Musical reproduction remains solid it's only at high levels that sound is crushed a bit. Although we've tested headsets that fare even better, there are also worse headsets priced similarly. Placing the source of sounds is incredibly important in games, and Logitech's latest does this well.
G pro wireless headset pro#
The G Pro still sounds natural and relatively neutral. Thus, in this context, it also relates to the respective tone color, or timbre. This frequency range is crucial to the recognition of a voice or an instrument. High-Frequency Rangeīetween 2 kHz and 3.5 kHz is where the human ear is most sensitive, especially since the lower levels of this range are responsible for the human voice's overtone reproduction. Really, though, it's better for gaming since the tuning concept is tailored to perform well in fast-paced shooters and stealth titles. That makes Logitech's G Pro a decent solution for listening to music. Subjectively, instruments in the orchestra sound like they're positioned far enough apart from each other. However, some headsets and good hi-fi headphones simply offer more (though that's just us nitpicking). This frequency range also plays a significant role in gaming, and its balanced reproduction contributes significantly to good spatial resolution.Īll instruments offer the nuances we want to hear, and the resolution is also good for this price range. Unfortunately, this is often very noticeable, especially with cheaper devices, as manufacturers tend to overemphasize it a bit. The upper mid-range, from 400 Hz to about 2 kHz, contains the 1 kHz point that's used as a reference for many measurements. Fortunately, when it comes to gaming, such a shortcoming doesn't really affect your experience. Resolution, on the other hand, is rather mediocre. The timbre of recorded instruments can also be described as warm across this range. This is also where the fundamental range of female vocals can be found.įemale vocals sound good.
Together with the upper bass, this range plays an important role in producing the subjectively perceived warmth and fullness of sound. The lower mid-range (sometimes called "fundamental range") spans from ~150 to 400 Hz. All in all, the resolution is still good, allowing single sources to perform acceptably. Male vocals are reproduced rather warmly, and instruments remain largely unaltered. This range, on the other hand, sounds coherent and natural. Thus, it has a strong influence on the lifelike reproduction of male vocals.
Upper bass, up to 150 Hz, contains the male voice's fundamental speech frequency. Although the G Pro doesn't deliver outstanding bass, low frequencies are still convincing (with certain caveats). And level stability in games is completely acceptable for this price range. The impact of a large bass drum, on the other hand, is sufficiently crisp. But if, for example, the organ in the sub-contra octave presses constantly at higher levels, the entire sound image softens from below, roaring and booming. With shorter pulses and few competing sources, the principle behind Logitech's dual-chamber technology works quite well. The large bass drum, usually tuned to ~55 to 60 Hz, is used to complete this evaluation. The same applies to the lower ranges of the contra octave (32.7 to 65.4 Hz). We test the lowest bass in the sub-contra octave (16.4 Hz to 32.7 Hz) with a recording of Bach's Toccata and Fugue in D minor (19 and 25 Hz), as well as the festival overture composed in 1880 by Tchaikovsky (10 Hz and 12.5 Hz). We began by running the headset for two days straight at a source with decent sound levels to make sure it is properly broken in. Now let's subjectively test Logitech's tuning efforts. However, that made a mess of level stability and transparency. We did toy around with the lowest bass levels, raising them at 64 and 32 Hz. Sensitivity and background noise are both fine, in our opinion. This profile has broad appeal and is sufficient for good voice transmission. And a difference of 10 dB from 100 Hz to 6 kHz modulates the most superficial highs, which never end up sounding metallic. Raising the lower mids and upper bass make voices sound more warm and full.
So, while the limitations of our equipment don't allow us to calculate the microphone's exact frequency response, we do have a reasonable approximation to confirm our subjective impression.Īccording to our equipment (and ears), the levels drop off sharply below ~100 Hz. This allows us to take comparative measurements and generate a curve that comes close enough for what we're trying to do (even if it isn't the most ideal method for testing this mic). For this test, we use a calibrated mic (for reference) in our purpose-built measuring room. We start with a measurement of the microphone's frequency range.
To read about our test methodology in depth, please check out How We Test Gaming Headsets, particularly page 6 where we detail the measurements we take.
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