Comparison JBL T450 vs Sony MDR-ZX310

The design of the plug provided in the headphones. This parameter is relevant primarily for models with a mini-Jack interface (see "Connection") — the rest of the plugs are made straight in most cases, exceptions are extremely rare.

— Direct. The traditional, most simple and unpretentious option is plugs that do not have any bends. Usually, they are compatible without restrictions with stationary audio equipment, PCs, laptops, etc. But for smartphones and other portable gadgets, this option is not always optimal — it all depends on how the gadget is located in your pocket or case. In some cases — for example, when carrying a smartphone in a regular pants pocket — such a wire can be strongly bent around the plug, which quickly becomes unusable; in such cases it is worth paying attention to L-shaped or curved plugs (see below).

— L-shaped. Plugs angled at 90° in the shape of the letter L. Designed primarily for use with smartphones and other handheld devices: such devices, when worn, can be positioned in such a way that a bent plug is more convenient than a straight one. However, the L-shaped design may also be the best choice for stationary equipment, where the headphone wire approaches the connector at a right angle — for example, this situation is often found in computers and laptops.

— At an angle of 45°. A variation of the L-shaped plug...described above, bent not at a straight line, but at a smaller angle (not necessarily exactly 45 °). It is also designed primarily for pocket equipment, and with such an application, such plugs are considered even more convenient and reliable than traditional L-shaped ones. But for stationary devices, it hardly makes sense to specifically look for a model with a similar connector (although such an application is technically quite possible).

Impedance refers to the headphone's nominal resistance to AC current, such as an audio signal.

Other things being equal, a higher impedance reduces distortion, but requires a more powerful amplifier — otherwise the headphones simply will not be able to produce sufficient volume. Thus, the choice of resistance depends primarily on which signal source you plan to connect the "ears". So, for a portable gadget (smartphone, pocket player), an indicator of 16 ohms or less is considered optimal, 17 – 32 ohms is not bad. Higher values — 33 – 64 ohms and 65 – 96 ohms — will require quite powerful amplifiers, like those used in computers and televisions. And models with a resistance of 96 – 250 ohms and above are designed mainly for Hi-End audio equipment and professional use; for such cases, detailed recommendations for selection can be found in special sources.

The range of sound frequencies that headphones can reproduce.

The wider this range, the more fully the headphones reproduce the spectrum of sound frequencies, the lower the likelihood that too low or too high frequencies will be inaccessible. However, there are some nuances to consider here. First of all, let us remind you that the perceptual range of the human ear is on average from 16 Hz to 22 kHz, and for the complete picture it is enough for headphones to cover this range. However, modern models can significantly exceed these boundaries: in many devices the lower threshold does not exceed 15 Hz, or even 10 Hz, and the upper limit can reach 25 kHz, 30 kHz and even more. Such wide ranges in themselves do not provide practical advantages, but they usually indicate a high class of headphones, and are sometimes given only for advertising purposes.

The second important point is that a wide frequency range in itself is not a guarantee of good sound: sound quality also depends on a number of parameters, primarily the amplitude-frequency response of the headphones.

Rated headphone sensitivity. Technically, this is the volume at which they sound when a certain standard signal from the amplifier is connected to them. Thus, sensitivity is one of the parameters that determine the overall volume of the headphones: the higher it is, the louder the sound will be with the same input signal level and other things being equal. However, we must not forget that the volume level also depends on the resistance (impedance, see above); moreover, it is worth choosing “ears” for a specific device first by impedance, and only then by sensitivity. In this case, one parameter can be compensated for by another: for example, a model with high resistance and high sensitivity can work even on a relatively weak amplifier.

As for specific figures, headphones with indicators of 100 dB or less are designed mainly for use in a quiet environment (in some similar models, the sensitivity does not exceed 90 dB). For use on the street, in transport and other similar conditions, it is desirable to have more sensitive headphones — about 101 – 105 dB, or even 110 dB. And in some models, this figure can reach 116 – 120 dB. and even more.

It is also worth noting that this parameter is relevant only for a wired connection according to the analogue standard — for example, via a 3.5 mm mini-...jack. When using digital interfaces like USB and wireless channels like Bluetooth, the sound is processed in the built-in headphone converter, and if you plan to mainly use this kind of application, you can not pay much attention to sensitivity.

The diameter of the speaker installed in the headphones; models with multiple drivers (see "Number of drivers"), usually, the size of the largest speaker is taken into account, other dimensions can be specified in the notes.

In general, this parameter is relevant primarily for over-ear headphones (see "Design"). In them, emitters can have different sizes; the larger it is, the more saturated the sound is and the better the speaker reproduces the bass, however, large emitters have a corresponding effect on the dimensions, weight and price of the headphones. But in-ear "ears" and earbuds, by definition, have very small speakers, and rich bass in them is achieved due to other design features.

The location of the microphone, which the headphones are equipped with (if available, of course).

— On the cable. A microphone installed on the headphone connection wire (or on the connection cable in non-TWS wireless headphones). Can be combined with volume control. This option allows you to separate the microphone and headphones, reducing the weight and dimensions of the "ears" themselves; on the other hand, the microphone when worn is often quite far from the face, which can be inconvenient. Therefore, this design is mainly used among earbuds and in-ear headphones, where the size of the "ears" is critical.

— Built into the body. A microphone located in the housing of one of the headphones. This arrangement is convenient because there are no extra protruding parts outside (as in headphones without a microphone), while the microphone is close to the face, and in some models it is also able to perceive sound according to the principle of bone conduction. However installation in close proximity to the speaker gives additional interference and may degrade the quality of voice transmission. However, these shortcomings are not critical: interference can be compensated, and the built-in headphone microphones, in fact, do not need perfect sound transmission accuracy. Therefore, this option is quite popular nowadays, and it is fo...und not only in miniature models, for which the absence of unnecessary details on the outside is important, but also in rather large overhead "ears".

— On the bow. A microphone mounted on a small boom that is attached to one of the headphones. The microphone on the bow is the most popular among overhead headphones: a large cup can be supplemented with a boom without sacrificing convenience, and the microphone itself is located far from the headphones, which has a positive effect on the purity of the sound. The boom often has a swivel or detachable mount, which allows you to remove the microphone from the face until it is needed (by lifting the boom vertically along the headband).

— Retractable on the bow. Headband microphone (see above) with a retractable design: the headband can be pulled out of the cup when needed and can be tucked back inside when not in use. These headphones are more compact and have a neater appearance than models with a headband on a swivel mount: in a hidden position, the microphone takes up almost no space outside. The retractable microphone design is especially popular in gaming models (see “Intended Use”): in single-player games where you do not need to communicate with comrades, the microphone can be folded compactly.

— Removable on the shackle. Headband microphone (see above), which can be completely detached from the headphones if desired. Such a design can be useful, for example, if the “ears” are used both as gaming and as “marching and musical”: in a multiplayer game, the microphone is indispensable, and for listening to music outside the home, it can be removed so as not to carry extra equipment (which besides, you can lose).

— At the receiver. A variant used in wireless headphones with a separate receiver. In terms of design and use, it is similar to the microphone on the cable described above: on the one hand, the headphones themselves can be very light and tiny, on the other hand, the microphone may not be located close enough to the face, and when talking it will have to be brought closer.

— In the mount. In this case, most often means a microphone mounted on a neck mount (see below). This option is found mainly among wireless headphones, which have a signal receiver in the same mount. Such a microphone is located close to the neck, which allows you to achieve good speech intelligibility and at the same time cut off extraneous sounds even without any special additional tricks.

— On the cable and in the case. Headphones equipped with two microphones — one in the case, the other on the cable. The features of these variants are described in detail above. Here we note that their combination is extremely rare, mainly among high-quality "ears" with a combined connection (see "Type of connection"). In such models, when working via a wireless channel, a microphone in the case is used, and when connecting a wire, a microphone on a cable is used, which is less susceptible to interference.

— On cable and removable. Another kind of headphones with two microphones, also quite rare. One microphone in such models is mounted on a cable, the second — on a detachable bow. See above for more on each of these options, and combining them allows you to tailor the headphones to the specific situation. For example, the bow is very convenient for voice communication at home or office computers, but on the street and in transport it is better to remove it and use the microphone on the cable.

— In the case and removable. A rather rare and non-standard option is the combination of a microphone in the case and a microphone on a detachable bow. See above for more details on each of these varieties, and their combination is used quite rarely — in separate premium gaming models with a combined connection. The main point in this case is that it is more convenient to use a removable microphone in one place, with a wired connection, and in the “mobile” wireless mode it is better to remove it and get by with the built-in microphone. However, such features are fundamental mainly for the most demanding users, so this option has not gained distribution.

For full-size headphones, ear pads are often made of genuine leather, leatherette, textile, velor, leatherette, memory foam, as well as their combined variations. In the caste of in-ear headphones, completely different materials are used - the most common are silicone pads, which gently adapt to the individual structure of the auricle, and as an alternative to them, foam ear pads with a porous structure (so-called “sponges”) are offered. Here are some features of commonly used ear pad materials:

- Textiles. Fabric ear pads are usually found in budget headphone models, but sometimes they are also used in the premium segment. The tactile textile ear pads are pleasant to the touch, and they also allow air to pass through well. In terms of acoustic properties, these are completely neutral materials. Note that such ear pads can be made from various types of fabrics (for example, microfiber).

- Leatherette. Artificial leather substitutes are used in headphones of all price categories. In fact, the properties of this material depend on the specific type of leatherette: ear pads made of conventional eco-leather can have excellent “breathing” qualities, while low-grade leatherette often provokes increased sweating of the ears (especially in the hot season).

- Genuine Leather. Genuine leather is a premium product used in corresponding flagship-level...headphone models. Thick leather provides proper sound insulation and deep bass response. At the same time, your ears may sweat when using leather ear pads. To avoid increased sweating, the leather is often made perforated.

— Velor. The most delicate material to the touch with excellent sound-absorbing abilities. Velor ear pads provide good noise insulation, and headphones with them do not cause fatigue even after a long stay on the head. However, the material also has disadvantages: it gets dirty easily, attracts dust and pet hair, and wears out quickly.

- Alcantara. Ear pads made of artificial suede, which are as close as possible in properties and tactile sensations to velor products. However, Alcantara is easier to clean from dirt and lasts much longer. Alcantara ear pads are found in top-level headphones.

- Foam rubber. Foam ear pads are the prerogative of budget over-ear headphones. The fact is that this is a short-lived material that often requires replacement due to its low strength. Partially, special impregnations solve the problem, but foam rubber still retains its structure for a relatively short time.

- Fur. Quite a rare type of material for making ear pads. Headphones with characteristic fur ear pads perform a practical function - they warm the listener’s ears during the cold season.

The total weight of the headphones; for true wireless models (see "Cable Type"), the weight of each individual earbud is listed.

This parameter is directly related to the design (see above) and some features of the functionality. Thus, the mentioned true wireless devices are very light, their weight does not exceed 25 g. More traditional in-ears and in-ears can be noticeably heavier, up to 50g for in-ears and up to 100g for most in-ears. Overhead models, for the most part, are quite massive: among them there are many models weighing 200 – 250 g, 250 – 300 g and even more than 300 g. It should be noted that a significant weight for false ears is often not a disadvantage, but an advantage: it allows them to stay on the head more securely, creates an impression of solidity and reliability, and most often does not create significant inconvenience.