![]() ![]() You'll note however, that the linearity down to 100Hz is very good, and likely due to the passive radiator influence.ģ0Hz square wave looks about as expected from FR. Bass extension drops off below 100Hz at a fairly good clip. Frequency response above 2kHz is a bit uneven but about right in level. Compensated frequency response plot shows fairly flat response with slightly warm tilt between 100Hz and 2kHz. Raw frequency response plots show some difficulty getting a good seal. Most cans of this era had a rather boring "n" shaped frequency response the neutrality of the K240 seems pretty remarkable to me for a headphone of this vintage.Ĭlick on graphs image to download. Nonetheless, these cans were very nice to hear and did seem like their sound was ahead of their time. I also hear the highs as both fast and somehow subdued at the same time. ![]() Cymbal hits, for example, lacked individual characteristic and came out a bit "shhh"-like. I will agree with him though that the treble is a bit grainy. I also felt the dynamic punch of the K240 was quite good. Unlike rythmdevils, I didn't hear the bass as lacking in tightness as much as it lacked extension. With that as an introduction, I can tell you I found the Sextett to have a remarkably neutral response from upper-bass though the midrange. This acoustic principle was invented by Dr. Below this boost-frequency the membranes block the sound waves and the roll-off is compensated. In that way the bass boost is leveled out. In the region of the bass boost the membranes become transparent to sound waves and thus reduce the air pressure in the coupling cavity between capsule and ears. The resonant frequency of the passive radiators in connection with the relatively high friction of the damping material behind these membranes effectively influences this irregularity in the frequency range. The result: an unnaturally sounding boomy bass. Conventional circum-aural headphones often have a resonance peak in the upper bass region followed by a more or less significant bass roll off. Each radiator consisted of a membrane attached to a perforated disc covered with carefully selected acoustical friction material. Like in the recent version K240 Monitor a 32mm driver was used but it was surrounded by 6 passive radiators. In this really cool post on AKG's forum, an AKG forum moderator (and employee, I assume) describes the history of the K240, and has this, in part, to say about the Sextett: From what I can tell from web info, the surrounding six passive radiators are variously tuned in order to control the natural resonant bass hump of circumaural drivers. The K240 "Sextett" gets its sexy moniker from the six passive radiators surrounding the main dynamic driver element. It's no wonder, I suppose, there's evidently quite a bit of old school engineering going on in these cans. Tyll's Notes - Man, these are really good sounding. Period advertisement for the AKG K240 Sextett detailing some of its unique features. Both these faults improve with more power. ![]() Their faults, IMO are a grainy, possibly recessed treble, and bass that isn't very tight. I think these headphones have glorious mids, some of the best of any headphone, and very realistic tone and imaging. It leaves the passive radiators a bit exposed but is much more comfy. The only mod is a re-screen job because the stock screen hits my ears. They have the stock cable and the stock pads, and I haven't even cleaned them or anything. Rythmdevil's Notes - These are the EP (early production) versions which are said to have the most bass, and least treble. He's also a photographer, and has kindly allowed me to use his sweet pix of these two cans for the article. This time, rythmdevils from Head-Fi has sent in a couple of vintage AKG cans. I can't tell you what a treat it is to measure and listen to the unusual headphones I get from enthusiasts. ![]()
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