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Written by Aenn Seidhe Priest
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Thursday, 02 April 2009 01:45 |
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Roland RH-50
Nominal impedance: 32 ohm
Sensitivity: 118 dB/mW (@1 KHz)
Max. power input: 100 mW
Stated frequency response: 10-22000 Hz.
Cable: 3 m., straight, miniplug (3.5 mm.) terminator
Introduction
Roland has always held an attraction. The company is the creator of MIDI, perhaps the most concise computer interface system (this is not a joke - there's hardly any standard as complete, wholesome and versatile as MIDI). Many legendary electronic musical instruments were created by Roland (TR-808, TR-909, TB-303 bass and drums are a standard in synth-pop, electro, etc.). Even the Windows and Quicktime soft synth wavetables are based on Roland instruments (there's a Roland logo in the "Microsoft GS Software Synth" "about" section).
And, Roland also makes headphones. Which is a bit of news for many.
The cheapest model is RH-25 - simple supra-aural headphones.
RH-50 are the second model up the ladder - closed (really semi-open, but there's very little "open", so "slightly open closed" is a better name) monitor headphones. RH-50 would be a staple for a studio - fairly cheap, not outstanding in performance, but with an excellent detail.
Monitor headphones are a different kind of creature than regular listening headphones. Monitor headphones are rarely used for final mixing (most mixes are meant for speakers, not headphones), but they are used for checking an instrument part or draft mixdown for any inconsistencies. Listening headphones are equalised to match a regular equal-loudness curve; monitor headphones are meant to highlight detail in a mix or live feed, hence they're equalised with a midrange (usually high midrange) lift. This highlights spatial detail and makes headphones show bits which could be missed, like any mix defects or "dirt".
A second effect of the midrange lift is, ironically, musicality. Monitor headphones transmit music better than regular headphones, with more contrast between notes, though in some cases the tonal balance can be a tad artificial.
A third effect of the midrange lift is that monitor headphones are suited for low-volume listening. The "midrange lift" EQ is also "anti-loudness".
"Loudness" (also called "smile EQ") boosts bass and treble - shaping frequency response closer to the equal-loudness curves.
Headphones equalised with a midrange lift always show more detail than "loud" or bass-exaggerated headphones at the same volume setting. An effect of this EQ is that headphones appear to play less loud than headphones with a "loudness" EQ. But, as they can play at lower volume than "loudness" headphones with noticeable detail, headphones with a midrange lift are less fatiguing and more suitable for "relaxed" playback.
Comfort
The RH-50 are supra-aural. They're about the same size and format as AKG K-81. Here they are next to K-240 Studio and K-81DJ:
Compared to the K-81DJ, they're extremely comfortable. This is more of an achievement by the K-81 - the K-81DJ are earsqueezers.
RH-50 are lightweight, don't press hard, and have soft, comfortable cushions that seal really well. Of course the RH-50 aren't as comfortable as circumaural headphones, but they can be worn for a couple hours without becoming noticeable. "Not being noticeable" is the aim of RH-50 design - these are studio headphones, designed to be comfortable and not interfere with work.
Construction & Isolation
The RH-50 are almost-fully-closed headphones. Escape channels on the sides of enclosures are not reflex ports, but pressure relief valves. On the inside, the channels are blocked by a small plank with a couple holes covered with damping felt. RH-50 leak very little sound to the outside, and behave like fully closed headphones. The plank can be removed, loosening bass and making the RH-50 sound somewhat airier, but also less defined.
RH-50 damping plank detail.
Damping plank in place.
RH-50 are quad-driver (2+2), which is a bit surprising, for headphones this cheap. Tweeters are mounted atop fullrange diaphragms. Both are wired together - the tweeters are active diaphragms.
Music & Sound
At first, the tonal balance of RH-50 is a tad artificial. The midrange emphasis makes soundstage appear more distant than with, say, Denon AH-D1000, which are cosier and have more of a "chamber performance" presentation.
The benefit of the RH-50 is excellent contrast between notes. Even something as monotonous as a synth bassline appears lively. Piano notes can sound slightly artificial, but each one stands out. This contrast makes the RH-50 a great companion to a synthesiser, which they were intended to be (RH-50 are bundled with Roland electronic pianos).
In a couple minutes of playback, perception adapts to the RH-50 tonality, and they no longer appear artificial. Musicality takes over, and the more distant soundstage helps - the RH-50 don't try to "play inside the head" as much as other headphones.
RH-50 also are fine "street" headphones - inexpensive, fairly comfortable. They compensate for any lack of detail in portable players with their EQ. The RH-50 will show more detail at a given volume, and they're closed, so there's a good amount of isolation. The only downside is that the EQ makes the RH-50 appear less loud than they really are, so they won't ever go really loud when driven by a portable player. A headphone amplifier can help here.
RH-50 could've used a bit better spatial definition; they're a bit darkish-sounding, and lacking some excitement in dynamics and very high frequencies. This is partly a consequence of their frequency response, and partly an older diaphragm design. A recable ought to help with this.
Soundstage is slightly toyish because of the EQ and supra-aural format (whole ears have to receive sound for a full impression, and only circumaural headphones enclose ears fully), but this same EQ helps instrument separation, and the soundstage is quite wide. There's a good helping of bass, though the bass is polite and never out-weighs or out-blooms everything else. The RH-50 aren't an exaggerated-bass set of headphones.
Guitars have a good presence; percussion lacks a bit in the high-frequency character, but is helped with midrange spatial definition. And, there're lots of details. In a game, RH-50 show the slightest detail in ambience, in music, they transmit vocals' character and show instruments' traits. Positional detail is excellent for something this cheap - RH-50 show transitions in space very well, pads and fading guitars move through space.
RH-50 have a great affinity with synthesised music (not surprisingly), Soft Cell's "Cruelty Without Beauty" just begs for a dance (a bit unwieldy on the street :-) ). Acoustic music can be a bit harsh at times ("piercing midrange"), especially older CDs from early 1990s/late 1980s and lower-bitrate MP3 files. Newer records and non-CD records are fine though. RH-50 highlight any deficiencies ("screechiness") in harmonics and amplitude shape, which some CDs have.
Anything with a synth bassline, synthesised strings, pads - anything artificial sounds very lively in the RH-50. That is the "specialty" of RH-50 - invoking life in any electronic music. Ironically, RH-50 have the best synthesised bass playback out of any headphones in the $50 range. Ironically because they don't exaggerate bass and add a helping of midrange (where the bass instrument harmonics are) - and achieve what "bass boost" headphones try (and fail) by exaggerating bass. The RH-50 bass is polite, controlled, never boomy.
Vocal clarity is excellent; English lyrics are always clearly sung or spoken.
Problems
There's the eternal problem of cheap closed headphones - tiny plasticky echoes from enclosure walls. This is cured easily, by padding the insides of enclosures with acoustic fibre, or just headphone foam. This fix makes the RH-50 noticeably smoother.
Sennheiser PX100 foam pads fit RH-50 enclosures.
Now, what they're not.
Put simply, these are still somewhat cheap headphones that don't have the resolution of more expensive sets. RH-50 don't have the freedom and effortlessness of AKG K-240 Studio recabled with Sweetcome Diva Mk. II.
AKG K-240 Studio with Sweetcome Diva Mk. II cable and Roland RH-50.
AKG K-81DJ have made their way here after they've been described as "similar to K-240" in the Head-Fi appreciation thread. Which they're not. The K-81DJ are exactly what the name suggests - bass++, loudness-EQ "DJ" headphones. Ironically, RH-50 are closer in character to K-240 Studio than the K-81DJ (acoustic design also is similar, though the RH-50 have a pair of active tweeters instead of arrays of passive diaphragms on the K-240). RH-50 are similar to K-81DJ - in price ($50) and format (supra-aural).
Compared to Sweetcome-recabled K-240 Studio, the RH-50 are a tad toyish in sound, less comfortable, and with slower dynamics. They don't have the naturality of K-240 Studio either - RH-50 always have this slight "sonic tool" character. K-240 Studio with Sweetcome Diva Mk. II cable could have a "transparency" stamp; RH-50 hide some detail in the very high and low frequencies and don't have the lifelike dynamics. Dynamics and high-frequency response can be improved with a recable (as with the K-240), but as the RH-50 have a taller hump in midrange than the K-240, this hump will always make them less lifelike than the K-240. And of course the RH-50 fullrange diaphragms don't have the resolution of AKG 55-mm. diaphragms. Otherwise they're somewhat similar in character (wide soundstage, midrange emphasis) to the K-240 Studio.
Portable Use
RH-50 are lightweight, comfortable, and have a good helping of isolation, so they're a natural candidate for street use. Standard impedance and efficiency also helps - anything can drive the RH-50, though not every player will drive them loud. But, any player will drive them with good detail. Usually better detail than any comparable headphones (once again the "anti-loudness" EQ helps). And better musicality. As the RH-50 are closed, most of the time there won't be much noise leaking from the outside even without an amplifier. But, of course a headphone amplifier like the FiiO E5 helps a lot. The Minibox-D made them even a bit too bassy, but could drive the RH-50 to ear-slamming loudness.
Availability
RH-50 are a "musician's tool" and so they're more likely to be sold in musician stores.
EBay prices are below $50, though unfortunately there's no free or cheap shipping to anywhere but the US.
Conclusion
For electronic music, RH-50 are a must. RH-50 will breathe life into any synth piece. MP3 and AAC files and the like lossy material will also be quite lively. They'll also transmit any other kind of music very well, though they're not very forgiving to mastering defects (which they're meant to highlight by design). The flip side of musicality is, it is due to a midrange boost, and so tonality can be a tad artificial at times.
RH-50 are inexpensive, lightweight, comfortable, and perhaps the headphones with the best musicality for money. RH-50 aren't a set of headphones with a stunning, free lifelike ambience, but they're easily the best closed headphones at the $50 mark. There might be headphones with better dynamics and better high-frequency response, but at this price there's nothing that gets everything as right as the RH-50. Lightweight, comfortable, driveable by anything, and musical, closed, and with good isolation.
In summary, Roland RH-50 are one of the best choices at $50 and less. Highly recommended.
Buy now at
EBay and support Headphonedeals.com :-)
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Last Updated on Wednesday, 08 April 2009 01:57 |
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