back to headphones

updated: May-19-2023

post separation

A set of measurements is just a tool which can be part of an evaluation of a headphone.
My measurements are made with imperfect (and cheap) microphones and pre-amplifiers, headphone amplifier and ADC/DAC which all have their limits that may well be reached before those of the measured device is reached.
Also measurement programs have limits as does the oscilloscope and signal generators.
However, my measurements can still be useful.

NOTE: The measurement plots are of one single unit (unless otherwise noted) and are not averaged over many different seatings on the test fixture. The most representative seating (as one would wear them) has been used/chosen. Most headphones change sound signature depending on how they are placed on the head/ears. Also seal (glasses, hair etc.) can change the tonal balance. There can be sample to sample variations as well so other copies may differ here and there as well as have different L-R matching.
The used test fixture does not have a pinna nor an artificial ear-canal. Because of this the frequency range between 1kHz and 5kHz may be ‘under reported’ a bit. This depends on driver size and angle.
This means one should look at the measurements being from a single unit with perfect seal with the intended positioning on the head/ears.

One should not evaluate a headphone solely based on plots alone as plots can only say so much and are taken with a perfect seal. Try to audition a headphone even when plots suggest it may not be a headphone that might be suited to your circumstances/taste.
Interpreting graphs is another aspect that requires some insight. More info on this can be found HERE

LINKS to measurements of the following headphones can be found below.

1MORE: Triple Driver Over-Ear Headphones

AKG: K92
AKG: K141 Monitor
AKG: K181
AKG: K240 monitor (vintage)
AKG: K240 studio
AKG: K361
AKG: K371
AKG: K400
AKG: K500
AKG: K501
AKG: K514-mkII
AKG: K518
AKG: K550
AKG: K551
AKG: K612
AKG: K701
AKG: K702
AKG: K712
AKG: K812
AKG: N60NC (wired)

Audeze: EL-8 Titanium
Audeze: EL-8 open
Audeze: LCD-2 Classic
Audeze: LCD-2 (Fazor)
Audeze: LCD-3 (Fazor)
AudezeL LCD-4 (Fazor)
Audeze: LCD-4z (Fazor)
Audeze: LCD-MX4
Audeze: LCD-X (Fazor)
Audeze: LCD-XC (Fazor)
Audeze: Sine (closed)

audio-technica: ATH-A700X
audio-technica: ATH-AD700X
audio-technica: ATH-M40X
audio-technica: ATH-M50X
audio-technica: ATH-MSR7
audio-technica: ATH-MSR7 (fake)
audio-technica: ATH-SR9

AudioQuest: NightHawk

Ausdom: ANC7
Ausdom: M05

Austrian Audio: Hi X60

Beats: Studio Wireless

Behringer: BH 470

Beyerdynamic: Amiron Home
Beyerdynamic: Amiron Wireless
Beyerdynamic: Custom One Pro
Beyerdynamic: DT 150 (250Ω)

Beyerdynamic: DT 240 Pro
Beyerdynamic:DT 250 (250Ω)
Beyerdynamic: DT 700 Pro X
Beyerdynamic: DT 770 Pro (250Ω)
Beyerdynamic: DT 880 Edition (250Ω)
Beyerdynamic: DT 880 Edition (600Ω)
Beyerdynamic: DT 880 Black Special Edition
Beyerdynamic: DT 900 PRO X
Beyerdynamic: DT 990 Pro (250Ω)
Beyerdynamic: DT 990 (600Ω)
Beyerdynamic: DT 1350
Beyerdynamic: DT 1770 Pro (250Ω)
Beyerdynamic: DT 1990 Pro (250Ω)
Beyerdynamic: TYGR 300R
Beyerdynamic: T1 (2nd generation)
Beyerdynamic: T5P (2nd generation)
Beyerdynamic: T50p
Beyerdynamic: T51p
Beyerdynamic: T51i

Bose: QC25
Bose: QC35-II

Bowers & Wilkins: PX

Brainwavz: HM5


Campfire Audio: Cascade

Creative: Aurvana Live! 2
Creative: Aurvana Live! SE
Creative: Sound BlasterX H7 (Tounament edition)

DAP audio: HP-280 Pro

Denon: AH-D600
Denon: AH-GC20
Denon: AH-MM200

Devine: PRO 4000

FiiO: FT3

Final: Sonorous III
Final: D8000

Focal: Elear
Focal: Clear
Focal: Listen
Focal: Utopia

Fostex: T50RP(mkII)
Fostex: T50RP (mk3)
Fostex: TH-X00 (Mahogany)

fun generation: HP5

Grado: GS2000e
Grado: SR125i

Grundig: EE1178

HIFIMAN: Edition S
HIFIMAN: Edition X
HIFIMAN: HE400i (2020)
HIFIMAN: Sundara
HIFIMAN: Sundara (2021)
HIFIMAN: Susvara

Jays: V-Jays

JBL: Synchros E40 BT

Koss: KSC35
Koss: KSC75
Koss: KPH30i
Koss: PortaPro

Mackie: MC-150

Marshall: Major II Bluetooth

Master & Dynamic: MH40

Meze: 99 Classics
Meze: 99 Neo

Mitchell & Johnson: JP1 DJ

MrSpeakers: ÆON Flow Closed
MrSpeakers: ÆON Flow Open
MrSpeakers: Ether
MrSpeakers: Ether flow (open)
MrSpeakers: Ether C flow (closed)


OLLO Audio: S4R (1.1)
OLLO Audio: S4X (1.1) Reference
OLLO Audio: S5X (1.0)

Pendulumic: Stance 1+

Philips: A5 Pro
Philips: EM6721
Philips: Fidelio X1
Philips: Fidelio X2HR
Philips: SBC-HP400
Philips: SHB-9850NC
Philips: SHL-9505 (uptown)
Philips: SHP9000
Philips: SHP9500
Philips: SHP9600

Pioneer: SE-300
Pioneer: SE-305
Pioneer: SE-MS5T

Roland: RH-300
Roland: RH-5

Røde: NTH-100

Sennheiser: HD 2.20
Sennheiser: HD 4.40 BT
Sennheiser: HD 25-1

Sennheiser: HD 238
Sennheiser: HD 250 linear II
Sennheiser: HD 320
Sennheiser: HD 400S
Sennheiser HD 414 (original 2kΩ version)
Sennheiser: HD420 SL
Sennheiser: HD 430
Sennheiser: HD 438
Sennheiser: HD 477
Sennheiser: HD 520
Sennheiser: HD 559
Sennheiser: HD 560S
Sennheiser: HD 569
Sennheiser: HD 570 Symphony
Sennheiser: HD 58X Jubilee
Sennheiser: HD 590 Prestige
Sennheiser: HD 595 (Special Edition)
Sennheiser: HD 599
Sennheiser: HD 600
Sennheiser: HD 630VB
Sennheiser: HD 650
Sennheiser: HD 660S
Sennheiser: HD 660S2
Sennheiser: HD 700
Sennheiser: HD 800
Sennheiser: HD 800S
Sennheiser: HD 820
Sennheiser: Momentum 2.0 over-ear
Sennheiser: PXC 550-II

Shure: SRH 440
Shure: SRH 840
Shure: SRH 940
Shure: SRH 1440
Shure: SRH 1540
Shure: SRH 1840

Sony: MDR-1A
Sony: MDR-100AAP
Sony: MDR-7509 HD
Sony: MDR-XB500
Sony: MDR-ZX110
Sony: WH-CH700N
Sony: WH-1000X-M3

Status Audio: CB-1

Stax: SR-5 with SRD-6 energizer

Superlux: HD330
Superlux: HD562
Superlux: HD572-SP
Superlux: HD581 (proto)
Superlux: HD660Pro (proto)
Superlux: HD662-EVO
Superlux: HD668B
Superlux: HD671
Superlux: HD672
Superlux: HD681
Superlux: HD681-EVO
Superlux: HD685
Superlux: HD687
Superlux: HD688

t.bone: HD 990 D

Takstar: PRO 82 monitor

Tascam: TH02-B

Teufel: Aureol® Real

Ultrasone: HFI-780

V-MODA: Crossfade M100
V-MODA: Crossfade II Wireless

Yamaha: HPH-MT7
Yamaha: HPH-MT220

‘Stratocaster’ headphones

fake Beats: Solo
Veclan: Monk Plus
Silvercrest: KH-2347
Intempo: Pulse

 post separation

The measurements are made on a home made and not calibrated measurement ‘rig’ and not with an official (and very expensive) HATS. They are made to satisfy my own curiosity.

Equipment used for measurements:
Desktop running WIN 7 and/or ACER 10″ laptop when measuring on location.
Creative EMU 0204 or Behringer UMC 204HD
Desktop Kameleon with linear module
Panasonic WM61A / IMM-6 microphone capsule (defective after a few months) + compensated dedicated mic pre-amps.
Handyscope HS4 + purpose made square-wave/impulse generator

As this test-rig is a flat-bed type and doesn’t have a fake Pinna nor simulated ear canal and not much ‘compensation’ is needed aside from the microphone itself, which has a small boost around 16kHz. This 16kHz peak is compensated for in all types of plots.
Because a flatbed measurement rig creates a perfect seal bass response measurements may not match what some people are hearing. This could be caused by a small leakage which may be present on a human head and not being present on this test-rig.
The test rig measures the actual output of the driver and subtracts some of the bass response (shown further down this article) and does not include Pinna (actually Concha) gain.
The latter varies substantially from headphone to headphone but strangely enough sounds closer to what a flat plate measures (i.e. driver output).

Note: Some of the measured headphones are NOT in stock form and thus will also measure differently from those in stock form but is mentioned in those cases.

Aside from the small correction in the treble also some compensation is used for the lower frequencies. There are some theories as to why headphones need compensation in the lows.

One theory is that headphones do not add ‘vibrations’ to the body as speakers do. I don’t find this reason plausible but there are people listening using subwoofers at the same time or having vibrating (tactile) drivers in the headphone or on a backpack you can wear.

Another theory is; speakers that measure flat in anechoic conditions will reproduce the most realistic sound. These speakers, however, are never used in anechoic circumstances but always in living or other listening rooms. Those rooms are all echoic.
All sounds emitted from the speaker arrive at our ears directly AND bounced off from walls, ceiling, floor and stuff in the room.
The higher the frequency, the more directional the sound becomes due to polar patterns as well as reflections being out of phase and ‘time’.
Our hearing is quite capable to separate the direct sound from echo’s. This works well from a few hundred Hertz and up to about a several kilo Hertz.
Below a few hundred Hz our brains cannot separate direct from reflected sound. The long wavelength combined with the speed of sound and distances involved is the reason for this.
The lower frequencies ‘fold’ around the speaker and becomes a point source (omni-directional). Therefore the lowest frequencies bounce of rear walls, floor and ceiling and all ADD to the sound pressure at the listening position (basically a bass boost) where mids and higher frequencies do not add because the brain can ‘separate’ direct from reflections and due to polar patterns (directivity of the speaker) which changes with frequency.
Because of this a speaker that measures flat in an anechoic room will have a raised bottom-end (bass) in a ‘normal’ room.

Headphones do not exhibit the same behavior. All sounds are coming directly to the ear so the ‘extra’ bass added by a room is not added.
A headphone that ‘measures’ flat in the bass on a flat bed measuring rig thus sounds bass shy compared to a flat speaker in a room.
To compensate for the absence of the room reflections for the lower frequencies this part of the frequency response has to be elevated in order for the headphone to sound as good as a good speaker in a normal room.

My reasoning is much simpler.
When we look at the picture below and consider the 80 Phon line as ‘audible neutral/flat’ and overlay and normalize the differences we get the picture below on the right.
On the left the overlaid phon curves, on the right the Phon curves normalized to ‘flat’ at 80dB SPL. These curves are based on (revised) Fletcher-Munson curves.
This is the level where most music is mixed at in studios (80 to 85dB average)

F-M overlayed

This shows us that a recording that sound realistic in a studio at 80dB average should be EQ’ed when we want to hear the same ‘tonal balance/signature’ when playing at comfortable long-haul levels of around 70dB average.

As can be seen the sub-bass needs to be boosted by +10dB at very soft listening levels (60 Phon average) to around +5dB at comfortable levels (70 Phon).
As most people tend to listen at around these average levels a compensation is needed.
This compensation is already included in the plots and looks like the one below.

corr plot

This phenomenon has also been studied by Sean Olive and Todd Welti. They came up with a +5dB to +6dB boost below 60Hz (for headphones) which is quite similar to my findings and those of Golden Ears. Personally I find the Harman curve a bit too much so the plots on this website have slightly less compensation and slightly different in curve.
The O-W curve has a sharp ‘knee’ which does not happen in real life but is the result of preferences by a large group of people. The compensation I use follows a more ‘natural’ curve and thus is less ‘sharp’ in roll-off. A choice… and personal preference/finding.

Rtings (no spelling error) has a nice video up explaining issues they found using their (Kemar) HATS regarding bass and treble response that is certainly worth a look.
They are doing a better (and faster) job researching how to measure with HATS than Tyll did.
The only other site I know that has a pretty good correction curve for their HATS is ‘Sonarworks‘ who has a digital version of the Kameleon basically.

Below the plot of the applied compensation for measurements on this website.
A headphone that would measure ‘flat’ (like most well extended planar headphones) as in equal sound-pressure for each frequency will look as shown below.
A little bit too bass-shy as it were.

corr plot

This means that when a headphone measures as ‘flat’ line in the plots on this website the actual measured response had about 4dB more bass. A ‘flat‘ line in the frequency response plots on this website thus will sound ‘neutral / realistic’ to most people.
Some ‘audiophile’ listeners, however, who have gotten used to ‘measured flat’ headphones and have come to accept the slightly ‘lean’ bass character of those headphones as ‘flat’ will most likely disagree with my definition of ‘accurate’ which is more like a speaker in a room. Think of the used compensation being closer to the familiar ‘B&K room’ curve but without the supposedly loss in higher frequency which is not the case in ‘normal’ sized living rooms.

The reasons why I use my ‘own’ measurement method/rig.

I have been asked in the past what ‘compensations’ I use and what my measurement method is. Often this question originates from my plots differing from those of others.

My thoughts on this are as simple as can be but need a lot of words to explain how I got there.

One can use expensive HATS for measuring speakers as the ears (Pinna) and ear canal are ’emulated’ for these kind of measurements anyway.  I don’t want to spend a load of money on these things though nor do I think it is essential. With headphones the sound is coming from the sides (directly firing into the ear canal) in a very small and sometimes hermetically closed (depends on pads and headphone type)  ‘small room’. Slightly angled drivers are still firing directly into the ear canal by the way.
This calls for different compensation than is needed when sounds are coming from the front. These types of measurement rigs (HATS) are very expensive and when used with the wrong compensation (Tyll’s plots alas) can give very ‘confusing’ plots that don’t seem to have a real relation to ‘reality’ above 1kHz.

To me a graph should show a horizontal line when the sound is flat (i.e. receive the same amplitude of SPL at all frequencies). So headphone with too much bass should show more lower frequencies compared to the mids. With the mids I mean a ‘band’ between 400Hz and 2kHz roughly. When the treble is shown to be ABOVE these average mids it will sound ‘brighter’ and when it is below that ‘mids band’ they sound darker.
This is what the plots on THIS website represent.

I experimented with small mics placed in the ears but the results weren’t nearly as accurate as real life and also weren’t easy to repeat so abandoned this project pretty fast.

DSCN2405I kept my rig ‘simple’ and used 2 wooden boards covered with closed-cell foam rubber trying to emulate skin.
The planks are spaced 14 cm apart, which is about the same as that of my head.
This way the pads are compressed about the same amount as on my head (not entirely so but IMO close enough). Disadvantage is that because ‘wooden plank couplers’ are flat and not curved like a real head or a HATS the seal I may be getting may be better as one could get  in real life. It does make measurements more consistent though.
There are markings on the sides of the rig so re-positioning the headphones in the same repeatedly place is relatively easy to do. Lows are compensated acc. to various research about perception and the used capsule (WM61A) is known to have a peak of about +3dB centred around 16kHz. Both are ‘removed’ (compensated for) using hardware in the form of analog filtering BEFORE entering the ADC at line level. Therefore the electrical frequency response plot I obtain is ‘RAW’ and ‘audible flat’ at the same time and line level. No further compensations or HRTF are made/needed afterwards in any software program.


The absorption of sound from the skin and refraction of sound as well as the amount of air inside the measurement chamber of my rig will DIFFER from the flat foam rubber surface, without a Pinna, from my rig.

This is something that simply is a disadvantage of a very simple and flat rig and needs to be taken for granted as an absolute error possibly being present depending on the headphone.

I do not calibrate 1kHz to be exactly 90dB SPL but do measure with average levels AROUND 90dB SPL in order to create a decent ‘distance’ to ambient noise level and to ensure both the microphone and headphone stay within proper operational conditions.
My 90dB ‘reference’ may be 1 or 2dB ‘off’ but this is inconsequential.

So take the plots in this section for what they are:
An amateur’s attempt to ‘measure’ the frequency response and obtain plots that have a fairly reasonable resemblance to ‘reality’ in the sense that a flat FR on these plots corresponds to an accurate reproduction of ‘well made recordings’. That may NOT coincide with how someone else perceives similar headphones.
Think product variances, sealing issues, head/ear shape or differences caused by the absence of a Pinna in the measurements.
The plots on this website differ considerably from those from Tyll (+ headroom) but differ less from those from Golden Ears and Rtings.
To make things clear I really LIKE Tyll’s website and efforts in the headphone world as do I like Golden Ears and Rtings each for their own reasons.
In no way do I claim my measurements are more accurate or much less accurate but they do DIFFER.
IF you find they do not jive with your impressions of a headphone or have other views than don’t bother to peruse the measurements on this website other than just for ‘fun’ and just disagree with my findings or measurement methodology.
To some the measurements are made with a fundamentally and irreparably compromised test rig that gives inconsistent results with different headphones. That may be so but I find the produced graphs to have a greater resemblance to how I hear them compared to many ‘official’ HATS measurements.


post separation

These measurements have a different (larger) vertical dB scale compared to those of other websites so they might appear to have ‘worse’ FR behaviour than other measurements out there. Always look at the vertical dB scales when comparing measurements between different websites. An example of this is given below. The top and bottom plot are the exact same sets of data (T50RP without FR compensation circuit). The top one is like the plots shown in this section the bottom one is as shown on a lot of websites or in a way a vendor would present it’s plot in order to boost sales (look… our headphone is very flat and accurate).scalesThere are no measurements of ear buds or IEM’s as the measurement rig does not have an ear canal simulator. Also NO measurements of expensive headphones (aside from the HD800) as these do not fall in the scope of this website and don’t have access to them.

The CSD plots shown on this website lack resolution and thus are not revealing enough. Only severe ringing can be seen and that’s what I was after, not pursuing accurate CSD plots.

Also note the scales may differ (vertical and horizontal) as I am still just playing with it and primarily use the rig to determine what the changes are (so relative to earlier measurements made) and not to compare with other measurements.

For accurate measurements I can recommend Oratory 1990 and Crinacle.
Another interesting site is rtings with plots that have a high relation with how I perceive (and measure) headphones.
Tyll’s pdf’s (innerfidelity-allgraphs-updated-alphabetical) are also a very valuable source of information. Just remember his plots are downward sloping above 1kHz.
The plots do NOT have a high relation to how they sound above 1kHz. The plots slope downwards from there making them hard to evaluate.
(Changstar & SBAF) newer plots (the ones with harmonic distortion plotted as well).
They have a number of people submitting ‘measurements’ and some of them are quite ‘off’ from reality.
Also these Russian measurements can be used to extract info on FR.

post separation

back to headphones


  1. coffeegal says:

    The picture you show by your test results of the Sennheiser HD 230 most definitely isn’t that model. The description also sounds completely off the mark. The HD 230 is a very transparent sounding set of headphones with a lot of treble extension and quite good bass. There was never any orange foam but black leather effect earpieces.

    I would expect the measured response to be very much better than that shown.

    A good picture can be found at

    • coffeegal says:

      I’ve just fired up my HD 230 headphones and running them from a MacBook Pro headphone output (which has pretty poor bass).

      The test file I have found at gives a detectable (by my ears) effect at 14Hz and is uncomfortable to listen to at 16Hz. I think that means the bass output is pretty good 🙂 They do have separate concentric bass and treble drive units. Spare earpieces (containing drive units) are still available at £84 each. I’m not sure what the headphones you have masquerading as HD 230s are.

      Sarah (audio geek)

    • Solderdude says:

      You are absolutely right, I made a typo it should have said HD320 instead of HD230 (1993).
      Thanks for the pointer !

      I don’t own this headphone, but know the owner and he wanted it repaired and I measured it.

      The HD230 is 600 Ohm and seems to have been the top model at that time (1985).
      It comes from around the time the legendary HD414X was launched (1986)
      Had no idea about the existence of the HD230 and it seems to be a rare one as it is indeed a 2 way system. I am not aware of many 2 way systems, aside from many IEM’s with 2 drivers, these even exist with up to 10 drivers tucked away in a very small earpiece.
      The AKG K340 also is a 2-way system but uses an electret driver for the highs.

  2. justus says:

    hi, i coulnt find a description of your measurement rig. An 1/4″ omni flush w a baffle like the standard rig in the linked article? great stuff guys!

    • Solderdude says:

      There isn’t a detailed description of it. The last link in the post above (just above the comments) shows a picture of it. 2 WM61A mics are used but generally use one 1 of them. The mics are compensated for the boost in lows they get being baffle mounted as well as the 16kHz peak all these mics have so the output signal of the pre-amp has a ‘linear’ FR signal that does not need software compensation. The pre-amp is a bit noisy so I cannot perform (meaningful) distortion tests with it. It is a very basic setup but works for me and produces results that closely resemble what I hear (in most cases). Because there are no pinnae nor tubes used I cannot measure earbuds nor IEM’s (they are difficult to measure correctly anyway)

  3. Justus says:

    Cool, thanks! I like the simple setup (esp. since coupler are no good, and artificial ears too expensive). How did you decide to compensate for this LF boost?I dont see this boost in artificial ear measurements. How do you decide its headphone or mic? In free or diffuse field you’d get a boundary effect 6dB boost, but this is not applicable here afaik. Justus

    • Solderdude says:

      Hi Justus,

      I had noticed my measurements were ‘off’ in the lows compared to those made with calibrated HATS.

      The lows correction wasn’t that difficult to do as I have several headphones that have been well documented and measured with known calibrated set-ups.
      All I needed to do was measure a reference headphone (in this case the HD650) which measures repeatable, and compare everything below 3kHz with those made with a real HATS.
      This gave me the needed correction curve which was simply applied in the form of an RC filter.
      This of course is a very cheap way of correcting but accurate within 1dB.

      The missing 6dB in the lows is a psycho-acoustic phenomenon that doesn’t bother experienced listeners in most cases.
      For those who want to now what the missing 6dB effect is:
      When listening to ‘flat’ speakers in a room and then putting on a headphone which plays at the same SPL (so equally loud) measured at the listening spot will give the ‘impression’ some bass is missing in the headphone when they are equally ‘flat’ in reproduction.
      For this reason most people prefer headphones with some boost in the lows.
      This effect becomes less at higher listening levels so seems partly psychoacoustic/acoustic.

  4. outkayn says:

    I need to buy studio headphones (to control my mixes, I have studio monitors and room treatment too). Im considering AKG K271 MKII or Audiotechnica ATH-M40x.
    I didn’t found test of the akg k271 on your site. Maybe u can tell me which pair of headphones will be more flat, and better for the mix in studio??


    • Solderdude says:

      These headphones are good for monitoring. A ‘wonky’ frequency response can even be a blessing for monitor headphones.
      For mixing you need ‘flat’ and recommend the Beyerdynamic DT250-250 or if it can be an open headphone the Sennheiser HD600 or even Focal Spirit Professional.
      The HD600 is also excellent for hifi, followed by the FSP and DT250-250.
      The latter is not as refined in the highs.

  5. Pierre says:

    Just an idea. It is possible using those silicone ear model to simulate ear canal? Here’s some of the product link that I think could work so that it will mimic our ears more accurately.

    • Solderdude says:

      I had thought about using fake Pinnae and even thought of making a mold from mine.
      At the same time I google pictured ears and found a wide range of ear shapes and sizes with different Concha’s.

      With some headphones adding a fake Pinna has more influence then others.

      The Pinna does the ‘most’ for sounds coming from in front of you. It has a different Concha gain then when sounds come from the side.
      It also ‘shields’ sounds coming from the rear of the driver.

      I decided that all I want to know is what the driver measures like at the ear canal entrance with about the same ‘reflection and absorption’ of sound as human skin.
      Sounds we hear are ‘processed’ and ‘compensated’ by the brain anyway so the ear canal does not need mimicking and subsequent (and far from perfect) ‘removal’ again.
      I do plan to do some more research on Pinna effects as around 2-3kHz there is some boost by the Concha. But not nearly as much as sounds coming from the front.

  6. memoryerror says:

    Thank you for such wonderful information. Wonder if you have a Patreon so I could buy you a beer.

  7. Solderdude says:

    No patreon, thanks for the thought though !

  8. Steinar says:

    Nice site.
    Plan to measure more Grados?
    Wonder what the differences on the prestige series is!
    Sr 60/80/125. Same FR
    And 225e compared to hemp.
    Brg steinar
    Grado and beyerdynamic fan

    • Solderdude says:

      Alas I do not have easy access to a Grado dealer. For Grados I am totally dependent on people sending them in for measurements.

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