- Sep 20, 2016
- 1,182
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What prompted this review was my purchase of an open-back alternative to my AKG K550 Mk I. I was looking for similar tonal qualities a pair of reference headphones and Dalethorn was patient enough and helped me make this choice, so thank you Dale 
I'm going to focus this review mostly on sound quality and things that either surprised me or disappointed me in other areas.
I like the fact that cable is replaceable and that headphones come with two cables. If I had to be critical in any way I'd rather have different ear pads. These look like they'll get dirty quite quickly being made from velour. The box for K550 was also better made in my opinion. Replacement earpads aren't cheap nor easily accessible. When I contacted AKG about them I was told "The AKG K712 PRO is a professional product while you have reached the consumer division with your request. " They did in fact, direct me to professional distributor. The main question at this point was is the sound quality also at professional level?
My first impressions straight out of box were very good indeed. In fact after 50 hours running-in period I can't say that that much has changed. In brief these are neutral, natural sounding open-back headphones with a slight (3db) bump in bass and compared to K550 it shows. I always felt that bass on K550 was good, although many people found it lacking. K712 bass is more pronounced as well as better textured. For those who enjoy Mingus, Primus or Esperanza Spalding it is a treat.
Midrange is very detailed and open. One of the first songs I listened to was "Those Sweet Words" by Norah Jones. Eventhough I've heard this song many times I've never noticed the subtle guitar in the left channel during intro playing higher than the other guitar. The guitar strokes are beautiful and gentle giving a superb stereo effect. Similar thing happened in "Jack of Speed" by recording perfectionists Steely Dan. First time I could distinguish every single note played on a guitar in the left channel. In fact there were twice as many as I remembered. Another example of the same subtlety and recording mastery happened when I listened to R.E.M.'s "Man on the Moon". Gentle touches of mandolin and great separation when backing vocals join in. As well as precise placement in the image, was another treat.
I do like how K712 handle vocal, I admit. Individual voices can be distinguished whether it's multitude of backing singers for Alicia Keys "Fallin'" or Lauryn Hill "Doo Wop". The vocal can be powerful like Robb Flynn from Machine Head or emotive. Listening to Leonard Cohen "In My Secret Life" or Melody Gardot "My One and Only Thril" puts you right in the room with a performer who sings just for you and it makes you feel special.
Treble is equally impressive. Granted it doesn't reach speed nor cleanliness of ribbon tweeters but give great texture. Cymbals sound bigger than with K550 and more real. Intermission in "Whole Lotta Love" shows of cybals beautifully on top of all extravaganza that comes with it. This particular song also shows of how well AKG manage to handle rhytm and dynamics.
At this point it would be right to admit. I've listened to K712 too quiet at first. It's only after first hour I've turned them up. Yes they can be enjoyed at lower volumes but it's like driving a Ferrari on a motorway at steady 65 mph (steady without frills). AKG K712 perform far better at higher volumes. Any orchestral music will show off dynamics wonderfully. If 2017 will be the year in which I fully immerse myself in classical music it will be because of these headphones.
True reproduction of instrument is rather excellent. Whether it's an acoustic guitar and harmonica on "Flood Water" by Eric Bibb, ukulele played by Eddie Vedder, tuneful electic guitar of Stevie Ray Vaughan playing his take on the classic "Voodoo Child" or driving piano accompanied by string on R.E.M.'s "Nightswimming". I must admit to a slight OCD in regards to horns though as found both trumpet and alto sax a litlle polite sounding on selected tracks from "Kind of Blue". Tenor sax sounded natural on all track I've listened to.
So far, so good... onto image. Image is well organised. Layers upon layers of synths and instruments on Enya's "Caribbean Blue" present themselves in immaculate fashion. Placement of instruments in just about any track is believable.
Soundstage, particularly depth is peculiar. Here I said it. I might have expected more as most my listening is done via speakers. On one hand you can hear instruments and vocals reverbing of sides of recording studios in just about any track on "Kind of Blue". On a live record though, such as Arne Domnerus "Everything Happens to Me" presents itself in a natural way. You can hear people clapping their hand and talking in the background. I'll admit I was expecting more. It's likely to have been a result of being used to unnaturally deep stage. On the other hand there's recodrings like Led Zeppelin's "No Quarter" and the keyboards feels almost behind you and the depth of sound stage is staggering.
How does it all compare to K550? K712 improves on most things comfort, sound quality in some ways build quality. Having replaceable cable is no doubt pro, earpads that get easily is a pro as your head won't get sweaty after hours of listening but comes at a cost of replacements when earpads get dirty. However small or big the individual improvements the whole package is superb.
So, did I achieve my goal of open-back alternative to K550? No, I've gone up a level. K712 are like K550 on steroids. Will I keep my trusty K550? Maybe, they still isolate very well and unless it's quiet are the only way to listen to music. You migh ask why did I feel the need to buy reference headphones then? The answer is rather simple, as they are a reference. When making changes to my system especially speakers I had to set the benchmark high. With AKG K712 Pro I definitely did that and I will reap the benefits.
I'm going to focus this review mostly on sound quality and things that either surprised me or disappointed me in other areas.I like the fact that cable is replaceable and that headphones come with two cables. If I had to be critical in any way I'd rather have different ear pads. These look like they'll get dirty quite quickly being made from velour. The box for K550 was also better made in my opinion. Replacement earpads aren't cheap nor easily accessible. When I contacted AKG about them I was told "The AKG K712 PRO is a professional product while you have reached the consumer division with your request. " They did in fact, direct me to professional distributor. The main question at this point was is the sound quality also at professional level?
My first impressions straight out of box were very good indeed. In fact after 50 hours running-in period I can't say that that much has changed. In brief these are neutral, natural sounding open-back headphones with a slight (3db) bump in bass and compared to K550 it shows. I always felt that bass on K550 was good, although many people found it lacking. K712 bass is more pronounced as well as better textured. For those who enjoy Mingus, Primus or Esperanza Spalding it is a treat.
Midrange is very detailed and open. One of the first songs I listened to was "Those Sweet Words" by Norah Jones. Eventhough I've heard this song many times I've never noticed the subtle guitar in the left channel during intro playing higher than the other guitar. The guitar strokes are beautiful and gentle giving a superb stereo effect. Similar thing happened in "Jack of Speed" by recording perfectionists Steely Dan. First time I could distinguish every single note played on a guitar in the left channel. In fact there were twice as many as I remembered. Another example of the same subtlety and recording mastery happened when I listened to R.E.M.'s "Man on the Moon". Gentle touches of mandolin and great separation when backing vocals join in. As well as precise placement in the image, was another treat.
I do like how K712 handle vocal, I admit. Individual voices can be distinguished whether it's multitude of backing singers for Alicia Keys "Fallin'" or Lauryn Hill "Doo Wop". The vocal can be powerful like Robb Flynn from Machine Head or emotive. Listening to Leonard Cohen "In My Secret Life" or Melody Gardot "My One and Only Thril" puts you right in the room with a performer who sings just for you and it makes you feel special.
Treble is equally impressive. Granted it doesn't reach speed nor cleanliness of ribbon tweeters but give great texture. Cymbals sound bigger than with K550 and more real. Intermission in "Whole Lotta Love" shows of cybals beautifully on top of all extravaganza that comes with it. This particular song also shows of how well AKG manage to handle rhytm and dynamics.
At this point it would be right to admit. I've listened to K712 too quiet at first. It's only after first hour I've turned them up. Yes they can be enjoyed at lower volumes but it's like driving a Ferrari on a motorway at steady 65 mph (steady without frills). AKG K712 perform far better at higher volumes. Any orchestral music will show off dynamics wonderfully. If 2017 will be the year in which I fully immerse myself in classical music it will be because of these headphones.
True reproduction of instrument is rather excellent. Whether it's an acoustic guitar and harmonica on "Flood Water" by Eric Bibb, ukulele played by Eddie Vedder, tuneful electic guitar of Stevie Ray Vaughan playing his take on the classic "Voodoo Child" or driving piano accompanied by string on R.E.M.'s "Nightswimming". I must admit to a slight OCD in regards to horns though as found both trumpet and alto sax a litlle polite sounding on selected tracks from "Kind of Blue". Tenor sax sounded natural on all track I've listened to.
So far, so good... onto image. Image is well organised. Layers upon layers of synths and instruments on Enya's "Caribbean Blue" present themselves in immaculate fashion. Placement of instruments in just about any track is believable.
Soundstage, particularly depth is peculiar. Here I said it. I might have expected more as most my listening is done via speakers. On one hand you can hear instruments and vocals reverbing of sides of recording studios in just about any track on "Kind of Blue". On a live record though, such as Arne Domnerus "Everything Happens to Me" presents itself in a natural way. You can hear people clapping their hand and talking in the background. I'll admit I was expecting more. It's likely to have been a result of being used to unnaturally deep stage. On the other hand there's recodrings like Led Zeppelin's "No Quarter" and the keyboards feels almost behind you and the depth of sound stage is staggering.
How does it all compare to K550? K712 improves on most things comfort, sound quality in some ways build quality. Having replaceable cable is no doubt pro, earpads that get easily is a pro as your head won't get sweaty after hours of listening but comes at a cost of replacements when earpads get dirty. However small or big the individual improvements the whole package is superb.
So, did I achieve my goal of open-back alternative to K550? No, I've gone up a level. K712 are like K550 on steroids. Will I keep my trusty K550? Maybe, they still isolate very well and unless it's quiet are the only way to listen to music. You migh ask why did I feel the need to buy reference headphones then? The answer is rather simple, as they are a reference. When making changes to my system especially speakers I had to set the benchmark high. With AKG K712 Pro I definitely did that and I will reap the benefits.
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