Grado SR225x
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Overview
The Grado SR225x perpetuates a family tradition born on a kitchen table in 1953. This open supra-aural headphone embodies the philosophy of a company that stubbornly refuses mass production in favor of patient assembly, workbench by workbench, in the same Brooklyn premises where Joseph Grado once transformed his father’s Sicilian grocery store into an acoustic laboratory.
A design that defies modern conventions
The SR225x deliberately retains that characteristic silhouette which has divided music lovers for decades. Its circular metal grilles, radio antenna-style adjustable sliders, and black plastic construction evoke 1940s sonar equipment more than a contemporary audio product. This stylistic persistence is not conceptual laziness: it stems from a deep conviction that certain forms achieve a kind of functional perfection that deserves preservation.
The 44-millimeter transducers constitute the nerve center of this fourth generation. Grado has redesigned three critical components: the magnetic circuit gains power, the voice coil sees its effective mass reduced, and the diaphragm adopts a new configuration. These microscopic modifications produce audible effects: distortion recedes, efficiency improves, and each instrument retains its natural timbre even in the densest musical passages.
The cable deserves particular attention. Its eight annealed copper conductors, a thermal treatment that reorganizes the metal’s crystalline structure, now run through a braided sheath significantly more robust than that of previous generations. This evolution addresses recurring criticisms regarding the fragility of older cables, while preserving signal transmission. The 3.5-millimeter mini-jack termination definitively replaces the historic 6.35-millimeter jack, a sign of adaptation to contemporary portable sources.
The F cushions: technical choice and ergonomic compromise
The new foam cushions, dubbed “F cushion,” mark a break from the traditional L cushions that equipped the SR225 since its beginnings. Thinner, these cushions subtly modify the distance between the transducer and the ear, creating what Grado describes as “more textured tonalities.” This marketing formulation conceals a complex acoustic reality: modifying the air volume between the driver and the eardrum directly influences the perception of mid and high frequencies.
The headband gains additional padding, covered with leatherette that replaces the spartan vinyl of entry-level models. This improvement remains relative: comfort remains functional rather than luxurious. Users accustomed to the plush cushions of modern headphones will discover a different philosophy, where direct contact with the ear is an integral part of the desired sonic signature.
A sonic signature that divides and fascinates
The SR225x produces that distinctive sound that initiates recognize immediately. The midrange, privileged territory of the human voice and guitars, presents that particular coloration that makes some say it lacks neutrality and others that it restores musical emotion like no other headphone. The highs retain that characteristic liveliness, sometimes qualified as aggressive by detractors, as revealing by admirers. The bass, historically the brand’s weak point, gains definition without rivaling modern closed headphones optimized for electronic music.
The open design generates a naturally airy soundstage, where each instrument occupies a distinct space. This spatialization, less spectacular than that achieved by high-end planar headphones, favors coherence over effect. Acoustic musicians, particularly in jazz and classic rock, find a familiar arrangement, as if listening from the tenth row of a concert hall rather than from a recording booth.
Technical specifications
Design and build
- Headphone type: on-ear, open-back
- 44 mm drivers
- Faux leather headband
- Earpads
Audio performance
- Frequency response: 20–22,000 Hz
- SPL at 1 mW: 99.8 dB
- Nominal impedance: 38 ohms
- Driver matching: 0.05 dB
General information
- Weight: 300 g
- Accessories: 6.35 mm adapter
Frequently Asked Questions
Is the SR225x suitable for portable use?
Technically possible thanks to its high sensitivity (99.8 dB/mW) and moderate impedance (38 ohms), portable use remains inadvisable. The open design lets all environmental noise pass in both directions: you’ll hear the subway, and the subway will hear your music. The 1.5-meter cable, while robust, lacks flexibility for mobile use.
What's the difference between the SR225x and the previous SR225e model?
The fourth-generation transducers constitute the major evolution, with their new magnetic circuit and reconfigured diaphragm. The F cushions replace the L cushions, slightly modifying the tonal balance toward more texture in the midrange. The cable gains robustness with its braided sheath, and the headband benefits from improved padding. Some purists regret the slightly darker signature of the new model.
How can I improve the SR225x's comfort?
Beyond the artisanal modifications mentioned, third-party manufacturers offer replacement cushions and headbands in genuine leather. Sennheiser HD414 cushions, compatible with slight adaptation, offer an economical alternative. Careful adjustment of the position on the head also allows different pressure distribution, transforming initial discomfort into acceptable habit.
Why choose the SR225x over the SR125x or SR325x?
The SR225x occupies a relevant middle position. It shares the same transducers as the SR125x but benefits from the F cushions that open the soundstage. Against the SR325x with its aluminum housings, it offers a slightly warmer signature and lower weight (280 grams versus 340). The performance/price ratio often tips in its favor.
- Eco-contribution included in the sale price.
- GTIN / EAN: 850929008034
