends a lot on the sensitivity of the connected loudspeakers and especially on what I want to achieve/sonicate with the system. Basically, a powerful amplifier alone does not really say anything about the volume to be achieved, it's the combination that does it. Nevertheless, it can of course be assumed that an amplifier with a higher WATT specification can also generate a higher output if you compare this with a constant speaker. But you should not be guided by crazy PMPO specifications of some products. To know what an amplifier can do and what a loudspeaker can tolerate, the RMS value should always be used. But this is a different subject, which I will discuss separately in another article. Ps.: You will never be able to make a statement about sound quality with the WATT specification!


    A legend reports back frequency range: 12 - 38500 Hz | sound pressure level: 100 dB | impedance: 150 Ohm | dynamic Whoever wants a little more liveliness from the HD6XX besides a balanced sound, can risk an ear and gets an absolute price-performance hit. Sound 8.5 Bass Mids Trebles Stage Imaging 8.5 8.5 8.5 8.5 8.5 Handling 8.5 Processing Comfort Earpads Headband Weight 9 8 8 8 260 grams Total 8.5 Price 145 € Quickcheck Pro Contra - good wearing comfort - somewhat high contact pressure - energetic mids - slight shrillness - good, natural bass - sub bass rolloff - price-performance ratio - treble extension Intro In addition to the HD6XX, DROP also offers the HD58X Jubilee as a revised version of the HD580, the veteran of Sennheiser's dynamic high-end models, which was released almost 20 years ago and later replaced by the HD600/650. The HD580 gave SENNHEISER a very good reputation in the audiophile world and was, so to speak, the starting signal for the success story. The HD580 and the HD650 were not too far apart in terms of sound (judging by the graphs) at the time, nor are the HD6XX and the HD58X (based on real listening comparisons). They are even very similar. Handling There is not too much to add to the description of the HD6XX, because besides the sonic similarities they share the structural ones. The HD58X, consists of a good 80% of plastic. Only the reinforcement at the headband, with which the headphones can also be adjusted to the head shape, and the back grills of the ear cups are made of metal. The HD58X does not make a cheap impression, because the workmanship is of high quality and no production errors or rough tolerances can be detected. Compared to the HD6XX, you can't see the inside through the grid on the backside, but this is hidden by a thin foam inside. The earpads have a velour cover (which crunches a bit with glasses), which encloses the complete ear and fits very secure due to the (a bit too tight) contact pressure of the case. On the headband there is a foam padding, which prevents pressure pain as far as possible and allows wearing the headphones for a long time. The wearing comfort is therefore good, but somewhat limited by the high contact pressure and the somewhat spartan padding on the headband. I prefer a flexible headband. The accessories are reduced to a minimum, i.e. the same 3.5mm cable (1.8m) as with the HD6XX, plus an adapter to 6.3mm jack. The cable consists of two quite thick strands (left/right), which are led parallel. The connection to the headphones is done via a 2-pin connector (both sides). So we don't get much, but the most necessary things, which is also quite sufficient with regard to the price. Here, the headphones themselves are clearly in the foreground, and even without accessories, the price would justify itself for me. The HD58X is even 40 € cheaper than the HD6XX. Due to the open construction, one cannot speak of an isolation, which makes the HD58X only limited suitable for the public, whether on the street or in the office. Sound Bass In the bass we have a quantitative increase to the HD6XX. But this increase does not turn the whole signature upside down, but provides a somewhat stronger punch compared to the HD6XX. Qualitatively, the two don't take much, it's just a bit more present, which could please one or the other, but also scare off others. In the subrange I still miss a bit of pressure, but nevertheless I have the slightly higher expansion on the HD58X. Mids The mids have a good presence and play clearly and directly. However, I find them a bit demanding in the upper range with a slight shrillness in some songs. But they have the desired energy, which I sometimes miss on HD6XX. Vocals are a bit more in the foreground and have mostly a natural timbre, but are sometimes a bit garish, which can lead to symptoms of fatigue. Qualitatively they are however in sum quite high, both in resolution and tonal. However, you should keep an eye on the volume. This midrange presentation can be a curse and a blessing at the same time, especially if you love vocals. But for me the (upper) mids are still absolutely in the tolerable range. Trebles As with the HD6XX, the high frequency of the HD58X could be a bit more intense. It avoids the sibilants very well and has a good resolution, but I see some quality advantages with the HD6XX, which are not decisive. In comparison, the lower trebles are a bit more reduced, so that the upper mids are more effective than on the HD6XX. This makes the HD58X a little bit more mid-focused, which is nothing bad per se, but the balance and naturalness is lost a bit. Concerning the level of detail, both meet at eye level with a slight advantage on the HD6XX, which doesn't fire a spectacle either, but acts a bit more defined and leaves a more mature impression. Stage Despite the open design of the HD58X, the stage does not set any standards and moves on the same (good) level of the HD6XX with slight subjective advantages in all directions on the side of the HD58X, which certainly creates more tension, but is only a nuance. Imaging The separation appears a bit sharper than on the HD6XX due to the more direct response and voices come more to the fore, which also creates a more distinct depth, but there are no worlds in imaging between the HD58X and the HD6XX. The result is a clean 3D image, but this can by no means compete with the imaging of an AKG K812. Appropriate to the price is the right description. Outro This review is not intended to be a shootout between the HD6XX and the HD58X. Both have their right to exist. point. Nevertheless the comparison is obvious. The HD58X radiates more energy and also has the slightly better extension in the low frequency range. Due to the clearer focus on the upper mids due to the somewhat restrained lower treble range compared to the HD6XX, the absolute balance gets a bit lost, but still, the HD58X strives for a neutral sound with a slight warmth. However, the mids are a bit glaring and not as deep relaxed as on the HD6XX. In return, the HD58X sounds more lively and direct in its response, but I would attest the HD6XX a slightly better resolution, even if it doesn't have the clarity of the HD58X in comparison. In the end it depends on the personal preferences. If the HD6XX already brings you too much bass, you shouldn't orientate to the HD58X, but rather to the HD600. But if you want a little more liveliness from the HD6XX besides a balanced sound, you can risk an ear and get a competent headphone at an absolute price-performance hit. For me the HD6XX is the more mature and natural one of both, but the more fun and clearer one is the HD58X.


    Neutral reference at an unbeatable price frequency range: 10 - 41000 Hz | sound pressure level: N/A | impedance: 300 Ohm | dynamic Life is not a rainbow-colored unicorn, so you can't really blame the HD6XX for trying to stay authentic. Sound 8.7 Bass Mids Trebles Stage Imaging 8.5 9 9 8.5 8.5 Handling 8.5 Processing Comfort Earpads Headband Weight 9 8 8 8 260 grams Total 8.6 Price 185 € Quickcheck Pro Contra - good wearing comfort - somewhat high contact pressure - tonal correct - extension at both ends - neutral sound - not particularly exciting - price-performance - imaging Intro DROP (formerly Massdrop) is in the end nothing more than an online shop. But with the subtle difference that they also put their resources into product development with well-known big players. In most cases, the aim is to revise or reissue an existing product, make it more cost efficient and thus make it accessible to a wider audience. Examples are the AKG 7XX, HIFIMAN HE4XX, or the SENNHEISER HD6XX, which is based on the HD650 in terms of sound and appearance. This is still listed at SENNHEISER for 459 €, but is available at Thomann for just under 340 €. Well, the HD6XX is available via DROP for about 185 € and that without big differences in processing and sound (if you can believe the manufacturer, since I can't make a direct comparison at the moment). DROP also produces on demand and therefore in different batches, hopefully with the same quality control. So the product is not available on the shelf, but only exclusively through DROP and therefore not permanently. Soundwise you should be able to get something out of the SENNHEISER house signature, which is usually a bit more reserved and neutral, warmly tuned, at least when we talk about the H5XY and H6XY models. Handling Keyword cost efficiency. The HD6XX, consists of a good 80 % of plastic. Only the reinforcement on the headband, which also allows the headphones to be adjusted to the shape of the head, and the back grills of the ear cups are made of metal. However, the HD6XX does not make a cheap impression, because the workmanship is of high quality and no production errors or rough tolerances can be detected. The earpads have a velour cover (which crunches a little bit with glasses), which encloses the complete ear and fits very securely due to the (a little too tight) contact pressure of the housing. On the headband there is a foam padding, which prevents pressure pain as far as possible and allows wearing the headphones for a long time. The wearing comfort is therefore good, but somewhat limited by the high contact pressure and the somewhat spartan padding on the headband. I prefer a flexible headband. The accessories are reduced to a minimum, i.e. a 3.5mm cable (1.8m) and an adapter to a 6.3mm jack. The cable consists of two quite thick strands (left/right), which are led parallel. The connection to the headphones is done via a 2-pin connector (both sides). With the detachable cable you have the possibility to use the HD6XX balanced, whether with an adapter (25 €) to MMCX, or 2-Pin 0.78mm (a balanced cable to 4.4mm, or 2.5mm is required), or with a quite expensive balanced cable directly from Sennheiser. We don't get much, but we get the most necessary, which is quite sufficient in terms of price. Here, the headphones themselves are clearly in the foreground, and even without accessories, the price would justify itself for me. One cannot speak of isolation due to the open construction, which makes the HD6XX only suitable for public use to a limited extent, whether on the street or in the office. Sound Bass The bass is quite linear, with a slight drop in the subrange. Therefore, it is more emphasized in the mid-bass without being exaggerated, but still close to the neutral ideal. I would like to see a bit more punch and firmness, but when it comes to fun in the low end, the HD6XX likes to give the sceptre away and prefers to limit itself to a natural response and realism. For me it would be close to the ideal if it would give off 2-3 dB in the upper bass and add this to the sub bass. If you prefer a well-dosed, natural bass, which is a bit softer but not muddy, the HD6XX is the right choice. Mids For my taste, the mids are the heart of the HD6XX. However, I understand also such opinions, which describe them as somewhat veiled and conservative. Well, they certainly don't have a WOW-factor, but they are damn natural in their presentation. The point of criticism is the clarity, so I go with the first argument. But only to a limited extent, because I don't have the feeling that something is being withheld from me or that the mids are falling behind compared to the bass or trebles. On the contrary. The HDXX is a slightly mid-focused headphone, which however harmonizes very well with the bass and treble and is oriented towards a neutral frequency response. The mid/upper bass gives them a bit more warmth, to speak of absolute neutrality, but this makes the mids more musical and gives them a natural sounding timbre. Vocals should be mentioned here as a highlight, but the tonality of instruments is not to be blamed either. Trebles In the high frequencies the HD6XX is a bit more reserved than it should be. It sounds absolutely realistic and provides a lot of information, but in the top end it might be a few dB more without making the sound too bright or artificial in my opinion. This could also give the HD6XX more transparency. Here I would like a more direct response, but as in the bass and mids this is criticism on a high level, because basically the HD6XX does everything right when it comes to natural sound reproduction. Only a little bit the effervescence is missing, but life is not a rainbow-colored unicorn and therefore you can't really blame the HD6XX when it tries to stay authentic. Sibilants or peaks I can't make out, which makes for an absolutely safe and fatigue-free sound experience. Tonal correctness is clearly more important for the HD6XX than the big show. Stage Thanks to the open construction, the stage has a lot of space in the width, but it is somewhat limited in the vertical. This means that the sound information is displayed in a somewhat compressed form when compared with the AKG K/Q701, for example. However, this gives the HD6XX a pleasant intimacy and it has a robust foundation. Imaging When it comes to imaging, the HD6XX doesn't necessarily play over budget, but it plays within it. Due to the somewhat lacking clarity and sharp separation, the HD6XX doesn't have any localization problems, but the space between the individual pieces of information is not the biggest and can collide here and there. Nevertheless, a very coherent 3D image is created, which I find realistic, even though I would like to have a little more space to the top. Outro The HD6XX is often considered the best value for money at the moment when it comes to a laidback, neutral sound with a warm touch. This is true, but this characteristic is also a reason why the headphone won't knock people out in rows, because the HD6XX doesn't offer an exciting sound experience. Instead, a very natural one, with slight deficits in stage and imaging, which means grumbling on a high level. The relaxed and somewhat "veiled" sound presentation (typical for SENNHEISER) is certainly not to everyone's taste, but for me the HD6XX sounds just right and sufficiently musical, which it has ahead of many AKG models. In addition, there are no limitations in the audibility, which is a bit at the expense of the expansion at both ends. Also by its appealing detail rendition, the wearing comfort and the authentic sound, especially in the voice reproduction, it is indeed a value that is hard to top, since the HD6XX is above all a weapon in tonal terms.

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    BUDGET REVIEW BL-05 BLON Wertung Preis 7.9 40 € Review published: 05/2020 Treiber 1 pro Seite 1 Dynamisch 0 Balanced Widerstand 32 Ohm PZ/ES/PL 0 Klang 8 Bass 8 Mitten 7.5 Höhen Empfindlichkeit 108 dB 7.8 Handling 8.5 Haptik A Value + Alltag Frequenzgang 20 - 20000 Hz Intro Es ist immer wieder interessant wie Erwartungen geweckt werden, wenn Informationen durchsickern, oder sich jemand bekannteres zu etwas äußert. Der BLON BL-05 ist so ein Hype-Phänomen. Bevor er überhaupt erhältlich war, bekam er aufgrund des beliebten Vorgängers BL-03 schon eine sehr hohe Reputation, ohne überhaupt etwas dafür tun zu müssen. Erst wurde der BL-05 als Hybrid mit einem dynamischen und einem Piezo-Treiber geplant. Schlussendlich ist es ein einzelner dynamischer Treiber geworden, welcher sich “2nd Generation 10mm CNT Diaphragm Driver“ schimpft. Beim Blon BL-03 war es “nur“ ein “10mm Carbon Diaphragm Dynamic Driver“. BLON geht mit der Treiberauswahl einen sehr sicheren Weg und verändert nur Kleinigkeiten im Tuning, was den BL-05 klanglich nicht wirklich zu einem anderen, eigenständigen IEM macht. Ein Bisschen wie bei MOONDROP und dem Kanas Pro, Starfield und KXXS. Handling BELIEF LETMUSICBURN OPPOTY NEVERGIVEUP Was auch immer uns BLON damit sagen will, es steht groß und Fett auf der Verpackung und ich hoffe wirklich, dass dies nicht die Firmenbeschreibung für B-L-O-N ist. Das war schon beim BL-03 ein “Runninggag“ für die CHI-FI-Gemeinde und es ist ein bisschen unverständlich warum sie das übernommen haben. Bei “Oppoty“ weiß ich bis heute nicht, was das bedeuten könnte. Konnte man sich beim BL-03 noch aussuchen wie rum man ihn tragen möchte, wenn man ein passendes Kabel ohne Ohrhaken zur Hand hatte, so ist der BL-05 ausschließlich über das Ohr zu tragen. Er hat ein interessantes und eigenständiges Design und besteht komplett aus Metall. Das macht ihn etwas schwerer, aber nicht unangenehmer zu tragen. Die Schallröhrchen sind allerdings immer noch etwas kurz, was schon beim BL-03 nicht gerade für Begeisterung gesorgt hat. Es mit der durchaus guten Auswahl an Silikontips gar nicht so einfach einen guten Sitz zu erzielen und man sollte am besten zu etwas festeren Foamtips greifen, falls vorhanden. In der Packung befinden sich noch ein Stoffbeutel zur Aufbewahrung und dasselbe Kabel wie beim BL-03, was zwar brauchbar ist, aber nicht besonders qualitativ, oder mit einer angenehmen Haptik gesegnet. Hat man einen perfekten Fit erreicht ist die Isolation sehr gut und auch der Tragekomfort ist etwas angenehmer als beim BL-03. Klang Was direkt auffällt, ist der gezähmte Bass. Dieser wurde ein gutes Stück nach unten gesetzt. Das lässt den BL-05 insgesamt subjektiv definierter und heller erscheinen. Dabei geht aber Wärme und Körper verloren. Das wird natürlich diejenigen freuen, die den recht prominenten, weichen und etwas aufgeblähten Bass des BL-03 kritisiert haben, aber ebenso Bassfreunde enttäuschen, welche genau diesen angehobenen, aber vollmundigen und warmen Bass lieb gewonnen haben. Der Bass wirkt etwas schneller und tighter beim BL-05, aber ist qualitativ auf einem sehr ähnlichen Niveau. Er klingt mit seinem Anschlagverhalten recht natürlich, auch wenn mir etwas der Kick, die Festigkeit und Druck fehlt. Zum einen ist der Bass beim BL-05 sicherlich Geschmackssache, was die Quantität im Vergleich zum BL-03 betrifft, zum anderen erkenne ich aber leichte Vorteile im Schwingverhalten des neuen Treibers. Der Bass drückt nicht mehr ganz so stark in die Mitten, was diese mehr nach vorne kommen lässt. Stimmen sind im Mix mehr im Vordergrund und klingen sehr klar und energisch, ohne aber in kreischende abzurutschen. Ich finde die Stimmenpräsentation beim BL-03 etwas emotionaler und die Mitten voller, dafür kann ich dem BL-05 mehr Definition und Klarheit attestieren. In der Detailwiedergabe nehmen sich die beiden nichts. Ich mag die Mittenpräsentation des BL-05 etwas mehr, aber grundsätzlich wird diese mehr oder weniger nur durch den Bassanteil beeinflusst. Im Gegensatz zum BL-03 würde ich behaupten, dass der BL05 etwas besser mit komplexer Musik zurechtkommt, da der Treiber einfach schneller und präziser reagiert. Dennoch ist hier kein qualitativer Quantensprung zu erwarten. Auch die Höhen scheinen subjektiv durch die Bassrücknahme ein bisschen mehr zur Geltung zur kommen. Ich sage absichtlich subjektiv, da der Frequenzgang eigentlich keinen Unterschied erlauben dürfte. Hier ist es interessant, wie die psychoakustische Wahrnehmung sich verändert, nur durch das spielen mit dem Bassimpakt in der Signatur und zeigt auch wieder, dass man einen In-Ear nicht nur an seinem Graphen bewerten kann und sollte. Für mich klingen sie manchmal ein bisschen Aufgesetzt (Fix You (Live in Buenos Aires) – Coldplay) und haben nicht die allergrößte Erweiterung, bzw. kann es ab und an etwas artefaktisch werden, was auch schon beim BL-03 der Fall war. Dennoch spielen sie recht angenehm, ohne übertriebene Härte und Sibilantenbetonung. In der Summe können sie aber ab einer gewissen Lautstärke etwas schneller ermüdend werden, als beim BL-03, was aber eher der helleren Klangwahrnehmung geschuldet ist. Die Bühne ist auf einem ähnlichen Niveau, wirkt aber ein bisschen luftiger und aufgeräumter, als beim BL-03. Letzteres gilt auch für die Separation. Outro Ich denke, dass BLON mit dem neuen Treiber einen ganz guten Griff gelandet hat, was die Performance anbelangt, auch wenn der Gewinn minimal ist. Ebenso machen die leichten, klanglichen Anpassungen durchaus Sinn, wenn diese den persönlichen Geschmack treffen, denn im Grunde haben wir die gleiche Signatur und nur der Bass macht einen wirklichen Unterscheid aus. Ich kann mit beiden Basspräsentationen etwas anfangen. Dazu wurde der Tragekomfort durch das neue Design verbessert, was wohl der größte Kritikpunkt am BLON BL-03 war, auch wenn es hier sicherlich auch noch Verbesserungspotenzial gibt. Es fühlt sich ein bisschen an, als ob hier ein bereits gutes Produkt, zur Geldgewinnung nur ein bisschen aufgewärmt wurde, anstatt es wirklich zu Ende zu denken. Der BL-05 ist dennoch ein toller IEM in der Preisklasse und dazu ein prima Allrounder. Was die Klangqualität betrifft, ist er aber kein wirkliches Upgrade, sondern es handelt sich eher um eine Anpassung, die man auch mit einem guten Equalizer hinbekommen hätte. Da hilft auch der neue Treiber nichts. Dennoch würde ich durch die leichten Vorteile im Handling zum BL-05 greifen und mir den Bass wieder hochschrauben, wenn es gewünscht ist. Intro It is always interesting to see how expectations are raised when information is leaked, or when someone better known makes a statement about something. The BLON BL-05 is such a hype phenomenon. Before it was even available, it already got a very high reputation because of its popular predecessor BL-03, without having to do anything for it. First the BL-05 was planned as a hybrid with a dynamic and a piezo driver. In the end it became a single dynamic driver, which is called "2nd Generation 10mm CNT Diaphragm Driver". With the Blon BL-03 it was "only" a "10mm Carbon Diaphragm Dynamic Driver". BLON takes a very safe way with the driver selection and changes only small things in the tuning, which doesn't really make the BL-05 a different, independent IEM. A bit like MOONDROP and the Kanas Pro, Starfield and KXXS. Handling BELIEF LETMUSICBURN OPPOTY NEVERGIVEUP Whatever BLON is trying to tell us, it's big and fat on the packaging and I really hope that this is not the company description for B-L-O-N. This was already a "running gag" for the CHI-FI community with the BL-03 and it's a little bit incomprehensible why they took it over. With "Oppoty" I still don't know what this could mean. If you could still choose how you want to wear it with the BL-03, if you had a suitable cable without earhooks at hand, the BL-05 can only be worn over the ear. It has an interesting and independent design and is completely made of metal. This makes it a little bit heavier, but not more uncomfortable to wear. The sound tubes are still a bit short, though, which didn't make the BL-03 very popular. It is not so easy to achieve a good fit with the quite good selection of silicone tips and one should best reach for some firmer foam tips, if available. In the package, there is also a cloth bag for storage and the same cable as the BL-03, which is useful, but not very qualitative, or blessed with a pleasant feel. Once you have achieved a perfect fit, the insulation is very good and the wearing comfort is also a bit more pleasant than with the BL-03. Sound What immediately stands out is the tamed bass. This one was put down a good bit. This makes the BL-05 appear subjectively more defined and brighter. However, warmth and body are lost in the process. Of course, this will please those who have criticised the BL-03's rather prominent, soft and somewhat bloated bass, but it will also disappoint bass fans who have grown fond of exactly this raised, but full-bodied and warm bass. The bass seems a bit faster and tighter on the BL-05, but is on a very similar level of quality. It sounds quite natural with its attack, even if it lacks some of the kick, firmness and pressure. On the one hand, the bass of the BL-05 is certainly a matter of taste when it comes to quantity compared to the BL-03, but on the other hand I can see slight advantages in the swinging behaviour of the new driver. The bass doesn't push the midrange as hard anymore, which makes it come more forward. Vocals are more in the foreground in the mix and sound very clear and energetic, but without slipping into screaming. I find the voice presentation of the BL-03 a bit more emotional and the mids fuller, but I can attest the BL-05 more definition and clarity. In the detail reproduction the two don't take anything. I like the midrange presentation of the BL-05 a bit more, but basically it is only influenced by the bass part. In contrast to the BL-03 I would say that the BL-05 copes a bit better with complex music because the driver simply reacts faster and more precise. Nevertheless, no qualitative quantum leap is to be expected here. Subjectively, the trebles also seem to be a bit more accentuated by the bass rollback. I deliberately say subjective, as the frequency response shouldn't really allow any difference. Here it's interesting to see how the psychoacoustic perception changes, just by playing with the bass impact in the signature and again shows that you can and should not judge an in-ear only by its graph. For me, they sometimes sound a bit fake (Fix You (Live in Buenos Aires) - Coldplay) and don't have the greatest expansion, or it can get a bit artifact-like from time to time, which was already the case with the BL-03. Nevertheless they play quite pleasantly, without exaggerated hardness and sibilant emphasis. Overall, they can become tiring a bit faster than the BL-03 after a certain volume, which is due to the brighter sound perception. The stage is on a similar level, but appears a bit more airy and tidy than on the BL-03. The latter also applies to the separation. Outro I think that BLON has landed quite a good grip with the new driver in terms of performance, even if the gain is minimal. Likewise, the slight tonal adjustments make perfect sense if they suit personal taste, because basically we have the same signature and only the bass makes a real difference. I can do something with both bass presentations. On top of that, the new design has improved the wearing comfort, which was probably the biggest criticism of the BLON BL-03, even though there is certainly room for improvement here. It feels a bit as if an already good product has been warmed up just a little bit to win money instead of really thinking it through. The BL-05 is still a great IEM in its price range and a great all-rounder. As far as sound quality is concerned, it is not really an upgrade, but rather an adjustment that could have been achieved with a good equalizer. Even the new driver doesn't help here. Nevertheless, due to the slight advantages in handling, I'd go for the BL-05 and screw up the bass again if I wanted to. Legende Haptik: Hier spielt die Verarbeitung mit rein und die Nutzbarkeit des Lieferumfangs. Zusätzlich das Erscheinungsbild, Tragekomfort und die Robustheit. Value: Hier bewerte ich für mich subjektiv das Preis-/Leistungsverhältnis - fließt nicht in die Bewertung ein! Z: No Brainer A: gut investiertes Geld B: kann man schon machen C: gibt besseres für weniger Geld D: überteuert E: Liebhaberpreis ​ Alltag: Hier lasse ich vor allem die Durchhörbarkeit einfließen und ob ich ihn Out-Of-The-Box gut hören kann. Das ist natürlich sehr subjektiv und daher nur ein minimaler Abzug, oder Bonus.(-0.1, 0, +0.1) Bewertung in Buchstaben S: 9.5 - 10 A: 9.0 - 9.4​ B: 8.0 - 8.9​ C: 7.0 - 7.9 D: 6.0 - 6.9​ E: 5.0 - 5.9​ F: 0.0 - 4.9​ BL-01 S1 BL-03 BL-05 BL-05s Second Opinion: ​ ​ Second opinion ​ ​

  • OBRAVO - Reviewed by CHI-FIEAR

    High-Class Premium OBRAVO OBRAVO CUPID Wertung 5.3 Klang 4.8 Handling 9 Preis 195 € Zum Test


    Premium REVIEW OH500 ORIVETI Bewertung Preis 9 450 € Review published: 05/2019 Treiber 5 pro Seite 1 Dynamisch 4 Balanced Widerstand 13 Ohm PZ / ES / PL 0 Klang 9 bass 8.5 Mitten 9 Höhen Empfindlichkeit 108 dB 8.8 Handling 9.5 Haptik B Value + Alltag Frequenzgang 20 - 20000 Hz Intro Nach dem OH300 habe ich auch den OH500 von für eine Rezension geliehen bekommen, welche in Deutschland die Exklusivrechte für den Vertrieb der Produkte von ORIVETI besitzen! Der OH500 hat im Vergleich zum OH300 zwei Ba-Treiber mehr, was ihn in Summe zum 5-Treiberhybriden macht mit einem Preisaufschlag um die 180€. Im direkten Vergleich muss ich gestehen, dass mir jedoch anfangs der kleine Bruder mehr zugesagt hat, allerdings konnte der OH500 im Langzeittest aufholen und den OH300 sogar überholen. Handling Der Packungsinhalt ist identisch zum OH300, was bedeutet das zahlreiche Accessoires, wie verschiedenste Größen an Form- und Silikontips, einer runden und wertigen Ledertransportbox und ein Premiumkabel mit 8 Kernen den Weg in die Hände des Käufers finden. Selbst ein Reinigungsset für die Schallröhrchen ist mit dabei und so lässt der Lieferumfang samt den Kopfhörern keine Wünsche offen. Auch der Tragekomfort gleicht trotz leichter Formänderung des Gehäuses dem des OH300 und ist somit ausgezeichnet! Dies gilt ebenso für die Isolation nach innen und außen. Dadurch eignet sich der OH500 gleichermaßen für den Bühneneinsatz, wie auch für den Alltag, ob nun Unterwegs, oder beim Sport. Das Design ist ähnlich wie beim OH300 schlicht und edel, ohne sich durch besondere Extravaganz auszuzeichnen, was aber auch nicht nötig ist. sound Der OH500 ist im Gegensatz zu dem OH300 etwas wärmer und neutraler abgestimmt. Er wirkt dadurch flacher und weicher, ohne jedoch langweilig zu werden, oder zu stumpf zu klingen. Er geht einfach einen anderen Weg, für welchen man eine kurze Eingewöhnungszeit benötigt. Dann kann er aber vollauf überzeugen! Der Bass ist nahezu identisch mit dem des OH300, da hier unteranderem auch derselbe dynamische Treiber verwendet wird. Ich würde ihn bestenfalls etwas runder und nicht mehr ganz so präsent bezeichnen, was Puristen eher zugutekommt. Dennoch hat er genug Präsenz im gesamten Klangbild, ohne sich jedoch zu stark in den Vordergrund zu drängen. Wie auch beim OH300 würde ich mir etwas mehr Schraffheit wünschen. Das ist aber meckern auf hohem Niveau, da die Performance über dem Durchschnitt der kostengünstigeren Chi-Fi-In-Ears liegt. Die Mitten sind im Gegensatz zum OH300 etwas wärmer, flacher und weicher. Das irritiert am Anfang leicht im direkten Vergleich, aber einmal dran gewöhnt, offenbart sich hier eine weitere Stärke des OH500. Denn die Mitten sind keinesfalls zurückgenommen, oder stumpf, sondern klar und sauber, sowie tonal absolut korrekt. Die Positionierung der Stimmen, welche etwas mehr in den Vordergrund rücken, sowie die der Instrumente, steht dem OH300 in nichts nach. Separation und Detailfülle sind überzeugend und schaffen einen wunderbaren, transparenten Klangteppich. Die Höhen dürften den größten Unterschied zwischen den beiden Modellen ausmachen. Sie fallen beim OH500 etwas milder aus, was sie aber nicht in der Erweiterung und Detailvielfalt einschränkt. Ich würde sogar behaupten, dass die Höhen noch feiner und differenzierter Auflösen als beim OH300. Dazu gibt es keinerlei Probleme mit Sibilanten, oder Peaks, welche beim OH300 in den seltensten Fällen noch eine Rolle spielen können. Ähnlich wie beim Kanas Pro, oder dem 1MORE E1010, schaffen es die Höhen auf entspannte Art und Weise kleinste Nuancen aufzudecken. Das hat schon Studiomonitoringqualität! Durch die geschaffene Räumlichkeit auf unterschiedlichen Ebenen ist es immer wieder spannend der Musik neue Facetten abzugewinnen und komplett einzutauchen. Ganz klar ein Highlight der OH500. Die 3D-Darstellung ist mit das Beste was ich bisher hören durfte. Ich hatte bisher noch keinen In-Ear, der es vermochte eine solch große Bühne zu reproduzieren, ohne unnatürlich zu werden, oder unübersichtlich. Hier macht sich der preisliche Unterschied zum OH300 eben auch bemerkbar, da nicht einfach wahllos zwei BAs hinzu gefügt wurden, sondern akkurat aufeinander abgestimmt sind und es so schaffen, dem starken Klangbild des OH300 noch einen drauf zu setzen. Outro Nach dem Langzeittest gewinnt der OH500 den direkten Vergleich zum OH300 und schafft es sogar den Kanas Pro von seinem Tron zu verdrängen. Der OH500 ist sicherlich kein Blindkauf, da er durch sein Tuning wahrscheinlich nicht jeden Geschmack treffen wird, schon gar nicht wer es etwas heller und badewanniger mag. Ich bin allerdings durchaus begeistert und würde ihn direkt zu meinem täglichen In-Ear befördern, wenn ich ihn nicht wieder abgeben müsste. Der OH500 bietet alles was den OH300 schon zu einem Premium-Produkt machte und schafft es durch seine feinfühlige Art noch eine kleine Schippe drauf zu legen. Dennoch kann ich absolut nachvollziehen, wenn einige lieber mit dem OH300 ins Rennen gehen. Das ist halt Geschmackssache! HEADTEK: ORIVETI: Intro After the OH300 I also borrowed the OH500 from for a review, which owns the exclusive rights for the distribution of ORIVETI products in Germany! The OH500 has two more BA drivers than the OH300, which makes him a 5-driver hybrid with a price premium of 180€. In a direct comparison I have to admit that in the beginning the little brother promised me more, but the OH500 could catch up in the long-term test and even overtake the OH300. Handling The package contents are identical to the OH300, which means that numerous accessories, such as various sizes of form and silicone tips, a round and high-quality leather transport box and a premium cable with 8 cores find their way into the hands of the buyer. Even a cleaning set for the sound tubes is included and so the scope of delivery including the headphones leaves nothing to be desired. The wearing comfort is also similar to that of the OH300 despite the slight change in shape of the housing and is therefore excellent! This also applies to the isolation to the inside and outside. This makes the OH500 equally suitable for stage use, as well as for everyday use, whether on the road or during sports. The design is similar to the OH300 simple and elegant, without being distinguished by special extravagance, which is also not necessary. Sound In contrast to the OH300, the OH500 is slightly warmer and more neutral. It looks smoother and flatter without getting boring or sounding too dull. It simply goes another way, for which you need a short acclimatization period. But then he can convince completely! The bass is almost identical to that of the OH300, because the same dynamic driver is used among other things. At best, I would describe it a bit rounder and not quite as present, which is more beneficial for purists. Nevertheless, it has enough presence in the overall sound without pushing itself too much into the foreground. As with the OH300, I would like to see a little more hatching. But that's a high level of complaining, because the performance is above the average of the cheaper Chi-Fi-In-Ears. In contrast to the OH300, the mids are somewhat warmer, flatter and softer. At the beginning, this is slightly irritating in a direct comparison, but once you get used to it, another strength of the OH500 becomes apparent here. Because the mids are by no means receded, or blunt, but clear and clean, as well as tonally absolutely correct. The positioning of the voices, which move more into the foreground, as well as that of the instruments, is in no way inferior to that of the OH300. Separation and detail are convincing and create a wonderful, transparent sound carpet. The highs should make the biggest difference between the two models. They are a bit milder on the OH500, but this doesn't limit them in terms of expansion and detail. I would even say that the treble resolution is even finer and more differentiated than with the OH300. There are no problems with sibilants or peaks, which can rarely play a role with the OH300. Similar to the Kanas Pro, or the 1MORE E1010, the highs manage to reveal the smallest nuances in a relaxed way. This already has studio monitoring quality! Due to the created spatiality on different levels, it is always exciting to gain new facets from the music and to immerse it completely. Clearly a highlight of the OH500. The 3D imaging is one of the best I've heard so far. I have never had an in-ear that could reproduce such a large stage without becoming unnatural or confusing. The price difference to the OH300 is also noticeable here, because not only two BAs were added randomly, but they are accurately tuned to each other and thus manage to enhance the strong sound of the OH300. Outro After the long-term test, the OH500 wins the direct comparison to the OH300 and even manages to displace the Kanas Pro from its Tron. The OH500 is certainly not a blind buy, as it probably won't suit every taste due to its tuning, especially if you like it a bit brighter and more bathtub. However, I'm quite enthusiastic and would take him straight to my daily in-ear if I didn't have to give him up again. The OH500 offers everything that already made the OH300 a premium product and, thanks to its sensitive nature, manages to add a little something to it. Nevertheless, I can absolutely understand if some prefer to go into the race with the OH300. That's just a matter of taste! HEADTEK: ORIVETI: Legende Haptik: Hier spielt die Verarbeitung mit rein und die Nutzbarkeit des Lieferumfangs. Zusätzlich das Erscheinungsbild, Tragekomfort und die Robustheit. Value: Hier bewerte ich für mich subjektiv das Preis-/Leistungsverhältnis - fließt nicht in die Bewertung ein! Z: No Brainer A: gut investiertes Geld B: kann man schon machen C: gibt besseres für weniger Geld D: überteuert E: Liebhaberpreis ​ Alltag: Hier lasse ich vor allem die Durchhörbarkeit einfließen und ob ich ihn Out-Of-The-Box gut hören kann. Das ist natürlich sehr subjektiv und daher nur ein minimaler Abzug, oder Bonus (-0.1, 0, +0.1) Bewertung in Buchstaben S: 9.5 - 10 A: 9.0 - 9.4​ B: 8.0 - 8.9​ C: 7.0 - 7.9 D: 6.0 - 6.9​ E: 5.0 - 5.9​ F: 0.0 - 4.9​ 1 2 8 1 1/8 OH300 OH500 ​ ​ ...

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