To minimize unwanted artifacts in the listening experience, it was important that the OAE1 signature headphones avoid reflecting any secondary sound waves back toward the ear.  Much like sound waves bouncing off walls when speakers are played in an empty room, the echoes from the reflections off the headphone body can cause interference, leading to dips—and even worse, peaks—degrading the quality of sound and imaging.    Findings of the Institute für Kommunikationstechnik (IKT, Institute of Communications Technology) of the Leibniz University Hannover (Dr. Roman Schlieper, Prof. Dr. Jürgen Peissig et al.) shows that there is a greater impact of the closed area and the acoustical impedance of the headphone to our hearing than just the influence on the measurable frequency response.  (grell®  and IKT have partnered to undertake ongoing research into acoustics.)   So, according to what is known today, the acoustic impedance of the headphones measured from the ear should be as...

Everyone perceives sound differently. Your ear is not like a measuring microphone. Because of this, it’s important to understand how sound is perceived and what factors influence that perception. In creating the OAE1 signature with Axel Grell, we studied how sound is perceived and what factors influence that perception.  This premise drove the unique geometry and driver placement for the OAE1 Signature headphones. Since our ears, with all their unique characteristics, act as a natural equalizer to all that we hear, it makes sense that headphones should do more to use the structure of the pinna to guide soundwaves into the ear canal. To achieve this effect, the transducers are placed much further forward and angled back towards the ear. By positioning the transducer further out and away it enables the soundwaves to fully encompass the pinna (the external part of the ear), allowing for an increase in spectral information and a more natural sound field for the listener. By...

I’d like to think that I could’ve been friends with the late Hideo Matsushita, founder of Japanese Hi-Fi powerhouse Audio-Technica. If I could, I’d travel back in time to 1960’s Tokyo, where a young Matsushita curated “vinyl listening sessions” at the Bridgestone Museum of Arts, exposing visitors to the sounds and possibilities of high end audio and the warmth of vinyl records. I imagine sitting with him in a mod coffee shop, listening to the stories of what he witnessed in those sessions, the conversations he had with visitors, and what ultimately motivated him to head back to his small apartment above a ramen restaurant and start an audio company of his own. In the histories I’ve read regarding AT’s humble beginnings, Matsushita’s motives seem clear. Produce high end audio at affordable prices, bringing audio excellence into spaces and to customers that simply didn’t have access to it before. His first two products, the AT-1 and AT-3 phono cartridges did exactly that, and...

At the time work began on the upcoming Drop + Grell headphones, Drop and Axel Grell were showing off their first collaboration – the wireless TWS1X – at the New York CanJam show. Behind the scenes Axel had been working on his next concept to develop and the discussion evolved into Drop asking Axel to create a version exclusively for its Audiophile members. Axel himself was, of course, already well known among this crowd for the sound of the highly popular wired headphones he developed while working at Sennheiser. So, the pursuit began to create the ideal-performing Axel Grell wired headphone with the most open-back design possible.   The headphone was to originally share many of the same parts as his starting concept, such as the headband and most of the earcups. As development progressed it was decided that rather than design a headphone which could lead to two models it was better to optimize the design for one to maximize its performance. This led to a complete redesign...