Quad ERA-1 headphones Page 2

If anything, and without wishing to incur the wrath of KH, I was delighted to discover that the ERA-1 could blow my head off with whatever limited power was available from either the Huawei Mate 9 phone or the Pioneer XDP-100R player [HFN Aug '16]. The egregious, hyperbolic description and the ensuing embarrassment aside, Quad needn't worry about the usefulness of the ERA-1 in a modern context: a Beyer DT-48 it ain't.

Breathtaking Speed
My immediate impressions came from mono recordings, dead centre and not requiring any thoughts beyond actual sound quality. Spatial concerns would wait. I turned to the CD of Sam The Sham & The Pharaohs' The MGM Singles [Sundazed SC11219] for the honking sax, Sam's nasal twang and incessant, smacking percussion. Instantly apparent was breathtaking speed, crisp transients being part-and-parcel of the appeal of a fast planar membrane. And, no, I am not touching any of that driver-lighter-than-air nonsense.

I should mention at this point that I concentrated on usage with the Luxman P-750u because of its greater flexibility. The sound via Quad's own PA-One was admittedly warmer thanks to its all-tube nature, and marginally less-analytical, so the Luxman P-750u probably proved more accurate for (and more capable of) highlighting differences between the headphones on test.

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Unfortunately, it also showed how important it is to audition headphones via the headphone amp through which they will be used. The Quad PA-One softened the sound of the ERA-1 – favourably, I might add – while it had a mildly deleterious effect on the Audeze LCD-X, which sounded cleaner and more precise via the Luxman P-750u. That said, the P-750u, being less-coloured and more revealing, remained the default device for the listening sessions.

On 'Li'l Red Riding Hood', the tambourine that provides an almost martial pace throughout the song should sparkle – this varied according to both headphone amp and chosen headphone. (Note to the more critical HFN reader: I wouldn't be surprised if it's not actually a tambourine, but one of those cymbals with a sizzler.)

Consistently vivid, regardless of headphone amp, the ERA-1 had the requisite amount of splash and effervescence for this instrument. It was more than enough of an indication of sonic authenticity to tell me that this headphone is clean and transparent, varying in behaviour according to source – as it should be.

I can, however, imagine this aspect of the performance being judged according to some tastes as fitting in the centre-to-bright quadrant of a Venn diagram. Then reality bites: if such spatially-defined observations weren't so patently preposterous when discussing sound that's inside the head, rather than sound placed in front of the listener, the phenomenon could be described as 'forward'.

Deceptive Fullness
That, though, would be to imply that the positioning was skewed to the front of the head. It isn't. By 'forward' I mean 'slightly emphasised presence'. This was not the case with the LCD-X or the Master & Dynamic MH-40s. This is probably more important to listeners using sources of lesser quality than a full-blown hi-fi system and a dedicated headphone amp – by which I mean music via smartphone. Which adds another caveat: when shopping for cans, if you intend to use them on the go as well as in the home, make sure that you also hear them via your portable source.

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Addicted to BBC Two's The Bridge, I adore the theme music: the Choir Of Young Believers' 'Hollow Talk' [This Is For The White In Your Eyes; Sony CD 04297 90892]. If you've only heard it on TV, you won't know about the explosive, percussive segment that kicks in after three minutes, in contrast to the music over the show's credits.

There is much to be learned by listening just to that opening section, which consists of a delicate, lone vocal and piano, reeking with dark atmosphere. Subtly, sneakily, instruments are added, and this – despite its initial minimalism and leanness – occupies the head with a fullness one would be more likely to equate with a massive orchestra.

Via the Quad ERA-1, levels build with the performance, but, should you not be swept away in the moment, the transparency allows you to wrest yourself from the wash of sound to focus on specific elements within it, and with great precision. That, put simply, is a sign of headphones that I feel would qualify as 'of monitoring standards'.

Hi-Fi News Verdict
What a marvellous first effort! Even allowing for the review pair – collected off the stand at Munich – being among the first off the line, this is a superbly-conceived and nicely-finished product, undeniably a bargain at the price. It's easy to drive, free of fatigue inducement (both audible and physical), so Quad can be proud. No, it isn't the dream fulfilment of 'a pair of ESL-57s for the ears', but it's mighty close.

COMPANY INFO
International Audio Group
China
Supplied by: IAG Ltd, Cambs
01480 447700
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