On 19 December 2009, I attended one of the most eye-opening meetings of my life: the Tokyo OFF Headphone Audio Meeting. While that is a rough translation of the actual event’s title is underwhelming, the current crop of small Japanese audio makers who peeked in is amazing. I have been smitten by the nearly perfect ALO Rx headphone amplifier, but what I heard at the meeting smashed most of my expectations in terms of what is possible in portable audio. Carrying an amp with an iPod can be annoying, but in my opinion, the jump in sound quality is worthwhile – very worthwhile. Matt MacBeth who designed the audio circuitry of the ALO Rx said in TMA interview that 2010 will be the year when portable audio overtakes home audio in terms of quality. In terms of price/performance, that certainly is possible, and in terms of possibility, that much is certainly true.
Kleer, manufacturer of true lossless wireless audio transmission technology, will release an iDevice app designed to interface with products from multiple vendors which benefit from Kleer’s wireless technology. Kleer has the advantage over the other popular wireless solution, Bluetooth, by firing a stronger, higher quality signal to receiving devices, and has unique pairing options. You can read more about Kleer VS. AD2P for the iPod touch, and in TMA’s review of the Cy-Fi Wireless sports speaker which has turned my training sessions into safe, tuneful workouts.
Press Release after the gap:
The world of earphones has been ripped asunder by the â€˜driver warâ€™ which is now sillier than the blade war which rears its ugly head in between French handball goals on TV. Today, models which boast 8 drivers roam the prototypical plains in the underbellies of inventive manufacturers – and mark my words, that number will only climb. On the heals of the Jerry Harvey JH13Pro, the Fitear Private 333 will expose another niche, another customer base, and another sound among custom earphones. This time, the badge of honour (other than â€œmade in Japanâ€) which the 333 proudly wears, is that of â€˜funâ€™. Indeed, this custom is somewhat of a departure from the more neutral options from Sleek and Jerry Harvey and goes the Ultrasone route of fun, space, and speed. And it rocks.
If a headphone amp/dac combination product like the Firestone Fireye II is unique — and a good buy at 115$–, the 190$ Travagan’s Red which powers both headphones and sensitive speakers is the jackalope. Understated in matte black with a Rudolf-red volume and pot, it fits beautifully next to any desktop audio/video rig, computer, or in the living room, but understated it most certainly is not. Its lively, punchy sound has become one of my favourites, and for the comparatively small wallet bite, is sure to leave bite marks all over the competition.
Tucked away from SeoulÊ¼s flashy fashion and meet-market districts is a unique and foreign world. Geeky and lively, Yongsan is home to major electronics companies, importing thoroughfares, haggling hawkers, and most importantly, a thriving distribution/ manufacturing community. This teem of life and business spans the gamut from massive corporations to one-person electronic chop-shops: an organic melange of commerce and concoction. It is also home to SoundCAT, sponsor ofÂ Head-fi, and one of the audio communityÊ¼s most diverse and fastidious distributors.
ALO, a name highly respected for the manufacturing of hi-end audio interconnects and iPod line-out cables has firmly stepped into the world of analogue headphone amplifiers. Already, they have partnered with Red Wine Audio to produce the high-end solid state battery-powered Amphora headphone amp, and now, partnered with GR9 Technologies, are introducing the Rx, which in their own words, is your â€˜prescription for soundâ€™. I say, â€˜touchÃ©â€™.
If Head-Directâ€™s RE series is a benchmark for how far Chinese-made headphones have come, Yuin, another great Chinese manufacturer, should be considered the standard by which even Head-Directâ€™s products are compared. Back in 2006, the Yuin PK1 startled the audio community not only with its high price, but excellent sound. In 2009, the tradition continues with the excellent G-series of clip-on headphones which start at 49$. The G2A isnâ€™t cheap by an realistic definition of the word, but I will sum up why it simply rocks the house and will keep listeners coming back for more for a long, foreseeable future.
The Koss Porta Pro — which recently saw its 25th anniversary — has spawned look-a-likes, sound-a-likes, and a slew of pragmatic wannabes which can be as easily stowed and toted. Love it or hate it, the Porta Pro has left a deep imprint on the portable audio community for years and will probably continue to do so. Incidentally, whenever I strap the caboose of my brain into a new headphone, I mentally compare it with my rusty old Koss. Jaysâ€™ v-Jays, though dressed in simple plastic and fitted into seen-it-before ear pads, has become a landmark headphone which surpasses many erstwhile favourites, including the stodgy Koss Porta Pro.
In a follow-up to last monthâ€™s review of the Fireye I headphone amplifier review, TMA will continue our look at Firestone products with the unique Fireye II USB/DAC headphone amplifier. Unlike the Fireye I, this unit does not accept analogue inputs and it is not a stand-alone amp; it functions 100% from USB ports as a plug and play audio device, and thankfully has a manual volume pot for volume attenuation. Its specific function is to create a clean audio signal for headphone listening from a computer, a job which it does quite well.
Every month of every year, enterprising audio designers create new gadgets which achieve some paragon of aural nirvana. Jerry Harvey founded Ultimate Ears to support the rockers, Van Halen with products which would both protect their hearing and relate greater production value to their fans. For 1099$, the JH13Pro stands with a 50$ cheaper price tag than its older — and now estranged — brother, the Ultimate Ears UE11Pro, but lacks a few of its amenities. What it doesn’t lack, however, is beautiful sound.
INC have a great article detailing Jerry Harvey’s moves which changed the stage performance industry.