The $150 Sennheiser IE 200 is a well tuned, great sounding single DD with a perfect timbre that beats even some of its more expensive siblings. Now on our Wall of Excellence.

The Sennheiser IE 200 was provided by their US distributor upon my request. And I thank them for that.

Introduction

Sennheiser have been known to us mainly for their headphones. Their HD 25 have been in production since 1988, and their HD 600 (my go-tos) since 1997. The company, established in 1945, obviously knows what they are doing. And although they are from Germany, Asia is their biggest market. Sennheiser is some kind of a status symbol there, like Mercedes or BMW.

But when it comes to earphones, they may have been a bit slow. Sennheiser may have invented the earbuds, which may have prevented them from catching on to the earphone market fast. Their early models had a thick and fuzzy bass tied to a classic V-shape, like the CX 300B MKII or the Momentum In Ear.

This changed somewhat in 2019 with the release of the Pro series, designed for musicians: the $99 IE 40 Pro, $349 IE 400 Pro, and $599 IE 500 Pro. Strangely enough, the IE 400 Pro sounded the best of the lot. The $300 IE 300 followed a year later, which featured a new shell design with new silicon eartips. The difference between all these models is discussed here.

Sennheiser maintained the IE 300’s shell shape for their recent super premium models IE 600 and IE 900, but also for the $150 IE 200.

TL;DR: the Sennheiser IE 200 are the company’s best sounding iems below the IE 600 and IE 900 – they run circles around their more expensive Pro series. The company finally got some affordable in-ears 100% right.

Specifications Sennheiser IE 200

Physical Things and Usability

In the box are the earpieces, a cable with 3.5 mm plug, 2 sets of eartips (S/M/L), a storage pouch and the paperwork. The IE 200’s earpieces have the same dimensions and other physical properties as the IE 300’s: they are inconspicuous, haptic wise, although Sennheiser certainly know their polycarbonates. The shells are small and light, you can even wear them in bed, and they are very comfortable.

What also contributes to comfort and fit are the shapeable earhooks…they don’t feature that kind of memory wire that cuts the circulation in your ears off. There are only two iems outside the Sennheiser family I have auditioned (out of >500) that are similarly small and comfortable: the discontinued Brainwavz B200 and Beyerdynamic Soul Byrd.

The cable is fairly basic: let’s say, it works. It tangles up easily and once it has, you are in for some fun. From my conversations with the company, Sennheiser appear to have never cared about fancy looking cables, they are all about pragmatism. Fitting a third-party cable is difficult as the MMCX sockets are recessed. I could not find a single “upgrade” cable in my stash that fits, not even that from the IE 500 Pro would do.

Just like in the IE 300, Sennheiser changed their standard silicone eartips to a kind that doesn’t provide seal for many users, including myself. I therefore once again deployed the SpinFit CP100 tips, which work extremely well with the IE 200 (and my ears).

Tonality and Technicalities

Reviewers typically subdivide the sonic characteristics of a device into “lows, mids, and highs”, then elaborate on the soundstage, in order to lose the reader in comparisons with other recent models. A useful synthesis is too frequently missing and the reader is scratching their head, wondering how the product actually sounds overall, whether it justifies its price, and what’s missing to a true stellar premium product.

Some never care about usability at all. What good is great sound when these little rascals are uncomfortable in our ears?

The Sennheiser IE 200 make the case for a holistic approach…before going into details: they are perfectly tuned iems with a perfect timbre that only fall short of super premium iems by their lack of super headroom, super staging, and they have possibly a somewhat too dry of a sound. The sonic quality difference is probably mostly in the shells’ cavity and not the driver.

Nevertheless, this model is so good that I have used almost no other iem in the last weeks. I could stop here. But, what makes the perfect tuning? After all, even an experienced company such as Sennheiser had failed to produce a decent sounding set of affordable in-ears for the longest time.

Well…comes a young acoustician by the name of Anders Hed and changes it all. And the IE 200 are only his first effort.

What makes the tuning of the IE 200 special? Alone from the graph you can guess the fluidity and smoothness of the sound, considering timbre has never been an issue for Sennheiser. They don’t use balanced armature drivers because of potential crossover issues.

Bass is rather subtle with a natural decay, mids are in the foreground with good note definition and decent (but not optimal) note weight. At the high end, that tizziness in the uppermost registers of the IE 300 is gone, the treble is sweet.

Where the IE 200 falls off the super-premium wagon is a comparatively shallow staging (wide, not deep) and a lack of sheen. But all of this is more than compensated for by the aforementioned fluidity, which makes for an irresistible listening experience. A great rare example of a very enjoyable product independent of price.

IE 200 and IE 300 share the same driver (as far as I know), but the tuning obviously makes the difference.

The IE 200 does not have the lower midrange congestion and treble spike of the IE 300 or the veil of earlier models such as the IE 500 Pro. It is a transparent sounding, well resolving iem with a great timbre.

Remains the question which of my iems are better? Only two, the discontinued $700 Dunu Zen, and the $650 LETSHUOER EJ07M. The Zen have more depth and more sparkle (but also an upper midrange glare), and better microdynamics and micro detail, and the EJ07M is a better resolving jack of all trades. But the IE 200 are smaller and lighter, and therefore more comfortable.

Concluding Remarks

The Sennheiser IE 200 may be the company’s answer to mid-price ChiFi, considering Asia is their biggest market. And boy did they get it right this time. There is no competition for the IE 200 in their class, sonically and comfort wise. Period! They are earphones for real music lovers and one of the most impressive iems I have auditioned in a long time.

Sennheiser shows that tuning by trained professionals pays off. They know what they are doing (I am repeating myself). No need to replace the IE 200 with an update next year…which also builds and/or retains customer confidence.

Gut gemacht! Sehr gut sogar! Wall of Excellence! Done!

Until next time…keep on listening!

The post Sennheiser IE 200 Review – Back On Top appeared first on Music For The Masses.

The EarMen CH-Amp was supplied by the company and I thank them for that – and for their patience (I tested critically for over 2 months). You can purchase it for $1480 (at the time of writing) from the EarMen shop.

Introduction

EarMen are designers and manufacturers of premium audio products from Europe. They are registered in Chicago however develop and produce in Serbia. They are a young company, but with lots of experience as they are an offshoot of premium manufacturer Auris Audio.

EarMen are confident. They do not offer umpteen models of the same at similar prices. No, one model fits all. And they don’t hand the responsibility of a good sound to the user through countless tweaking options. Their devices sound as good as they should out of the box.

EarMen products have long shelf lives: they are well designed so that the buyer does not have to fear their purchase will be superseded by an “upgrade” anytime soon.

EarMen like puns in their product names: Donald DAC, ST-Amp, and TR-Amp. And now the CH-Amp.

EarMen impressed us first with their dongles, the $129 Eagle and the $199 Sparrow. The former is still the lowest-priced dongle with premium sound on the market in my opinion. And the Sparrow is Biodegraded’s daily driver. It is not only the sound that is impressive but also the design and premium build.

Next, EarMen delighted us with their portable headphone amps, the affordable TR-Amp and the pricier Angel. And then came the Tradutto, their premium DAC designed to go with the CH-Amp. And, boy, does this synergy work.

Specifications CH-Amp

Physical Things

In the box are the actual Ch-Amp, the PSU-3 linear power supply, one 5-pin cable to connect both, and three more standard power cables to connect three more 12 V devices, for example the EarMen Tradutto (which has the same dimensions as the CH-Amp for perfect stacking), a combo remote for CH-Amp and Tradutto, and the manual. These are more accessories than listed in the manual (which you can download here).

A power cord is not included as EarMen are of the opinion that audio enthusiasts have their own preference, worldwide plug standards vary – and everybody has a spare in their drawer anyway. While such a cord is easy to get, a 4.4 mm balanced Pentaconn cable is still a rare thing – and EarMen are advised to offer one in their online shop.

PSU-3, CH-Amp (and even the remote) have appealing, minimalistic industrial designs with clear, straight lines. And they continue EarMen’s tradition of EXCEPTIONAL build quality.

The units are very heavy (3.5 kg combined) and sturdy. The CH-Amp’s printed circuit board is sitting in a one-piece aluminum enclosure with galvanized steel bottom (the same accounts for the PSU-3). Button and dial mechanisms are precise and rugged. Of all devices I have tested, only Burson products have a comparable build quality.

Like the Tradutto, the CH-Amp features an OLED display that indicates the settings.

The CH-Amp is shape wise and technically matched with the Tradutto DAC and essentially relies on this DAC to form the EarMen stack. The CH-Amp’s remote operates both devices.

Features

The CH-Amp is a fully balanced amplifier that comes with a sophisticated linear power supply that handles an additional three devices. The CH-Amp features 2 circuits, a single-ended 6.35 mm one and a more powerful 4.4 mm balanced one. It deploys German quality WIMA capacitors, audio electrolytes in combination with MELF low noise resistors and SoundPlus OPA1642 operational amplifiers.

For balanced operation, the CH-Amp needs to be connected to a balanced DAC such as the EarMen Tradutto. EarMen are forward looking in their choice of 4.4 mm connectivity between DAC and amp for balanced sound…you also need a balanced cable for your headphone or earphone.

The CH-Amp features a safety mechanism to protect the attached equipment and our ears – as described below.

Operation

The CH-Amp features all its controlling features (buttons, knobs, display) in the front, and all its connectivity in the back.

Front Panel

The CH-Amp’s front panel is cleanly laid out and complements the overall shape. It features a 6.35 mm socket for the single-ended circuit, and a 4.4 mm socket for the balanced circuit.

The small OLED indicates the selected input (BAL, L1, L2) and the gain (high, low). If no headphone is connected, it indicates its pre-amp setting “PRE”. It also contains a nifty VU meter. The display is always on and cannot be dimmed, but it is subtle.

The tiny buttons to the right of the display let you select gain and line in. The on-off/volume knob can also be used as a mute button.

Back Panel

The CH-Amp’s back panel contains a 5-pin power input from the PSU-3 power supply, a 4.4 mm balanced socket, and 2 RCA inputs. This means you can connect 3 source devices simultaneously.

For use a pre-amp, the CH-Amp features a 4.4 mm balanced line out and RCA pre-outs. The 4.4 mm circuit is required to keep the stack’s dimensions down (XLR requires a much bigger chassis). The power supply’s back pane is discussed in detail below.

Switching the power supply on welcomes you with a loud “zong”…which is normal. You still have to switch the CH-Amp on individually (and the Tradutto) by pushing its volume knob.

By default, the CH-Amp is on volume level 0/low gain. After selecting the input and gain, you are ready to listen.

In the case you pull the headphone out of the socket, the volume automatically resets to 0. The knob physically moves back into this position under a clicking noise. It is a safety mechanism for protecting your equipment and your ears.

While this can be a cool effect, the gain also resets to low. I would prefer if the gain stayed on the previously chosen setting as it is not a safety requirement (zero volume is zero volume). It would be more convenient if gain selection was included in the remote’s functionality – which it is not.

The Remote

It is actually double remote for controlling the CH-Amp and the Tradutto DAC – and it also switches both devices on and off (but not the PSU-3). The remote is made entirely of metal with quality button mechanisms – and it contains a battery. It charges through any 5V power supply/computer outlet through its USB-C socket. Charger and cable are not included…less clutter.

The haptic is great, certainly much better than my drawer full of flimsy plastic remotes for operating my TV, some DACS, and even my premium Marantz SA8005 SACD player.

What one needs to get used to is the ergonomics (it is just a rectangular box with rounded corners) and the operational challenges. If you stack the Tradutto DAC on top of the CH-Amp/PSU-3, you may find it counterintuitive to have the CH-Amp’s buttons above the Tradutto’s buttons…and may as well sandwich the Tradutto between CH-Amp and PSU-3.

But, obviously, the CH-Amp has priority on the remote, as you may not own a Tradutto at all.

The other challenge is that the selection buttons of the CH-Amp (line ins: BAL, L1, L2) and the selection buttons of the Tradutto (inputs: USB, TOS, COAX, BT) are on opposing sides. All this in the context that the buttons are very close together. As mentioned, a gain control button is not included.

Again, this organization benefits the remote’s size, which is much smaller than any other remote for desktop devices I have – and which is in line with the small-size concept of the EarMen stack.

You may use the remote a lot if your arms are shorter than your headphone cable.

The PSU-3 Power Supply

It is evident that the device advertised as CH-Amp comes in two parts, the bigger and heavier of which is not an amplifier at all: the PSU-3 power supply. It features four power outlets (cables included) and therefore can supply three additional 12V devices other than the CH-Amp (such as the Tradutto DAC, EarMen’s Staccato Streamer, and another device of your choice).

The input voltage can be switched between 115 and 230 V. While it may look bulky, it actually saves a lot of space as discussed in the next chapter.

Power supplies are a very important and frequently underestimated part of our stereo systems. I have tested a few, and in my experience, they make a huge sonic difference – and I mean huge: not by adding sound quality but by minimizing its decay.

Examples are the Tradutto’s stock supply, the ifi Audio iPowerX and the Burson Super Charger, all of which are switching mode power supplies (like our phone/notebook chargers). They are smaller than the PSU-3 unit, which is a linear power supply (LPS).

An LPS is relatively bulky (up to microwave size) and heavy because it contains a big transformer, but it has a great price to performance ratio delivering a cleaner DC through a more stable voltage.

The smaller SMPS are generally noisier and deteriorate the signal more, unless you move into the super premium segment. But even a decent LPS can setup you back several hundred dollars. Easily!

EarMen’s engineers have obviously put a lot of thought into clean power.

If you also own the Tradutto, you can use its stock SMPS for other devices. The PSU-3 is a better power supply that upgrades the Tradutto’s sound, too.

Amplification

The CH-Amp has a maximum power of 3.8 W for its balanced output on high gain @ 32 Ω. See the two tables below for details at other representative headphone impedances. EarMen does not recommend load impedance of 8 Ω (you can work around this by using the IE Match).

Balanced Output (4.4 mm)

Single-ended Output (6.35 mm)

I tested the CH-Amp with the EarMen Tradutto DAC, sourced my a MacBook Air. I mainly used two headphones, the power-hungry 300 Ω Sennheiser HD 600 and the easy-to-drive 16 Ω Final Sonorous III, both with 4.4 mm balanced cables. The CH-Amp’s volume scale ranges from 0 to 30.

With the Senns, I turned the volume to 15 (on high gain) for a “healthy” sound, and to about 20 for loud music. 25 was hurting my eardrums. The Sonorous played already really loud at 9 on the dial (on low gain). 6 was enough for normal listening.

Driving the 32 Ω Beyerdynamic Custom Pro and the 70 Ω Sennheiser HD25 on the single-ended circuit on low gain also was a piece of cake for the CH-Amp.

The CH-Amp will drive any headphone sufficiently (except, perhaps some rare, particularly “hungry” planars).

Sound

I tested with the EarMen Tradutto DAC sourced by a MacBook Air.

The CH-Amp’s sound is essentially uncoloured, maybe with a very slight lift at the low end (depending on source and interconnects). Transparency is excellent, staging and extension vary with transducer: the Sennheiser HD 600 play way more open than the Final Sonorous III.

There is obviously a sonic difference between the balanced and single-ended circuits (apart from power). The balanced circuit adds more depth to the sonic image – and produces an overall more “balanced” sound. It is the 4.4 mm circuit that makes the CH-Amp shine.

I have been listening over 2 months with headphones of impedances as low as 16 Ω and do not register any hiss. One recording I am getting back to again and again is Miles Davis’ classic 1959 Kind of Blue album (in the 2007 digital hybrid SACD SICP 10083 version from Sony Japan), in combination with the Sennheiser HD 600 (with balanced cable). In my experience, it feels like being in the studio: excellent transparency, crispness, resolution, and control. The sound is vivid yet natural and balanced. An addictive experience.

In comparison, the Tradutto with the similarly powerful Burson Funk (with the V6 Classic opamps and the Super Charger power supply) creates a warmer and flatter sound (as it lacks a balanced circuit).

The CH-Amp, in combination with the EarMen Tradutto produces the best sound I have experienced with my headphones. It is a truly complete (balanced) package!

Does Size Matter?

On my desk, space is sparse – and size matters a lot. The Marie Kondo in me wants a setup with the best possible sound and yet the smallest possible footprint — and as little (cable) clutter as possible.

The EarMen stack (Tradutto, CH-Amp, and Staccato streamer) occupies the smallest possible area of any stack in its category. It is building up rather than out, just like skyscrapers in mega cities – and it occupies barely more area than a CD.

Its footprint is further minimized by the lack of cable clutter: the single, short 4.4 mm Pentaconn cables takes way less space than the two bulky XLR ones it replaces. I ordered my megumi copper cable from Hart Audio, who also consider the less cumbersome 4.4 mm cables as convenient.

The third space saving takes place underneath our desks. Instead of needing four wall outlets or a power bar with three additional external power supplies dangling around our feet (which may introduce potential interference issues), the PSU-3 needs only a single power cord/power outlet for supplying the CH-Amp and another three 12 V devices.

If you, let’s say, only use the PSU-3 for the CH-Amp and Tradutto, you can connect any other two 12 V device to it. For example, it works for the TempoTec Serenade X player – and it improves its sound substantially compared to its stock supply (even the Tradutto’s stock power supply makes the Serenade X sound much better).

In summary, “less is more” and the EarMen stack’s size is very handy. With one less problem, I can leave the desk clutter intermittently to books and papers.

Concluding Remarks

In summary, the CH-Amp is characterized by a clean industrial design, clean power, clean sound, and clean cable organization with the smallest possible footprint.

Both CH-Amp and Tradutto make for a fantastic stack, a complete package that made it well worth re-equipping my favourite headphones with 4.4 mm balanced cables (check the “Gallery” below for details.

The EarMen stack is the best best desktop combo I have tested. Period. And it is more than enough for my sonic needs. It is not often that such a great device hits my test bench.

In the end, “We are the CH-Ampions” applies…please excuse the pun.

For best results, pair the CH-Amp with the Tradutto.

Until next time…keep on listening!

Contact us!

Disclaimer

Our generic standard disclaimer.

Gallery

The post EarMen CH-Amp Review – Complete Control appeared first on Music For The Masses.

The Akoustyx S6 is a superbly built and very handy planar-magnetic earphone with excellent resolution and timbre that can get spicy in the midrange at louder volumes.

The Akoustyx S6 was kindly supplied by the manufacturer for my review – and I thank them for that. You find more information on the respective product page.

The S6 are currently on deep discount sale (like: 50% off) on Drop.

Introduction

Akoustyx are an American junior earphone company out of San Jose, CA, producing in Nashville, TN, with US and imported parts. They are the type of company who put a lot of detail into their designs aiming to develop budget to medium-priced models with long shelf lives – that do not get succeeded every 6 months by a “Pro” version. Just like the big boys ala Sennheiser, AKG, etc., players with lots of experience and confidence behind them.

Akoustyx focus on a small number of products – instead of getting lost in a jungle of “moreofthesame”. I purchased my first few mid-tier earphones from companies that are renowned for the electronics, speakers, and headphones, but only offered a single earphone model. I concluded these iems must be good: Focal Sphear, Bowers & Wilkins C Series 2, and the NAD HP20. And they were good in their days.

I tested the Akoustyx R-220 previously, which feature 2 balanced armature drivers – and sound almost clinically diffuse-field neutral. Technically great, but temperature wise not for everybody. And they are still being offered three years later. I still consider the R-220 as being timeless – and something special in my huge iem collection.

As to Akoustyx’s attention to detail, which they marry with pragmatism: all three of their series are extremely small, light, and they come with nifty “Earlocks” – patented soft-rubber rings that hold the iems firmly in your ears. They have the effect that you don’t feel the earphones in your concha anymore. They even offer neoprene cases for their R-200 and S6 series.

The Akoustyx engineering team’s 6.1 mm planar-magnetic driver has been developed since 2018 and was officially launched at CanJam Social 2022. You may guess the reason for this delay. It is assembled in the USA.

Specifications Akoustyx S6

Physical Things and Usability

In the box are the earpieces (of lightweight Al alloy with a Ti oxide treatment), 3 sizes of soft-rubber Earlocks, the OFC cable with a Ti Kevlar sleeve, 1 set each of silicone and foam tips, a slimline neoprene case, and the paperwork. Cable and earpieces are connected via MMCX.

Materials, build quality, and haptic are as fine as it gets.

Akoustyx earphones are special in that they leave the smallest possible footprint in your shirt pocked of any iem (except perhaps Etymotics). They are not only small but also extremely light. Fit and comfort are excellent, the Earlocks add increased hold.

You get the company’s more detailed tech description from their product page. The S6 are very easy to drive.

Tonality and Technicalities

Well, my frequency response graph looks just terrible (the company’s looks better…we obviously use different standards…in fact I applied a ‘correction’, which is an empirical adjustment of the DIY tube coupler’s response towards a particular IEC coupler’s response based on comparative measurements of 13 IEMs – which do not include a sample of the Akoustyx S6). On the other hand don’t I know what measurement parameters Akoustyx applied.

My graph lets expect a bassy screamer with vocals buried 6 ft under. This is not quite the case and shows once again how graphs can be deceiving. The S6 is not as V-shaped as it appears and not as bassy either.

It offers a slightly warm temperature at the low end, and becomes neutral from the midrange up, resulting in an appealing timbre, as long as you don’t turn the volume up. Maybe this frequency response is required to bring the best out of this small driver.

I usually measure frequency responses with 85 dB @ 1 kHz but had to go down to 82 dB as the software started clipping the upper midrange/lower treble peaks.

The bass is…very good. Yes, it is fast, but not too fast, composed and controlled. It could be even more for my taste. Confused? Well, remember the story of the JVC HA-FDX1 with its three tuning filters? All they do is change the upper midrange – and all you hear is a different bass response.

That’s because the human ear records the whole frequency range in context and not just the individual snippets (bass, mids, treble). Also, the S6 does not have the mid bass boom of the famous 7Hz Timeless.

That means for the S6 is that this gigantic pinna gain greatly diminishes the quantity of our bass perception. The bass is not even much extended into the sub-bass to my ears. Unfortunately, that bass does not tame the upper midrange to reasonable levels. It is shouty and can be fatiguing at higher volumes.

Fuelling the upper harmonics it really etches vocals out: they are lean, articulate, they are very lively, but they lack body, although they are not even particularly recessed. I wished the midrange corners were a bit (more) rounded. As a positive, this results in excellent midrange definition and resolution – and great speech intelligibility.

The upper midrange brings out higher piano notes very accurately with a natural stroke — but higher trombone notes can be strident. You can avoid fatigue by simply keeping the volume at bay. Using parametric or graphic eq remedies this, too.

Going higher in the frequency range, cymbals are still well resolving but can be a bit robotic/metallic and certainly tizzy, that’s where the planar-magnetic characteristics appear. High notes are generally well resolving.

Technicalities are outstanding for this class. Stage is expansive and not too deep. Imaging is wonderful, separation and layering are great, and the driver can handle whole symphony orchestras with ease. No crowding, each player is reasonably accurately placed on stage.

The S6 also passes the cello test: decay is natural enough to make a cello sound like a cello (and not like a hacksaw through ultra-fast note decay), which can be a problem with planar-magnetic drivers. The S6 offers a fantastic timbre.

In summary, these S6 are great if you find the (volume) limiter button, also considering their haptic and comfort. Turning the volume up can make you curse them. Angel and Devil in one. I experienced both. The S6 therefore work best with warm sources and jazzy or classical acoustic sets. Pounding EDM or similar against your eardrums may be a bit much for you.

I expect the S6 overall design and haptic may rather appeal the mature, audiophile crowd and not the compulsive buyer.

Concluding Remarks

The Akoustyx S6 nevertheless come as a big, positive surprise to me. I was aware that the company could produce technically fantastic earphones offered below $300, but in the S6 they added an element of “musicality”.

The S6, despite their tiny size with their miniature planar-magnetic drivers offer big, accurate, and enjoyable sound with the caveat that it can get fatiguing at higher volumes. The Akoustyx S6 are certainly special but will mainly appeal to purists.

Until next time…keep on listening!

The post Akoustyx S6 Review (1) – Angel And Devil appeared first on Music For The Masses.

Final UX3000は、明瞭なサウンドと解像度の高いヘッドホンであり、効果的なアクティブノイズキャンセリングも搭載した、非常に好感の持てるチューニングになっています。このヘッドホンは、電源を入れずに有線で使用することもできます。ノイズキャンセリングは、Bluetoothまたは有線での使用の有無にかかわらず独立して機能します。

はじめに

ファイナルは、日本発の高級ヘッドホン・イヤホンメーカーで、主に国内市場向けに技術的な進歩を追求しています。競合他社との違いは、製品に数年の賞味期限があることだ。同社はスタイルよりも実質を重視し、センセーショナルなマーケティングを行わないため、信頼できる筋にのみサンプルを配布しています。

私たちのうち少なくとも3人はファイナルのファンボーイで、日本から代理店を通して苦労して取り寄せた同社の製品を数多く購入しています。アルベルトはSonorous IIとIIIのヘッドホンをレビューし、カジはFinal E-seriesをラインナップしています…他にもあります。

仕様 Final UX3000

Final UX3000は、Bluetoothと有線（電源なし）で再生し、アクティブノイズキャンセラーはオーディオ機能とは完全に独立して動作します。つまり、音楽を聴かずに周囲の騒音（「近所の人の葉っぱの吹き飛ばし」）を抑えるためにヘッドホンを使用することができます。また、ノイズキャンセリング機能を使わずに音楽を聴くこともできます。

What the Final UX3000 does specifically you find in the user manual and on the product page.

モノとユーザビリティ

箱の中身は

ヘッドホンのフレームは、硬質で剛性の高いポリカーボネートにファイナル独自の「SHIBOシボ」加工を施し、表面に斑点状の凹凸を表現しています。シボとは「しわくちゃな紙」という意味です。このコーティングにより、光学的に無骨な印象を与えることができます。

ヘッドバンドは頭の大きさに合わせて無段階に調節できます。耳にかけるイヤーカップにも同素材のパッドを採用しました。

イヤーピースの裏側には、操作パネルを配置。右側には小さく繊細なLEDインジケーターと3つのボタン（オン／オフ／ポーズ、ボリュームアップ／ダウン）、ヘッドホンケーブル用の3.5mmソケット（「ワイヤード使用」）が配置されています。

左のイヤーカップの背面のパネルには、1つのボタン（ANCのオン／オフ）とUSB-C充電ポートを備えています。操作はストレートに行えます。とあるように、両パネルはそれぞれ独立して動作する。

使い心地は、良好ですが、個人差があるかもしれません。私は耳が大きい頭で、密閉性の高いぴったりとした装着感を得ることができます。クランプ圧は私にとっては比較的大きいです。Final UX3000を何度か何時間も使用しました。暑いところでは耳の周りが少し汗ばむかもしれませんが。

アクティブノイズキャンセリング

ダイソンの旧型ボール掃除機で掃除機をかけながら、モーツアルトのバイオリンソナタを聴いてアクティブノイズキャンセリングをテストしてみました。問題ありませんでした。ダイソンの音は聞こえるものの、音楽の邪魔にはならず、ダイソンが停止しているときでも、ラジオは効果的にシャットアウトされました。

もう一つの代表的なテストは、UX3000と私の古いBose QC15のノイズキャンセリングを比較した時です。クラス最高のBoseは、ダイソンのノイズにわずかに良い仕事をしましたが（完璧ではありません）、2010年でさえ価格は2倍でした。しかも、有線のみで動作する。UX3000のノイズキャンセリングは、奇跡は起きないが、しっかりしていて、十分な効果がある。次回の大陸間飛行に持参するのが楽しみです。

ジョン・アイルランドのオーケストラ音楽を聴きながら、音の出るジグソーで木を切り倒すというテストをしてみました。うまくいきましたよ。

そして冬になると、狂った隣人たちが騒々しいモーター付きリーフブロワーで雪片付けをするようになりました。ここでも、Final UX3000は音楽なしでも問題なく動作しました。

音律と技巧

Final UX3000は、メインストリームを緩やかなV字型にチューニングした、ニュートラルウォームタイプですが、アクセントやアーティキュレーション、イメージング、レイヤー、セパレーションの良さが際立つ技術的な特徴を備えています。

過去にゼンハイザーやAKGのBluetoothヘッドホンを聴いたことがありますが、どちらも低音が圧倒的に強く、あまりコントロールされていないという、完全にオーバークックな感じでした。 Final UX3000はそのようなことはありません。このヘッドフォンの特徴は、構成された、よく効いたローエンドで、深く掘り下げられ、いくつかのランブルを提供します。キックも十分で、驚くほどしっかりしていて、その量感は私のガッツにちょうどいい。音楽によっては中低音のブームがありますが、気にならない程度です。

ヴォーカルは期待通り、やや引っ込んでいるが、非常にきれいな造形で、豊かさも十分だ。 また、Finalのチューニングの特徴として、シャウト感がなく、自然な音楽再生に寄与しています。高音域は、Bluetoothヘッドフォンの典型として、わずかにロールオフされていますが、それにもかかわらず、良好な解像度を有しています。これまでのところ、かなり標準的です。

技術的には、Final UX3000は周波数スペクトル全体にわたって素晴らしいアーティキュレーションを提供し、ノートは全体的によく定義されており、アタックとディケイは通常のマージンの範囲内です。ヘッドルームは大きいですが、ステージは平均的な幅と深さしかありませんが、良い空間的な合図があります。解像度はまずまずだが、忙しい曲ではステージが少し混雑する。レイヤー、セパレーション、空間的なキューは非常に良い。

Final UX3000を長く使っていて面白いのは、そのアーティキュレーションです。鋭さ・強さを感じさせないタイトさです。私の古いゼンハイザーが柔らかいトラックのサスペンションに相当するとすれば、Final UX300はスポーティなBMWです。

まとめ

UX3000はファイナル社初のワイヤレスヘッドホンですが、成熟した完成度の高い製品です。最初の取り組みとしては良いが、プロバージョンを待つことはできない」という類のものではありません。音もいいし、操作性もいいし、動作スペック（コーデック、バッテリー駆動時間、充電時間）も素晴らしい。私はこの製品を楽しんでおり、（Sonorous IIIを含むすべての選択肢にもかかわらず）これを使用しているということ以外に、私が言えることはあまりありません。

次回まで…聴き続けてください。

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免責事項

メーカーからの依頼でFinal UX3000を受け取りました。そして、そのことに感謝します。製品ページがあります をご覧ください。

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