Edifier H650 On-Ear Portable Stereo Headphone review

Discussion in 'Headphone Reviews' started by dalethorn, Jan 14, 2016.

  1. dalethorn

    dalethorn Active Member

    Jul 3, 2011
    Charleston South Carolina
    Youtube review:


    Sources: iPhone6s+ with Oppo HA-2/FiiO K1 DAC/amps, various computers using the Audioquest Dragonfly-2/HRT Microstreamer/FiiO E17k/FiiO E07k DAC/amps.

    Review notes: My first impressions of the sound of the H650 are based on direct comparisons to other headphones, particularly other very lightweight on-ear types, but also to a few premium headphones for reference. I'll describe how I relate to the H650 (i.e., my personal tastes and how I use the headphone) only after covering all of the objective issues.

    The Edifier H650 is uncommon among popular headphones in that it has a great musical midrange, but has a soft high end and a very light bass. The H650 would not be my first choice for EDM or pipe organ music, but the overall sound is very smooth with surprisingly good voice and instrument tonalities. I've said this before in other reviews, but it applies to the H650 as well: If I had only one headphone to use for the next year and the H650 was that headphone, I'd find it enjoyable without EQ for 90 or more percent of the listening I do - mostly pop, jazz, classical, rock, and new-wave. The bass sounds decent on most of my tracks, but lacks some warmth. The treble is perfectly balanced for the H650, but if the bass is boosted, the treble would also need a moderate boost. What makes the H650 different from most other small on-ear headphones is its more-or-less hi-fi response, as compared to the usual muddy bass and dull highs with other brands.

    The last question on sound quality, given the headphone's basic signature, is whether the sound is smooth (no significant peaks or suckouts), whether the tonality is accurate (voices and instruments sound natural), and whether an audiophile volume level with good dynamics causes any distortions. The H650 sounds natural enough, takes a fair amount of bass and/or treble boost, and still plays loudly with no discernible strain or distortion, so it gets my recommendation given the caveats noted above. Isolation is very minimal - better than nothing, but a really noisy environment will mask important musical details. Leakage on the other hand is extremely low, so the H650 should be useful in libraries and quiet workplaces. The H650 is very similar to the Sennheiser PX200-II, except the H650's earpads are the high-quality type that should last a long time. The PX200-II earpads are the type that flake apart eventually.

    The very thin cable is single-entry but not detachable, with a standard miniplug terminator. The total range of adjustment for the headband is 28mm on each side, where it fits heads 11mm smaller on each side and 17mm larger on each side than my average-size head. The H650 is an ideal portable headphone in that it can be pulled off the head when not in use, and worn around the neck with the earcups pulled out and folded flat. In previous reviews I've included the following music examples with comments about how the headphones sound with each track. My suggestion is instead of reading each one as an absolute unto itself, you could compare my notes here to those other reviews and see how the H650 compares with each individual track.
  2. dalethorn

    dalethorn Active Member

    Jul 3, 2011
    Charleston South Carolina
    Animotion - Obsession (1980's New Wave/Techno): The upper bass synth has excellent detail and tone, and both male and female vocals sound natural without favoring either. The H650 plays this extremely well.

    Bauhaus - Bela Lugosi's Dead (~1980): Strong midrange sound effects - this is a good worst-case test for resonant-type sounds in the most sensitive midrange area. Handled perfectly by the H650.

    Beethoven Symphony 9, Solti/CSO (1972): Excellent overall sound. Of special note here are the bass impacts beginning around 10:30 of the fourth movement. Those impacts are soft and well in the background, and you can barely feel the weight they carry with the H650.

    Black Sabbath - Iron Man (Classic Rock): Very good instrumental detail and the vocal sounds very natural. As with most classic rock tracks, there is very little or no deep bass. The H650 plays this music very smoothly, and the lack of deep bass doesn't unbalance the treble.

    Boz Scaggs - Lowdown (1976): Great sound quality - this is a good test for any nasality in the midrange. Handled very well by the H650.

    Cantus - Danny Boy (Traditional/Male Choral/Acapella): The H650 plays the voices with a minimal low end warmth that supports the lower register of the male voices on this track.

    Cath Carroll - Moves Like You (1980's New Wave/Techno): This track's percussion and voice are crisp and well-balanced, and there's a good sense of space or soundstage around the voices and instruments. The H650 reproduces the space and detail very well.

    Catherine Wheel - Black Metallic (~1991): Goth with industrial overtones - I like this since it's 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 H650 renders the deliberate instrumental distortions clearly.

    Chris Isaak - Wicked Game (Pop/Rock): The H650 plays this high treble energy recording very smoothly - the voice and instruments are very detailed but not edgy - very musical in fact.

    Chromatics - I'm On Fire (Synth-Pop, female lead): This track has a good amount of space around the voice and instruments, making for a very pleasant stereo image. The voice is excellent, and the tambourine sound is clearly identifiable.

    David Hazeltine - Fur Elise (Jazz): A very high-quality recording from HDTracks. The H650 reproduces the instruments smoothly with a spacious ambiance. The wire-brush-on-cymbal harmonics are extended and detailed.

    Grieg (Beecham-Royal Philharmonic) - Peer Gynt-Solveig's Lullaby (Classical): This very old (late 1950's) stereo recording must have been made on the most expensive gear in the world, since the overall sound quality and especially Ilse Hollweg's amazing voice are as close to "being there" as I've heard with some of the better classical recordings made since the year 2000. The H650 plays this music perfectly.

    Hans Zimmer - Dark Knight-Aggressive Expansion (Soundtrack): The percussion in this track hits really hard, and while the bass tones beginning around 0:45 should have the ultra-deep "shuddery" kind of sound that indicates a solid deep-bass response, the H650 bass is very light. Still, the H650 plays this music very well.

    Heaven 17 - Let Me Go (1980's New Wave/Techno): The bass instrument (guitar?) has excellent detail, and the voices and ambiance have a "you are there" quality that's uncommon in early 1980's pop music. The H650 plays this track almost perfectly.

    Hugo Audiophile - 15-16 (Electronic): I'm not sure what the 15-16 stands for - perhaps track numbers from a CD album. The deep-bass tones that start around 33-34 seconds into the track reproduce fairly well with the H650. This is a great recording for evaluating whether a headphone's bass will be sufficient for most environments, since for many headphones that have a weaker bass, the deep bass gets absorbed and mostly lost when the environment contains a lot of low-frequency energy.

    Jimmy Smith - Basin Street Blues (early 60's): This track has several loud crescendos of brass and other instruments that don't sound clean and musical with some headphones. The H650 provides decent reproduction. Listen particularly to the second crescendo at 15 seconds in for best-case detail. I'd like to emphasize that these crescendos are probably the worst-case test I have for instrument separation and detail, and the H650 does those pretty well.

    Kellogg Auditorium, Battle Creek Michigan, Aeolian-Skinner Organ (1933) - Pedal, 32', Resultant, Arpeggio: This 16 hz organ pedal tone differs from other music tones in that you won't "hear" the tone - you'll only feel it. Although most music tones have harmonics (including this one), the harmonics from this tone will be too weak to provide any "feel", so whatever you actually hear would not be part of the fundamental 16 hz tone. There are ~30 hz sounds in the outdoor environment in big cities, generated by large trucks, buses, and subway trains, and they have a quality of "rumble" that's similar to some deep-bass tones found in music. This 16 hz organ tone is easily distinguished from those sounds when compared on a headphone that has good undistorted response at 16 hz. The H650 plays the fundamental with very light weight but good detail, so that you can hear/feel some of the 16 cycle per second "beats" of the fundamental tone.

    Mantovani - Sunrise Sunset (Easy Listening, ca. 1972): A master musician and conductor** who specialized in light classics and orchestral pop music, Mantovani's accomplishments were overshadowed by music critics who couldn't tolerate the notion of "light classics" or "semi-classical" music, even when those recordings were no threat to the classical music genres. In any case the later Mantovani recordings from the mid-1960's through mid-1970's had the advantage of being mixed for much better hi-fi systems than those which the music critics possessed at the start of the Long Playing (LP) record cycle. Here in 2015, at least some of those digital remasters have improved the sound further, although it's not always the case. This track as played on the H650 is a perfect example of the sheer musicality lurking in those later recordings, and is highly recommended for soundstage, instrumental tone, and musical balance.

    **Mantovani developed the "Cascading Strings" sonic effect circa 1950, a famous "Wall of Sound" effect for mono hi-fi systems that predated Phil Spector's own famous Wall of Sound effect by 10 years or so.

    Michael Tilson Thomas - Rhapsody In Blue (20th Century Classic): Great sound and soundstage, and terrific piano playing and tone. There are some very deep bass impacts starting around 38 seconds into the 17:24 length track, and the weight of those impacts is extremely subtle with the H650.

    Pinback - Non Photo Blue (Pop-Rock): Crispy sound with "crunchy guitars and bashing drums" - the H650 renders this music as perfectly as I've heard an energetic pop-rock recording played with any headphone.

    Porcupine Tree - Trains (Pop-Rock): This track opens with some nicely-detailed string sounds and a forward-sounding male voice with a higher-than-average register. There are a series of "clip-clop" effects starting at 3:19 that should sound like they were made with wooden blocks of some kind. The H650 reproduces the 'clop' portion of that sound very well.

    Richard Strauss (Mester-Pasadena) - Also Sprach Zarathustra (opening) (Classical): The granddaddy of bass is in the opening 1:50 of this recording, and I've heard it only once on a large and expensive loudspeaker system in Cleveland. For most people, that experience would be indistinguishable from being in a fairly strong earthquake. The H650 conveys some of that drama with a bass boost, but very little when played flat.

    Scarlatti-Kipnis - Sonata in E Major K381 (Classical, Harpsichord): The harpsichord here is fairly bright and highly detailed, but the H650 renders the tones and transients softly.

    Tiger Okoshi - Bootsman's Little House (Jazz): The trumpet here is recorded fairly close up and is somewhat bright with a significant "bite". The H650's reproduction is near-perfect, and the close-miked piano is also a treat. For comparison, I have several Maynard Ferguson tracks that feature a similarly strong trumpet with lots of brassy bite.

    Trombone Shorty - Backatown (Jazz-Funk): The deep bass impacts here are light, but work extremely well with the horns and other instruments. The H650 delivers the impacts with light weight but good detail, and the horns have the kind of bite that gives them a wonderfully realistic sound.

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