Hello Giktimes! For some, music is one of the ways to escape from reality into their cozy world, others use their favorite tracks to relax after work, and some, on the contrary, cannot perform daily tasks without music (no, we are not talking about DJs and dancers here ). Why such a lyrical introduction? The fact is that, largely because of this, the approach to choosing headphones is often comparable to searching for a new car. And when headphones cost tens of thousands of rubles, this is not a deterrent if the characteristics correspond to the stated price.
As you probably guessed, today we received not just “plugs” for a couple of thousand rubles, but the most representative of the premium segment. In general, the very concept of “premium” in the world of sound is very vague: this category can include both the same Audio-Technica ATH-W5000 for 80+ thousand rubles, and HiFiMan HE-1000 for 200 thousand rubles or something even more expensive . So we will classify our hero as “initial premium” (Why? You’ll find out at the end). Meet the updated Fostex TH-610.
Few people are not familiar with the Japanese company Fostex, but just in case, a little historical information: it has been in the audio market for more than 40 years (one of the pioneers of Regular phase) and specializes in equipment for acoustic systems. It’s all the more interesting to take a closer look at her headphones.
TH-610 went on sale this summer and began to slowly reach the Russian market in the fall. In fact, the headphones became a follower of the famous TH-600, and judging by the similarity of the new product with the Massdrop TH-X00, it is clear which model was taken as the basis when creating the Fostex TH-610. However, the TH-X00 at one time received a nomination for SuperBestAudioFriends in the “headphones of the year” category, so that’s even good.
INTRODUCTION
As a person who is seriously interested in stationary stereo, I have been encountering a “home” portable too often lately.
With full-size mugs, amplifiers for them and, of course, DACs. Although the last two categories can very well be applied precisely in the field of stereo. Recently, my trembling audiophile heart was pierced by the magnificent “cherry nines” from Fostex, models TH900mkII and TH909. And the first one completely drove the performer of the hit, which was referenced in the title, crazy, like a vehicle. It's the turn of the walnut Fostex TH610 to answer for the brand and for Japanese HiFi in general. Are the TH610 as good as their older brothers in their segment? When, dealing with the tops of a particular manufacturer, you begin to get acquainted with simpler models, a certain condescension always flows between the lines and paragraphs. Like, yes, they screw up here, but they don’t improve here, but they can, by the right of their juniors. In itself, a comparison of models from slightly different worlds hardly has such deep meaning as to devote an entire article to it, you will agree. Therefore, this time I will try to avoid direct comparisons of purely technical features. Instead, I will focus on comparing the characters and temperaments of closed tops and TH610.
After all, often, having fallen in love with the tops, we buy a simpler model not because of exaggerated frugality, but because of the desire to get the same sound character, handwriting, but at a more affordable price, sacrificing little. After all, often the difference in price is not comparable to the real difference in sound. And the difference is compensated by a hellishly unpleasant feeling, nagging stronger than the sibilants. Or even a thought. “It was worth taking a more expensive model!” But there are happy examples when it is possible to avoid the seemingly inevitable retribution for diligence. It’s better to let your wife nag than your inner dissatisfied audiophile demons.
PACKING AND EQUIPMENT FOSTEX TH610
There is a clear connection here with older models. Fostex TH610 comes in a stylistically similar, but noticeably smaller package. It’s not surprising, because the key difference in the configuration lies, among other things, in the absence of a stand on the Fostex TH610. It would be naive to expect that the younger model will also be equipped with such a useful and expensive accessory. Hence the difference in dimensions. But the TH610 box cannot be called small, that's for sure.
The box also has a beautiful dust jacket. It is made in the same vein as the “nines”. One side depicts “full-length” headphones, the second side emphasizes the cups. Oh, these Fostex cups! But we’ll talk about design later, so let’s breathe out for now.
Otherwise, the dust jacket is devoid of any information about the headphones and their performance characteristics. With deft fingers we remove the main box. This is exactly the same matte black box as the “nines”. In which, instead of headphones, your missus could bring home a new pair of ankle boots. But it didn’t work out, because you are an audiophile, and all the money was spent on new headphones and an amplifier.
The only difference is that the “nines” have a logo and model name made in gold. While the TH610 is in silver. Coincidence? Don't think. In general, if I’m already accustomed to calling flagships “nines,” then shouldn’t we call our today’s heroes “sixes”? VAZ2106, iconic model. My father had one like this, blue. Summer trips in a car smelling of cigarettes and gasoline to visit relatives are perhaps the warmest and most vivid memories of childhood. Let’s add some light to the review and call the Fostex TH610 “sixes”.
The rest of the kit is identical to the “nines”: documentation, a leatherette bag for storing and transporting headphones and a very weighty cable. The cable is really thick, it is “clad” in a wear-resistant braid and has an impressive length of 3 meters. Externally, this is the same cable as the tops. 6.3mm jack, 2-pin connectors, all rhodium-plated. There is one significant difference - Fostex TH610 is also copper, but has a purity of 6N. Is this so critical? More likely no than yes. You can always improve (or ruin) the sound with a cable, but it’s unlikely that you’ll want to do that immediately after mastering the Fostex TH610.
Specifications
| Headphone type | Dynamic, open type |
| Frequency range | 5 - 45.000 Hz |
| Resistance | 25 Ohm |
| Weight | 400 g |
| Sensitivity | 100 dB/mW |
| Maximum input power | 1800 mW |
| Length of cable | 3m |
| Plug | 6.3 mm |
- Magnetic induction drivers
- Biodynamic 50mm diaphragm
DESIGN FOSTEX TH610
If the design and overall production of the Fostex TH909 and Fostex TH900mkII cups smelled of samurai dedication and meditative trance, then the Fostex TH610 is a little closer to our European perception, materialistic and pragmatic. The headphones almost completely repeat the design of the Fostex TH900mkII. In addition to repeating exactly the shape of the cups and their material. And the design. I wrote quite a lot about it, as well as the entire process of their manufacture, in the review of the “nines”.
As for the shape, there is one and insignificant difference - the Fostex TH610 does not have a border around the logo on the “top” of the cup. But the material and design are radically different. Firstly, Fostex, by moving production of the TH610 outside of Japan, said goodbye to cherry birch. This model's cups are made of walnut, but not our ordinary walnut, which grows abundantly literally everywhere, but dark walnut. It is suddenly darker and has a very fine texture. Visually. Because the cups are perfectly smooth to the touch. And covered with matte varnish. The logo is dark brown—not a trace of platinum or silver remains. Although I welcome such decisions to reduce costs. The headphones, despite the loss of luxury, still look great. In some ways it’s even more advantageous. Probably due to the natural appearance of the wood.
The ear pads are made of eco-leather, however, they are silent about Fostex technology. Therefore, whether it is “egg” skin is anyone’s guess. As for the filling, the Fostex TH610 ear pads are perhaps closer in elasticity to the Fostex TH909. From memory, the Fostex TH900mkII had them softer. But the manufacturer declared different materials used in these models, taking into account their acoustic performance. In any case, the headphones are comfortable, they sit quite tightly on the head, and the ears do not sweat in them even now, at the beginning of summer. Although a little damp and chilly in the evenings. Unless you have 45 degree scotch in your glass. It warms you more than the July sun. A special acoustically transparent felt is used as protection and a “filter” inside the cups.
The headband is covered with the same leather substitute as the ear pads. It is quite miniature, as is the mechanism for adapting the headphones to the shape of the head. Despite this, the mechanism does not raise doubts about its reliability. Fostex TH610 cannot be called heavy, their weight is only 375 grams. You hardly notice them on your head.
Design
Like a boss!
Japanese manufacturers have taste and attention to detail. TH-900 is proof of this. Construction, design elements, quality of materials - everything is at the highest level.
The headband is adjustable. The construction is durable and metal.
The interior is carefully lined with soft genuine leather. Just like the external one.
This is some kind of magic: the headband is almost not felt. There doesn't seem to be anything special about it, but the Japanese thought it through very carefully.
The ear pads are also covered with leather, soft and delicate to the touch. They fit tightly and neatly around the ear and do not cause any discomfort.
In addition to the headband, the headphones themselves are also adjustable. Moreover, both vertically (up/down) and horizontally (right/left).
The result is that they sit very well. You don’t get tired of them, you don’t have the desire to take them off even after several hours of listening to music.
As I mentioned above, I really liked the attention to detail. There is absolutely nothing to complain about; their appearance is exemplary. Japanese assembly.
The cable is made of oxygen-free copper, which gives it durability (resistance to internal corrosion) and high conductivity. It is lined with durable fabric.
CHARACTERISTICS AND TECHNOLOGIES FOSTEX TH610
Fostex TH610 has almost the same performance characteristics as the older “nines”. Technically, the headphones are very close, which logically explains the closeness of the TH610's sound to the signature of the TH900mkII model. Their impedance is the same as that of the tops - 25 Ohms, but the sensitivity is slightly lower - 98 dB versus 100. The effective frequency range is also unchanged - the Fostex TH610 drivers “operate” from 5 Hz to 45 kHz.
The driver itself in the TH610 is made using the same technology as the magnificent “nines”. With one exception. The magnetic system of the Fostex TH610 is simpler. This is also neodymium, but with a lower inductance - 1 Tesla versus 1.5 Tesla for the TH909 and TH900mkII. Even 1 Tesla is a lot. And one and a half is the LCD-4z level, just for a second.
But the Bio-dyna driver has not gone away. This is still the same 50 mm biocellulose membrane. Its surface is reinforced with inorganic fibers. They give the membrane additional rigidity, while the membrane itself remains elastic and light. This has a great effect on the speed qualities of the driver. The sound wave propagation speed of a speaker with a Bio-dyna membrane is twice as high as that of a speaker with a conventional composite membrane. A fivefold increase in rigidity relative to conventional membranes and a powerful magnetic system provide ultra-low distortion, excellent detail and the widest dynamic range. I agree, this looks more and more like an advertising brochure or a draft presentation for the marketing department. However, I would not quote the manufacturer so irresponsibly if I were not convinced myself that Bio-dyna drivers demonstrate high accuracy and resistance to overload even at high volume levels and difficult sections of the soundtrack.
Fostex TH-900, Fostex HP-A8C. Home portable High-End review. Portal "Soundex.ru"
Based on the test results, we can only strongly recommend to readers the Fostex TH-900 headphones in combination with the Fostex HP-A8C. With this pair you will discover a lot of new things even in familiar recordings.
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The Japanese company Fostex was founded in Tokyo in 1973. This is one of the most reputable manufacturers of high-end speakers and headphones. It was these types of products that formed the basis of the model range from the first years of the brand’s operation on the market. Fostex has relied on the development of new technologies and the introduction of innovations. One of them, for example, was RP (Regular phase) technology, which made it possible to achieve excellent sound purity with the widest dynamic range.
Thanks to their excellent quality and high technological level, Fostex speaker systems and headphones have gained wide popularity among connoisseurs of good sound. Many of the company's models are also used in professional recording studios. Today it is one of the leading brands providing both audiophiles and professionals with high-quality Hi-Fi and Hi-End systems and headphones.
The company has confidently entered the digital audio era. Today, its lineup represents a whole range of advanced devices, including amplifiers and digital-to-analogue converters, meeting the latest requirements of audiophiles. It is this aspect of the company’s activities that I would like to touch upon in today’s test.
The line of headphone amplifiers and DACs includes portable models - HP-P1, HP-V1, which will improve the sound of your smartphone on the road, as well as “desktop” models - the inexpensive HP-A3 and the High-End device HP-A8C.
The subject of our close study was the flagship of the company's lineup - the Fostex HP-A8C amplifier paired with Fostex TH-900 headphones, the combined sound of which we tried to objectively evaluate.
Pleasant to the eye, pleasant to the touch
Devices that provide excellent sound quality cannot look bad. The models under consideration serve as the best illustration of this truth. The manufacturer made sure that using them was pleasant in all respects. As for the technological content, its level can be judged at least by the high class of devices and the authority of the manufacturer.
Amplifier Fostex HP-A8C
The Fostex HP-A8C is a 32-bit digital-to-analog converter that can be used as a discrete headphone amplifier and stereo preamplifier. The device is made in a massive case, the width of which is half the width of a standard Hi-Fi component, made of high-quality aluminum alloy with a glass front panel. It looks very rich. Additional solidity is given by the hard top cover, which responds to tapping with a dull sound. Despite its relatively small size, the device has a significant weight. Thanks to the soft pads on the legs, the case is securely fixed on any surface.
The front panel is decorated with a spectacular matrix display, made in a pale blue hue, which has good information content due to its high contrast and brightness. Also on the front panel there are two 6.3 mm outputs for connecting headphones. The output/input selectors are located to the left and right of the corresponding connectors, which is quite logical. However, they could have been done on a larger scale. But there are no complaints about the volume control knob in terms of ergonomics. It is quite large, turns with precisely measured force, and the angle of rotation gives a change in parameters in accordance with the expected value. Volume control is electronically discrete, built on a resistor matrix in 0.5 dB steps.
The rear panel houses 5 digital inputs (2 TosLink, SPDIF, AES/EBU, USB) and two outputs (TosLink and SPDIF), as well as analog unbalanced (RCA) inputs/outputs and an SD slot for a memory card. All connectors are of high quality. The kit includes a NoName power cord, but it has a relatively large cross-section: 3x1 mm.
The basis of the Fostex HP-A8C is the AK 4399 digital-to-analog converter with a set of audiophile-quality components. According to the manufacturer, the entire system technology of the device is built on discrete elements, with the exception of the DAC chip and the electronic volume control. The power supply is made on the basis of a toroidal transformer of significant power.
The manufacturer provides the ability to use digital inputs in asynchronous mode. The built-in thermally stabilized clock generator with a high level of accuracy is responsible for frequency stabilization. Coaxial SPDIF inputs/outputs can be clocked from the oscillator of the associated device. Switchable 2- and 4-fold oversampling of the input digital signal is provided.
The built-in headphone amplifier features high output power with minimal distortion. The load impedance can vary between 16-600 Ohms. The available 24 gain presets allow you to conveniently use the amplifier in conjunction with various headphone models.
The remote control is made in an elegant aluminum housing. It provides the ability to fully control the device, not only allowing you to switch outputs. Use the arrow keys to move the cursor in the menu.
Headphones Fostex TH-900
The headphones are made in elegant wooden cups made of Japanese cherry birch, coated with matte Urushi varnish. The metal headband is covered with leather. The ear pads are also lined with soft leather. All materials are natural, very pleasing with their quality and pleasant to the touch. The headphones look very solid and expensive. All details are adjusted perfectly, due to which the headphones sit very comfortably on the head and are practically not felt, despite their substantial weight.
The headphones have good noise isolation. But this model, nevertheless, was created for indoor listening; for example, it is not suitable for use in the subway. At lower than average volume levels, an external voice may be heard. At higher levels, a cell phone can be heard ringing.
For connection, the headphones have a thick fabric-braided connecting cable with a high-quality 6.3 mm plug. The body of the plug is metal (at least that's the impression it feels to the touch), and the contacts are yellow. The connecting cable, as well as the internal wiring of the headphones, are made on the basis of deoxygenated copper purified 7N.
The manufacturer has provided a high-quality case for carrying the headphones. Also included is a special stand for stationary storage.
According to information from the manufacturer, the expansion of the dynamic range in the Fostex TH-900 is achieved through the use of neodymium magnets with induction in the gap of 1.5 Tesla. The 50mm diaphragm is made from proprietary Biodyna material.
Fostex HP-A8C as a digital-to-analog converter
At the first stage, the sound of the HP-A8C was compared with the sound of the DAC of the reference system and evaluated using the AudioDoctor FSQ 2006 method. The HP-A8C was connected to the computer directly (via the USB interface) and through the M2Tech HiFace Evo converter (via the AES/EBU and SPDIF interfaces). The sound was reproduced by a computer using the Korg Audiogate 3.02 software player, from the corresponding CD. Tracks No. 15 were used (setting the volume level to 86 dBA at the listening point), 9 (estimating the width of the generated stereo base), 10 (estimating scene depth and accuracy of microdynamics), 11 (evaluating attack, focusing and localization), 12 (evaluating tonal balance and transfer of stage space), 13 (sound assessment at low levels, macro and micro dynamics).
Compared to the reference system, the HP-A8C left an extremely pleasant impression, although it was slightly inferior in transparency, macro and microdynamics, and the transfer of spatial sound characteristics. The sound of the product is very accurate and tonally balanced, the subjectively perceived bass is deep and very detailed. The stereo base is continuous, and, according to the subjective impression, on test recordings it slightly extends beyond the speaker base. The stage is quite deep, but the depth resolution is a little lacking; the drum and double bass often play almost from the same line. The space of the stage as a whole is conveyed satisfactorily. Microdynamics are slightly shaded. The attack is transmitted perfectly. Focusing and localization in the horizontal plane is at least very good. In the vertical plane - satisfactory. The instruments are located almost on the same level. The sound at low levels is good, the timbres of the instruments are reliable. Macrodynamics are somewhat smoothed out.
The best impression was made by directly connecting the HP-A8C to a computer via a USB port. Connecting via the M2Tech HiFace Evo converter via the AES/EBU interface did not provide any audible benefits. Connections via the M2Tech HiFace Evo converter via SPDIF and TosLink interfaces turned out to be very similar in sound. However, in our opinion, the first two options are still more preferable. The differences between connections were clearly noticeable in terms of bass depth/detail, stage space/air rendering, and sound source focusing/localization.
In further testing, we used the now traditional disks:
- Glenn Gould, Beethoven: Symphony No. 5 in C Minor" - Sony/BMG 88697148062, 2007.
— “Leonid Roizman, Johann Sebastian Bach: Works for organ” — Melodiya, MEL CD 10 01 1230, 2013.
— “Katie Melua Collection” — Dramatico DRAMCD0046, 2008
— “John Fogerty, He Wrote A Song For Everyone” — Sony Music 88765487152, 2013.
Due to its greater versatility, during further listening, the HP-A8C was connected directly to the computer via the USB port. The HP-A8C is very musical and quite versatile in genre. Noise and interference from old recordings (discs 1 and 2) do not interfere with the music at all. Modern recordings (discs 3 and 4) sound detailed and vibrant. The specificity of genres and performance features are more than clearly distinguishable. The abundance of details does not distract from the meaning, but, on the contrary, contributes to the understanding of the author’s intention and the interpretation of the performers.
To evaluate the product's capabilities when playing high-resolution formats, DSD and HiRes remasterings of well-known discs were used:
— “Santana, Abraxas” — Sony Music, 1970. 2013 remastered;
— “Dave Brubeck, Time Out” — Columbia, 1959. 2010 remastered;
— “Queen, A Night At The Opera” — Parlophone Records, 1975. 2010 remastered;
- "Glenn Gould, JS Bach: Goldberg Variations, BWV 988" - Sony Classical, 1982. 1999 rematered, SS 37779;
— “Budapest Festival Orchestra under Ivan Fisher, Rachmaninov: Symphony no.2 in E minor, Op.27; Vocalise no.14, Op.34" - Channel Classics, CCS SA 21604. Recorded 2004;
- "Cuarteto Casals, Joseph Haydn: Die sieben letzten Worte unseres Erlösers am Kreuze" - harmonia mundi, HMC 902162. Recorded 2014.
When playing high-resolution files (DSD and PCM), the HP-A8C demonstrated a clear advantage of these formats over CD in everything related to the naturalness of timbres, details of sound production, macro and micro dynamics, transmission of space and air of the stage. The HP-A8C reproduces DSD files using the DoP v1.1 protocol (DSD over PCM). This should not be understood as an admission of the inferiority of the CD format. The capabilities of this format in the HP-A8C version are quite enough to listen to music without forgetting about the source. High-resolution formats just sound better.
Fostex HP-A8C as pre-amplifier
The fixed-level unbalanced outputs of the ASUS Xonar Essence III DAC were used as a signal source in this test. The computer was connected to the ASUS DAC via USB. The AudioDoctor FSQ 2006 test disc was played (the same tracks as in step 1), as well as the above-mentioned music CDs and DSD/HiRes HiRes files. The volume level at the listening point was set for each of the test modes as 86 dBA on track 15 of the AudioDoctor disc.
The sound retains all the signature features of the ASUS Xonar Essence III DAC, with some almost unnoticeable deterioration in the transparency and spatial characteristics of the sound compared to the adjustable outputs of the Essence III.
When evaluating the results of this test, one should take into account the inherently high resolution of the reference system, due to which any additional device in the path is identified immediately and unambiguously. By itself, Fostex HP-A8C sounds more than worthy and will not become a weak link in a system even of a high level.
Fostex HP-A8C as a headphone amplifier
The headphones used during testing were confidently controlled by a built-in amplifier made of discrete elements. To assess the sound quality, we used the traditional recordings for our tests above, as well as the binaural HiRes (24/192) recording of CC Coletti, Bring It On Home; Chesky Records JD357, Recorded 2012. HP-A8C. The amplifier was connected to the computer directly via USB.
Based on the listening results, the HP-A8C surpassed our reference DAC ASUS Xonar Essence III in terms of macrodynamics of sound and depth of subjectively perceived bass and, at the same time, was somewhat inferior in transparency.
When listening, we noted the almost complete neutrality of the Fostex HP-A8C, which it demonstrated on all recordings. The amplifier did not demonstrate any pronounced sound signature. The headphones I listened to sounded great with distinct features.
When listening to binaural recordings, the effect of presence was excellent. There was an impression that the performers were literally in front of the listener, which could only be disturbed by a sharp turn of the head. The tested Fostex TH-900 headphones were in no way inferior to the Sennheiser HD 800 in conveying spatial sound characteristics, significantly surpassing the latter in conveying small details and subtleties of sound production.
Sound of Fostex TH-900 headphones
The headphones were connected to the Fostex HP-A8C amplifier using the supplied cable. In this case, the amplifier was connected to the computer via a USB interface. Computer playback was carried out using the Korg Audiogate 3.02 software player.
The following CDs were additionally used for testing:
1. Dieterich Buxtehude - Organ Works BuxWV 137, 139-142, 145-146, 149,159-160, Passacaglia BuxWV 161. DG Archiv 4777210;
2. Richard Wagner - Die Walküre (Martha Mödl, Leonie Rysanek, Ferdinand Frantz, Ludwig Suthaus, Margarete Klose, Gottlob Frick; VPO & Wilhelm Furtwängler) - 1954/2006. Naxos 8.111056-58;
3. Bee Gees - One Night Only - 1998/2006, Reprise 8122-77605-2;
4. Johannes Brahms - “Hungarian Dance” - Orchestrated by Albert Parlow, Andreas Hallen, Antonin Dvorak - Claudio Abbado & WPO, 1982/1984. Deutsche Grammophon 410 615-2 GH;
5. Tan Dun – The Banquet (Music From The Original Soundtrack), 2006. Deutsche Grammophon 00289 477 6459 GH;
6. Bruno Walter Edition - Bruckner: Symphony No 7 / Columbia SO, 1996. Sony Music 64482.
The sound of the Fostex TH-900 on all recordings was balanced, musical and cohesive with high detail. I was impressed by the rich, beautiful timbres of instruments, both natural and electronic. The mid frequencies are well developed and very informative. High frequencies are transparent, but absolutely without harshness. The bass is also great and doesn't interfere with everything else. Highest overload capacity. No special effects or involving. That same High Fidelity in all its glory.
BSO and opera are subjectively perceived almost as if they were live. The cellos are beautiful, the flutes, oboes and clarinets are precise and accurate. Double basses are powerful, but without excesses. Nothing blocks the transparent middle. Male vocals are amazing. The female one is a little worse, but this is more of a nit-picking thing - it’s just that, unlike the male one, it doesn’t make you cry. Despite the lack of excessive breadth and depth when constructing the stage space, it is nevertheless clearly felt even in mono recording.
The warm and large image of the Bee Gees vocalist is clearly visible at a decent distance from the accompaniment, and then the stadium can be heard as a hemisphere. And again, the purest middle plus a very impressive punch. Perhaps there is a little warmth in the sound, but it does not interfere at all.
Queen Fostex TH-900 play powerfully and aggressively. The bass is deep, almost uterine. No porridge. Still clean mids and clear highs.
When playing organ music, I was very impressed by the realism of the sound. The bass register is unique; the TH-900 easily reproduces both the contra-octave and sub-contra-octave. The power and clarity are unsurpassed, but at the same time you can clearly hear how the organist operates the pedals and switches the registers of the instrument, which creates the effect of being directly present at the concert. You can hear every rustle and flow of air in the tubes, the shine and dullness of the notes are conveyed equally well. The impression is simply fantastic - you can hear everything. Headphones allow you to capture the characteristics of different organs, each of which is individual, and the handwriting of a particular organist. Perhaps this is the best organ reproduction of all the headphones we tested.
Based on the test results, we can only strongly recommend to readers the Fostex TH-900 headphones in combination with the Fostex HP-A8C. With this pair you will discover a lot of new things even in familiar recordings.
Prepared based on materials from the portal “Soundex.ru”, March 2015
https://news.soundex.ru This review was read 5,666 times
SOUND FOSTEX TH610
The older Fostex TH900mkII impressed me, especially pleasantly surprising me with the ratio of their level and price. But there is also a secondary one, but shhh. Formally, the top model TH909 is not something that seemed worse to me, not at all. But its presentation went against my music library, forcing me to return to the TH900mkII again and again.
If you're as excited about the TH900mkII as I was, then I have good news for you. With the TH610, you can get a comparable replacement, saving a lot, but without losing dramatically in sound quality. In every note, on every track, you can hear the familiar signature of the TH900mkII. Of course, the TH610s bring their own spin and have a slightly more pronounced lean towards neutrality than their bigger 900 brothers.
Since I brought the TH900mkII here, you probably already guessed that we are talking about a V-shaped signature. That's true, but the TH610 sound a little more neutral and smooth. This manifests itself in noticeably less accentuated lows and highs and a very cool, open midrange. By the way, the mid frequencies of the TH610 are somewhat reminiscent of the TH909. But there is significantly more air, shine and even sharpness in the sound. Therefore, the 610s sound warmer and smoother in the middle compared to an open top. And somewhere it’s just a little bit more accentuated when compared to the 900s.
If we abstract from comparisons, the TH610 are very balanced and musical headphones, possessing both remarkable technical capabilities and perfectly balanced weight of sound and its speed. The 610s perfectly control the soundtrack when paired with an amplifier and are able to clearly and without overloading complex parts even at the limit of my hearing endurance.
Fast drivers and generally good “speed” of the headphones allow them to compete with planars of comparable price. The sound cannot be called lightweight, but after the 900s I felt that the tops had a more massive sound. Moreover, the difference is not only in the banal weight, but also in how the dynamics work with it. On the one hand, it is difficult to blame the TH610 for its lack, on the other hand, a little more massiveness, especially in the lower register, could emphasize it favorably. As a result, TH610 may “sag” in terms of drive and emotional coloring. In particular the lower frequencies. Instead, the emotional switch tends to be fixed in the “middle” or “top” position.
Sound
In terms of sound characteristics, it would be obvious to compare the TH-610 with the TH-600 or the same Massdrop TH-X00.
However, as it turned out, only the design was borrowed from the latter: in terms of sound, the new product is a more balanced version of the TH-600. Unlike its predecessor, the TH-610 does not have a serious emphasis on bass, but high frequencies are well felt. They don't have a serious peak like the TH-900, which is nice. In general, the headphones sound like a full-fledged representative of the top (premium) segment - the stage is spacious, the instruments work perfectly. Both rock and electronic music and hip-hop are going with a bang (though you shouldn’t expect deep bass here). Since sound evaluation is a purely subjective thing, let’s say one thing: you have to try it. Despite the style that is not entirely familiar to Fostex, the headphones will appeal to many.
If you want to change something, there is an opportunity, so to speak, to “customize the sound” by replacing the cable with another one. But, perhaps, only true audiophiles will do this.
SCENE
Fostex TH610 build a high-quality stage. The headphones work well with space, being incredibly flexible in this regard. They do not deliberately try to stretch out the panorama by distorting and redrawing the proportions of the images. TH610 demonstrate high versatility and omnivorousness.
Lana Del Rey? No problem, the Fostex TH610 will play the composition in its characteristic intimate manner. Headphones leave us alone with Lana and immerse us in the world of her stories. The wonderful midrange only serves to further convey the closeness of the vocalist and make the timbre sweeter, thicker and stickier. I know there is no such word. But how else can you say “stickier” in one word?
When it comes to symphonic music, the TH610 is clearly haunted by the laurels of “nines”, and they are already full of scale and width. I won’t give examples from the classics; in such cases, my plebeian nature increasingly calls upon the soundtracks of my favorite blockbusters.
A living classic of film music. This is where the TH610 reveals itself much more fully in its ability to build a scene. If the last track showed their flexibility, because we did not lose the intimacy and emotional connection with Lana, despite all the scale that the 610s are capable of, then this composition forces the TH610 to lay down its cards on the table. Its presentation is sweeping and without losing tangibility at the edges. The headphones literally “build” the stage, without leaving the edges of the stage in the form of “Potemkin villages”. The sound, its body and train, is felt both in the center of the panel and at the very edges of the imaginary stage.
In-depth development is carried out confidently and efficiently, but here the TH610 is not trying to surprise. Everything is positioned very well, contrasting and clear. Compared to the “nines”, the TH610 feels simpler in this aspect, but not so much as to include echeloning as a disadvantage of the model. As Joaquin Phoenix's Joker said, “You get what you deserve.” Exactly what was paid for. But no less!
LOW FREQUENCIES
Low frequencies sound a little warm and with a pleasant cohesion. They tend to be more naturalistic and rely on musicality rather than trying to extract a little more detail and emphasize textures more strongly. The lows are massive, if we start from the monitor sound category, but with regard to the TH900mkII we have a noticeably less pronounced emphasis on low frequencies. That's why the bass is perceived as less emphasized. Fans of ear massage should prepare a little more banknotes for the older model.
But the TH610 is unlikely to leave connoisseurs of high-quality bass with annoyed feelings. The model's bass is good, it has enough resolution and speed, it doesn't smear, and doesn't feel like a piece of overcooked steak. That is, do not eat too hard or round-elastic. Of course, after the recently visited tops, the bass of the TH610 may seem to lack microdynamics, but in general it has high resolution and good depth. And also speed.
As for depth, the Fostex TH610, in addition to digging deep, also has excellent control of the sub-bass range. While not as high-resolution in this area as older models (and understandably so), the TH610 provides a focused and cohesive feel, making it an excellent option for lovers of low-end heavy music styles. To be honest, it was difficult to choose the tracks that best characterized the TH610 in terms of low frequencies. Because they all sounded very tasty and gave an excellent immersion into the atmosphere of the composition.
Thanks to this control, the TH610s provide good sound density and articulation. The speed of the driver allows the headphones to be efficient in handling transients. And this is a guarantee that our perception accurately identifies the sound as the one that was recorded in the original when creating the mix. Here the TH610 hold their own and sound very natural and genuine. Image recognition and naturalness are the hallmarks of headphones.
The only thing that was notable about Suicide Squad was the soundtrack. Not taking into account its purely musical and cultural value, it was very cheerful and fit well into the expected movie-screen madness. Fostex TH 610 copes well with deep electronic bass. The sound of the composition retains its depth, and the very bottom is extremely collected. Biocellulose membranes provide excellent control of the low-frequency range, without a hint of distortion. Bass remains structured and tight throughout its entire range, right down to the very bottom. The lows are not so much biting as they are hard.
Or another example. More midrange-oriented phonogram. But the bottom is perfectly saturated with the kick drum and especially the bass guitar. Fostex here perfectly convey the character of the sound of the instrument. Textured, bright, its sound is collected, but at the same time literally electrifying and pulsating. Bass guitar passages become the decoration of the composition, as was probably intended.
Glen Hansard's vocals take center stage. The rhythmic bass line is transmitted with good saturation in terms of mass and volume, but at the same time remains in “second roles” against the backdrop of Hansard’s booming parts. And even in secondary roles, the bass is informative and tactile. An unusually emotional composition - the Irish are damn good at conveying the mood with a song. I was drinking in a Belfast pub and heard four Irishmen singing. No longer able to understand what they were talking about, I simply perceived them as four red-haired and drunken angels, whom Gabriel, having drunk his horn, sent down to earth to raise the dead from their graves. Oh, these could.
Equipment
Not to say that the absence of anything significant in the box other than the headphones themselves surprised us - this approach is characteristic not only of Fostex, but also of many other manufacturers of closed dynamic headphones. A detachable cable, a carrying case and the Fostex TH-610 themselves, which we will now look at in more detail.
MIDDLE FREQUENCIES
Being a clear midrange-phile (and a latent basshead, duh), I found the Fostex TH610's mids to be extremely entertaining. With much less emphasis on the lower and mid frequencies, the Fostex “mid” gives more space and “authority” to the mid frequencies. This is expressed primarily in the pleasant weight of the lower midrange, their tactility and tangibility, as well as in the open and breathable high-midrange area. To the credit of the TH610, they cope with the daring nature of this part of the range, frozen in eternal puberty, and do not allow it to enter into an emotional clinch, causing discomfort in the listener.
The midrange has excellent overall separation and does not emphasize micro-details. This characteristic is often perceived as something that speaks of the simplicity and ingenuousness of the sound. But this is not the case. Giving a coherent and coherent picture, Fostex TH610 maintains high resolution. But the somewhat soft presentation and generally warm presentation of the mids gives a feeling of comfort in their presentation. I'm not a big fan of compromises and cutting corners in the audio department, but this presentation is to my liking. I hope you will consider it as such. The TH610s do not slip into dullness and inexpressiveness, not even once; they carefully convey details and subtleties in the mid-frequency range. But leaving the overall musicality and sound integrity as a priority. Did I call the mids open and transparent? Add weight to these characteristics. And then the picture of the midrange will be complete for you. They breathe, they are perfectly fluid and elastic, but they also have enough mass.
I liked the way the TH610 handled the fundamental tone and its harmonics. Despite the fact that the fundamental tone has a clear priority and greater weight relative to the overtone, the latter is presented very subtly, but still perceptibly, which allows the midrange to be characterized as layered. The headphones remain convincing, but sound with ease and freedom, which makes them more natural. The overtones are well expressed and have long decays. Like the low frequencies, the mids can hold a master class in articulating attacks. The sound of the TH610 is collected, controlled, but the decays still “breathe” and are not alien to freedom and some smoothness.
The Fostex TH610 delivers vocals very carefully and gives the vocalist a little extra credibility. Partly due to a slightly more intimate presentation, partly due to giving the “voice” range a little more weight.
A cover of Johnny Cash by Paulo Furtado - the vocals here are recorded in Tigerman's characteristic manner. In general, I advise you to familiarize yourself more deeply; I was once greatly fascinated by the discography of this Portuguese. Fostex TH610 well convey the emphasis on Paulo's narrative vocals, and the voice itself creates a feeling of transcendent tangibility. The Fostex TH610 also do a great job of working out the timbre transfer. With all the subtleties and nuances.
The Fostex TH610 mids manage emotions well. The headphones have sufficient control of the high frequency frequencies so as not to give the sound of recordings excessive brightness, both emotional and tonal. But they retain the emotional coloring inherent in the work by the author.
Where to get emotions if not to a spaghetti western? A driving, but at the same time very light track. This is achieved through a mix of flute and electronic keyboards. An acoustic guitar dilutes this tandem of dissimilar parts. Fostex TH610 are good both in the general separation of images and plans, and in subtle moments of conveying micro-contrasts. They simply do not give this aspect as much conventional attention as even higher-class models do. Here the headphones maintain harmony and remain musical to a reasonable extent.
There is something from the TH909 in the elaboration of the middle of the Fostex TH610. Namely this openness and brilliance. Here it would be more correct to speak not just about the junior version of the closed top, but about the junior version of both tops. Both “parents” tried their best and endowed their offspring with their best features.
What if what we expect from the midrange is not speed, smoothness or transmission of small details? Just pumping, groove and “meat”. I wanted to “play” the new Gojira record that had been on repeat for the last couple of weeks, but the title track of the soundtrack to Rob Zombie’s film luckily turned up. Here the TH610 forgets about the bit of aristocracy and intelligence inherited from the older 909 model and turns on the drive all the way. The guitar “pumps” to the fullest. The “dirty” industrial sound very vividly and accurately conveys the oppressive atmosphere of a slasher film. Moreover, the headphones also present this coherent and deliberately “noisy” sound technically, bringing out as much texture as possible and perfectly working out the attenuation of other instruments. And the icing on the cake is the explosive ending to this 9-minute action film. When the “drive” control is turned all the way up. Here it is worth paying attention to the cool separation of low and “dirty” guitar and a rather high and no less brutal bass.
HIGH FREQUENCIES
Like the older “nines”, the highs of the TH610 are slightly emphasized and slightly “raised” above the mids. But to a much lesser extent than both older models. As a result, thanks to a fairly open and transparent midrange, as well as a moderately accentuated bass, a balanced sound is achieved, harmonious, but not flat and monitory. “Smoothly musical” - that’s what I would call it.
The Fostex TH610 delivers high frequencies in a slightly bright manner, giving them energy and sparkle. They show good delamination without going into the “sand” at all. The decays are worked out very well and are quite lengthy. Coupled with midrange frequencies that are not relegated to the depths of the stage, breathing and smooth, this gives the TH610 sound a good layering.
This composure, which I have already mentioned, is also characteristic of the upper frequencies. Moreover, the lower high frequencies acquire a certain harsh color due to it. It's not a metallic taste, unnatural and obviously colored, but simply the nature of the notes being carved out by the speaker. The sound on the Fostex TH610 HF can be called comfortable, but with a caveat. There are a lot of high frequencies, reasonably, but a lot, but they are physical, they don’t try to amaze with grace. If you like a slightly softened presentation of high frequencies, I advise you to listen to the TH610 before purchasing.
TH610 show a high level of HF performance. It does a great job of highlighting subtle and small moments in the sound of fairly cohesive and dense tracks.
Like, for example, this one. Against the backdrop of a powerful and rhythmic beat, as well as keyboard flourishes, a hand percussion line can be heard in the distance. TH610 does not allow this part to get lost; the headphones very carefully isolate it from the overall dense sound background and make it a separate layer. While maintaining the proportions of the images and the balance of the scales.
When looking for an example of high-quality HF recordings, look for tambourine recordings. The Byrds' version was released the same year as Bob Dylan's original. To my ears, The Byrds' version sounds more interesting. First of all, the composition is interesting due to its guitar parts. But we always look into the depths of the depths and we need it, the tambourine. Fostex TH610 perfectly convey space and build the positioning of instruments, due to which the tambourine has a clear geometry of both sound production and harmonic propagation. The headphones provide crisp, clear, transparent sound of the instrument both in the fundamental tone and attenuation.
Verdict
Thanks to their highly efficient drivers, the top models of Fostex headphones (TH600/TH900) produce interesting sound even with weak sources, which simply begs for portable use. At the same time, the TH600 with a metal body fits this role, in our opinion, better than the older TH900 with luxurious lacquered wood cups. Together with the Colorful C4 PRO, the headphones form a bundle with captivating and detailed sound.
Of course, everyone's concept of portability is different. For those who choose compact in-ear headphones, calling the considered bundle portable is simply unimaginable. For those who find it difficult to tear themselves away from their native stationary system, or for those for whom the sound quality of compact solutions is no longer enough, this bundle can provide hours of pleasure. The scenarios for using the C4 PRO with the TH600 can be very different, but this pairing is best suited for moments when you want and can afford to immerse yourself in the music. This is a combination not for the metro or jogging, but for relaxation - be it a hotel, beach, country house, taxi, etc. Today, Fostex TH600 is one of the highest quality (both in terms of sound and comfort) dynamic headphones that can be used or adapted for portable use. Approximate retail price RUB 46,990.
Author:
12/25/2014
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