Vinnfier Chrome Studio
decorations, the Chrome Studio we received had a clean, all-black finish and a polished, retractable metal headband. Like the majority of headphones out there, the power and control functions have been hidden directly into the right earcup, an aesthetic step which further lends to the Chrome Studio's elegance.
The overall design of the Chrome Studio may look refined, but it's not without its own set of flaws. To begin with, the length to which the headbands can extend aren't very long. Because of this, it actually felt a bit uncomfortable for us (or at least, the bigger-headed us) to wear over long periods of time.
Looks aside, we can now get straight to the real measure of an audio device's worth: the audio quality. To test out the Chrome Studio, we ran our list of songs that ranged from classical music, all the way to the more modern rock and jazz pieces, all in order to find the headset's breaking point.
In the high-pitch department, we played Vivaldi's ‘Four Seasons' and Boccherini's ‘Minuetto', and surprisingly, the Chrome Studio was accurate and showed no signs of breaking (even at high volumes), but it wasn't able to place the instruments in the piece properly.
In the midrange pitch test, we played Ed Sheeran's ‘Thinking Out Loud', Led Zeppelin's ‘Whole Lotta Love', and Joni Mitchell's ‘A Case of You' (along with some Julie Fowlis' for good measure). Of the songs, the headphones' audio only started breaking when we played Ed Sheeran and Joni Mitchell's tracks (probably due to Joni Mitchell's high octave pitch.
The low-pitch tells a relatively similar tale when we played Nina Simone's ‘Feeling Good', and jazz pieces from Yoko Kanno and the Seatbelts. Bass distortion seemed to only happen when ‘Feeling Good' was played, but was practically non-existent when we put on Kanno's jazz piece. Mind you, we hadn't even brought the volume to its maximum level yet.