Springing from Audio-Technica's rich heritage in professional audio, the ATH-MSR7 Over-Ear High-Resolution Audio Headphones are designed to reproduce Hi-Res Audio, allowing users to hear music the way it was intended. The over-ear headphones are outfitted with exclusive 45 mm True Motion Drivers, which utilize lightweight voice coils, a custom-mounted printed circuit board and specially designed diaphragm to improve transient response and minimize sound distortion for rich, detailed audio reproduction.
Audio-Technica's new flagship consumer headphones, the ATH-MSR7, have hit this balance of form and function right on the head.
- Reviewed.com
The ATH-MSR7 headphones also feature multi-layered air damping technology for extended mid-to-low frequency response. The housings, designed to “mirror” the full shape of the ear, are constructed of an aluminum/magnesium mix, layered to provide a lightweight, rigid structure that reduces unwanted resonance. Three precisely placed vents within these layers work to control air flow and improve dynamics.
The over-ear headphones’ highly flexible swivel design, with soft, memory foam earpads and headband ensure lasting comfort even during the longest listening sessions. And with three detachable cables (standard 1.2 m (3.9') and 3.0 m (9.8') cables, plus a 1.2 m (3.9') cable with in-line controls and microphone for compatible smartphones and other devices) the ATH-MSR7 can provide Hi-Res Audio anywhere you go.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
While many listeners may believe that high-resolution audio came along with the introduction of the Compact Disc in 1982, constraints on the disc’s storage space always prevented CD audio (standardized at 44.1 kHz/16-bit) from fully and completely reproducing the original recorded sound. The advent and subsequent popularity of MP3s only made this problem more pronounced – the necessary compression of these files causes audio information to be lost, thus greatly reducing the audio quality.
