TAKE-T H2+ Currently undergoing re-design ... not available until further notice
TakeT has had the audacity and the courage to bring to fruition the design dream of its CEO and lead engineer, Mr Takei. It is a company which has not grounded itself in making money by trying to produce safe products, similar to those that flood the existing market, although to say that they do not hope to make money at all is of course stupid, they have, not dissimilarly to the JohnGrado design philosophy, aimed to produce a product which is as much the embodiment of the personal tastes of its engineers as it is anything else.
It is a small company, taking creative steps in a world market which is utterly glutted up with manufacturers big and small, in which so often constraint in design is imposed by the necessities of that market, by the totalitarian onslaught of ever newer and ever more improved products at all levels, many of which, even from the smaller niche companies, are only rehashes and makeovers of existing designs, good or not.
"The H2 is, let there be absolutely no doubt, a milestone product. In terms of technical innovation and in terms of sound it is nothing short of astonishing." - HeadFi Org Review
Further comments from the review:
"It is the utterly astounding and virgin implementation of the Piezzo Elecric Heil driver in this market segment. It is also sonically stunning and to my ears, bridges the gap between the qualities of the electrostatic drive system with the characteristics of the dynamic drive system, offering the very best characteristics of both with little of the compromises. You get the “invisible window to the music” clarity of sound and transient speed which only a planar drive system can offer, combined with a physical presence in the lower frequencies and a general earlobe wobbling sense of impact, the lack of which is so often a criticism of those same systems.
It is [relatively] expensive and it does require the use of the TR-2 transformer to allow it to really shine at its full potential. Without the TR-2 you do not get that mind bogglingly astounding low end performance. Nor do you get the full dynamic impact and physical presence of the sound that the headphone is capable of. Nor can you turn up the volume with some kinds of music. Without the TR-2 though, if you can power it nicely, it will give you real an electrostatic-type flavour of sound not dissimilar to, but not as good as the Omega 2 without the need for an electrostatic amplifier. The TR-2 isn’t needed however if you are going to spring for the H2 you should unquestionably make it part of the budget."
About the H2' s Bass performance :
"That is while melodramatic, a deserved visual guide because lets not beat about the mulberry bush here my fellow Morris Dancers. Plugging in the TR-2 and resuming play you had better be sitting back in your chair, preferably strapped in and if possible with some kind of support for your head and neck in case of whiplash. This is bow and grovel time because the H2 is, you will have no doubt upon exposure, the incarnation of the God of Bass.
The H2 has the most inconceivable and literally jaw dropping impact, slam and resonance. To make clear my use of these three terms: Impact is the sound of the collision between the hammer and the wire, the beater and the drum. It is the tone of the sound, its cerebral half; Slam is the tangible consequence precipitated by the material presence of the sound energy, the physicality of the sound, its tactile half; Resonance is the texture of the combination of those two as notes continue, as they decay or build up. It is the continuation of minor variations in a sound as it progresses. You see the gong struck, experience the radiation of those sound waves against your body and feel them as they decay away after the strike. One of the great advantages that speakers have overheadphones is their ability to physically involve the listener by providing the full tactile experience. The TakeT H2 comes closer than any headphone I’ve ever heard to approximating that sensation. If you are a home cinema fan and those DT-770s aren’t doing exploding cars and charging Oliphaunts well enough for you, then head on over to the upgrade plate.
The bass also has a phenomenal extension and fleshes out the lower frequencies in the overall sound of music with such finesse that you will find yourself blinking in disbelief not just on your first exposure, but anytime that you play music unfamiliar to you and are greeted with bass that might have otherwise been just part of the music, particularly really big drums, the huge drums on Mike Oldfield’s Amarok have never bloomed and decayed in my ears so magnificently before. Playing a selection of test music to probe the limitations of the H2’s bass presentation I was simply unable to find any. Jean-Michel Jarre’s Téo & Téa, his latest album of intensive club beats mixed with his usual intimate and intricate synthesisers begins with the track Fresh News, it has a seriously intensive low bass beat which had my earlobes wobbling and the H2 didn’t even seem to be trying. Montuno Noreño by Jomed, starts off with some lightly twanging guitar but when that big bass beat kicked in I kid you not, I actually recoiled slightly in my chair. As a point of immediate comparison, my Quad 21L floor standing speakers couldn’t reproduce the bass on this track with such finesse and authority, even when cranked. I don’t even want to go into the details of my listening to the 180 gram pressing of Donald Fagen’s Morph The Cat, suffice to say that a fifty-two minute and forty-nine second long aurgasm is not for those with weak hearts.
The bass is more present in the overall frequency response of the headphone. However despite its authority, it is never overly dominating. "