As of June 30, 2020 there was not an official thread for this headphone yet. So here it is! There is a BUNCH of discussion of these cans around HFGF. Here are links to some of those discussions:
Iâve had these headphones for about a year and have gotten several questions recently about them. So, Iâll collect a few thoughts about them here:
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Like all T50 mods, they are power hungry. When underpowered, they get boomy and sloppy in the bass. To my ear you need something at least as powerful as the Liquid Spark, which is about 1.3W at 32 ohm, I believe.
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They change a lot with pad rolling. With the stock hybrid pads the are bass cannons with a wide soundstage. They also sound very thick with a very forward midbass presentation. The treble sounds harsh, IMO, taking on a timbre much like a the treble in a highly compressed mp3 file. The included velour pads sweeten them some, but donât eliminate that treble harshness. The velour pads are less bassy but not bass light at all. The soundstage is also narrower than the hybrid pads. I put Dekoni Protein pads on them for awhile too. Those fixed the treble issues, turned them back into bass cannons, and kept the narrower soundstage of the velours. The Proteins still suffer from a healthy dose of that midbass bloat, though. I landed on Shure 1540 pads. That gives them a fun V signature with good treble detail, average soundstage width, and deep and punchy bass. The midbass bloat is reduced, but not absent.
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They do seem to be somewhat amp dependent - on top of being power hungry. For example, they synergize really well with a Liquid Spark, but not with an Asgard 3, IMO. The Asgard seems to bring out that midbass bloat while the Spark tempers it some.
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A common question is what did Dekoni do the T50 other than slap different pads on them? Not much, it appears. It looks like they may have put a different foam material over the vent in the earcup. Hereâs a picture of the inside of a stock T50RP earcup (on the right) from Innerfidelity:
Hereâs a very nice pic of the Blueâs earcup by HFGF member, @XmetaldaveX:
My bottom line: The Blue can be a really fun headphone for some bass-heavy music where not a lot of fast bass is necessary. Like the T50, they are also a great learning headphone as their sound changes significantly with simple pad swaps and playing with the damping ring around the driver. Itâs really easy to see how different pad types affect the sound. IMO, that makes it easier to predict what different pad swaps will do on other headphones. So, I suppose I donât recommend them if itâs your first ârealâ headphone purchase, as their use case for sound quality is a bit narrow. But, if you are exploring headphones and are ready to try something new, their - letâs call it - educational factor is attractive.
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Just got these and let me say this bass is something I have been looking for. These are also my first pair of planars. I couldnât wear the half velour/half pleather bads though because the ear space is just too small and it is extremely uncomfortable for me. The full velour pads are very soft and much comfier. I think it has a little bit less bass, but it is still more than any other headphone that I have I think. Iâm glad I got these and now Iâm debating if I even want to send this in to Modhouse to get moddedâŠ
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If youâre happy with them I say enjoy them as they are for as long as you like. With how busy Ryan is right now and with everything else going on, you would have to wait for a very long time to get yours back if you do decide to turn them into Argons.
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Yeah I think I will just be keeping these. Maybe a new and improved T50RP version comes out and I will probably send a pair in then. Hopefully the world is less crazy by then too lolâŠ
I felt the same way about the hybrid pads. The one thing I would recommend is the comfort strap either the deerskin or the alcantra and a vmoda cable but thats just my 2 cents.
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I think I am going to get a ZMF comfort strap and also ZMF Protein pads just to mess around a bit more with the sound/comfort. Even with the comfier earpads (using the velours atm), I still have ear ache after like 4+ hours of usage which I canât say the same for any of the other headphones I own.
I have a very old V-Moda headphone here that I havenât used in years that I am going to snag the cable from. Thanks for the shout though!
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Alright so I just installed myself a cowhide headband from ZMF and got 2 new pads. Using cowhides right now and will probably try out the proteins later. I donât think Iâve unplugged these from my AMP since Iâve got them. Also the comfort is already like 10x better with a headband. Highly recommend for anyone with any TxxP variant.
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Iâm glad to hear youâre enjoying the Blues. Always exciting when someone gets a headphone they like.
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Iâve got to like them! It is my username after all⊠Haha
Same question:
Hey man, just curious which pads you landed on with the Blues(?).
Iâm leaning more on the Dekoni Platinum pads, though itâs proving to be a bit of a tough call.
Has anyone thought about trying these with ZMF Suede pads? For whatever reason, I felt an urge to buy them specifically to try on these.
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I havenât used the ZMF Suedes, but I have used the ZMF Proteins and ZMF Cowhides⊠I really, really like the cowhides on these personally (these are my bass cans), but I would think if you want to push the sound signature more towards neutral the Suedes would probably suit you well. I love ZMF pads though, easily my favorite of any company Iâve tried thus far.
I have the lambskins on hand, and Iâve started sticking with the Dekoni Platinum Proteins. The ZMF Lambskins are a close second, though they are sitting on my M40x till I can find a way to get the 1540 pads to not wanna just fall off.
1 Like
If you have been following the headphone scene back in 2018, then you are probably familiar with the Dekoni Blue. Fostexâs T50RP is probably the most modded headphone model in history, and Dekoni took part of that as well.
Dekoni originally announced their partnership with Fostex back in May, 2018, however, the headphone was actually previewed way back in February. It would go on to gain its biggest audience from Massdrop (now Drop). The Blue has been released at several different price points and variants - since its release, the prices varied from $170 - $300. The original offering at Massdrop (Drop) included a set of extra Elite Velour pads.
However, what makes Dekoniâs Blue model different from the other modded T50RP MK3âs is the fact that itâs an official partnership with Fostex. What this essentially means is that Fostex directly manufactures the Blue model for Dekoni Audio. I believe this is the first and only official partnership that Fostex made for the T50RP MK3 - all the other well known mods were done by the company selling them, this includes: Mr. Speakersâ (Dan Clark Audio) âMad Dogâ and âAlpha Dogâ, âArgonâ by Mod House, Cascadia Audioâs âTalosâ, and Mayflower Electronicâs T50RP mods, and others.
Unboxing experience
The unboxing experience is quite straight to the point - a nicely designed (and matching blue) cardboard box, and headphones wrapped in bubble wrap inside. I would best describe the contents and the whole presentation as minimal - just as you would expect from a Fostex T50RP.
Formal format of what you get inside (this may depend on what variant you are buying, this is the stock one):
1x Dekoni Blue headphone (with Elite Hybrid earpads)
1x 2m cable (6.3mm jack)
1x 3.5mm adaptor
Build quality
Originally aimed for studio use, the Fostex T50RP was made to be lightweight and durable - something that can be worn without much weight to it, while also withstanding regular wear. Since Dekoni used the T50RP MKIII as its base model, it follows the very same characteristics as the original.
Starting from the top, the headband is made of high quality faux leather. It offers an exceptional amount of padding (I will cover the headband in more detail in the âComfortâ section), and is also stitched along the edges - which will ensure that there is no peeling at the edges.
Moving further down, the headband is screwed in place to a plastic piece, and right below it is another plastic piece that holds the height adjustment sliders. Both of these parts are made of high quality plastic.
Now, you may notice that Dekoni Blue shares many things with the Fostex T50RP MK3, and this is because it uses the T50RP MK3 as its base model excluding the ear-pads, which Dekoni replaced with their high quality Elite Hybrid pads, everything is basically the same.
This means that the Blue features the same metal height adjustment sliders, the same lock-mechanism for the cable connector, and the same exposed braided cables.
Speaking of the cable, itâs my least favorite part. I am personally not very impressed with the quality of it. Unfortunately, itâs no different than many headphone cables today. Anybody who has seen me on forums knows how much I brag about the quality of Sennheiser HD598âs cable. That is mainly because it is what I perceive as the standard of what a rubber cable should feel like.
The stock cable is impossible to store away. I usually tie cables around my hand and push the plug through the center - essentially tying the cable and leaving it as a âcircleâ. However, this is impossible to do. with the Blueâs stock cable⊠The cable keeps returning to its original shape and turns into a whole mess. This essentially means that you will have two meters of cable just hanging out there⊠which isnât ideal. Another issue that comes with the stubborn nature of this cable is that the connector in the lock mechanism can get pushed up.
Design
Like the name suggests - the Blueâs main design characteristic is the authentic Dekoni blue. This essentially makes it stand out from the original black and orange aesthetic. Dekoni Blue is anything but bland - it features branding on several places. The first thing you will notice is the big âDekoniâ branding on top of the headband - the printing is of high quality and is printed on top of the headbandâs faux leather.
While Dekoni didnât change the Fostex logo on the sides, they did change the printing on the ear-cups and the color of the height adjustment sliders.
Itâs no secret that the T50RP has held its authentic design ever since it was first implemented. The 1st generation of the T50 series actually featured a round ear-cup design, and it wouldnât be until the 2nd generation that Fostex would introduce the now iconic design - round ear-cup base with an elevated square at the back. Ever since the 2nd generation, Fostex has remained the iconic design of the RP-series.
In terms of the actual color-scheme, Fostex only introduced the black and orange color combination with the 3rd generation. Of course, the main cosmetic difference that Dekoni made was the color-scheme. The height adjustment sliders were changed from the original silver finish to a black finish. In similar fashion, instead of the classic âT50RPâ label and Fostexâs RP logo on the ear-cups, Dekoni changed it up - it features Dekoni Audioâs logo, large âBlueâ labelâ and a visual of a sound wave.
Dekoni Blue keeps the same good old design with minor aesthetic changes.
Comfort
Comfort being Dekoniâs main focus field, itâs not surprising that itâs one of the main selling points of this headphone.
The headband itself has light cushioning - and this is something that may or may not be a problem. I myself donât have any problems or discomfort with it, and thatâs mainly due to the fact that my hair acts as a cushion between the headband and my head. However, if you are bald, this may be something that can present a problem.
And of course, the highlight of this headphone - the pads. Dekoni Blue has Dekoniâs most premium series - the Elite Hybrid. This series utilizes sheepskin on the outside, velour on the face, and fenestrated (perforated) sheepskin on the inside of the pads. The general ideology of this combination is as follows:
The sheepskin on the outside is mean the provide better isolation and a better lower frequency response. The velour on the face is meant to provide a breathability and comfort, while letting the sound signature to be more open by letting sound travel through it. Finally, the fenestrated sheepskin on the inside is meant to let the sound travel through it and essentially âenterâ the ear-pads themselves - this results to a more open sound and also gives better breathability.
To put things into better perspective, letâs talk about how they handle long listening sessions. At no surprise, the Blue didnât show any signs of discomfort - even after listening sessions that consisted of several albums and multiple hours of music. In fact, it was rather my incapability to stay seated in one place that caused me to take a break and walk around. The ear-pads did not get warm or sweaty, and there also werenât any hotspots. The velour material is very comfortable and pleasant to the skin - it reminds me of a very soft and cozy sweater. However, Dekoni Blue is not one of those headphones that disappears on your head, you are aware of it at all times.
The clamp force is neither too strong, nor too weak. What is important to me is that the headphone can stay in place while I move around. Generally there are two types of people:
Those who enjoy sitting back in a chair and dissolve in the music, and those who tend to live the music and move around. I am the latter type, I like to move my head and dance around, thatâs just how I enjoy music. This being said, I am happy that the clamp force could keep them on my head, and that I didnât have to lift them up every two minutes.
Dekoni Audio being a company that specializes in producing ear-pads, the comfort aspect is one of the main focus fields. Even if you find yourself unhappy with the headband, the spare parts market for the T50RP is so wide that you will have no problem finding one that will suit you - this basically goes for everything regarding this headphone.
History of planar-magnetic headphones & the important role that Fostex played in it
Fostex RP has a very interesting history, and it has a lot to do the technology used. While manufacturers like Audeze and Hifiman were making planar-magnetic (isodynamic/orthodynamic) headphones in high-end market, Fostex focused on producing affordable planar-magnetic headphones - thatâs essentially where it found its potential.
Being more curious about the widely unknown history of Fostexâs RP range, I found out that Fostex is given very little credit for its importance in the planar-magnetic field. After some hours of digging into the history of planar-magnetic headphones, I was barely able to source the first ever planar-magnetic headphone. Surprisingly enough, in 1972 Wharfedale produced the worldâs first planar-magnetic headphone: the Wharfedale ID1. Who wouldâve thought that a manufacturer like Wharfedale, a company that is most well known for their speakers, produced the worldâs first planar magnetic set of headphones.
After that, I had a difficult time tracking down exactly which models were released between 1972 and later, however, I did find some notable information:
1974/1975 - Fostex launches its T50v0 model - making it the worldâs second planar-magnetic headphone. It would only be sold until 1976 - the v0 series is generally less documented. From my research, the only headphone in the v0 series was the T50v0 - making it the first T50 from Fostex.
The T50v0 would lead Fostex to become an OEM for other companies, and produce headphone models that are based off of the T50v0. These models would be:
1977 - NAD RP18 (it had two variations of the drivers: mylar diaphragm, and the kapton diaphragm)
1977 - Aiwa HP-500
70âs - Sansui SS100
1974 - Audio Technica launches its first headphone series - the AT-700 series.
*I cannot confirm whether the AT-700 series featured planar-magnetic technology, but I did find information that Audio Technica was among other manufacturers who were involved in the planar magnetic headphone market
1975/1976 - Yamaha launches its first planar-magnetic headphone: the HP-1. The HP-1 was designed by the well known Mario Bellini. Yamaha was apparently doing far better than other manufacturers in terms of sales for their orthodynamic headphones. This is mainly due to the fact that they utilized efficient marketing and follow-up series
Yamaha followed up with the following models:
1978 - YH-1000
1982 - YH-100
Yamaha YH-1 (left), Yamaha YH-100 (middle), Yamaha YH-1000 (right)
1985 - YHD-1
Mid 70âs - YH1
1977 - Fostex launches T10, T20, T30, and the T50 models (v1) - notable feature of the 1st generation were the round ear-cups & ear-pads, and round driver
1978 - Bang & Olufsen releases the U70 - designed by B&Oâs well famed designer Jacob Jensen
1980s - Fostex finally introduces its Regular Phase (RP) technology (v2) - notable feature of the 2nd generation was the change of the ear-cup construction and the headband. This generation introduced the rubber headband and also started featuring the iconic âRPâ logo on the ear-cups.
2002-2006 - Fostex launches T20RP MK2, T40RP MK2, T50RP - notable feature of the third generation was the change to a square-shaped driver. This would be a significant change, as though it completely changed the sound signature, but also all future models would implement the square-shaped driver. This generation followed the same rubber headband as the previous one.
All of this being said, thereâs no doubt that there were several planar-magnetic headphones in the early years. However most of them didnât see much success - mainly due to the difficult process of manufacturing these headphones, it wasnât cost efficient for the manufacturers.
This is why Fostex played a major role in the planar magnetic field. Besides Yamaha, it truly brought the planar-magnetic technology to the commercial market. Fostexâs RP series was widely used in studios, thatâs how it raised to fame.
You can also notice that most of the early planar-magnetic headphones were produced for a limited time - meaning that many companies decided to leave the field of planar-magnetic headphones.
The most interesting part is that Fostex was founded in 1973, which is only a year or two prior to the release of the T50v0. Nowadays, names like Hifiman and Audeze are the ones that people generally associate with âplanar-magneticâ, however those companies were founded more than three decades later - Hifiman in 2003, Audeze in 2008 - making Fostex one of the first companies to seriously step in the planar-magnetic headphone market.
Sound
If there is anything that the Dekoni Blue is recognized for, itâs the lower frequency response. While I didnât have a chance to hear the original Fostex T50RP MK3, I can definitely say that Dekoniâs marketing was pretty accurate - the overall sound signature is leaning toward the warm side of the spectrum.
Lows
One of the biggest misconceptions about the Blue, is that itâs a basshead headphone. I personally wouldnât agree with this, and itâs definitely something that I saw many people referring to. Letâs go to the roots, what does âbassheadâ mean? I would consider âbassheadâ to be a headphone that can deliver sub-bass rumble, has tight punch and powerful impact delivery, and overall have a âcontrolledâ bass.
âWhy So Serious?â by Hans Zimmer is one of my standard testing tracks for sub-frequency response and sub-bass rumble. The dark track from Zimmerâs masterpiece score for The Dark Knight has several points where you can hear the deep low frequencies, however, it is around the 3:26 minute mark where there is a drop. During this drop you should be hearing sub-bass rumble pulsating.
While Dekoni Blue is capable of reproducing the sub-frequency tone, it doesnât rumble.
âHad Some Drinksâ by Two Feet is a track where you can clearly test how the headphone holds up with both bass quantity and sub-bass rumble. There is no question about the Blue filling space with sound (quantity), however, it doesnât rumble. I will later explain why I think this is, and it has much more to do with the technical nature of the T50RP, rather than the sound signature.
M.O.O.Nâs eponymous EP is a very enjoyable electronic album. The third track, âHydrogenâ, is the one that puts both the quality and definition to the test. The kick should remain clean and tight - the Blue rather represents it with more quantity and less definition. The kick has more presence and thus isnât tight, it âtakes upâ more space in the mix.
In similar fashion, âSmoking Mirrorsâ by Lee Curtiss, should remain a clean beat. Although the clap isnât in sync at all times, there are parts where the clap meets the kick, and this results to a clean uniform impact. However, Blue lets the kick go on even when the clap meets the kick, this is what I would refer to as âslow decayâ.
One particular album where I enjoyed this type of bass response is âMusic to listen toâŠ.â (too long album title) by Bring Me The Horizon.
The low region is definitely different from what I have heard up until this point. It is a bass response that has more presence, but doesnât have much definition (doesnât have tight punch and as powerful impact/delivery). The lower frequencies usually fill the mix with bass presence, this âtakes upâ more space in the mix. Another thing is that the Dekoni Blue definitely doesnât rumble (unless turnt up to extreme volumes), here is why this is - if you ever saw a T50RP driver, you know that it is square-shaped and not of a very large size. This small sized speaker driver has limited capability to deliver these low frequencies, whereas larger planar-magnetic headphones (Hifiman, Audeze, Rosson Audio, Abyss, etc.) have the advantage of extended lower frequency response.
Mids
The mid-range is best described as warm - the exact quality Dekoni was going for in terms of tonality in this model.
âForget Herâ by Jeff Buckley, a track that is leaning towards the brighter side, is a perfect one to listen for sibilance or piercing peaks. This can particularly be heard when Jeff hits the âsâ or âshâ peaks -Blue tames these peaks down and stays far away from sibilance.
I found this also to be the case in the heavy metal genre - a genre that is known for being on the edge and being bright. âCrazy Trainâ by Ozzie Osbourne, âWhen a Blind Man Criesâ and âEnter Sandmanâ by Metallica, and multiple songs by AC/DC, Iron Maiden, Black Sabbath, and Judas Priest, are all examples where this can be heard well. At no point did I encounter the Blue to hint any sign of sparkle, which essentially proves that Dekoni Audioâs description of what they did with the Blue is indeed correct: âThe Dekoni Blue is warmer, smoother, and less fatiguing than its predecessor, making for hours of comfortable listening sessionsâ.
I found myself enjoying some female artists such as Nina Simone, Freya Ridings, Demi Lovato, Sia, and even Gloria Gaynor. In particular, âPoisonâ from Freya Ridings and âAnyoneâ by Demi Lovato were two songs where I particularly enjoyed the upper mid-range.
âBohemian Rhapsodyâ by Queen is a classic. While the overall presentation sounded good with the guitars, drums, and the piano, Freddieâs voice did sound a tad too warm and a bit recessed at the 2:17 minute mark - where Freddie sings ââŠface the truthâ.
âSoldier of Fortuneâ by Deep Purple is another favorite of mine. Specifically the guitar introduction -the upper end sounds very nice and pleasant. The guitar plucks at the very beginning have pretty good timbre and tonality, just like a real guitar should sound like - yes, maybe the sparkle isnât there, but they can very much be felt, which is definitely something I look for.
âBabe Iâm Gonna Leave Youâ by Led Zeppelin is a highly dynamic and slightly intense track. The guitars here also sound superb - even when the track gets very busy and crowded, the Blue manages to keep up with the guitars. The same goes for Robert Plantâs vocals, but his voice is a little distant in the original recording.
All and all, the Dekoni Blue sounds the best in tracks that arenât too busy, it is more than capable of keeping up with a very good guitar solo. The warm signature results to a fatigue-free listening experience, but this does take away from the details in the upper mid-range. I mainly found my comfort zone with the Dekoni Blue in modern music, especially mainstream pop and r&b.
Highs
The Blue keeps the high-range nice and clear. It keeps a good balance of detail and staying away from sibilance and brightness. As long as you are not listening to older and less mastered tracks, you wonât face any type of piercing or fatigue.
âStop Trying to Be Godâ by Travis Scott is my standard testing track for sibilance. While I am not listening to Travisâs vocals, I am listening to Stevie Wonderâs harmonica at the outro of this track. What I always look out for is the clarity and tonality of the peak at 5:59 minute mark. I was very happy to hear that the Blue can deliver a very clean sounding performance and be exactly on the edge of sparkle. The harmonicaâs peak note is pretty bearable and gives that satisfying ear feeling that you get from a good treble response.
Even with very harsh and not the most ideally recorded tracks like âBabe Iâm Gonna Leave Youâ by Joan Baez, Blue doesnât result to fatigue. Itâs a particularly easy recording where the peaks are happening quite often, but the Blue tames it down to a level that is listenable and bearable.
Whether itâs modern pop, r&b, or even hip-hop/rap, the percussion always stays crips. In âMontrealâ by The Weekend you can hear that the snare sound very clean and has the top-end that it is meant to have - it sounds tight and compliments the rest of the mix. âStill Dreâ, âThe Next Episodeâ, and even âForgot About Dreâ all share the same quality. The Blue presents the high-end from the percussion with a clean sound, the snare hits always sound in place and are more forward in the mix.
Conclusion
Dekoni Audio said everything that needed to be said about this headphone: âThe Dekoni Blue is a Fun Headphone with a great bass extension and smoothed out high endâ. As you can notice, Dekoni was honest with the marketing and didnât claim any bold or absurd claims.
The true qualities of the Blue are its comfort, bass response that fills the mix with its presence, fairly well tuned high-range but a roll-off that is caused by the warm sound signature. The Blue is best suited for tracks that arenât too busy. If the track is too busy, especially if it has a lot of low end, the mix can be overwhelmed with the bass presence, hence why I personally enjoyed less busy tracks. Clean 808s sound very good with the Blue, which is the reason why I preferred to listen to some modern mainstream tracks.
The low end of the Dekoni Blue is heavily focused on quantity - it will fill the mix with the presence of lower frequencies. If I was to describe Blueâs bass response it would be compared to that of a mallet drumstick - gentle and soft without much definition. I always perceive it as soft bass and visualize it as something very fluffy and soft. On the other hand, the opposite of that would be a tighter bass response; and it could be compared to that of a wooden drumstick, which is tight, fast, and sharp.
My main preference in terms of music were clean tracks that didnât have too much going on. Here are some particular tracks and albums that I greatly enjoyed listening to:
Partynextdoor - Spiteful
Sia - Greatest
The Weeknd - Montreal
Jaden - Syre (album)
Daft Punk - Tron: Legacy (album)
The Weeknd - After Hours (album)
Peter Green - The End of the Game (Expanded) (album)
Kendrick Lamar - good kid, m.A.A.d city (Deluxe)
Joni Mitchell - Blue (album)
CĂ©line Dion - Falling Into You (album)
I can safely say that the Dekoni Blue will be a headphone that I will use for entertainment purposes (movies, games). The Dekoni Blue is a very comfortable headphone with a fun v-shaped sound signature - while I personally am not drawn towards warmth (I prefer the buzz and feel from the high frequencies), it can certainly satisfy somebody who likes a warm sound signature and someone who likes bass presence. I can also see the Dekoni Blue as a headphone that you throw on while you are doing something and not entirely focusing on what you are listening to. Dekoni Blue doesnât distract with itâs sound signature, and this is the main characteristic of the combination of a warm sound signature and less defined bass region.
Sources
Below you can go through several links that I used for the history section. A lot of them are quite interesting, but there are a lot of sourcesâŠ
Regardless, here they are:
https://www.headphonesty.com/2019/07/how-to-mod-the-fostex-t50rp-mk3/
https://www.google.com/search?q=T40RP+1980&hl=en&sxsrf=ALeKk017nSOCMTBV8FZOgZRXKS4r5gjWyA:1601927912620&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi_wL_Bnp7sAhVMkMMKHU6TCpIQ_AUoAXoECA8QAw&biw=1280&bih=700#imgrc=QGanlMOvu4Oe3M
https://www.head-fi.org/threads/fostex-t40-review-pics-and-questions-56k.142542/
http://www.preservationsound.com/2011/01/fostex-rp-headphones-1977/
https://www.fostex.jp/products/t50rpmk3n/
https://www.head-fi.org/threads/headphone-history-timeline.821423/
https://www.google.com/search?q=Yamaha+HP-1&hl=en&sxsrf=ALeKk011co-iPhqHNb-46THzuSsaFp0zAg:1601990429992&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjAg420h6DsAhUKHHcKHY9wCPUQ_AUoAXoECBIQAw&biw=1280&bih=700#imgrc=FABbu4TehyBNRM
https://www.reddit.com/r/headphones/comments/fm2aai/review_fostex_t50v0_1974_worlds_first_planar/
https://www.google.com/search?q=Wharfedale+ID1+Isodynamic+headphone&sxsrf=ALeKk02ZgMFvKuwBfav-t5j9KpGE5ejnwQ:1601989317496&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiX28-hg6DsAhVlkosKHSVwCNAQ_AUoAXoECA4QAw&biw=1280&bih=700#imgrc=mTtxk4OecSsbHM
https://avatars.mds.yandex.net/get-zen_doc/58826/pub_5c176229407ba700abd6c239_5c17633c4dc8fc00aaeacb0c/scale_2400
https://spectrum.ieee.org/consumer-electronics/gadgets/the-consumer-electronics-hall-of-fame-yamaha-hp1-headphones
http://www.just-hifi.com/Orthodynamic-Roundup_10478992-2.html
https://forum.headphones.com/t/headphone-driver-pictures-thread/6401
https://systematicsound.wordpress.com/2020/03/20/fostex-t50/
https://www.reddit.com/r/headphones/comments/88zj58/the_somewhat_rare_and_mystical_vintage/
http://overearmania.com/2019/04/15/nad-rp18/
https://www.head-fi.org/threads/sansui-ss-100.897225/
https://www.beoworld.org/prod_details.asp?pid=917
https://www.head-fi.org/threads/orthodynamic-roundup.111193/
https://www.head-fi.org/threads/planar-obsession-old-fostex-t50.94407/
9 Likes
Wow, one of the most detailed write-ups Iâve seen here. Well done!
Also I too love the 58x cable, it replaced my HD600 cable instantly lol
1 Like
Thank you!
Tbh HD6XX has one of the worst cables IMO, but actually it seems like many companies use that quality of a cable nowadays⊠so if I say that some people may disagree - but that HD598 cable is superior⊠if only they continued using that quality rubber 
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So I didnât realize how hard these are to drive. My singxer SA1 is on high gain and sitting at 5 oâclock. Now Iâm using my dap as a dac so it might not be seeing enough voltage so Iâll keep that in mind till my other equipment shows up. Does a balanced cable work for these?
Other than that watching Netflix with these is pretty awesome, nice sweet sound, great depth and width and resolves pretty decently for $250 set of cans. Iâll try to remember to report back when I have more time on them.
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