Explanied - Earphones,Headphones

Explained - Earphones,Headphones

So you got the latest iPhone or iPod and believed that it and the shipped white earphones are the best thing that happened (or can happen) to music, don’t blame your naivety after reading the post.

After all, there were people who once believed the earth to be flat. For my other readers who already are, or planning to graduate in their music experience, perhaps this article can help you pick the right headphones/earphones.

The first thing one must understand is headphones are like shoes, neither one size fits all nor one type suits all activities (Sure you love your favorite expensive Italian leather, but ask yourself, would you be wear them while playing tennis? And for my female readers, please don’t take it as an advice (or excuse) to buy another pair of Jimmy choo… Recall we are talking headphones here… not shoes!)

So the next thing you got to ask yourself is “where at most am I going to listen to music?” and then answer your question from the options below

Wearing Type

Between Headphones, Headphones v/s Earphones, On-Earphones v/s In-Earphones and so on…

Remember the time when wearing headphones that sized bigger than your head was the “in-thing”? Well, those days are back now and you can see a lot of manufactures not considering the form factor as the biggest marketing strategy. And there is a reason to it, headphones in contrast to earphones have bigger driver units with broader frequency range that offer deeper bass and higher highs (which means better listening experience) and better noise isolation (not to be confused with cancellation) . However, as it’s said “with great power comes great responsibility”, these bigger headphones are more expensive, bulky and not pocketable, can break if dropped or under pressure and may drain your ipod battery slightly faster. So my recommendation is to keep an earphone with you on the move, while enjoy that guilty pleasure tracks on a set of headphones at home/office or while using public transport

Within headphones, one can either go for an over ear or closed cup type, in which the headphone cups cover entire ear. They provide good noise isolation (although may be lesser than in-ear type covered later) but in my experience, tend to be less comfortable for long time wearing. On ear, on the other hand sit on the ear and allow airflow causing less sweating. Regardless of the type you chose, the most important thing (after quality of course) to check is the softness of the earpad’s housing/lining. I would suggest not buying sponge/foam cups as they tend to cause itchiness and irritation on prolonged usage. Rather go for polyurethane PU or leather covered pads that are much comfortable to wear. The pressure exerted by the head band is also important with respect to comfort. So unless you are a Dj who wants to keep a tight grip over the ears, go for bands made of aluminum or toughened single strip plastic that are light and durable. Remember, the band-snap is the most common problem with headphones. If you are planning to carry these headphones around in a bag, then make sure the cups have swivel design, and band preferably foldable.

<> The in-ear phones (aka ear-canal earphones or monitors) have been around for a while, but I guess it wouldn’t be wrong to credit Sony with making it popular amongst common folks. And given its superb noise isolation, best fit and powerful bass response, they soon became the most popular earphones of today. However, there have been complaints about the prolonged use of silicon buds blocking the ear canal causing numbness and decreasing sensitivity. Though manufacturers continue to debate, I am sure most of users who wear them for more than 1-2 hrs everyday feel dampness in the ears. Conventional on ear headphones (like the default iPod ones) perhaps offer the most comfortable long listening experience, given they are rubber/silicon lined and are as easy to carry, but fail to provide a full, rich music experience, grip and noise isolation.

Other types include, behind ear or neckband type, ear clip type that is designed specifically for sports and outdoor activities. However they only provide a better grip and prevent your buds from slipping, and have less or no quality improvements. Same is the case or those considering wireless and/or Bluetooth as their pick. Although the new standards of Bluetooth 2.1 and A2DP provide almost similar quality, be aware that these wireless signals drain your iPods/mp3 players/phones at a much higher rate than wired ones

The specification on the box is Greek to me…

This indeed has been a great mystery. Despite of the plethora of headphones I have tested or used with more or less similar specifications, my experience has been different every time. So the best suggestion is to hear them out yourself, preferably two at a time and rule out the weaker. But if the electronic stores in you city aren’t so friendly, let me try to relate you with the effects of these specs and not the acoustical physics related with it

Frequency response/range: Broader the better. Though most of the manufacturers who usually manufacture their headphones for average mortals are between 5Hz to 25 KHz (25,000 Hz), there are few who stand out designing for music enthusiasts with range between 0.5-3 Hz upto 64,000 Hz. However, bear in mind that no matter how great the range reads, it’s only as good as the source. For example listening to an MP3 encoded (aka quantized) at a lower bit rate than 128Kbps is not the right pick for your music players.

Type can be dynamic closed (most in –ear types) or dynamic open (traditional ear/headphones). This has got nothing to do in terms of quality specs (unless it’s static type)

Driver Unit measured in mm, specifies the size of the magnet that reproduces the sound. And usually bigger drivers produce better quality sound. However due to the different form factors of earphones v/s headphones, always compare between two or more set of similar kind.

Sensitivity is not as sensitive information in terms of comparing. Usually it describes the sound pressure level and all the head/ear phones will come with sensitivity specification between 98-110db/mW so that they don’t make you go deaf.

Power Handling Capacity is another less important jargon used by few manufacturers to trap the innocent audience to consider high numbers as better quality, when it just states how much power the driver (headphone) can handle before it blows up. So unless you are a Dj/producer or planning to hook your headphones to an amplifier, don’t let this number drive you.

Impedance is important as higher impedance headphones offer lesser hiss levels. But the flipside is that higher impedance demands higher power, and thus not necessarily is an iPod /mp3 player’s best friend. So any headphones with impedance between 20-40ohms is a decent choice for humans, and 64ohms and above for an enthusiast, depending on the source.

Rest all specs like Diaphragm, Magnet (preferably neodymium), Cord and Cord Length, Plug (unless it’s not or you don’t want 3.5mm standard jack) should not stop you from picking the right pair for you.

And for the Noise Cancellation, it’s always best to have, but you may want to consider your budget and acknowledge that it may need an external battery(s).

So if you feel this information was anyway useful or would like an opinion before buying, do drop a comment, and I would be more than happy to make you “love thy music”!

And i found some material in audio-Technica site and found useful hence posted If you want to know in depth abt the head-phones or ear-phones you can go with these sure these will help you ....

1. CHOOSING A STYLE

Headphones come in many styles to suit various listening environments, ear sizes, and preferences in sound quality.

Overhead headphones

Mention headphones, and this is the style most people imagine - with speakers over each ear, joined by a headband. Some headphones of this kind incorporate large drivers for superior sound quality, and some have special headbands for long-term comfort.

Open back type
Headphones with open housing offer a liberating listening experience, without the sense of being in an enclosed space. Because sound may be audible to others, this style is intended for private, indoor environments.

Closed back type
Circumaural headphones that fully enclose the ears, with the housing sealed against the head. Robust audio performance from a structure that reduces sound leakage.

Portable type
Compact, lighter versions of over- the-head headphones that are more convenient for on-the-go listening.

Supra aural type
Standard portable headphones, worn with earpads resting on the ears.

Circumaural type
Circumaural earpads fully enclose the ears and help block out external sound.

Ear hanger headphones

Held in place by a hanger arm behind the wearer's ears. Although at high volumes sound can be heard outside, this style offers exceptional portability with minimal pressure against the ears.

Inner ear headphones

Inner ear (Earbud) headphones
Standard inner ear headphones

In-ear (Canal) headphones
Worn like earplugs. Excellent sound insulation ensures a satisfying listening experience even outdoors.

HOW SOUND IS PRODUCED

Sound Transmission

What exactly is sound?

Sound is a vibration in the air caused by a moving object.

When an object moves, the movement causes change in the surrounding air. This change (vibration) travels through the air in all directions as waves, which we perceive as sound.

Nature of Sound Sources

Music listened to on headphones generally comes from sound sources consisting of audio signals (electrical signals) recorded on CDs or stored in portable audio players. At the recording stage, the original sound source is captured with microphones. The sound waves they detect are converted to signals and captured by recording devices.

Ultimately, the recorded signals are processed and edited for distribution on CDs or in digital format.

How Playback Works

How are the signals recorded on CDs or stored in portable audio players played back as music?

To introduce the principles involved, this example describes the dynamic drive mechanism found in most headphones. Signals reproduced by the audio player pass through a cable or are transmitted wirelessly to headphone drivers, the sound-producing components. Acting as transducers in response to the signals, the drivers move diaphragms (cone-shaped membranes designed to vibrate), which reproduces the sound.

Role of Drivers

Attached to the diaphragm (the core component of drivers) is a part called the voice coil, which faces a permanent magnet. As current passes through the voice coil, the coil behaves like an electromagnet and generates a magnetic field. Depending on the direction of current, the coil is either attracted to the permanent magnet or repelled from it, which is like magnetism at the north or south poles of magnets. In this way, the direction of current in signals flowing through the circuit alters the vibration of the voice coil, and this vibration of the voice coil and attached diaphragm produces sound. Dynamic microphones are based on the same principle. Producing sound just as it was received, during recording—this is the mechanism behind headphone playback.

Difference Between Headphones and Speakers

As sound waves travel through the air, the energy dissipates and the sound becomes fainter, farther from the source. But because headphone drivers are much closer to your ears, even with the slightest vibration of the driver/diaphragm, you won't miss details in the recording. Although the intimate listening environment of headphones conveys subtle detail from even slight vibration, the minimal distance involved limits the benefits of reverberation (from reflection of sound waves), which is an advantage of speakers. This is the major differences between headphones and speakers.

2. STRUCTURE OF HEADPHONES

Headband

Headbands provide lateral pressure, which is essential for a good fit. Too tight, and headphones are uncomfortable; too loose, and headphones may slide off or even fall off.

Slider

For adjusting headband length. Sliders on Audio-Technica headphones can easily be resized to suit the shape of your head.

Headphone unit (Driver unit)

The heart of sound production in headphones. Larger drivers can produce substantial bass.

Baffle

Base components attached to headphone units, baffles are next to the earpads. These pieces prevent interference between sound waves emitted in the housing and waves emitted outside, from the front surface.

Headphone unit (Driver unit)

Holds the housing, baffle, and related parts. The arms pivot, making it easier to put headphones on.

Housing

An outer covering for the baffles on headphone units, and a wall for the air chamber behind these units. The volume, seal, and material (wood, metal, plastic, and so on) of the housing affects sound quality.

Earpad

Fits against or encloses the wearer's ears. Earpad material (leather, foam, soft plastic, and so on) and hardness affects sound quality.

Bushing (Strain Relief)

Prevents the cable from being bent at extreme angles, which may sever it.

Cable

Cables come in various thicknesses and lengths to suit different listening needs.

Plug

Plugs into the headphone jack of AV equipment or portable audio players. Comes in two main formats: standard (6.3mm) and mini-plug (3.5mm).

A CLOSER LOOK AT SOUND

Sound Components

Sound of many kinds exists in the world, but analysis reveals a few basic characteristics.

The easiest sound to analyse is a pure tone (emitted by tuning forks used to tune musical instruments), which is represented visually as a sine wave to discuss frequency, amplitude, and phase. Frequency (measured in hertz (Hz)) is the number of oscillations per second, amplitude (measured in pascal (Pa)) the peak deviation from baseline, and phase, the current point in the cycle of oscillation.

Pure tones are combined to create complex tones, and a special kind of complex tone with all pure tones being integral multiples of the lowest pure tone (the fundamental frequency) is called a periodic complex tone. Examples of periodic complex tones include the timbre of musical instruments and the singing voice of vocalists.

Human Hearing

Even at the same sound pressure level, sounds at various frequencies are perceived as being at different volumes. The human ear is most sensitive to frequencies around 4 kHz and less sensitive to higher or lower frequencies. For this reason, we perceive sound at frequencies we are less sensitive to as being fainter than sounds at frequencies we hear well, even if they have the same sound pressure level. Represented visually, this measurement of human hearing is called the equal-loudness contour.

Three Elements of Sound

Three elements of sound can be distinguished by the human ear: pitch, loudness, and timbre (also called tone).

Pitch
Pitch can be described in terms of frequency. The higher the frequency, the higher the pitch, and vice-versa. Typically, the audible range of frequencies is 20–20,000 Hz.

The interval between one musical pitch and another at twice the frequency is called an octave. Musical instruments are tuned so that the note A is at a frequency of 440 Hz.

Loudness
Interestingly, perceived loudness is not directly correlated with the amount of energy in sound. For this reason, loudness is expressed with a logarithmic unit of measurement called decibels (dB). In acoustics, we describe perceived volume as loudness, and scientific measurements of this phenomenon determine the sound pressure.

Timbre
Compared to pitch and loudness, timbre is associated with more elements of human perception. Expressions used to describe this quality of sound include bright, dark, clear, muddy, intense, and weak. We can distinguish the sound of a guitar from the sound of a piano by timbre, the distinctive "voices" of these instruments. Timber can be described in more sophisticated ways, according to spectral envelope, attack, decay, and the presence of noise components.

3. HOUSING

Housing Structure

The housing is key component that determines the general form and appearance of headphones. It supports sound quality in critical ways, and the sound produced depends on the housing structure and material.

Open back
The housing is unsealed, allowing air in and out of the enclosure. Internally, no stress is placed on the diaphragm, and sound is unconstrained. These factors make open headphones comfortable even during extended listening. High frequencies are clear and unmuffled, although bass may be slightly weaker in some cases. In consideration of sound leakage, these headphones are intended for private, indoor environments.

Closed back
With sealed housing. Exceptional sound insulation keeps music in and blocks external noise out, making this style ideal for outdoor use or music monitoring.

Closed headphones take advantage of the hollow housing to enable more powerful bass, but the trade off is that sound may be slightly muffled.

Housing Material

Headphone housing is made of many kinds of material besides typical plastic.

Characteristics of Wood
Luxurious wood housing has unique grain patterns that are the signature of one-of-a-kind headphones, but the material is also appreciated for how it improves sound quality through damping. Wood absorbs vibration, which supports clarity and natural reverberation.
It creates a warm timbre, with controlled sound pressure and optimal reverb.

Characteristics of Lacquer
Shields the underlying wood, protecting it from cracking and the effects of humidity. Lacquer finishes can protect wood for several hundred years.

General Characteristics of Metal Housing
Exceptional rigidity is the hallmark of metal housing. Strong metals such as aluminium, stainless steel, and titanium enhance headphone rigidity and support clarity by damping excessive vibration.

Characteristics of Aluminium
A convenient metal to work with, because it is light and easy to machine. In sound quality, aluminium housing has a sharper audio signature than that of plastic housing.

Characteristics of Titanium
Hard and unyielding, this metal reflects sound waves at high speed, creating a timbre with minimal reverberation. Durable, yet light.

SOMEONE'S LISTENING

A Word of Caution on Leakage

Sound leakage should be a consideration when wearing headphones on commutes to work or school, on public transportation or in public places outdoors. In this respect, canal headphones prevent leakage by design. Although closed headphones also minimize leakage, it's a good idea to lower the volume to be aware of what's happening around you and to avoid harming your ears from excessive volume.

Keep the volume at levels that will not disturb those around you on public transportation or in public places. Never wear headphones while riding bicycles or motorcycles or driving vehicles, which poses a risk to traffic safety.

4. DRIVERS

Drivers: the unit that produces sound in headphones. Made up of magnets, diaphragms, voice coils, and other components.

Drive Mechanisms

Drive mechanism used in drivers are described below.

Dynamic type
The most common type of headphone drive mechanism. Dynamic drivers produce sound by transferring signals directly to the diaphragm. Larger diaphragms may be used to enhance sound quality. Because powerful bass and ample sound pressure can be produced, dynamic drivers are used not only in over-the-head headphones but also in many other styles, such as canalphones and regular and clip-on earbuds.

Balanced armature type
Used mainly in canalphones. Produces clear, transparent sound. Easily manufactured in a compact form, balanced-armature drivers are also found in hearing aids. In the music industry, this mechanism is found in many professional headphones for monitoring performances.

Electrostatic
Produces sound from a thin, electrically charged diaphragm membrane that vibrates when signals flow nearby. Electrostatic drivers are powered by a special amp.

Driver Diameter
Headphone sound quality depends to a great extent on the size of the diaphragm, which is indicated by the driver diameter. Most drivers for earbuds are 13.5–15.4 mm in diameter, with those for canalphones being 8.8–12.5 mm. Over-the-head headphone drivers lie in the 30–53 mm range.

Magnet Material
Sound quality can also be improved by the performance of the permanent magnet in the magnetic circuit. These magnets are often made of ferrite or cobalt, although sometimes more exotic material is used for stronger magnets.

Voice Coil Material
As mentioned, the voice coil fulfills a key role in converting electrical signals into sound. For better sound quality, voice coils are made of a variety of material besides ordinary copper wire, including PCOCC (Pure Copper by Ohno Continuous Casting) and Hi-OFC (a class of oxygen-free copper).

5. FUNCTIONALITY

Cable

Cables carry signals from the sound source to the headphones. A variety of cables are available—in many materials and plug shapes to suit listening needs.

Material
Cables are generally made of 99.5% pure copper wire, but for more efficient signal transmission, they may be produced with exceptional material such as oxygen-free copper—whether Hi-OFC, PCOCC (Pure Copper by Ohno Continuous Casting, 99.996% pure copper), or other kinds.

Additionally, the cable sheath may be cloth-wrapped or constructed of highly elastic elastomer to help prevent tangling and reduce "touch noise" when the cable is touched.

Plug
Headphone plugs generally come in two forms: a standard 6.3 mm plug and a 3.5 mm mini-plug. The latter is widely used with portable audio players. In addition to the regular, straight format, mini-plugs come in L-shaped and flat varieties, and some plugs can be connected to auxiliary inputs such as on mobile phones. Tips are often gold-plated to make them easier to plug in and to prevent corrosion, which would affect sound quality.

Cable Length
Cables come in many lengths to suit listening needs.

• For over-the-head headphones
  Approximately 3.0 m, for greater convenience when connected to AV equipment.
• For portable models and earbuds
  1.2 m or 0.6 m (with 0.6 m extension cords), considering needs when listening to portable devices.
• For DJ monitors
  Coiled cable, strong enough to withstand intense movement yet manageable enough not to interfere with monitoring on one ear.
• For TV/home theater
  Longer cables (4.5–6.0 m) are available, for ample distance from home theater equipment.

Storage
Cable wraps with clips or other means of holding cables prevent tangling when cables are carried in a bag.

6. SPECIAL HEADPHONES AND HEADPHONE AMPLIFIERS

Studio Monitors and DJ Headphones

Monitors and DJ headphones are for music production and DJ performances.

Accurate playback of source signals is critical in studio monitors used in music production, which are tuned for optimal balance across the frequency spectrum (flat frequency response).

DJing also requires clear, accurate playback. Here, tracks must often be mixed in sync with the kick of bass drums, so headphones are tuned for clear bass and accurate playback. For monitoring on one ear, the housing swivels 90° in or out. Another convenient touch is coiled cables, which resist tangling.

Noise-Cancelling Headphones

Noise-cancelling headphones suppress background noise on airplanes or trains and in other settings.

The ambient noise is reduced by a noise-cancelling mechanism that generates signals to counteract it. With no need to turn up the volume to hear music over the noise, these headphones are easier on your ears, and at low volume, sound leakage is not a concern.

Besides listening to music in a quieter personal environment, you can use the noise-cancelling functionality alone to enhance concentration at work or school.

Wireless Headphones

True to their name, wireless headphones are not tethered to the source by a cord.

Instead, indoor models are connected via infrared or the 2.4 GHz band (resistant to interference), offering a satisfying level of performance for enjoying music or movies.

Outdoor models harness Bluetooth wireless technology, and some also provide headset functionality for use with mobile phones. To maintain sound quality, wireless headphones are equipped with digital signal processors, and sound-enhancement technology may include SRS WOW and other processing.

Headphone Amps

These amps are designed specifically to improve headphone sound quality.

How do they help? Output from portable audio players is limited, to conserve battery life. Although portable headphones are engineered to support relatively loud volumes from this limited output, greater output is assured by using a dedicated amp for them. Amps improve the source signals sent to headphone drivers, enabling clean sound quality with less distortion, noise, or other loss of sound quality.

Using traditional amps for indoor headphone listening poses some problems, because balance adjustment is difficult. Signal output, designed for speakers, is too powerful. Although some amps reduce output by applying electrical resistance at the headphone jack, this resistance tends to diminish sound quality.

In contrast, dedicated headphone amps are adjusted to provide the most efficient way to drive headphones, enabling headphones to reach their full performance.

NOISE-CANCELLING MECHANISM

Noise cancellation works by emitting special sound waves at the same time as music that are equivalent to the external "noise" sound components but with inverted phase. This offsets the noise components, which reduces ambient noise. Active noise cancellation is the most common form in headphones. These headphones incorporate a microphone that captures ambient noise components. Inverted signals are generated separately by a digital or analogue circuit. When these signals are emitted (with audio signals), they counteract the ambient noise.

Depending on the microphone setup, a feed-back or feed-forward method of noise cancellation may be used.

Feed-back systems use a built-in mic to capture ambient noise. Of the sound components picked up by the microphone, only those that represent noise are eliminated.

Feed-forward systems use an external mic. Because only noise signals are captured, there is no loss of audio signals. And because the microphone is external, headphones themselves can be more compact.

Feed-back systems generally provide more effective noise cancellation, although feed-forward systems can be incorporated in headphones emphasizing sound quality. Fortunately, advances in tuning and cancellation circuits have led to equally effective noise cancellation in headphones with either system.

HEADPHONE AMPS IN DETAIL

These amps are designed exclusively for headphones. How do headphone amps enhance sound quality? Learn more below.

Easier to Obtain Higher Volume

Adding an amp makes it easier to obtain higher volume. This is because audio amps incorporate a circuit to amplify the input voltage. In portable audio devices, output from amplifier circuits is limited, to conserve battery life. Although sufficient volume can be obtained from low-impedance headphones, output is inadequate when using larger, high-impedance headphones. Traditional amps are made to drive speaker diaphragms several times heavier than those of headphones. That's why raising the volume even slightly causes much louder output. Avoiding this and obtaining more balanced control is possible by applying electrical resistance at the headphone jack on the amp, but this diminishes sound quality. In contrast, headphone amps are designed with optimal voltage and current for headphones, making it easy to obtain higher volume and enjoy headphones to the fullest.

Tighter Sound

Using a headphone amp when listening to music on headphones produces sound that can be described as "tighter." To understand this, it's helpful to consider that without an amp, regular playback of signals on headphones may make the diaphragms move more than necessary.

Suppose that when a voltage of 1 V is applied to the headphones, the diaphragms move 1 mm forward. At the time headphone input drops to 0 V, the diaphragms must return to the original position. However, because of inertia, the diaphragms sometimes move past the original position. In response, the electromagnet would trigger an electric current. In this case, if the headphone input is shorted, for example, to drop to 0 V, a negative damping force would be applied and the diaphragm stops. If the output terminal of the sound source ensures stability so that headphone input stays at 0 V, the diaphragm damping force intensifies, and the electromotive force can be absorbed.

The braking coefficient involved in reducing this excessive diaphragm oscillation is called the damping factor, and it is identified as the internal resistance of amps. Low damping factors can be understood as follows: there is resistance → harder for current to flow → decreased damping factor →decreased damping force.

As a value, damping factor (DF) = [headphone impedance (Ω)] / [amp output impedance (Ω) + additional resistance from the cable and other sources (Ω)]. The smaller the DF value, the lower the damping force and the "looser" the sound becomes. On the other hand, if the value is too high, control is excessive and sound becomes too tight.

Headphone amp output is calculated accounting for headphone impedance. The damping factor is therefore optimal, enabling tight, clean sound, especially at bass levels.

7. READING SPECIFICATIONS

Headphones specifications convey relevant technical data. Take a closer look at what specs mean below.

Type

A description such as "closed-back dynamic" means the headphones have a closed housing and are dynamically driven.

Driver

Indicates the driver diameter size.

Output sound pressure level (dB/mW) *also known as Sensitivity

The level of sound pressure produced by the headphones in response to a 1 mW signal. Measured in decibels per milliwatt (dB/mW). At a specific input volume, the greater the sensitivity value among headphones, the louder the sound produced by the headphones. A difference of 3 dB/mW or more is generally considered audible to most listeners.

Frequency Response (Hz)

The range of frequencies that the headphones can reproduce, from the lowest bass frequency to the highest high frequency, expressed as a numeric value. Although the typical audible range is 20–20,000 Hz, inaudible higher frequencies do affect the listening experience.

Maximum Input Power (mW)

Maximum input indicates the maximum supported power supply for the headphones, measured in mW. This is the peak instantaneous power that may be supplied. It should not be misunderstood as meaning that headphones rated at 2,500 mW (for example) can be continuously powered at 2,000 mW. Moreover, larger values are not necessarily better. As long as the value matches or exceeds the player's maximum output value, any value is acceptable.

Impedance (Ω)

As a value indicating the degree of headphone electrical resistance, this specification mainly represents the voice coil resistance but also includes cable resistance. Measured in ohms (Ω). Choosing low-impedance headphones for low-voltage portable audio players ensures better efficiency.

8. LISTENING PREFERENCES

Knowing What Sound You Prefer

What sound do you prefer?

Pristine sound? Sound with impact? High fidelity (faithful reproduction of source signals) is what some listeners appreciate. Others seek sound that's always fresh and easy to listen to, bass with impact, or extended highs. People have diverse tastes, and satisfying performance also depends on the sound source.

Each model of headphones has its own audio signature and sounds different from others, even when comparing the same sound source.
And unlike speakers, exceptionally portable headphones offer a range of advantages that people may seek depending on the listening environment - minimal sound leakage during commutes, long-term comfort when relaxing at home, and so on.

Taking these observations into account, the headphones that offer the best audio performance are those that satisfy your own listening preferences and are the best match for your music and listening environment.

When choosing headphones, you should therefore know these points:

• How you will use them This determines the type of headphones
• What equipment and genres of music you will listen to Sound source characteristics
• What sound characteristics you prefer Listening preferences

Identify your listening priorities, such as:

• Listening on public transportation (no leakage)
• Listening to portable audio players (sufficient headphone volume even with low output)
• Often listening to rock music; need clean guitar and bass (bass with impact and good attack)

One way to find satisfying headphones is to find the headphones that meet these requirements best.

Focusing on Sound

Some basic audio terminology is used in reference to headphone performance, and you may see these terms in reviews. Although impressions and expressions may vary because these words describe sensory characteristics of sound, this general analysis of sound may be helpful.

Sound Characteristics: Differences in Frequency Response

U-Shaped
High frequencies and bass are emphasized, with lower midrange. A good match for rock and similar music.

Bell-Shaped
Somewhat like an inverted U-shaped response, with weaker bass/highs and more prominent midrange.

Flat
Nearly uniform frequency response. Flat response that is true to the source signals is ideal when this kind of fidelity or accuracy is required of headphones.

Resolution and Clarity

Sound sources may be composed of layers of many different sounds. These terms describe how easy it is to distinguish the sound of each musical instrument or singer's voice. When you can distinguish individual instruments or voices that previously blended together, or when you discern sounds that were not audible before, the headphones are clear and have good resolution (or definition).

This quality is essential in studio monitors used in music production, and many of these high-resolution headphones enable listeners to distinguish individual sounds in a recording. The trade off of the high resolution of studio monitors and similar models is that the extreme clarity may be more mentally exhausting. In headphones for entertainment, there is a general preference for models tuned to provide ample detail without the mental fatigue of hearing individual sounds in pristine clarity.

Attack

Refers to the timing from the initial moment an instrument is bowed, struck, or plucked until the sound emanates. Headphones with good attack may seem more responsive. This quality depends partly on driver material and structure, among other factors.

Tightness

Expressive of damping performance, descriptions of tightness are common in reference to bass response. Headphones produce sound from the movement of diaphragms, but as the diaphragm returns to the original position, it may move too far in the opposite direction. This movement affects the sound, and bass may sound loose. Headphone material (and housing material in particular) with excellent damping properties can improve tightness. Headphone amps can also be effective in this regard.

Muffling or Shrillness

Sound that lacks clarity in high frequencies is described as muffled, as if heard behind a veil. Shrill describes the opposite problem, when sound is too piercing in high frequencies. Because it may be fatiguing to listen to sharper treble over extended periods, headphones are sometimes tuned to produce softer highs.

Soundstage

In reference to spatial qualities of sound, the soundstage is the imagined area of the musical performance as a whole. Soundstage descriptions for headphones indicate how sound fills this space and envelops the listener, for example. Open headphones generally seem spacious and closed models, narrow. Similarly, the soundstage of canalphones is often perceived to be narrower than that of earbuds. Soundstaging is also related to reverberation. The longer the reverb, the more spacious the space seems, but the shorter the reverb, the more responsive playback seems.

Imaging/Localization

Related to soundstaging is the imagined area where the sound of each instrument or vocalist originates. Examples of this are when sounds seem to emanate from the right or left, or from in front of you or above your head. Headphones with excellent imaging replicate the environment of live performances or recording studios, from the standpoint of instrument positioning.

Distortion

Sound is distorted to the extent that input signals do not match output signals. Headphone amps may introduce harmonic distortion, which adds harmonic components not present in source signals. This can be expressed as a percentage, derived by subtracting the distortion in output signals relative to input.

S/N Ratio

The smaller the signal-to-noise ratio, the more distracting noise may be, to the extent that signals may be lost in noise if the value is very small.

9. CONSIDERATIONS WHEN TESTING HEADPHONES

Auditioning Headphones

There is no way to guess how headphones perform unless you listen to them. Borrow some from an acquaintance, or arrange to listen at a dealer. Tips for a useful listening experience are presented below.

Listen to Familiar Music

Test headphones with music you're very familiar with, if possible. This will help you find headphones that are a good match for your favourite music.

Consider Your Listening Environment

Consider whether you will use the headphones indoors or outdoors. Other factors that may determine your options in headphone styles are ease of storage and specific listening environments.

Be sure to choose the right headphones for your listening environment, whether an over-the-head model for listening at home, a portable model for on-the-go entertainment, or canalphones if sound leakage is a concern.

Check Fit and Comfort

Some earbuds may not fit well, depending on the shape of your ears, and some portable headphones may apply too much lateral pressure. Fit and comfort are important.

Note the Styling

Headphones aesthetics are also important. Make sure the headphones satisfy your sense of style, whether they look great with a business suit, make a fashion statement or are sophisticated and subdued, or have the appealingly spartan industrial design of monitors.

Compare Performance With Familiar Headphones

Testing headphones is an exercise in comparison, but it may be difficult initially. It's helpful to compare new headphones with ones you're already familiar with. Even headphones included with audio players can provide a helpful frame of reference. Note the difference compared to these headphones, whether highs are extended, sound is generally clearer, and so on. Also try to listen to all headphones at the same loudness. Because impedance varies, at the same volume, headphones have different sound pressure levels and may sound louder or quieter. Loudness affects the listening experience, so to the extent possible, compare headphones at the same loudness.

Consider Your Listening Preferences

Preferences in sound reproduction run the gamut and depend on individual sensibilities and favourite genres of music. Each set of headphones has their own audio signature, so it's a matter of finding the ones that are right for you.

Start by identifying your favourite genres of music, whether pop, jazz, dance music, or mainly vocal styles such as ballads.

Next decide the kind of sound that would satisfy you.

For example, you may be looking for heavier bass, responsive performance with impact, pristine vocals, clarity of individual musical instruments in an orchestra, or simply better sound than your current headphones. Even a generalization of what you'd like to hear will be helpful.

Now consider frequency response.

Flat: Faithful to the original signals, with good balance overall.
U-shaped: Highs and bass frequencies stand out, but vocals are relatively subdued. Long-term listening may be somewhat mentally exhausting.
Bell-shaped: Vocals are pronounced, while highs and bass are subdued.
Mids and highs: Although vocals and brass musical instruments are clear, bass may seem lean.
Mids and bass: Powerful bass but muffled mids and highs, in some cases.

This decision also simplifies your choice of headphones.

Also consider your budget, and collect your thoughts on the sense of style and your listening environment.

Testing Considerations

Once you know your listening preferences, try auditioning some headphones.

Preferred sound: Try headphones with u-shaped, flat, or other frequency responses, depending on your preference.
Soundstage: How sound fills the imagined space will vary a lot between closed and open headphones. Remember that sound leakage from open-air headphones is a consideration when listening outdoors.
Imaging: See if the headphones localize each instrument or voice in satisfying ways.
Resolution: See if the sense of definition of guitars, vocals, and other sounds enables you to hear each instrument clearly. Here, it's helpful to listen to orchestral pieces or similar music to see if you can isolate individual instruments.
Sibilance: Listen to vocal pieces to see if s and sh sounds are exaggerated. Some headphones may reproduce s as sh. As long as this does not bother you, it may be acceptable.
Leakage: Pay attention to the extent of sound leakage, if the headphones are for outdoor use.
Next Step After Purchase: Burn-in

Burn-in refers to the initial process of playing music on headphones for a while to prepare them for optimal performance. Immediately after purchase, the components in your headphones are brand new. Using them for a while will break the drivers in, which improves performance. There are various approaches to burn-in, and special CDs are available for this purpose, but a common method is simply playing music that you often listen to slightly louder than usual.

(source : HERE)