Conveys the Heart and Soul of Music
There's an old saying that goes, "The apple doesn't fall far from the tree." Grado Labs takes lessons learned from the development of its state-of-the-art PS1000 Professional Series headphone and has applied it to a form factor that is compact, resulting in the PS500 Professional Series headphone.
John Grado calls Grado's flagship PS1000 "the very best headphone we've ever produced," and the PS500 follows close behind the PS1000 with its exceptional musicality. "The PS500 truly conveys the heart and soul of every musical performance you will listen to through them," says John. "It is the result of an art learned over the course of almost 60 years of designing and manufacturing products that faithfully reproduce music."
UHPLC Copper Voice Coils
The PS500 boasts voice-coils that are wound from ultra-high purity, long crystal (UHPLC) oxygen free copper. The copper is slowly drawn through the die in extremely small increments and is annealed following each drawing operation. Ultra-high conductivity copper yields the clearest transmission and lowest coloration possible. The sound of UHPLC copper is smoother, cleaner and more dynamic.
Vented Diaphragm Design
Contributing to the PS500's amazing sound quality is the vented diaphragm design that incorporates a large, hybrid air chamber. This design concept lowers the frequency resonance (distortion) of the diaphragm and extends bass response. The diaphragm is made of a low mass polymer, carefully formed to broaden resonant modes to reduce their amplitude. The diaphragm mass is determined with the compliance of the suspension in mind so that the desired low frequency resonance is achieved. The diaphragm's total mass is calculated to provide exceptionally wide bandwidth, while avoiding break-up at lower frequencies.
All metal work is machined from a special non-resonant, very hard alloy. Grado utilizes a special processing method to increase the material's porosity. This complex treatment ensures that the earphone chamber has no 'ringing', which might obscure detail or add coloration.
The PS500 is a compact monitoring tool that will put a smile on the face of the most demanding music professionals as well of demanding audiophiles.
|Product Reviews Click here to review this item|
|To Dale T, CA|
Paragraphs and punctuation are your friend! Oh... I see... its AAs funky software, not the authors error! But... to sum up... the PS500s impress me as being, quite possibly, the best headphones currently produced.
|- Gradofan2 A, TX|
|Grado PS-500 Stereo Headphone Review by Dale|
I have several headphones besides the PS-500, and Ive reviewed some of them, so I should find it easy to describe the PS-500, yes? Maybe not. By now Ive discovered that my other headphones fall into the category of polite ear speakers. Inoffensive, smooth, and clean they are, and while the PS-500 shares their better qualities, polite and obsequious arent one of them. I have quite a variety of music tracks in Jazz, Classics, Opera, Rock, Blues, Country and other genres, and Ive been running through the list for days to see what the PS-500 isnt a good match for. So far everything sounds good. Better than good, actually - everything sounds alive. Ive read a lot of reviews and discussed different systems with enough people that I have some idea of the adjectives they might apply to the PS-500. Terms such as warm, forward, or lush come to mind. In anticipation of that, I would suggest warm as in the warmth of a cello in an intimate setting, forward as in being near enough to the cello to bask in that warmth, and lush as in the full complement of harmonics that defines the characteristic sound of the instrument. I like a lot of headphones. I love the Grado PS-500. It makes music sound right. Before I continue with the music and sound analysis, some notes about the hardware: The comfort is instantaneous. This is one of the few headphones where the foam cushions sit on and around the ears and have no pinching effects or adjustment difficulties. The headband is a simple leather-wrapped flat spring steel band about 1-1/4 inches wide. For people who dont like feeling pressure from a headband, I recommend pulling the earcups down slightly more and letting the earcups support most of the weight so the headband isnt carrying all of the weight or pressing on the head. The cord is thick but flexible and about five feet long, terminated in a 1/4 inch plug. When used with most small music players, a 1/4 inch to 1/8 inch adapter is required. I use the Grado adapter, two of which Ive had for ten years now since theyre very well made and reliable. Many headphone cords today are single-sided, where the cord goes to one earcup and then some additional wiring carries the signal to the other earcup across the headband. The other major type is double-sided, where the left and right channels are carried in a Y configuration to each earcup directly, eliminating the need for additional wiring inside one earcup and across the headband. The PS-500 is this latter type, which I prefer personally since less wiring means a purer signal path. The PS-500 is a low-impedance headphone of average efficiency, so it can play at medium to loud volumes with most small music players. So far I havent found a music track that doesnt play loudly enough with an iPhone, after trying about 200 tracks at random. Many headphone reviews and commentaries will describe the need for a headphone amplifier or the equivalent in computer amplification to get the best sound possible from the headphone. Some of those reviews and comments even suggest that the sound from small music players such as the iPhone is not suitable for serious music listening at all. My experience with small music players is limited to the iPhone4, iPod Touch, and iPod Nano Touch. These three music players will provide about 98 percent of the sound quality of a good headphone amp, from the deepest bass to the highest treble, although calculating that percentage is purely subjective. My experience with two different headphone amps plus several desktop and laptop computers tells me that the differences are subtle, but the better headphone amps do open up the sound better, providing more air around instruments and voices and better reproduction of the upper harmonics that give each instrument its distinctive tone color. Note that the PS-500 is also an open-air or open-back headphone, which has advantages over the closed variety in various aspects of sound quality. On the other hand, some of the sound can be heard by persons sitting nearby depending on the volume level and how quiet the setting is. You probably wont disturb anyone on the subway at rush hour if you play music at average volume with the PS-500, but in a quiet office someone in the next cubicle may object unless you keep the volume fairly low. Now that Ive covered the basics its time to get to the music, i.e. how the PS-500 sounds with actual music tracks. Most of my music tracks are 320k CBR MP3s, which are the highest quality MP3s that are generally available. I have a couple hundred FLAC tracks which are uncompressed digital music, but the difference between those and 320k MP3s is very subtle, and normally only expert listeners can tell the differences. I also have a few hundred CD-quality or lower MP3s, which for most of those tracks is all thats available and Im lucky to have them, so while I enjoy listening to those to whatever extent is possible, I dont use them for evaluating sound quality in a headphone review. The use of equalization EQ with hi-fi equipment is controversial in some circles, and many audiophiles purists? refuse to even consider applying EQ or tone controls, no matter if a recording sounds much better with than without. I mention it here because Ive mentioned it in my other reviews, and I want to note here that I havent used EQ for this review, but Im not shy about applying it on a case-by-case basis when it makes the difference between enjoying a recording and rejecting it outright. My suggestion to any music lover is to think of EQ as a simple tool that may save a recording at least temporarily until it can be replaced, as long as it doesnt become the opposite of that and actually degrade the sound as many audiophiles dread. The following are my examples of music tracks in certain genres or qualities, with my comments as to how the PS-500 sounds with each track. Note that when you see a comment like soft highs or strong bass, its more a characteristic of the music than the headphone. Reading through the list will bear this out since some tracks will note soft highs while others will say strong or even zingy highs. The purpose here is to give you an idea how the PS-500 will likely sound with your favorite music genres. 10000 Maniacs - Peace Train late 80s; soft highs, fairly strong bass line, average soundstage. Andrea True Connection - More More More late 70s: Smooth and even from top to bottom, good soundstage. Bauhaus - Bela Lugosis Dead ~1980: Strong midrange sound effects - this is a good worst-case test for resonant-type sounds in the most sensitive midrange area. Handled well by the PS-500. Beatles - And I Love Her, Things We Said Today, Ill Be Back, Ill Follow The Sun ~1964, in stereo: Amazing sound quality and soundstage, with excellent voice and instrument detail. These four tracks are prima facie evidence that any negative qualities you see in this list are very unlikely to be a function of the headphone. Beethoven Symphony 9, Solti/CSO 1972: Excellent overall sound but average headphone soundstage unfortunately, even though the PS-500 is above average in presenting soundstage width and depth. Bill Evans Trio - Nardis early 60s: Fairly close-up recording, but highs softened a little - very pleasant sound overall. Billy Eckstine - Imagination date??: Sounds like a recent high-quality stereo recording. Excellent from top to bottom and a great vocal demo. Blood Sweat & Tears - And When I Die, God Bless The Child, Spinning Wheel late 60s: Decent sound quality, and fortunately I think given the strength of the brass instruments, the highs are slightly soft. Blues Project - Caress Me Baby 1966: Rarely mentioned, but one of the greatest white blues recordings ever. The loud piercing guitar sound at 0:41 into the track is a good test for distortion or other problems. Handled well here. Boz Scaggs - Lowdown 1976: Good sound quality - this is a great test for any nasality in the midrange. Handled well by the PS-500. Buffalo Springfield - Kind Woman ~1968: A Richie Furay song entirely, rarely mentioned, but one of the best sounding rock ballads ever. This will sound good on most headphones, but its a special treat with the PS-500. Cat Stevens - Morning Has Broken early 70s: A near-perfect test for overall sound - this track will separate the best sounding headphones from the lesser quality types. Nothing specific, except that almost any deviation from perfect reproduction will stand out with this track. Catherine Wheel - Black Metallic ~1991: Goth with industrial overtones - I like this since its a great music composition and the sound effects are smoothly integrated into the mix. This may sound distorted or mushy with some headphones, but the PS-500 renders the deliberate instrumental distortions clearly. Cocteau Twins - Carolyns Fingers 1988: Unusual ambient pop with excellent guitar details. Commodores - Night Shift ~1985: Good spacious sound with very detailed bass guitar lines. Cranes - Adoration ~1991: Very good piano leading into a goth-flavored song with very unusual vocals. Creedence Clearwater Revival - The Midnight Special 1969??: Classic CCR featured in Twilight Zone, this track has great guitar sounds and a really good ambience despite a mediocre soundstage. Dave Brubeck Quartet - Take Five 1959: Paul Desmond piece - good test of saxophone sound and cymbals, less so the other instruments. Dead Can Dance - Ariadne 1993??: Atmospheric goth music - good ambience in spite of mediocre soundstage. Def Leppard - Bringin On The Heartbreak 1981: MTV goth/pop/metal at its best - good ambience and high energy - the better headphones will separate the details and make for a good experience. Lesser quality and the details tend to mush together. Del Reeves - Girl On The Billboard early-mid 70s: Classic truck-drivin country tune with a Thelma & Louise theme, this songs overall recorded quality almost typical of Nashville in the 70s is a superb demo if you can get past the peculiar lyrics. Dick Hyman - Dooji Wooji 1990??: Swing-era composition played with perfect technique by all band members, with excellent recorded sound. Enrico Caruso/Caruso 2000 - La Donna e Mobile, M Appari Tutt Amor, etc. early 1900s and 2000: Disliked by many critics and purists, this recording was the extremely arduous task of marrying the best obtainable restoration of Carusos voice to a modern orchestra, with all of the odd timing problems inherent in the old RCA mechanical recordings. For me, its one step closer to hearing my first great music idol as he actually sounded then, circa 1903 to 1919. Plus the fact that my grandmother met Caruso through her longtime friend and neighbor Evan Williams, who was also a big RCA recording star at that time. For many young people who cant get past the obvious barriers of the ancient mechanical sounds and distortions, this recording and future efforts with better technology may be the best hope for them to appreciate the greatest singer of his day, and perhaps ever. The PS-500 headphone brings this voice to life to a very satisfactory degree. Frank Sinatra - Fly Me To The Moon, I Get A Kick Out Of You, My Way, Strangers In The Night, Thats Life, Theme From New York, New York 1950s to 1980: If youre thinking of buying a Grado PS-500 and havent listened to Sinatra, or if youre low on swag, get some of Franks stereo recordings and live it up. J.S. Bach - E. Power Biggs Plays Bach in the Thomaskirche ~1970: Recorded on a tracker organ in East Germany, the tracks on this recording have the authentic baroque sound that Bach composed for, albeit the bellows are operated by motor today. The PS-500 plays all of the tones seamlessly from ~32 hz to the upper limits of the organ, which are near the upper limits of hearing. Jamming With Edward - It Hurts Me Too 1969: Intended originally as a test to fill studio down time and set recording levels etc., this was released a few years later for hardcore Rolling Stones fans. Although not as good technically in every aspect as the Chess studio recordings of 1964, and in spite of the non-serious vocals by Mick Jagger, this rates very high on my list of white blues recordings, and sounds absolutely delicious with the PS-500. Jimmy Smith - Basin Street Blues early 60s: This track has some loud crescendos of brass and other instruments that dont sound clean and musical on some headphones. The PS-500 does it well. Kim Carnes - Bette Davis Eyes Acoustic version, date??: Stripped-down acoustic version of the big hit - good voice and guitar sounds. Ladytron - Destroy Everything You Touch ~2009: Featured in The September Issue, this song has heavy overdub and will sound a bit muddy on some headphones. Merle Haggard - Okie From Muskogee 1969: Another good-quality country recording with almost-acoustic guitar accompaniment. Milt Jackson/Wes Montgomery - Delilah Take 3 1962: The vibraphone is heavily dependent on harmonics to sound right, and the PS-500 plays it superbly. Nylons - The Lion Sleeps Tonight A Capella version, 1980s: High-energy vocals sans instrumental accompaniment - an excellent test of vocal reproduction. Pink Floyd/Dark Side of the Moon - Speak To Me 1973: Deep bass impact. Rolling Stones - Stray Cat Blues 1968: Dirty, gritty blues that very few white artists could match. On some headphones the vocals and guitar lack the edge and fall more-or-less flat. If youre a really good person, playing this song will probably make you feel nervous and uneasy. Tony Bennett - For Once In My Life, I Left My Heart In San Francisco, I Wanna Be Around To Pick Up The Pieces, The Best Is Yet To Come, The Good Life, Who Can I Turn To 1960s and later: Frank Sinatras favorite singer. Highest recommendation.
|- Dale T, CA|