Fuse's InTune headphones are available in four color-coded varieties: red for rap and hip-hop, orange for rock, blues, and country; blue for jazz and classical; and green for pop and easy listening
Photo: Brent Butterworth
Fuse's InTune headphones are available in four color-coded varieties: red for rap and hip-hop, orange for rock, blues, and country; blue for jazz and classical; and green for pop and easy listening
The four InTune models are indistinguishable save for the colored bands; 3 pairs of eartips are supplied.
When I got the press release for the new InTune in-ear headphones from Fuse, it made me think: How is any particular genre of music supposed to sound? And does it already sound that way, or do you have to do something to it to make it sound like it’s supposed to?
The InTune headphones inspired this question because they’re available in four varieties, each tuned for a certain type of music: red for rap and hip-hop, orange for rock, blues and country; blue for jazz and classical; and green for pop and easy listening.
Visually, the $24.99 headphones are distinguishable only by color bands on the plug and the cable. I couldn’t resist borrowing one of each, just out of curiosity to hear what kinds of assumptions Fuse had made about how these genres of music are supposed to sound — and to find out if one really can effectively tune headphones to suit, say, Lil Wayne, Katy Perry, or John Coltrane.
When I received the headphones, I felt like I’d just jumped into a Toyota Corolla at Alamo Rent a Car. Whenever I rent a car, my first priority is always to try to get the radio sounding good before I leave the lot. This often involves auditioning the radio’s various sound modes to find the one that sounds best. Now I faced the same task with four different headphones instead of four different sound modes.
I tried all four InTune varieties with my Fireye II USB headphone amp, playing tunes off my computer. I tried each headphone with a tune from its designated genre, and also tried other tunes to get a handle on the overall performance of each headphone. Material included Steely Dan’s “Aja,” Soulja Boy’s “Crank That,” Katy Perry’s “California Girlz,” jazz organist Larry Young’s “Tyrone,” Led Zeppelin’s “Dancing Days,” and the San Francisco Symphony/Michael Murray recording of Joseph Jongen’s “Symphony Concertante.”
What about my Dubstep?
Under the graph; "though the blue model sounded better whatever the genre."
In the article; "in fact, IMHO the jazz/classical InTune sounded better than all the other ones no matter what music I played."
So, which one is it?
The blue InTune is the jazz/classical model; excuse any lack of clarity on our part.
While your coupler - a tube coupled to the microphone of the SLM perhaps - wasn't standard, it did allow visualization enough to confirm a long-ago adopted adage in earphones: The smoother the response, the better the sound for any music sound. The frequency responses shown above 5 kHz are irrelevant given the coupling technique, but what Fuse has attempted to do in the low frequencies by adjusting for what they think listeners want and could better be done with a set of tone controls employed in the playback software or in the headphone amplifier. Plus, if a listener can't get a tight seal with the available tips, all of that low-frequency manipulation will be lost below 150 Hz with a small leak and below 300 Hz with a large leak. Glad you had fun auditioning them. Send them to me for measurements in a standard coupler, if you still have them.
The frequency responses shown above 5 kHz are irrelevant given the coupling technique, but what Fuse has attempted to do in the low frequencies by adjusting for what they think listeners want and could better be done with a set of tone controls employed in the playback software or in the headphone amplifier.
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