Are they still manufactured in Austria Friedrich? It's quite sad that the majority of AKG / Sennheiser etc. 'phones are being made in China these days but I assume these flagship 'phones are still being made in house in Austria?. It says they are made in "Europe" but that could mean a sweat shop in deepest Bulgaria
Is Karl Peschel still with AKG? I haven't been in touch with him for years..... really nice bloke.
I got in touch with him in back in the late 1990's and we exchanged many interesting ideas on headphones and, in particular, how headphones ("IF" headphones) change sonically due to the ever changing characteristics of the materials employed in the membrane..... It was my thinking that the compliance would change after a prolonged "bed in period" (just the same way as a new pair of shoes bed in) and he kind of agreed with me..... I chipped in on Head-Fi, in 2003, in a K1000 topic where Karl suggested rotating the K1000: www.head-fi.org/t/26815/a-few-thoughts-on-akg-k-1000s/30
Head-Fi was VERY small back in 2003 and the members must have thought that rotating headphones was a crackpot idea but I still thing it's bang on the money.
£1350 GBP is a lot of money for a pair of headphones and I would like to think that each pair is "exercised" for 240 hours before leaving the factory (10 days constantly being pushed to the limit to break them in) but I doubt that will ever happen in todays ever increasing profit driven / efficiency critical manufacturing process.
Oh well.... "made in Europe" is pretty vague (as to where exactly in Europe) but at least it suggests that all of the parts are made and assembled in Europe (or does it?)........ are they actually made in Europe or assembled in Europe using Chinese made parts? What does it say on the box Friedrich? My old K501 clearly said "Made in Austria" and my K140 have "Made in Austria" stamped on the side of the cups.
I am, as best as I can, refusing to buy Chinese these days..... anything remotely associated with China I'm giving a very wide berth to...... most of it is CRAP, mass produced, cloned, copied CRAP. Rick was right, I was wrong.... buying cheap Chinese crap and contracting work out to the Chinese is only destroying our economy AND ability to develop, we will soon have no European / American audio industry left if we keep entertaining the idea that "producing it cheap in China / sourcing direct from China" is a good idea...... it isn't!
I've got a 1984 Briggs and Stratton lawnmower (32 years old) that starts up FIRST TIME / EVERY TIME and two years ago I bought a Mountfield mower (£600 worth) with a Chinese engine and it's a bitch of a thing to start....... it was good for about 30 hours and now it's a heart attack waiting to happen! 30 pulls to start the f**ker is hard work even for a fit man! I took it back to the shop I bought it from and the guy said "it needs a new carburetor".... I was like "A new carburetor? It's only done 30 hours or so can't you service it?!!" He said "You're cheaper to just replace the carburetor"...... Chinese CRAP!!!
China = Landfill.
Anyhoo, sorry to go off topic, but I am really particular these days when it comes down to buying something...... if it is made in China it can f**k off! Made in Japan, yup, I'll buy that all day long but "Made in China" = unreliable / non serviceable shit.
Post by mrpharmacist on Sept 17, 2016 15:02:39 GMT
I think anything you throw at China, they'll make. How do you want it though? The made in china thing bugs me a bit because if it's cheaper we know ( or ought to) it's about obsolescence. Japanese manufacturers were ok with saying such things 20-30 years ago, but they have a different idea of it quite frankly ( and built up pre-war and rebuilt post-war). As for Taiwan , had a Carver pre-amp from the 90s and M1Dac ..pretty tip-top construction and reassuringly the buttons falling off are all to worry about
To return to AKG. Pulled the trigger on the AKG K550 finally (really needed a closed-back, Audeze LCD2's are very open). Anyone else got it?
The physical appearance of the K872 looks like the same as K812, but with little differences. Contact pressure of the K872 a trace less, but I can not measure and confirm this. The external damping is very good. I hardly hear the opening and closing the CD loading next to me. The holder of the ear pads and the cover of the converter is changed compared to the K812. The ear pads can be removed only by means of a small enclosed tool - the reason is the required tightness. The K872 is so I was assured, fit with injected cable in the case, had this not been tried but. Bass - very deep and dry, very good resolution, with a bit more pressure as K812, but not load or pushing. Mid's - clear, very good resolution, nearly looks like the same as K812 but a bit warmer. Heights - clear, very good resolution, a bit softer as K812, no sharpness. Spaciousness, stage - wide-ranging, enough deep (for an headphone), space between musicians. The K872 can be heard effortlessly long. ..... I had heared a lot of CD/SACD's Meyer Records Vol1 (no. 140); Meyer Records Vol2 (no. 160); Ester Fellner Via del Campo (Meyer Records no. 156); Allan Taylor, Leaving at Dawn (Stockfish); Jan Erik Lundqvist, Leonard Cohen auf Schwedisch #2 (Meyer Records no. 148); Hans Theessink, homecooking; Grieg: Peer Gynt Suites, Holberg Suite, Sibelius: Finnlandia - Herbert von Karajan, Berliner Philharmoniker, DG; Gustav Mahler, Symphonie No.1, Blumine, Tonhalle Orchestra Zurich, David Zinman, SACD; Singer: Clearly, the respective pitch accordingly, especially with Ester Fellner and Jan-Erik Lundquist very expressive playing. Orchestra: Broad staggered; good detectability; Heights not intrusive, well resolved; Mid's no negative anomalies; Bass punchy, dry, non-intrusive, cymbals and drums can develop a brute force with Gustav Mahler's Symphony No.1 already, cellos and double basses plump but not bloated. ..... Dimitri Schostakowitsch, Symphonie Nr.8, Royal Concertgebouw Orchestra, Bernard Haitink, DECCA Track 3 „Allegro non troppo“ Transitions and detectability - violins, violas, cellos, contrabass are very well reproduced. Good depth staggered arrangement - drums, timpani, cymbals. In the fortissimo passages, the brute force of the orchestra is very well noticeable. Bass punchy and reaches deep down, but is not intrusive or drawing. ..... Camille Saint-Saëns, Orgel-Symphonie No.3, Berliner Philharmoniker, James Levine, Orgel: Simon Preston, Deutsche Grammophon Track 3: 2. Allegro moderato - Presto - Allegro Moderato Track 4: 2. Maestoso - Allegro - Molto allegro - Pesante Detectability of individual orchestral groups very good, enough space between them, the width of the stage corresponds to a good place in the Konzerthaus, depth for headphones good. Organ Passage good coloration, punchy, massive. In the horns I could not fault it, punchy but in balance with the rest of instruments. Drumbeats punchy, dry. What I wrote above in Schostakovitsch, Symphony No. 8, applies here. ..... Paul Dukas, Der Zauberlehrling, Berliner Philharmoniker, James Levine, Deutsche Grammophon (from the CD above) Track 5: Der Zauberlehrling This piece fully confirmed my impressions above. Bass is reproduced dry and not oversubscribed. ..... If you understand German language you could found more about here and the following pages too: www.open-end-music.de/vb3/showthread.php?t=10304&page=11 www.hifi-forum.de/index.php?action=browseT&forum_id=110&thread=16610&back=&sort=&z=2 www.hififorum.at/showthread.php?t=8095&page=2 and here www.head-fi.org/t/803263/akgs-new-k872/150#post_12860602 www.head-fi.org/t/803263/akgs-new-k872/180#post_12909795 ..... PS: I always emphasize at such my hearing tests, it's only my impression that I have experienced it, it is therefore not an absolute measure. I always refer in my listening tests on dedicated pieces of music. And excuse my not so good English, my nativ language is German (Austrian, Vienna german slang). If you found a mistake, please let me know. .