#LEMO CONNECTOR FOR AKG K812 HOW TO#
Siegfried Linkwitz is convinced that there is sufficient ambient detail buried in many stereo recordings already but that transducer and overall speaker design has not previously figured out how to deliver it. I had never heard loudspeakers retrieve such detail, for instance, until I heard Siegfried Linkwitz's Orion, and the K812 are like Orions on steroids because the room equation has been removed.
#LEMO CONNECTOR FOR AKG K812 DRIVERS#
To achieve that, the new drivers somehow manage to retrieve ambient detail that I've never heard a headphone retrieve.
To summarize what I think I'm hearing, the K812's lay bare the constructed quality of recordings, with clear differences in mikes, recording equipment, venue, and happenstances of the music-making process plainly audible. In the case of soundstage classical and soundtrack recordings, you get multi-miked setups and later dubs. Different tracks using different equipment and even from different venues get combined into many recordings. Second, I was reminded of the highly constructed quality of recordings and an image of the producer's hand on the mixing console. I'm talking about the violinists' chinpads creaking and fingers moving around on the fingerboard that floor-bounce resonance of sound you hear when you are sitting on the stage with the other musicians the grain of the singer's voice the burst of air and sibilance on the singer's lips the trumpeter's pucker the horn's bright leading edge - in short, many of things in live events that recordings are not necessarily expected to, or desired to, reproduce.
With more time and different kinds of recordings, I was reminded of two things.įirst, my days as a cellist, with all the sounds a musician hears on stage or in the studio that don't travel beyond the third row or mixing room and that the transducers I've experienced don't reproduce to any great extent. They were bright cans that I wanted to keep on because of the airiness. I've heard bright cans that I could not stand to keep on, but that was not the issue with the K812's. It was that beguiling, surprising sense of open space that made me set aside blocks of time to figure out what was going on with the new AKG flagship. However, it was obvious too that the spatial presentation and sense of air around voices and instruments far exceeded any headphone I've ever auditioned (I haven't auditioned the Stax, so I can't compare). That initial impression was that the cans were hot, as some people find with the Senn HD800 (and which I have never found with the T1, my personal go-to phone). Lesson learned: first impressions in the wrong frame of mind and insufficient time to evaluate don't do anyone any good. Coming off a lot of time with the famously smooth and easy Audeze LCD-3 and a very long, difficult work week battling big banks in litigation, it was probably the wrong time to unbox the K812 and tear into it, especially with a lot of goings-on in the busy household. I have not included my first 3 hours with the K812, which left me frustrated and confused. All the time has been straight digital 16-bit into a Benchmark D1HDR DAC/amp, my preferred evaluation rig. While I am still throwing things at the K812, I have now spent about 10 hours with it, covering a range of genres. If you want something in between, look at a Beyerdynamic T1 or Sennheiser HD800 and be happy that you've got a great set of cans. If you want the melliflous musical presentation and velvety richness of planars, this is NOT your headphone. If you want to hear everything the mikes pick up and that gets through the mixing board, this is your headphone. This is an extraordinary headphone, but for a particular audience.
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