Fostex RP Series Headphones

Fostex RP Series Headphones | Reviews
91
poor frequency/phase response in this
critical frequency range.
The major difference between the
models results from the three enclosure
topologies (open, closed, semi-open),
and this is mostly focused on the
low-end, which is where I found my
(least) favourite model. The semi-open
back T50s are the best balanced of the
three with regard to the bass range. The
low frequencies come through clear and
dynamic without dominating or masking
the low mids. The closed back T40s
were surprisingly non-resonant or
boomy, which is often a by-product of
the ‘trapped’ low-end, and though the
bass is all there, they do seem limited
in comparison to the T50s; fl appy kick
drums and bass synth decays disappear
out of view a little quicker on the T40s.
The open back T20s go the opposite
way, sounding overly dominant in the
bottom octaves, which then tends to
mask the low mids and accentuate the
soft high-end, and such a voicing made
them hard for me to trust in a mix.
Again, this is a subjective response.
Stereo imaging for headphones has
a lot to do with damping enclosure
suspension vibrations to keep the two
sides as physically independent as
possible, but it is also reliant on clarity
within our key aural sensitivity ranges.
The quality of mid-range reproduction in
the T-RPs helps create a very natural
stereo image and, though the HF region
is not as forward as is common, this
doesn’t affect the sense of space.
The RP drivers give these models
high headroom and I can attest to
their lack of audible distortion at high
gain, though I have now vowed to
never turn headphones up that loud
again! I wouldn’t advise cranking up
headphones, but these will cut through
in a loud environment, and that softer
high-end makes much more sense up at
such levels. The only drawback is that
the supra-aural design makes them less
effective at
isolating the
listener from
external sound
sources than a
circumaural
design. The 50
input impedance
does mean to get
them right up
there you will need an amplifi er with
plenty of power.
The T-RP range has real quality with
its mid-range clarity and high input
headroom, making them useful for
engineers, performers and DJs. The
high-frequency response is smooth and
unusually un-forward, setting them
apart from many brash sounding
headphones that can be found at this
price. Whether this is a good thing is a
purely subjective matter, and one I have
shifted on having spent time with these
headphones. I defi nitely recommend
checking out the T40 and T50 models,
with the latter being the standout.
There are two central
design considerations for
headphones: how they
enclose the ear and how
they enclose the driver/
transducer. With regard
to the ear there are three
types: circumaural
(around the ear),
supra-aural (on the ear),
and intra-aural (in-ear),
which we’ll leave out as
they’re not suitable for
studio monitoring.
Circumaurals provide the
greatest isolation from
external noise, making
them great for drummers
or checking mixes while
the main monitors are
blasting out. Their
drawback is enclosure
resonance which requires
quality acoustic design to
control. Supra-aurals do
not require the same
degree of enclosure
design as they directly
address the ear without
creating a resonant
chamber. However, they
provide far less isolation
from external noise,
though this can be useful
for studio vocalists.
Isolation of the driver/
transducer is also a
major design issue. A
closed-back headphone,
especially in a
circumaural enclosure,
will be most prone to low
frequency resonance
issues and require more
power to drive at the bass
end (due to increased
resistive pressure). An
open backed design
allows the driver to
move back and forth
more freely due to
reduced pressure,
theoretically producing a
fl atter frequency
response, but at the
expense of reduced
isolation. A semi-open
back design seeks to
combine the strengths of
both systems.
Headphone Topologies
I don’t have a bad word to say about
the mid and low mid characteristics
as the articulation is excellent
VERDICT
BUILD
❚❚❚❚❚❚❚❚❚
VALUE
❚❚❚❚❚❚❚❚
EASE OF USE
❚❚❚❚❚❚❚❚
VERSATILITY
❚❚❚❚❚❚❚❚
RESULTS
❚❚❚❚❚❚❚❚
Sturdy in body and sound with an
excellent mid-range focus and
smooth fatigue-free highs.
SPECS
Type: Open (T20), Closed
(T40), Semi-open (T50)
Frequency response: 15Hz
– 35kHz (T20 & T50), 20Hz
– 35kHz (T40)
Impedance: 50 (all
models)
Sensitivity: 92dB/mW (T20
& T50), 91dB/mW (T40)
Max input: 3W (all models)
Package contents: 3m
(6.3mm jack) and 1.2m
(3.5mm jack) straight cords
for single sided connection
Weight: excl cord
315g
ALTERNATIVES
Beyerdynamic
DT770
£119
A studio stalwart for
engineers and performers
alike. Light and comfortable
circumaural closed back
design with plenty of clarity
for the price. Available in a
range of impedances.
beyerdynamic.com
Beyerdynamic
DT990
£119
For less noisy environments
the open back DT990
presents a slightly
smoother version of the
770 response. Like its
brethren, spares are
always available.
beyerdynamic.com
Shure SRH1540
£399
If you’ve got a bigger
budget then you cannot go
wrong with these super
light closed back
circumaurals. The sound is
damn near perfect and
could put your main
monitors out of work.
shure.co.uk
FMU298.rev_fostex.indd 91 10/8/15 12:56 PM