Razer Megalodon or the pursuit of the perfect sound
I never cease to amaze the company Razer . What she does? Without putting in a lot of hype and without blowing an elephant out of a fly, she leisurely makes products for gamers, almost every one of which becomes a hit. No, well, maybe I now lied - right from the start I don’t follow the products ... but here’s what for really advanced players, Razer is number one, perhaps you know it yourself.
At the beginning of the year I did a review of the record holder mouse (sensitivity of 5200dpi), the Razer Mamba , which had just appeared on the Russian shelves. Today I’ll tell you about another interesting novelty that surprised me again. This time her name is Razer Megalodon and the first review in the world turned out to be incredibly huge, but for some reason I really want you to read it;)
Usually, the chapters that contain elements of the material, I give the headings "Boring theory", but this time the explosive mixture of the press release and Wikipedia came out, in my opinion, very interesting. But after I “tried on” the text in the article, I realized that no one would reach the review of the headphones themselves :) Therefore, at first, a review of headphones, and later - an interesting story about audio technology.
')
Once again I draw attention to the interesting move of the company - to call their products by the names of cold-blooded animals. For example, all gaming mice have snake names, spiders have keyboards, and fish headphones.
Megalodon (lat. Carcharodon megalodon) is the largest ancient shark in the world, which died about 1.5 million years ago in the Pleistocene period and is not found today. Body shape is unknown. The ancient shark was probably similar to its great white shark (Carcharodon carcharias), or had a snake-like body. Known for a large number of huge teeth (up to 15 cm in length), found in the oceans and mountain layers of the world and in many ways similar to the teeth of the great white shark. Megalodon reached a length of more than 12 m. And this fish weighed about 60 tons.
The novelty received such a name for a reason - the product is really unusual. But let's see what Razer Megalodon really is.
Headphones
- Reproducible frequency range: from 20 to 20 000 Hz;
- Resistance: 32 ohms at 1 kHz;
- Sensitivity (1 kHz, 1V / Pa): 105 ± 4 dB;
- Maximum power consumption: 200 mW;
- Drives: 40 mm with neodymium magnets.
Microphone
- Reproducible frequency range: from 50 to 16 000 Hz;
- Sensitivity (-37 dB ± 4 dB 1 kHz, 1V / Pa): adjustable (user adjustable);
- Signal-to-noise ratio: 50 dB;
- Directional pattern - narrowly focused.
Audio processing unit
- Controls: main sound, center, front, side and rear speakers, low frequency level, microphone sensitivity, microphone volume, microphone off / test, Maelstrom on / off, reset;
- Cable: 3.3 meters, in textile braid;
- Connectors: Gold-plated USB contact.
Agree, it looks very tempting. Demonstratively I take out a box.
The famous company "Red Cube", perhaps, this time there is something to wind on the mustache - the product packaging is again above all praise.
It all starts with a megalodon-sized black matte box, on which a glossy black logo is applied.
I open, pull out a small liner - in front of me in the foam rubber layers two “something” appear - one black and the fabric, the second one also black, but glass.
As it turned out, this is a cover and headphone stand)
- Headphones Razer Megalodon ;
- Case for headphones;
- Headphone stand;
- Two logo stickers;
- Papers;
- Disk.
A rubberized company logo is drawn on the fabric case, there is a zipper around the entire perimeter. Moving the slider in the diametrically opposite direction, the cover opens like a shell - headphones appear in front of us, in whose arms a special sound processor is hidden. Inside, the case is covered with a very pleasant to the touch cloth - I literally feel that the headphones are nice to be there)
The “U-shaped” headphone stand is made of glossy tinted plastic, on which prints and dust are visible, but it doesn’t get any worse. Ears are hung from above, and the sound processor clings to special metal platforms.
A black matte disc contains an audio track, which we will also listen to during testing.
Among the papers - Quick start guide, Master guide, Product catalog.
It’s not to say that the headset is radically different from everything that exists now ... but in the gray crowd you will not confuse it with anything. On the left side of the earpiece is a highly sensitive microphone that can be rotated up and down 270 degrees, as well as bending, moving in or away from the mouth. There are no terrible protective “pads” on the microphone that are found on many other headsets, so active and vocal players will have to hold their drool)
The headphones themselves are made of glossy plastic, the inner (ear) part of which is made of soft fabric, and the inner part is a fairly large mesh, behind which is hidden all the electronics. In addition to the mesh, plastic inserts are present on the outer sides of the ears, gradually turning into a rim - when working in them, the company logo glows blue.
The rim on the inside is also trimmed with matter, and its outer part is a black matte material similar to leather, with the inscription RAZER. The rim is quite flexible, the headphone positioning mechanism will allow the headset to be pulled even on the most non-average head. In general, the design is very reliable and collected conscientiously.
The headphones come with a wire in a sheath, on the “other end” of which there is an external sound card that processes the sound, thereby unloading the processor. You can read more about the handler in the theoretical part of this article.
The device is made of glossy (fail!) Plastic, on which, due to active use, there are almost always prints. The reverse side is covered with soft-touch, which, to some extent, opposes the free movement of the device on the working surface.
On the front surface there are 5 buttons - the first (upper) is responsible for switching between modes 2.0 and Maelstrom (virtualized 7.1); the second (in the center) allows you to turn on any channels (center, front, side and rear speakers), which is unusual - usually the button at this point in (s) turns on the sound; The remaining three buttons (bottom) are responsible for the microphone - they allow you to turn it off, adjust the sensitivity and the volume level of the colleagues. The built-in indicators (blue) always let you know which of the modes is currently active - very convenient. Visually the process of the sound card can be found here .
Well, the last thing that is worth mentioning here is that there is a rotating wheel around the central button that adjusts the volume. Rotates nicely, “stepwise”, the display of the volume level with color serifs is also very pleasant.
On the other side of the sound card, the braided wire continues and ends with a gold-plated USB connector.
One of the positive aspects of this headset - it works without additional drivers. Those. I inserted it into the free USB port of the system and it's ready! It would seem that such a complex system should have at least a complex software, but ... you should not forget that this is just a gaming headset ... and what equalizers during the game. On the other hand, there is everything you need - volume, mute, microphone sensitivity, playback modes.
Actually, nothing else remains, how to test the sound quality. I did it in games (CS, Crysis Warhead), in movies (a couple of movies in mkv) and in music. Well, I drove the disk, which is attached in the kit.
Music
You can listen to music in 7.1 virtualized mode, but it will not give any contrasting result. To some extent, it even has a detrimental effect - no, the sound does not become unbearable, but somehow it dulled a little, or something ... But in the normal 2.0 mode (switching to which is done with one touch of a button on the “remote”) the sound is very even interesting. The Qemists - Stompbox , Bomfunk MC's - Freestyler and Pendulum - Slam , Voodoo people , Another Planet and Through the loop - I heard all this a hundred times and where I didn’t listen ... but with this time in almost all these tracks I heard then new notes and details, which previously did not even pay attention. It sounds really impressive, the bass is simply amazing.
Rap, on the contrary, is not very pleasant to listen to - just a couple of tracks were enough to figure it out. In “ Loc Doc - Adrenaline ” and “ NTL - Drag Racing ” in 7.1 mode, the music is heard well, the dynamics are such that you want to dance) But against the background of this whole word, it is sometimes quite difficult to make out, they seem to be chewed up. The usual 2.0 mode corrects the situation, resulting in great music.
It is worth noting that others will more than perfectly hear what you are listening to.
Total - listening to music is better in 2.0 mode - in this mode, the headphones are almost as good as many other ears that are sharpened for it.
Films
In 2.0 mode, these are the most common movies with the most ordinary sound. The quality rips with multichannel sound in Maelstrom processing are really pleasant to listen to. The sound space feels better than my 5.1 Microlab H-500. No, they also give a good sound (and not least for a few people), but in the case of headphones, you can hear the smallest details - breathing, footsteps and other ahi-sighs. On the other hand, watching movies with headphones is a somewhat selfish option, not suitable for the family circle.
Let me remind you that these are USB-ears, so you need to watch through a computer or laptop, and not through the receiver.
Total - the ears are perfect for individual watching movies with multichannel sound.
Games
Actually what the headphones were designed for. Despite the fact that CS was released quite a long time ago and in my opinion, the soundtrack of the game is somewhat morally obsolete, however, it is possible to understand who runs where and shoots from where. Having run a lot after a menshen, dast, Italy and assauta, I turned into a crisis. Everything is much more interesting in it - I turned my attention to the sound already in the menu) During the gameplay ... well, yes, you will consider PR ... but the sound is really cool. Most recently, I tested the ASUS Ares gaming station, with the SteelSeries Siberia headphones that came with it ... the sound was also at a very good level, but in the case of the Razer, the gaming environment is felt more carefully - you can hear where the lights are on, where someone shoots and yells. Moreover, as the engineers of Razer promised, the position of the sound source can be determined quite accurately.
Total - for games definitely offset.
The included Audio-CD contains a sound track (about 4 minutes long) in English. A man who talks about technology walks from room to side, clattering heels of shoes on tiles ... and it would be strange if this could not be heard in the demo) A little later episodes of shooting, explosions and other cataclysms are inserted into the track ... and in ordinary ears It sounds, of course, bass and in general, juicy, but just to understand, to hear the ringing and to understand where it came from, it turned out only in Megalodons.
I tried the microphone only in Skype - I called my friends to appreciate the sound - they didn't notice any fundamental differences) I sent a recording to Echo123 - I came back ... well, yes, a good sound)
Now there is a “little” theory in order to understand what kind of technology it is, Maelstrom , what is so unique in it and what problems with surround sound exist at the moment. I must say that this is an official text, so do not be surprised at the frequent repetition of technology names.
Unlike video technologies, which over the past years have received many innovations (color screens, constantly increasing resolutions, bright LCDs and plasma panels, various three-dimensional effects for home and cinemas, etc.), the dominant technology plays sound since 1931 was stereo.
In 1877, the famous American inventor Thomas Alva Edison invented monophonic sound reproduction and with it the phonograph - the first device for recording and playing sound.
A little later, in 1881, in Paris, Clement Ader first implemented the principle of stereo - on the stage of the Paris Opera, Ader arranged a series of telephone transmitters, the signal from which went by wire to the booths of the Paris Electric Exhibition. Cabin visitors could hear the live concert through two handsets (for each ear).
In sound recordings, the first stereo samples were conducted in the early 1930s. - using the balance of volume between the right and left channels, you can create the effect of moving the sound source along the line between the two speakers. In fact, this is a one-dimensional technology (with one axis of movement).
In 1940, the first documented use of surround sound in a soundtrack consisting of three sound channels took place.
In 1985, multichannel sound standards were created to produce more realistic sound in cinemas. This ensured the reproduction of ambient sounds, such as rain or crowd noise, behind the listener. Nevertheless, multichannel sound reproduction technologies are essentially the same as stereo sound: sound is placed between two speakers while adding more and more of them (5.1, 7.1 and even 12.1 today), which gives additional axes along which you can hear the sound.
Our perception of sound is a complex feeling that is actively looking for sources of sound events taking place in the world around us. Since we can easily determine both the direction from which the sound came and the distance to its source relative to our position, we often use our ability to hear as a source of warnings of possible danger. However, in recent years we can see an insufficient number of any improvements in sound technologies, which leads to neglecting the proper use of these technologies in games. Traditional stereo technology allows the user to only determine whether the sound came to the right or left. But with the advent of three-dimensional games, the game process is no longer limited to moving from side to side and jumping left-right. There is a certain gap between the possibilities of human perception of sound and the possibilities provided in reality by traditional stereo speakers or multichannel speakers. For this reason, the potential for creating a system of natural and correct reproduction of three-dimensional sound is enormous, since people already know how to use sounds and actively search for them in order to better orient themselves in the surrounding space. Try to compare what you hear at a live concert, with listening to the recording of the same concert. They sound completely different, because traditional stereo technology makes the sound flat, pulling it along one line.
The first technology of virtualized surround sound appeared in the 1980s. This technology is based on a sound processing method called Head Related Transfer Function (HRTF, a transfer function that takes into account the structure of the head) and allows you to reproduce and position in space any sound and almost anywhere. HRTF uses a method by which the brain decodes the spatial arrangement of sounds and adds spatial signs of sound to recreate this effect. For example, when a sound comes from the left side of a person, he first enters his left ear and then the right ear. This difference in arrival time of a sound, called ITD (Inter-aural Time Difference), is used by the brain to find the location of the sound source in the horizontal plane. This information is combined with the “Inter-aural Level Difference ( ILD )” between the signals coming to the right and left ear, due to the source shading the sound source (due to the diffraction of sound waves caused by your head absorbs sound) to determine the position of the sound source.
The t value is the amount of time it takes for the sound to reach the left ear. The difference between this time and the time to reach the right ear is shown in red.
Our ability to determine the location of the sound source above or below us (the angle of its elevation) is due to the fact that the brain decodes small variations in sound due to its diffraction in the auricle. When the sound comes to your ear at a certain angle, it changes due to multiple reflections in the auricle, before you get into the ear canal. For different elevation angles, these changes will be different. The brain will decode these small changes to get spatial information about the elevation angle from them. All HRTF technologies mimic these spatial signs of signals, changing the sound with filters before it gets into your ears.
Taking these principles as a basis, you can install microphones in the human auditory canal or in a model of a human head to measure and compare sound recordings at different spatial positions of a sound source with recordings of the same sound when it reaches the auditory canal. This direct comparison provides two filters (left and right) that can reproduce sound changes to obtain its spatial perception.
Using these techniques and the filters thus obtained, HRTF technology can simulate a three-dimensional image of sound using stereo headphones or stereo speakers, without the need for systems with multiple speakers.
Because of the psychological characteristics inherent in the HRTF, there are a number of traditional problems that arise when a three-dimensional sound is generated by the HRTF systems.
Sound location front / rear
Current HRTF technologies are not exposed to sufficiently good reproduction of sounds located in front or behind. For example, if in a recording the sound source should be located in front of the listener, traditional HRTF algorithms can spontaneously position it behind the listener. Accordingly, if the traditional HRTF protocols are used, then during the game, the sounds of the shots that must come in front can be heard from behind, which causes the player to be confused.
Audience selection
Traditional HRTF protocols also have a small success rate for most trainees. As a rule, for a typical user, the chances that the HRTF for him will work as expected are quite small. Most HRTF protocols today have a success rate of 20% or less, while most users do not notice any difference or, even worse, the three-dimensional sound effect created by HRTF doesn’t actively like them and they turn off the 3D sound function.
Loss of confidence
Traditional HRTF algorithms are also subject to a decrease in the reliability of sound reproduction during post-processing, which leads to the loss or weakening of the original audio signals. When traditional HRTF algorithms detect the spatial position of a signal source, this most likely leads to significant loss of reliability and, consequently, to a worse sound environment for listeners.
Poor take-away of sound sources leading to fatigue of the listener
The generated HRTF sounds are usually perceived as being located very close to the listener's head, since in general, the effect of the remote sound when using HRTF algorithms is difficult to reproduce, unlike in the case of using separated speakers. Accordingly, HRTF leads to fatigue of the listener due to his perception of sounds as sounding “inside the head”.
Sounds above / below
HRTF is based on psychoacoustic sound localization methods that, with headphones, provide only a two-dimensional sound field. Accordingly, sounds located on the Z axis (either higher or lower from the listener) are reproduced by traditional HRTF algorithms with difficulty.
In the sound industry, many manufacturers use HRTF theories to create virtualization technologies for surround sound.
Some manufacturers offering virtualized sound solutions are based solely on the principles of the HRTF, and apply sound-level filters to the sound to create a spatial effect. This is a very primitive process and for most listeners it does not work, since certain sounds in this case will simply be louder or quieter and just create an echo in each ear.
Other manufacturers use FFT (Fast Fourier Transform) to process a number of parameters, such as phase, level, as well as re-reflection of sound from the head, auricle, and the listener's body. This is a more accurate method, but many of these technologies provide only simple sound filters that provide a limited number of spatial sound attributes, since otherwise, the signal processor does not cope with the processing of incoming new signals.
Both of these methods produce sound with spatial features that the listener's brain can use to determine the location of the sound source, but they are implemented on signal processors that can process algorithms and variables only at a speed of 34 MIPS (Millions of Instruments Per Second, million instructions per second) .
Most modern HRTF technologies suffer from the problems mentioned above. Therefore, for most players, the virtual surround sound from the current generation of HRTF systems is not suitable for gaming and does not provide an accurate surround sound environment.
The Razer Maelstrom sound processing system (whirlpool) originates in military sound processing technologies that were originally developed for fighter pilots who needed sound warnings of approaching rockets. The Razer Maelstrom sound processing system is based on the same platform, but was designed specifically for gaming. Whirlpool also aims to solve the traditional problems of the HRTF algorithms in order to get a more convincing surround sound environment. The Razer Maelstrom is the result of thousands of hours of development, testing, and testing that have created an outstanding surround sound platform based on next-generation HRTF technology.
The first prototype, where the new technology has found a use for itself, became the Razer Megalodon headphones. The processing performed using technology algorithms is much more complex than with traditional HRTF methods. The position of the speakers in the headphones was determined after long hours of processing, using complex mathematical and physical theories. At the same time, the phase and sound level, its reflections from the head, auricle and the listener's body, as well as such factors as the distance of the sound source from the listener, reverb and other effects were taken into account.
, HRTF, Razer Maelstrom , , . Razer Megalodon, , .
Compared to traditional HRTF methods, the increased computing power of the Razer Maelstrom system results in a better positioning of the sounds located in front of or behind the listener. In addition, additional processing provides a more accurate surround sound environment. The new sound processing system also guarantees minimal losses in the reliability of reproduction during post-processing, so the gaming environment will remain the way the game developers conceived it. Similarly, the spatial separation of audio signals has been improved thanks to improved algorithms.
In addition, the Razer Maelstrom can virtualize the sound source and process the sound along with data from thousands of digitized auricles, ensuring that the result is spatial audio features that will work for most listeners. This is very important because the resulting spatial features in traditional HRTF technologies are based on a single reference record obtained on a dummy, which is the main cause of dissatisfaction of the majority of listeners with traditional HRTF technologies.
Given the need to process complex algorithms in real time, one of the key aspects of the Razer Maelstrom system has been the use of a separate sound processing module, which takes over most of the required calculations. This advanced processing method uses a separate, state-of-the-art digital signal processor that can process up to 500 MIPs, which is 400–800% more than other common signal processors, and this results in a phenomenal increase in performance compared to HRTF current generation.
Razer Megalodon is a gaming headset with a virtualized 7.1 surround sound, designed specifically for using the Razer Maelstrom system, which distinguishes it from all other gaming headsets currently available. The Razer Megalodon is the most advanced gaming headset of its kind, using next-generation HRTF technology and an excellent digital signal processor with unheard of computing power.
Since the auricle is a very complex organ, unique for each person, we decided to position the speakers relative to the ear so that a sound field could be created that would be naturally perceived by your own eardrum, taking advantage of the elaborated virtualization of the auricle in Razer Maelstrom. In the zone closest to the ear, the sound field will be the same for all listeners, but the effect of perception of sound by the eardrum is more personal and will more closely match your experience of perceiving three-dimensional sounds in the real world.
Exact placement of the speakers in the Razer Megalodon headset with advanced sound processing technology in the Razer Maelstrom system provides:
- Better sound output
- More focused sound
- More accurate image of virtual sound.
The end result in sound reproduction of the Razer Megalodon headset and in solving traditional HRTF problems is outstanding. With the exception of the problem of higher or lower sounds, the Razer Maelstrom definitely solves most of the problems associated with traditional HRTF technologies. Suffice it to say that Razer engineers working in the field of sound are actively engaged in true three-dimensional reproduction of sound, since the creation of a circular picture of sound is now finally available.
pros
- Gift wrapping, presentable appearance;
- Includes quality case and headphone stand;
- Excellent build quality, materials used;
- A functional sound processor for managing;
- Long wire in fabric braid;
- The device works without drivers;
- Exceptional sound quality.
Minuses
- High price in Russia;
- Fixed sound card;
- The widespread use of glossy plastic;
- The central button changes the modes, although it is more usual to see the Mute button in this place.
As for the price is worth noting the following. In Russia, this headset is not yet sold, however, it is expected at a price of about 7,500 rubles, which is undoubtedly quite a lot. Over the hill, headphones can already be bought for about 150 euros.
For those who are afraid of the rattling Maelstrom surround sound technology, they can look at the Razer Carcharias headset - it's almost the same, only without a new technology, and therefore without a convenient sound processor. Price - about 3500 (rubles and apiece).
Perhaps I inflict some damage on Razer, sowing my eloquent reviews in the audience of my readers, which often differ little from advertising slogans. My only hope is that you, being familiar with the quality and sophistication of Razer products, close your eyes to it and amid my enthusiastic emotions and a huge theoretical introduction, filter only the most necessary
things for yourself) It is worth remembering that all devices of the company are developed with an eye to the players and not for audiophile musicians. Therefore, I propose to begin the discussion from this starting point.
I will say this - even many players may not need such a headset - they can hear a good picture in devices simpler. However, those who have previously heard the enemy are often more important than seeing (there are plenty of players with such a level all over the world - someone is not just a hobby and pastime, but work and even a profession), perhaps it is impossible to find a more suitable device. It must be admitted that the company picked up the name of the product that was very suitable - Megalodon - an ancient giant shark that nobody has seen in our day - a sort of exclusive. You can read an interesting text (in English) about headphones here .
Someone will consider it as self-suggestion, someone for the next marketing move, someone will blurt out inertia that “ for this price I will collect ...", But the fact is a fact - the sound in the new headset is really at some new level. Let it not a revolution, but still, a step forward. It is up to game developers, but, apparently, it will not rust over them - in this direction they also try.
Razer engineers are well versed in the matter and this time they did a good job, giving the public another innovative development. As they say, rarely, but aptly - once again they did not miss.
Successes!/ Boomburum
At the beginning of the year I did a review of the record holder mouse (sensitivity of 5200dpi), the Razer Mamba , which had just appeared on the Russian shelves. Today I’ll tell you about another interesting novelty that surprised me again. This time her name is Razer Megalodon and the first review in the world turned out to be incredibly huge, but for some reason I really want you to read it;)
Usually, the chapters that contain elements of the material, I give the headings "Boring theory", but this time the explosive mixture of the press release and Wikipedia came out, in my opinion, very interesting. But after I “tried on” the text in the article, I realized that no one would reach the review of the headphones themselves :) Therefore, at first, a review of headphones, and later - an interesting story about audio technology.
')
Megalodon
Once again I draw attention to the interesting move of the company - to call their products by the names of cold-blooded animals. For example, all gaming mice have snake names, spiders have keyboards, and fish headphones.
Megalodon (lat. Carcharodon megalodon) is the largest ancient shark in the world, which died about 1.5 million years ago in the Pleistocene period and is not found today. Body shape is unknown. The ancient shark was probably similar to its great white shark (Carcharodon carcharias), or had a snake-like body. Known for a large number of huge teeth (up to 15 cm in length), found in the oceans and mountain layers of the world and in many ways similar to the teeth of the great white shark. Megalodon reached a length of more than 12 m. And this fish weighed about 60 tons.
The novelty received such a name for a reason - the product is really unusual. But let's see what Razer Megalodon really is.
Specifications
Headphones
- Reproducible frequency range: from 20 to 20 000 Hz;
- Resistance: 32 ohms at 1 kHz;
- Sensitivity (1 kHz, 1V / Pa): 105 ± 4 dB;
- Maximum power consumption: 200 mW;
- Drives: 40 mm with neodymium magnets.
Microphone
- Reproducible frequency range: from 50 to 16 000 Hz;
- Sensitivity (-37 dB ± 4 dB 1 kHz, 1V / Pa): adjustable (user adjustable);
- Signal-to-noise ratio: 50 dB;
- Directional pattern - narrowly focused.
Audio processing unit
- Controls: main sound, center, front, side and rear speakers, low frequency level, microphone sensitivity, microphone volume, microphone off / test, Maelstrom on / off, reset;
- Cable: 3.3 meters, in textile braid;
- Connectors: Gold-plated USB contact.
Agree, it looks very tempting. Demonstratively I take out a box.
Equipment
The famous company "Red Cube", perhaps, this time there is something to wind on the mustache - the product packaging is again above all praise.
It all starts with a megalodon-sized black matte box, on which a glossy black logo is applied.
I open, pull out a small liner - in front of me in the foam rubber layers two “something” appear - one black and the fabric, the second one also black, but glass.
As it turned out, this is a cover and headphone stand)
- Headphones Razer Megalodon ;
- Case for headphones;
- Headphone stand;
- Two logo stickers;
- Papers;
- Disk.
A rubberized company logo is drawn on the fabric case, there is a zipper around the entire perimeter. Moving the slider in the diametrically opposite direction, the cover opens like a shell - headphones appear in front of us, in whose arms a special sound processor is hidden. Inside, the case is covered with a very pleasant to the touch cloth - I literally feel that the headphones are nice to be there)
The “U-shaped” headphone stand is made of glossy tinted plastic, on which prints and dust are visible, but it doesn’t get any worse. Ears are hung from above, and the sound processor clings to special metal platforms.
A black matte disc contains an audio track, which we will also listen to during testing.
Among the papers - Quick start guide, Master guide, Product catalog.
Appearance
It’s not to say that the headset is radically different from everything that exists now ... but in the gray crowd you will not confuse it with anything. On the left side of the earpiece is a highly sensitive microphone that can be rotated up and down 270 degrees, as well as bending, moving in or away from the mouth. There are no terrible protective “pads” on the microphone that are found on many other headsets, so active and vocal players will have to hold their drool)
The headphones themselves are made of glossy plastic, the inner (ear) part of which is made of soft fabric, and the inner part is a fairly large mesh, behind which is hidden all the electronics. In addition to the mesh, plastic inserts are present on the outer sides of the ears, gradually turning into a rim - when working in them, the company logo glows blue.
The rim on the inside is also trimmed with matter, and its outer part is a black matte material similar to leather, with the inscription RAZER. The rim is quite flexible, the headphone positioning mechanism will allow the headset to be pulled even on the most non-average head. In general, the design is very reliable and collected conscientiously.
The headphones come with a wire in a sheath, on the “other end” of which there is an external sound card that processes the sound, thereby unloading the processor. You can read more about the handler in the theoretical part of this article.
The device is made of glossy (fail!) Plastic, on which, due to active use, there are almost always prints. The reverse side is covered with soft-touch, which, to some extent, opposes the free movement of the device on the working surface.
On the front surface there are 5 buttons - the first (upper) is responsible for switching between modes 2.0 and Maelstrom (virtualized 7.1); the second (in the center) allows you to turn on any channels (center, front, side and rear speakers), which is unusual - usually the button at this point in (s) turns on the sound; The remaining three buttons (bottom) are responsible for the microphone - they allow you to turn it off, adjust the sensitivity and the volume level of the colleagues. The built-in indicators (blue) always let you know which of the modes is currently active - very convenient. Visually the process of the sound card can be found here .
Well, the last thing that is worth mentioning here is that there is a rotating wheel around the central button that adjusts the volume. Rotates nicely, “stepwise”, the display of the volume level with color serifs is also very pleasant.
On the other side of the sound card, the braided wire continues and ends with a gold-plated USB connector.
Turn on and work
One of the positive aspects of this headset - it works without additional drivers. Those. I inserted it into the free USB port of the system and it's ready! It would seem that such a complex system should have at least a complex software, but ... you should not forget that this is just a gaming headset ... and what equalizers during the game. On the other hand, there is everything you need - volume, mute, microphone sensitivity, playback modes.
Actually, nothing else remains, how to test the sound quality. I did it in games (CS, Crysis Warhead), in movies (a couple of movies in mkv) and in music. Well, I drove the disk, which is attached in the kit.
Music
You can listen to music in 7.1 virtualized mode, but it will not give any contrasting result. To some extent, it even has a detrimental effect - no, the sound does not become unbearable, but somehow it dulled a little, or something ... But in the normal 2.0 mode (switching to which is done with one touch of a button on the “remote”) the sound is very even interesting. The Qemists - Stompbox , Bomfunk MC's - Freestyler and Pendulum - Slam , Voodoo people , Another Planet and Through the loop - I heard all this a hundred times and where I didn’t listen ... but with this time in almost all these tracks I heard then new notes and details, which previously did not even pay attention. It sounds really impressive, the bass is simply amazing.
Rap, on the contrary, is not very pleasant to listen to - just a couple of tracks were enough to figure it out. In “ Loc Doc - Adrenaline ” and “ NTL - Drag Racing ” in 7.1 mode, the music is heard well, the dynamics are such that you want to dance) But against the background of this whole word, it is sometimes quite difficult to make out, they seem to be chewed up. The usual 2.0 mode corrects the situation, resulting in great music.
It is worth noting that others will more than perfectly hear what you are listening to.
Total - listening to music is better in 2.0 mode - in this mode, the headphones are almost as good as many other ears that are sharpened for it.
Films
In 2.0 mode, these are the most common movies with the most ordinary sound. The quality rips with multichannel sound in Maelstrom processing are really pleasant to listen to. The sound space feels better than my 5.1 Microlab H-500. No, they also give a good sound (and not least for a few people), but in the case of headphones, you can hear the smallest details - breathing, footsteps and other ahi-sighs. On the other hand, watching movies with headphones is a somewhat selfish option, not suitable for the family circle.
Let me remind you that these are USB-ears, so you need to watch through a computer or laptop, and not through the receiver.
Total - the ears are perfect for individual watching movies with multichannel sound.
Games
Actually what the headphones were designed for. Despite the fact that CS was released quite a long time ago and in my opinion, the soundtrack of the game is somewhat morally obsolete, however, it is possible to understand who runs where and shoots from where. Having run a lot after a menshen, dast, Italy and assauta, I turned into a crisis. Everything is much more interesting in it - I turned my attention to the sound already in the menu) During the gameplay ... well, yes, you will consider PR ... but the sound is really cool. Most recently, I tested the ASUS Ares gaming station, with the SteelSeries Siberia headphones that came with it ... the sound was also at a very good level, but in the case of the Razer, the gaming environment is felt more carefully - you can hear where the lights are on, where someone shoots and yells. Moreover, as the engineers of Razer promised, the position of the sound source can be determined quite accurately.
Total - for games definitely offset.
The included Audio-CD contains a sound track (about 4 minutes long) in English. A man who talks about technology walks from room to side, clattering heels of shoes on tiles ... and it would be strange if this could not be heard in the demo) A little later episodes of shooting, explosions and other cataclysms are inserted into the track ... and in ordinary ears It sounds, of course, bass and in general, juicy, but just to understand, to hear the ringing and to understand where it came from, it turned out only in Megalodons.
I tried the microphone only in Skype - I called my friends to appreciate the sound - they didn't notice any fundamental differences) I sent a recording to Echo123 - I came back ... well, yes, a good sound)
Now there is a “little” theory in order to understand what kind of technology it is, Maelstrom , what is so unique in it and what problems with surround sound exist at the moment. I must say that this is an official text, so do not be surprised at the frequent repetition of technology names.
Evolution of sound reproduction
Unlike video technologies, which over the past years have received many innovations (color screens, constantly increasing resolutions, bright LCDs and plasma panels, various three-dimensional effects for home and cinemas, etc.), the dominant technology plays sound since 1931 was stereo.
In 1877, the famous American inventor Thomas Alva Edison invented monophonic sound reproduction and with it the phonograph - the first device for recording and playing sound.
A little later, in 1881, in Paris, Clement Ader first implemented the principle of stereo - on the stage of the Paris Opera, Ader arranged a series of telephone transmitters, the signal from which went by wire to the booths of the Paris Electric Exhibition. Cabin visitors could hear the live concert through two handsets (for each ear).
In sound recordings, the first stereo samples were conducted in the early 1930s. - using the balance of volume between the right and left channels, you can create the effect of moving the sound source along the line between the two speakers. In fact, this is a one-dimensional technology (with one axis of movement).
In 1940, the first documented use of surround sound in a soundtrack consisting of three sound channels took place.
In 1985, multichannel sound standards were created to produce more realistic sound in cinemas. This ensured the reproduction of ambient sounds, such as rain or crowd noise, behind the listener. Nevertheless, multichannel sound reproduction technologies are essentially the same as stereo sound: sound is placed between two speakers while adding more and more of them (5.1, 7.1 and even 12.1 today), which gives additional axes along which you can hear the sound.
Two-dimensional hearing
Our perception of sound is a complex feeling that is actively looking for sources of sound events taking place in the world around us. Since we can easily determine both the direction from which the sound came and the distance to its source relative to our position, we often use our ability to hear as a source of warnings of possible danger. However, in recent years we can see an insufficient number of any improvements in sound technologies, which leads to neglecting the proper use of these technologies in games. Traditional stereo technology allows the user to only determine whether the sound came to the right or left. But with the advent of three-dimensional games, the game process is no longer limited to moving from side to side and jumping left-right. There is a certain gap between the possibilities of human perception of sound and the possibilities provided in reality by traditional stereo speakers or multichannel speakers. For this reason, the potential for creating a system of natural and correct reproduction of three-dimensional sound is enormous, since people already know how to use sounds and actively search for them in order to better orient themselves in the surrounding space. Try to compare what you hear at a live concert, with listening to the recording of the same concert. They sound completely different, because traditional stereo technology makes the sound flat, pulling it along one line.
HRTF: Virtualized Surround Sound
The first technology of virtualized surround sound appeared in the 1980s. This technology is based on a sound processing method called Head Related Transfer Function (HRTF, a transfer function that takes into account the structure of the head) and allows you to reproduce and position in space any sound and almost anywhere. HRTF uses a method by which the brain decodes the spatial arrangement of sounds and adds spatial signs of sound to recreate this effect. For example, when a sound comes from the left side of a person, he first enters his left ear and then the right ear. This difference in arrival time of a sound, called ITD (Inter-aural Time Difference), is used by the brain to find the location of the sound source in the horizontal plane. This information is combined with the “Inter-aural Level Difference ( ILD )” between the signals coming to the right and left ear, due to the source shading the sound source (due to the diffraction of sound waves caused by your head absorbs sound) to determine the position of the sound source.
The t value is the amount of time it takes for the sound to reach the left ear. The difference between this time and the time to reach the right ear is shown in red.
Our ability to determine the location of the sound source above or below us (the angle of its elevation) is due to the fact that the brain decodes small variations in sound due to its diffraction in the auricle. When the sound comes to your ear at a certain angle, it changes due to multiple reflections in the auricle, before you get into the ear canal. For different elevation angles, these changes will be different. The brain will decode these small changes to get spatial information about the elevation angle from them. All HRTF technologies mimic these spatial signs of signals, changing the sound with filters before it gets into your ears.
Taking these principles as a basis, you can install microphones in the human auditory canal or in a model of a human head to measure and compare sound recordings at different spatial positions of a sound source with recordings of the same sound when it reaches the auditory canal. This direct comparison provides two filters (left and right) that can reproduce sound changes to obtain its spatial perception.
Using these techniques and the filters thus obtained, HRTF technology can simulate a three-dimensional image of sound using stereo headphones or stereo speakers, without the need for systems with multiple speakers.
Traditional HRTF Problems
Because of the psychological characteristics inherent in the HRTF, there are a number of traditional problems that arise when a three-dimensional sound is generated by the HRTF systems.
Sound location front / rear
Current HRTF technologies are not exposed to sufficiently good reproduction of sounds located in front or behind. For example, if in a recording the sound source should be located in front of the listener, traditional HRTF algorithms can spontaneously position it behind the listener. Accordingly, if the traditional HRTF protocols are used, then during the game, the sounds of the shots that must come in front can be heard from behind, which causes the player to be confused.
Audience selection
Traditional HRTF protocols also have a small success rate for most trainees. As a rule, for a typical user, the chances that the HRTF for him will work as expected are quite small. Most HRTF protocols today have a success rate of 20% or less, while most users do not notice any difference or, even worse, the three-dimensional sound effect created by HRTF doesn’t actively like them and they turn off the 3D sound function.
Loss of confidence
Traditional HRTF algorithms are also subject to a decrease in the reliability of sound reproduction during post-processing, which leads to the loss or weakening of the original audio signals. When traditional HRTF algorithms detect the spatial position of a signal source, this most likely leads to significant loss of reliability and, consequently, to a worse sound environment for listeners.
Poor take-away of sound sources leading to fatigue of the listener
The generated HRTF sounds are usually perceived as being located very close to the listener's head, since in general, the effect of the remote sound when using HRTF algorithms is difficult to reproduce, unlike in the case of using separated speakers. Accordingly, HRTF leads to fatigue of the listener due to his perception of sounds as sounding “inside the head”.
Sounds above / below
HRTF is based on psychoacoustic sound localization methods that, with headphones, provide only a two-dimensional sound field. Accordingly, sounds located on the Z axis (either higher or lower from the listener) are reproduced by traditional HRTF algorithms with difficulty.
The current generation of HRTF technology
In the sound industry, many manufacturers use HRTF theories to create virtualization technologies for surround sound.
Some manufacturers offering virtualized sound solutions are based solely on the principles of the HRTF, and apply sound-level filters to the sound to create a spatial effect. This is a very primitive process and for most listeners it does not work, since certain sounds in this case will simply be louder or quieter and just create an echo in each ear.
Other manufacturers use FFT (Fast Fourier Transform) to process a number of parameters, such as phase, level, as well as re-reflection of sound from the head, auricle, and the listener's body. This is a more accurate method, but many of these technologies provide only simple sound filters that provide a limited number of spatial sound attributes, since otherwise, the signal processor does not cope with the processing of incoming new signals.
Both of these methods produce sound with spatial features that the listener's brain can use to determine the location of the sound source, but they are implemented on signal processors that can process algorithms and variables only at a speed of 34 MIPS (Millions of Instruments Per Second, million instructions per second) .
Most modern HRTF technologies suffer from the problems mentioned above. Therefore, for most players, the virtual surround sound from the current generation of HRTF systems is not suitable for gaming and does not provide an accurate surround sound environment.
The Razer Maelstrom sound processing system is the next generation of HRTF technology.
The Razer Maelstrom sound processing system (whirlpool) originates in military sound processing technologies that were originally developed for fighter pilots who needed sound warnings of approaching rockets. The Razer Maelstrom sound processing system is based on the same platform, but was designed specifically for gaming. Whirlpool also aims to solve the traditional problems of the HRTF algorithms in order to get a more convincing surround sound environment. The Razer Maelstrom is the result of thousands of hours of development, testing, and testing that have created an outstanding surround sound platform based on next-generation HRTF technology.
The first prototype, where the new technology has found a use for itself, became the Razer Megalodon headphones. The processing performed using technology algorithms is much more complex than with traditional HRTF methods. The position of the speakers in the headphones was determined after long hours of processing, using complex mathematical and physical theories. At the same time, the phase and sound level, its reflections from the head, auricle and the listener's body, as well as such factors as the distance of the sound source from the listener, reverb and other effects were taken into account.
, HRTF, Razer Maelstrom , , . Razer Megalodon, , .
Compared to traditional HRTF methods, the increased computing power of the Razer Maelstrom system results in a better positioning of the sounds located in front of or behind the listener. In addition, additional processing provides a more accurate surround sound environment. The new sound processing system also guarantees minimal losses in the reliability of reproduction during post-processing, so the gaming environment will remain the way the game developers conceived it. Similarly, the spatial separation of audio signals has been improved thanks to improved algorithms.
In addition, the Razer Maelstrom can virtualize the sound source and process the sound along with data from thousands of digitized auricles, ensuring that the result is spatial audio features that will work for most listeners. This is very important because the resulting spatial features in traditional HRTF technologies are based on a single reference record obtained on a dummy, which is the main cause of dissatisfaction of the majority of listeners with traditional HRTF technologies.
Given the need to process complex algorithms in real time, one of the key aspects of the Razer Maelstrom system has been the use of a separate sound processing module, which takes over most of the required calculations. This advanced processing method uses a separate, state-of-the-art digital signal processor that can process up to 500 MIPs, which is 400–800% more than other common signal processors, and this results in a phenomenal increase in performance compared to HRTF current generation.
7.1 Razer Megalodon Gaming Headset
Razer Megalodon is a gaming headset with a virtualized 7.1 surround sound, designed specifically for using the Razer Maelstrom system, which distinguishes it from all other gaming headsets currently available. The Razer Megalodon is the most advanced gaming headset of its kind, using next-generation HRTF technology and an excellent digital signal processor with unheard of computing power.
Since the auricle is a very complex organ, unique for each person, we decided to position the speakers relative to the ear so that a sound field could be created that would be naturally perceived by your own eardrum, taking advantage of the elaborated virtualization of the auricle in Razer Maelstrom. In the zone closest to the ear, the sound field will be the same for all listeners, but the effect of perception of sound by the eardrum is more personal and will more closely match your experience of perceiving three-dimensional sounds in the real world.
Exact placement of the speakers in the Razer Megalodon headset with advanced sound processing technology in the Razer Maelstrom system provides:
- Better sound output
- More focused sound
- More accurate image of virtual sound.
The end result in sound reproduction of the Razer Megalodon headset and in solving traditional HRTF problems is outstanding. With the exception of the problem of higher or lower sounds, the Razer Maelstrom definitely solves most of the problems associated with traditional HRTF technologies. Suffice it to say that Razer engineers working in the field of sound are actively engaged in true three-dimensional reproduction of sound, since the creation of a circular picture of sound is now finally available.
Check weighing
pros
- Gift wrapping, presentable appearance;
- Includes quality case and headphone stand;
- Excellent build quality, materials used;
- A functional sound processor for managing;
- Long wire in fabric braid;
- The device works without drivers;
- Exceptional sound quality.
Minuses
- High price in Russia;
- Fixed sound card;
- The widespread use of glossy plastic;
- The central button changes the modes, although it is more usual to see the Mute button in this place.
As for the price is worth noting the following. In Russia, this headset is not yet sold, however, it is expected at a price of about 7,500 rubles, which is undoubtedly quite a lot. Over the hill, headphones can already be bought for about 150 euros.
For those who are afraid of the rattling Maelstrom surround sound technology, they can look at the Razer Carcharias headset - it's almost the same, only without a new technology, and therefore without a convenient sound processor. Price - about 3500 (rubles and apiece).
Still with me? :) total
Perhaps I inflict some damage on Razer, sowing my eloquent reviews in the audience of my readers, which often differ little from advertising slogans. My only hope is that you, being familiar with the quality and sophistication of Razer products, close your eyes to it and amid my enthusiastic emotions and a huge theoretical introduction, filter only the most necessary
things for yourself) It is worth remembering that all devices of the company are developed with an eye to the players and not for audiophile musicians. Therefore, I propose to begin the discussion from this starting point.
I will say this - even many players may not need such a headset - they can hear a good picture in devices simpler. However, those who have previously heard the enemy are often more important than seeing (there are plenty of players with such a level all over the world - someone is not just a hobby and pastime, but work and even a profession), perhaps it is impossible to find a more suitable device. It must be admitted that the company picked up the name of the product that was very suitable - Megalodon - an ancient giant shark that nobody has seen in our day - a sort of exclusive. You can read an interesting text (in English) about headphones here .
Someone will consider it as self-suggestion, someone for the next marketing move, someone will blurt out inertia that “ for this price I will collect ...", But the fact is a fact - the sound in the new headset is really at some new level. Let it not a revolution, but still, a step forward. It is up to game developers, but, apparently, it will not rust over them - in this direction they also try.
Razer engineers are well versed in the matter and this time they did a good job, giving the public another innovative development. As they say, rarely, but aptly - once again they did not miss.
Successes!/ Boomburum
Source: https://habr.com/ru/post/67293/
All Articles