Final Audio B2, In-Ear Monitors: Sound Isolating Balanced Armature Driver Earphones IEM (B2)

B2

Sound design with consideration to the relationship

between spatial impression and dynamic range of music as well as

physical characteristics of earphones and headphones.

Vocals are so close that the respiration can be felt,

reproduces the nuance and inflection of the delicate sound of

each musical instrument.

Sound design has been undertaken with consideration to the relationship between the spatial impression and dynamic range of music, and the physical characteristics of earphones and headphones. Through research into the relationship between spaciousness, clarity and dynamic range of musical recordings, and the physical characteristics of earphones and headphones, we have learned that deeper enjoyment of music can be achieved through the target curves and driver design well suited to the sound design of music recordings.

The B2 is a model particularly well suited to rich spatial recordings. It is well suited to classical music recordings that take adequate advantage of the reflections and reverberation of a concert hall as well as live recordings to reproduce the feeling of "being there". Moreover, the B2 employs an MMCX connector that makes it possible to switch cables in the event of a severed connection.

Sound design with consideration to the relationship between the spatial impression and dynamic range of music as well as the physical characteristics of earphones and headphones

Sound design for these models has been undertaken with attention to the relationship between spatial impression and dynamic range of music, and the physical characteristics of earphones and headphones.

We have categorized sound creation on music recording onto these two axes: spatial impression and

dynamic range.

One way of thinking regards the distance perception. Classical and jazz recordings are thought to be performed with emphasis on aspects of spaciousness, such as sense of distance, broadness and reverberation. On the other hand, rock, pops and many of the recent animation soundtrack recordings, spaciousness is not as highly emphasized. There is thought to be greater emphasis on clarity, which brings the various instruments and vocals to the front.

Another approach is dynamic range - in other words, changes in loudness over time. If the dynamic range is wide, naturally it is possible to use the change in loudness over time to achieve a more dynamic expression of music. But, there are some types of music for which narrower dynamic range recordings are preferable to allow each of the instruments and vocals to ordinarily appear before the listener’s eyes.

The difference between these two ways of thinking pertains not to which is superior but rather differences in how music is composed and what is demanded of it. With regard to classical music, and that played by orchestra in particular, the spatial orientation of instruments is particularly important. Stringed instruments are positioned nearest to the audience with wind and percussion placed