Sennheiser HD650 Audiophile Headphone

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359.00

Overview

The Sennheiser HD 650 open-air dynamic headphone is a music lover’s dream: easy to wear and downright intoxicating to listen to. Sennheiser is, hands-down, the number-one name in high-quality headphones, and for good reason. From the issue of its legendary HD 580 headphone in mid-’90s, the German company has cornered the market on ultimate over-ear sound coupled with ultimate comfort, an unbeatable combination.

With no need to reinvent the wheel year in and year out, 2004′s titanium/silver-colored HD 650 is only the third top-of-the-line incarnation since the HD 580, following the classy HD 600 (and not counting Sennheiser’s made-to-order $15,000 Orpheus electrostatic headphone). Is each issue better than the last? Fundamentally, yes, though they’re also simply “different.” Taking as a starting point that each is truly excellent, the 580 might be said to focus on glorious midrange; the 600 makes a point of delivering extended, exceptionally airy high frequencies; and the 650, fittingly enough, tackles the most difficult area of sound for small drivers to handle: deep bass.

The 650 offers appreciable bass well below 40 Hz, the region responsible for the deepest frequencies generated by kick drums, timpani, double bass, electric bass guitar, and all manner of electronic sounds. Further, the 650 reproduces its low frequencies with only minimal emphasis in the upper-bass region, between the areas we commonly call “bass” and “midrange”, in which undue emphasis can destroy clarity both above and below.

If you listen mostly to classical, jazz, and acoustic music, you’ll probably embrace the headphone’s low-end authority without reservation. If you listen to contemporary pop/rock and electronica, however–genres subject to a fair amount of equalization and bass boosting over the course of recording, mixing, and mastering–then you might find yourself facing, at times, a bit too much bass. Of course, most rock demands excellent bass response, and the HD 650 delivers. It just isn’t forgiving of a musical production’s gross errors of judgment, which would makes it a great asset for sound engineers.

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