Tralucent T1

I’ve been sitting on this review for a while now, but it’s worked out better for everyone involved because I’ve had time to truly appreciate this little packet of awesomeness called the T1 from Tralucent Audio.

The T1 is a portable amplifier designed for use with various source units such as iPods, Walkmans, Cowon players, Sansa players, etc. The T1 is normally priced at $250 (US dollars I think) and is specially priced at $229 at the time of this blog post. That pricing places it below well-known and well-loved  amplifiers like the Graham Slee Voyager, Meier Audio Corda 2 Stepdance, and Pico Slim. I’m not going to do a direct comparison because I don’t currently have access to all of these models without blowing a lot of $$$, but can assure you that the T1 definitely holds its own in this company and many users of both the T1 and the amps listed above report preferences towards the T1.

Overview

T1 Full Kit

The T1 with its accessories

The specs of the T1 aren’t published on the website so I can’t give you exact measurements, but I can tell you that the power output is easily ample to drive full size cans like the Sennheiser HD650s and it has enough dynamic range and control to also work effectively at lower volumes with sensitive IEMs like the Shure SE535s and Unique Melody Miracles (or other sensitive customs)

The T1 comes with a nice array of pieces including:

  • High quality 3.5mm to 3.5mm interconnect cable (middle)
  • 2 elastic bands (grey and black)
  • A USB charging cable (bottom right)
  • A 9V rechargeable battery (not pictured)

T1 Front PanelThe design of the T1 is very simple. The front panel houses a volume knob, input socket (closest to the volume knob), output socket, and blue power LED to show you when the amplifier is switched on.

The back panel houses the red charging LED and the mini-USB socket used for charging. Although micro-USB is becoming more and more common, most people will likely T1 Back Panelstill have devices with both so finding a spare micro-USB cable (or ten) shouldn’t be too hard and of course there’s one provided in the box with the T1.

Size

E11 & T1 Piggyback

Fiio E11 (top) and Tralucent T1 (bottom)

The T1 is a compact portable amplifier, but is not quite as small as some others on the market. As you can see in this image, the footprint of the T1 is about the same as the Fiio E11, but the T1 is about twice as thick.

It’s easily worth the extra cost of real estate when compared to the sound of an amp like the E11 as the T1 far outperforms it’s slimmer cousin.

E11 & T1The overall dimensions of the T1 (not including the volume knob or switches) are: 88mm x 50mm x 21mm

The T1 fits really nicely behind my full-sized iPods. It makes it basically impossible to put the rig into your pocket, but the T1 + iPod bundle sits nicely in the hand without too much trouble.

Battery Life and Charging

The T1 reaches a full charge in a few hours using USB power and this charge lasts for ages. I’ve successfully used the T1 for about a week of normal use without charging. (That means using it on the 1 hour journey to and from work, plus some incidental listening.) It’s easy to expect it to cover any of your listening needs without interruptions for charging – full days of listening, days of commuting, listening while travelling, etc. I can’t see a fully charged battery failing to see you through in any circumstances.

You can also use the T1 while it’s connected to power. It uses a smart power system that will divert the USB power directly to the amplification circuit when plugged in so you can use it without draining the battery. When I tried this from my computer (which has noticeably  noisy USB ports), the amp was unlistenable due to the noise being conveyed. I have heard that the amp works better of mains-powered USB chargers, but haven’t tried this so can’t comment. For me, most listening with the T1 is away from a power source so it’s battery power all the way.

Sound Quality

Tralucent T1 trans“Finally!” you say.

Yes, this is what really matters and the T1 doesn’t disappoint.

Out of the box, the T1 is a little bit underwhelming. There’s nothing wrong with it, but it doesn’t amaze…

…and that’s why god invented burning-in.

Burn-In

After an overnight burn-in (leaving it connected to headphones and my iPod on shuffle), the T1 grew into its skin and sounded wonderful.

The T1 continued to improve over the following days of use and reached its peak after a week or so of use. I’ve heard 200 hours suggested as the ideal burn-in period for the T1 to reach its full potential. This may be true, but it sounded great after just one night and steadily improved after that, but I wouldn’t wait until the 200 hour mark – just start enjoying it and let it improve.

The Finished Sound

Once burnt-in, the sound of the T1 is exceptional. It’s very neutral and uncoloured – giving you the music as it was recorded and without any significant emphasis.

The T1 reproduces outstanding bass and I was initially unsure if there was a very slight emphasis here or if it just did a better job than some of the other devices I was used to. After extended listening my belief is that it just does a great job of producing and controlling accurate bass reproduction*. It gets the best out of the headphones/earphones connected, but doesn’t seem to add anything to the source material. I haven’t heard bass added to any tracks that I know are light on bass.

*More on this in a later section about IEMs.

In addition to its brilliant bass reproduction, the other area of excellence for the T1 is its staging and transparency.

The T1 produces no audible hiss even at levels above normal listening volume. This means that the music comes at you from a completely blank backdrop and allows every subtle nuance of the recording to come through. The result is a compelling listening experience where there is a beautiful, big and deep stage created. All of the sounds are placed exactly where they should be and the space around each instrument and performer is clearly audible.

The thing I love most about the T1 is its ability to simply enhance the ability of your headphones or earphones in recreating the music. It doesn’t get involved in the reproduction, it just supports and drives your phones to perfection.

Full-Size Cans

0cb728f9_Sennheiser20HD650

I bought the T1 to drive my Shure SE535s, HiFi Man Re272s and Unique Melody Miracles, but I thought I’d also try it out with my HD650s.

The T1 does a great job with the 650s. It’s not able to recreate the dynamics and presence of a mains-powered desktop amp, but it still manages to make the HD650s sound great (subjectively, I’d say around 75-80% of their potential). The soundstage is good and reproduction across the frequency range remains accurate and enjoyable.

The T1 runs at around 40-50% volume to effectively drive the HD650s (depending on the input used).

IEMs

SE535 LE

The low impedance of many IEMs makes them a difficult proposition for many amplifiers and portable devices. A low impedance earphone is actually harder to control than high impedance headphones.

One of the measures used by many to determine the synergy between sources / amplifiers and headphones / earphones is the 1/8 rule. Basically, they want the impedance of the output from the device to be no more than 1/8 of the headphone’s / earphone’s impedance. I don’t know it the 1/8 rule is truly a good measure, but the key is there – the bigger the difference between the source and headphone impedance the better.

IEMs like the Shure SE535s and various customs have impedance around 16 ohms which is very low in the world of headphones. This means finding a source / amp with output impedance that’s very low and the T1 fits the bill.

The T1 has an output impedance of around 0.1-0.2 ohms so you can literally pair it with anything! (From an impedance matching perspective at least)

The result of this brilliantly low output impedance is the T1’s awesome control. The T1 has the ability to exert perfect control over the drivers in your IEMs and the result is punchy and powerful bass without any bloat. By removing bloat, the texture of the bass line can really shine and you get to experience the magic across the full frequency range of your music.

Summary

All-in-all, the Tralucent T1 is an amazing amplifier for the money. It’s not flashy or full of features, but instead offers a clean and open presentation of all your music with the ability to pair seamlessly and effectively with any of your earphones / headphones.

For the dollars you’ll be hard-pressed to find anything that comes close to the T1 and it would be very easy to argue that you won’t beat it at almost any price point. Other more expensive portable amps are probably just as good as the T1, but it will be hard to find one that is head and shoulders above the T1 even for more money.

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HiFiMan Re-272

OK, let’s get it out of the way… yes, the name “HiFiMan” doesn’t inspire confidence. So much so that a friend of mine refused to buy their products because the name sounded like a cheap knock-off brand. If you haven’t heard of HiFiMan before, don’t be put off by the name – it is a great brand that continues to pump out some amazingly priced products that outperform vastly more expensive products from other manufacturers.

To read this review, please head over to the new Passion for Sound website. It’s sexier and there’s lots of great new content. Don’t worry, the link will take you straight to this article.

Massive Portable Player Shootout

I’ve been using an iPod Video 80Gb (5.5 generation) for years now and have loved it, but my music collection continues to grow and I’m a fan of lossless audio (ALAC and FLAC) so it’s no longer large enough to hold all my tunes. I’m now at a major crossroads when it comes to finding the right combination of quality, capacity, and ease-of-use. There are a few options I’ve considered and I’ve been lucky enough to try all of them so I’m sharing the results here. I’d like to extend a massive thanks to Wing and the team at Minidisc.com.au for providing the Cowon J3 demo unit and outstanding customer service in my purchase of the Cowon X7 unit.

What’s Being Compared:

  • Apple iPod 80Gb (5.5 Generation) – middle of image
  • Apple iPod 160Gb (late 2009)  – top right of image
  • Cowon X7 160Gb – top left of image
  • Cowon J3 – bottom left of image
  • Sony 460 Series Walkman 4Gb – bottom right of image

If you’ve spotted the odd one out here (yes, the Walkman) and you’re wondering why I’m comparing a little 4Gb player to three hard-disk behemoths and a large-scale SD-based player, it’s purely thrown into the mix as a reference point to see how the expensive players compare to a relatively cheap option.

I’m comparing the players on 4 key factors:

  1. Sound quality (including power output)
  2. Size
  3. Interface & Ease of Use
  4. Customisation & Flexibility

Sound Quality

It’s very hard to conduct a subjective test of sound quality on audio sources because the only real way (short of complicated and expensive setups) is to keep switching your headphones or line-out cable from source to source. Because each of the player’s has a slightly different volume scale, it’s also hard to match the volume exactly and that can influence our perception of quality, too. I’ve done everything I can to minimise the impact of volume, delay between sources and personal preference. All players were tested with no sound “enhancements” (i.e. no BBE effects on Cowon products and no EQ or Sound Check on iPods). All testing was done using 320 kbps MP3 tracks to avoid any potential difference between ALAC and FLAC files. I used my Audio Technica AD900s, Ultrasone HFI-680s and HiFi Man Re0s with each player for a thorough sample.

The order of performance here is a little tricky, but essentially it’s:

First Place: Cowon X7 & J3 – Clean, rich sound with a massive open sound stage and all of the details perfectly presented. My only criticism of the Cowons is that they actually are a little under powered from a volume perspective. They have no trouble getting great sound quality out of the higher impedance HFI-680s and Re0s, but they are at more than 95% volume in order to create an energetic, exciting listening experience.

In addition to their naturally awesome sound quality, the Cowons offer the range of BBE features to further enhance your listening pleasure and although I normally steer clear of “sound enhancements”, the BBE suite is exceptional. The EQ settings are widely adjustable and powerful, the BBE bass boost seems to do a great job of boosting the bass without all the added distortion of many systems and the compressed music enhancement (MP Enhance) is quite effective at bringing the brilliance of lossless music back to a compressed track. Finally, the winning feature for me on the Cowons is their stereo enhancement (equivalent to crossfeed in RockBox). This feature replicates in your headphones the effect of listening to speakers. It’s a simple process and doesn’t mess with the source signal and sound quality, but does result in a beautifully focussed stereo image.

The only key sound quality feature missing (which could also be considered ease-of-use) is ReplayGain. The Cowons don’t normalise the volume for you meaning that you may have to regularly adjust your volume from track-to-track and that’s an issue when you try using the volume controls, but more on that later…

Second Place: iPod Video 5.5G – Solid, clean sound with good depth and good detail. The iPod Video is a great no-frills player. I’ve used it with RockBox and also the regular interface. Either way, the natural sound is great and it seems to have more oomph than other players (volume at 85-90% for higher impedance headphones).

The EQ on the iPod is horrid and introduces all kinds of distortion, but I don’t feel it needs equalising if you have decent headphones. It also lacks a quality volume levelling feature in its original Apple guise (RockBox fixes this). The iPods do have the Sound Check feature, but I find it fairly useless and have heard many reports of degraded sound quality from its use.

Third Place: iPod Classic & Sony Walkman (tied) – These players don’t sound the same, but it’s hard to split them based on their differing shortcomings. The iPod Classic lacks depth in the bass and has a touch of harshness at the high end combined with a lack of very high end detail. It also suffers from the same lack of sound enhancements as explained for the Classic (above).

The Walkman actually has an enjoyable sound for a cheap device (<$100), but it can’t match the others in terms of detail and soundstage. That said, the sound enhancements offered are quite good and quite effective. It’s a perfect exercise player for me (i.e. when I want fun sounding music that I’m not listening to for quality).

Size

I’m not comparing the Walkman here because this is about capacity. Very simply, the J3 is the smallest, but not by much. The iPod Classic is next, followed by the iPod Video and the Cowon X7 is easily the largest and quite bulky. All but the X7 could comfortably fit in a pocket, but the X7 would require a bag of some sort to carry around. It fits nicely in the palm when you’re using it, but the X7 is definitely a bit bigger than the alternatives. That said, if you want to match the sound quality of the X7 you’ll need to add an external amp to the iPods meaning that they just got a bunch bigger and have extra cables sticking out… I’ll be doing a post about the pros/cons of external amplifiers soon.

Interface & Ease of Use

The iPods are the easy winners here – that’s just what Apple do – make things easy. There is no doubt that the Apple interface and synchronisation protocols work well. My only complaints are the lack of effective volume normalisation and the restriction to ALAC as the lossless format. Having recently converted my entire library to FLAC, I really don’t want to have to undo it now. RockBox on the iPod Video allows the use of FLAC, but the Classic can’t use RockBox so it’s slightly more limited.

Another bonus for the iPods is the massive range of accessories available. Being able to drop your pod into a dock and have instant, remote controlled music is a great plus and something that no other player can offer without significant fiddling and expense.

The Walkman comes second because it just works. There are limited bells and whistles and the synchronisation with MediaMonkey was easy and painless. It can’t play lossless formats, but with 4Gb capacity and just-above-average sound quality, 320kbps MP3s are fine. The menus are easy and obvious and the buttons are easy to use and well-placed. Perhaps the best thing about the Walkman though is the SenseMe feature which scans your library and sorts them into mood-based groups. The system isn’t quite perfect (it put a slow song into an upbeat category), but it’s a great, quick playlist solution.

I’m a big believer in working with industrial design rather than fighting against it. If it doesn’t work how I initially expect, I take the time to understand it and learn it, but the Cowons are a long way behind in the ease of use category because of some crazy design decisions. Both players have the volume controls on the side down the bottom of the players. When you’re holding the players you’re fingers are nowhere near the buttons so it’s awkward to adjust the sound (and you need to because there’s no volume levelling).

The menus in the Cowons are quite good and you can access all the important settings direct from the “now playing” screen so this is a plus for the Cowons, but it doesn’t make up for the killer…

You can’t auto-sync playlists to a Cowon player!! That’s right, the Cowon X7 will hold 160Gb of your music, but it won’t let you easily transfer the playlists from MediaMonkey (or Winamp or WMP, etc.) to the player. When you do ask the media player to transfer the playlists, they appear in the X7 (or J3), but when you click on the playlist it says “no file”. I’m sure there’s a fix, but from everything I’ve read it’s a manual fix not an automated one – very frustrating and possibly a deal breaker for me.

Customisation & Flexibility

There are a bunch of custom interfaces for the Cowons and this makes them more customisable than the others. Combine this with their ability to sync with any system and play any type of sound or video and you’ve got a very flexible and customisable player.

The iPod Video can run RockBox and that gives it plenty of flexibility. I rate it only a fraction behind the Cowons because RockBox can be a bit unstable.

The Walkman and iPod Classic tie for 3rd place for different reasons. The Walkman can’t play lossless audio, but it can sync with lots of different systems. The iPod can play lossless audio, but only ALAC so they’re pretty even. The iPod might win by a hair thanks to its ability to play lossless and sync with MediaMonkey.

Summary

What’s the player of choice then? For a collection up to 80Gb, I think I’d take the iPod Video, but over 80Gb it has to be the Cowon. The sound from the iPod Classic just doesn’t cut it for this type of premium player. If you have a huge library and need a large capacity player, there’s a good chance you also appreciate the quality of good music.

I’ll be adding a line out adapter and portable amp to my iPod Classic in the near future and will be sure to report back on the results. In the meantime, I actually think the best answer is to have the Classic for dropping into a dock, using in the car, etc. and having the Cowon X7 (or J3 if you want a small pocket-sized option with killer sound) for mobile portable listening direct to headphones.

 

 

 

Ultrasone HFI-680

The Ultrasone HFI 680s sit squarely in the middle of the HFI range from Ultrasone. According to Ultrasone, they are the natural and balanced closed option in the HFI range. On either side is the HFI 580 (easier to drive and with a bigger bass punch) and the HFI 780 (also easier to drive and with a more dynamic sound designed for movies and gaming). For me, it was all about natural sound reproduction so after many auditions (thank you again to George and the team at Addicted to Audio) I chose the HFI 680s.

The HFI 680s are a closed headphone that isolate quite well from the outside world. With music playing, only loud sounds are noticeable and others around you won’t hear your tunes.

Out of the box, the 680s actually impressed me with their build quality. My initial impressions during auditioning weren’t great, but perhaps that’s because they weren’t new. Having appreciated the phones brand new, I am now more aware of the build quality, which is better than average, but mostly plastic. The headband has good flexibility and the phones fold up really nicely to fit inside a plush Ultrasone branded pouch that comes with them. There is a soft, pleather covered memory-foam pad under the headband which is quite comfortable for relatively long periods, but I find after about 1.5-2 hours I need to readjust where the pad is touching my head because of minor pressure pain. The pleather covered cups are very comfortable for long periods and clamping pressure is also fine. Of course, there’s some minor sweat build-up as a result of the pleather, but it’s the only way to get a good seal.

The 680s come with a 3m cable which is great for sitting in your favourite chair away from the stereo or TV, but it’s not so good for portable listening. A minor issue though that’s easily fixed with a velcro cable tidy.

The other inclusion in the package with the 680s is the Ultrasone demo disc. This disc is full of amazing recordings to hear what your headphones (Ultrasone or other brands) are capable of, but it’s mostly not music I would listen to for fun. That said it was fun to see how my new Ultrasones matched up against my existing phones and speakers.

Important note: this review is conducted using the 680s from an amplified source (in this case my Creative Sound Blaster X-Fi HD). They perform well from my iPod Video (5.5G), but struggled to have the same open, magical sound when driven by just my laptop. These headphones need a good source behind them so ensure that you test them thoroughly with your source player if it’s not amplified. Some portables will be fine while others will sound very ordinary through the 680s.

Quick Specs

Speaker Driver: 40mm

Frequency Range: 15 – 25,000 Hz

Impedance: 75 ohms (can be a bit tricky to drive for some portable devices and computers)

Bass

Attack: The attack from the 680s is excellent. They have great punch and good control. One of the benefits of high impedance headphones/speakers is improved control and the 680s definitely show this with their precision attack. My favourite bass test, “Take the Lord Along with You” by Wayman Tisdale had the 680s really dancing to all of the slap bass and they handled it beautifully with plenty of punch and feeling, but no real muddiness. On tracks with big, consistent bass, the 680s can start to sound a little bloated in comparison to more delicate headphones like the ATH-AD900s, but they are excellent bass performers for the dollars and make up for any slight looseness with their power and presence. While both the HFI-680s and AD900s have good bass attack (the AD900s slightly better controlled), the 680s come out sounding a fraction better here because of the extra punch behind the bass which I’ll discuss next.

Rating: 8.5 / 10

Mass: The mass from the 680s is truly impressive. Your ears feel the bass just like your whole body would in a live concert. At times I fell like they overplay the bass just a fraction, but it’s fun and doesn’t detract from the quality of the sound. Listening to Also Saprach Zarathustra from the Ultrasone demo disc, the deep rumble from the pipe organ felt as good as it sounded, but some other tracks can get a bit uncomfortable because of the pressure created. It’s a double-edged sword. I love the feeling of the bass, but every now and then it gets a bit much. This is probably more a reflection of different recording and production values more than a fault of the headphones though so I’d still recommend the 680s for their overall bass style – it’s fun, lively and exciting.

Rating: 9 / 10

Vocals / Mids

The vocals and mids are rich and warm from the 680s. Not as warm as a headphone like the Shure SRH840, but still very cosy. The detail is there, but it’s a warm kind of detail. Very easy to listen to and never too forward.

Many closed headphones get a bit “canned” in the midrange. You can hear that you’re listening to a speaker in a cup, but the 680s avoid this completely. There’s no sense of that internal resonance and the sounds often extend beyond the physical boundaries of your head and ears.

Listening to Jette Torp’s voice in “Only a Woman’s Heart”, Joshua Redman’s sax in “Can a Good Thing Last Forever” and Ian Moss’ guitar and vocals in the acoustic version of “Thunderball”, all midrange instruments sounded realistic, beautifully present and silky smooth. The sound isn’t as airy as the AD900s I mentioned before, but it’s beautiful in it’s own way – smoother and a touch more mellow, but in no way lacking in detail or clarity.

Rating: 7.5 / 10

Detail & Staging

I’m combining these 2 categories for this review because they are directly related in the case of the 680s and I believe it all comes down to the fact that they’re a closed headphone. The 680s have a very natural sound and that allows each individual instrument and texture in the music to play out the way it’s meant to. The detail they create is beautiful and lively. There could be just a fraction of masking created by the bass produced by the 680s, but if so it’s only minor. It could just be that they’re a little bit warmer and the fuller sound takes your attention elsewhere in the music (away from the top-end detail), but the simple fact that I can’t quite explain where the difference lies should give you a good idea that it’s very subtle and not a problem at all.

Ultrasone use a technique called S-Logic which directs the sound to your outer ear (the flappy bit) so it can enter your ear like live sounds do rather than being played directly into the ear canal. Whether it’s this technology or something else, the 680s are a very convincing closed headphone. The sounds often seem to be coming from somewhere beyond the side of your head and the imaging is outstanding. Closing your eyes with the 680s playing, you can easily picture where each instrument was being played and sometimes you can even pick the size and shape of the room or the crowd.

The only thing that holds the 680s back is a fractional lack of detail at the very top end and just a hint of harshness at times. In both cases I’m comparing the 680s to other options that excel in detail (like the AD900s) so, again, it’s a very minor issue. With the 680s, I hear 98% of all of the sounds in the music with harshness 5% of the time. With the AD900s I hear 99% of the sounds and experience harshness about 2% of the time. It’s a tiny difference and well worth the sacrifice for those times that I want extra bass or need to keep my music to myself.

Rating: 7 / 10

Overall

I did a lot of auditioning and listening before deciding on the HFI 680s and I can honestly say I haven’t experienced even a moment of buyer’s remorse. These headphones are another example of truly great value for money (they retail for around AUD $300). There are better headphones out there, but not for the price. Having listened to similar priced alternatives from Shure, Audio-Technica, Sennheiser and Beyer-Dynamic, the 680s came out clear winners.

Like many good headphones or speakers, they really shine (and I mean REALLY) when given a good source player and some good music. If you have an amp or a high quality output device like a full size iPod or hi-end player from companies like Cowon, HiFi Man, etc. you will really enjoy these headphones. To get better sound, you’ll be spending a lot more money!

I feel like I haven’t described enough about the sound of the 680s in this review, but, on reflection, I think that’s as much a testament to their balanced, natural sound as anything else. Nothing about the 680s stands out over anything else and that’s a good attribute for a set of headphones. They’re not exactly neutral, but they’re well balanced across the spectrum. The 680s are fun, exciting and realistic – everything you want with nothing you don’t.

Overall Rating: 7.5 / 10