Sennheiser CX 3.00 review | What Hi-Fi?

While the company hasn’t always delivered transparent magnificence leaders, Sennheiser’s reputation is forged. That isn’t about to switch with the CX 3.00.


Beginning with Alexis Weissenberg’s interpretation of Sergei Rachmaninov’s Prélude No5 in G Minor, the performance sounds human. The headphones capture the dynamics well and you'll be able to really feel Weissenberg changing into alternately competitive and withdrawn as he strikes throughout the piece.

Timing, too, is just right. The CX 3.00s observe the polyrhythm in Atoms For Peace’s Before Your Very Eyes… with ease, and whilst it could be weightier, there is sufficient jump within the bass guitar and synthesizer to ship Thom Yorke into one of those epileptic caterpillar jigs.

What’s lacking is a bit detail. The crispness of every observe is on occasion misplaced in Rachmaninov’s Prélude, as it is with one of the most synthesised noises and samples that make up Atoms For Peace’s complex percussion. A rounding off of the treble, which tends to dampen what will have to be two lively pieces of track, doesn’t assist.

Minimalists can be happy via the CX 3.00s’ muted design: they arrive in a choice of black, white or pink, the cable is clean of any mic or volume keep watch over (although that does mean they weigh only 12g) and, however for modest trademarks on every ear piece, the emblem is largely nameless.

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In basic, they’re at ease. There is a raise case and four choices of ear buds, so a good are compatible isn’t difficult to search out.

Cable noise is just a minor issue so more often than not you can revel in what is basically a balanced total sound, most effective lacking some detail and clipped moderately at the top finish.

For £forty they’re excellent, but, if you'll be able to stretch to the additional £15, your funding can be higher positioned in Klipsch.

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