Electronics : Pioneer HDJ1000 Pro DJ Quality Stereo Headphones

Electronics : Pioneer HDJ1000 Pro DJ Quality Stereo Headphones

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Pioneer HDJ1000 Pro DJ Quality Stereo Headphones

from: Pioneer



Pioneer HDJ1000 Pro DJ Quality Stereo Headphones
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Average Buyer Rating:  out of 5 stars
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Binding: Unknown Binding
Product Brand: Pioneer
EAN: 0012562615165
Label: Pioneer
Legal Disclaimer: Warranty does not cover misuse of product.
Product Manufacturer: Pioneer
Model: HDJ-1000
Publisher: Pioneer
Studio: Pioneer


Piece facts:
  • Large 50mm Dome Drivers
  • Weighs 9.5 ounces, excluding cord
  • Super-adjustable ear pads are hermetically sealed for great isolation
  • Jointed design folds easily
  • Stereo/mono switch for single-sided listening




Headphones Stereo Quality DJ Pro HDJ1000 Pioneer






0ur opinion:

:
Enjoy a new, higher standard in stereo headphones aimed at the DJ professional. Pioneer HDJ-1000 professional headphones feature a futuristic look, lightweight design and exceptional sound quality. The HDJ-1000 headphones offer 3,500 mW of maximum input making distortion practically non-existent. The 50-millimeter dome fully encompasses your ear, giving you the best possible clarity. The HDJ-1000 weighs in at less than one pound, which combined with plush padding, makes it possible for music professionals to wear the headphones for hours of listening pleasure. With the HDJ-1000, Pioneer introduces a product that both looks and sounds great, with more comfort and features than ever before. Tear-resistant ear pads Black vinyl carrying pouch










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Testimonials
Average Buyer Rating:  out of 5 stars

Buyer's feedback: 1 out of 5 stars - * Conterfeit!!! ...
Buyer beware. These were advertised at an "Open Box" for $59.00 and they ended up being fake. I had them authenticated or deemed conterfeit by Pioneer themselves. Eveidently, any HDJ1000 under $130 will likely be fake. I got taken since I thought it would be possible as an open box. Vendor no longer exsists, but I suspect they are still around Amazon under a different name selling them for $70.00. Look for smaller earcup, black hinges and a thinner headband than you see in the picture.



Buyer's feedback: 5 out of 5 stars - dj headphones
i have to say these are realy good headphones they sound good are powerfull look good and stick to your ears blocking all the noises around you!
i have them replaced now with sennheiser hd 25s wich probably are the best dj- studio headphones but for people who like better looking headphones id say go for the pioneer hdj1000!



Buyer's feedback: 3 out of 5 stars - * Great sound quality but shoddy construction ...
Like other posters have said Great sound quality but poor construction and will fall apart after a year. I had mine for roughly a year and the part where the headphone connects to the headband broke the padding on the can s was also cracking. I however loved the sound quality and I am considering buying more just because of that if they fixed the issue of the breaking with better construction of metal or stronger plastic I would buy again.



Buyer's feedback: 4 out of 5 stars - Excellent sound, mediocre construction
First off, I like these headphones enough to have had several pairs over the years despite their foibles. The main reason is the excellent sound. The highs are very clear but are never tinny, the low end is full and tight, never muddy, and mid range sounds including human voice and many instruments are well reproduced and have substantial body. The frequency response of these headphones is greater than that of many peoples hearing, so you can be sure the headphones will generate any sound you can pick up, that is they wont drop very hi or low frequency sounds. This frequency response coupled with a good efficiency (dB) makes for a superb listening experience; you'll be amazed at how much more of your music there is to hear. A handy small feature is that the cord is user replaceable, so no need to replace the headphones if the plug or cord is damaged.
On the downside, they are made out of rather cheap feeling plastic which seems apt to snap under tension, though the padding is comfortable, and the folding and swiveling earpieces make various listening styles easy including DJing which they are largely made for. Additionally, I have found that these are uncomfortable after an hour or two of use, because they seem to compress your ears/head, that the tension in the band piece going over your head is too stiff. The pads of the earpieces themselves are soft and accommodate most ears well though and are resistant to sweat and stain. These are slightly heavy but only due to the quality/heft of the drivers.
Overall, these are an excellent pair of headphones, and to me provide the highest quality of listening experience for my music, if not always the best comfort. I would recommend their purchase, and would suggest you buy an extended warranty through the vendor so you won't have to worry about the integrity of the plastic bits, as I had one pair brake after a couple years.




Buyer's feedback: 2 out of 5 stars - * THEY BREAK!! ...
Great sound, great looking and comfortable.. but they will break. So intend to buy them once a year. Like the Sonys, the plastic piece that holds the earphone on to the headset is cheap and cracks, then eventually splits in two. It's the most strained part on the headphone because it is constantly being pressured by taking them on and off. If they just use a tougher material, like aluminum, titanium or something it would solve the problem and they would be useable for a long time. I think it's the manufacturer's way to consistently get DJs to buy them again and again. I have a broken pair in front of me and am about to do battle with Pioneer to get a replacement.

read more customer reviews on Pioneer HDJ1000 Pro DJ Quality Stereo Headphones


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The Nortel case is slightly different because Vonage actually already had a patent infringement lawsuit going against Nortel, but it wasn't really initiated by Vonage. Instead, it had been initiated by a patent holding firm that Vonage bought in 2006. The end result of the settlement doesn't involve money changing hands, but just a cross licensing agreement for the patents. So what's the big lesson that Vonage and others have learned from this? It's certainly got nothing to do with innovating. It's to hoard as many patents as possible so that you have your own nuclear stockpile for when someone else sues you. Want to know why the USPTO is overwhelmed? It's not because there aren't enough examiners (as some will claim) or that there aren't enough funds. It's because the way the system now works is that you are supposed to file patents on every tiny little advancement so you can use it to protect yourself against lawsuits from everyone else. That's not about innovation. It's about waste. In the meantime, since it's still open season at Vonage, who's going to be next? There are a ton of other patents in the VoIP space that can surely be used in a lawsuit, right?

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Small and light enough for a shirt pocket, Samsung's Helix YX-M1 is a one-stop audio entertainment center with an XM radio, a digital music player, and room for 50 hours of tunes, but it comes up short on battery life.

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It actually underscores the power and distinctiveness of Gary Cooper's movie stardom that this isn't so much a true collection as gleanings from the odds-and-ends table. That's not a knock; three of the four films are solid entertainments and would be well worth recommending on their own. But the only thing unifying them is the beauty and enigma Cooper brought to them, and the professionalism with which he addressed these wide-ranging assignments.

Three of them date from the '20s and '30s and were produced by Samuel Goldwyn. The 1926 silent The Winning of Barbara Worth gave Western stunt man and bit player Cooper his first featured role (by accident--the actor originally cast didn't report for work!). A cowboy whose visionary surveyor father aims to "redeem the desert and make it one fine garden," Cooper's character is the third corner of a romantic triangle, ordained by the Hollywood caste system to lose lifelong sweetheart Vilma Banky to engineer Ronald Colman. Colman has lots more screen time than Cooper and bears the moral-ethical brunt of the eco-conscious drama; he's also surprisingly persuasive wearing a sweat-stained Stetson and trading gunshots with the bad guys (if this were a sound film, Colman could never have gotten away with it). But the camera and the audience are locked onto Cooper whenever he's on screen. In longshot or vulnerable closeup, he's already one of the gods of the cinema. As for the movie, the quality of the print is excellent, its clarity intensified by bronze, yellow, and moonlit-blue tinting that often seems on the verge of resolving into full color. Director Henry King shows a good eye for action and bold vistas, and a visual adventurousness mostly absent from his later work.

Next up chronologically is The Cowboy and the Lady (1938), and the best thing about this misbegotten movie is Garson Kanin's description, in one of his Hollywood memoirs, of how Leo McCarey sold the idea for it to Sam Goldwyn. McCarey was, of course, a comedic master (recently Oscared for directing The Awful Truth), and his exuberant pitch convinced Goldwyn and his staffers that audiences would "piss" themselves laughing at this romantic comedy about a daughter of privilege (Merle Oberon) who falls for a rodeo rider (Cooper) and learns homespun values. Goldwyn paid McCarey off, assigned some writers to the script, then realized there was no real story--"no there there," as Gertrude Stein might have put it. The resultant unfunny and unromantic endeavor oozes bad faith from every pore, with neck-snapping life changes foisted on the hapless Cooper and Oberon from reel to reel, and excruciating scenes (jitterbugging in a drawing room, playing house back on Cooper's ranch) that strain charmlessly for McCarey's patented brand of fey. H.C. Potter directed, understandably without conviction.

We and Cooper are back on track with The Real Glory (1939). The reliable Henry Hathaway helmed this second cousin to his and Cooper's The Lives of a Bengal Lancer, with Cooper as an Army doctor assigned to the Philippine Constabulary on Mindanao in 1906. The movie was well-received when it came out; encountered in the shadow of the Iraq War, its tale of U.S. occupiers trying to help the local populace "stand up" against a fanatical and murderous insurgency takes on new fascination. There are some amazing passages--two horrendous murders by bolo knife--and the final battle sequence puts the CGI-riddled action films of the present day to shame. But the most impressive element is Cooper, and we can't improve on the verdict of that astute film critic Graham Greene: "Mr. Cooper ... has never acted better.... Watch him inoculate [Andrea King] against cholera--the casual jab of the needle, and the dressing slapped on while he talks, as though a thousand arms had taught him where to stab and he doesn't have to think any more."

For the final film in the set we jump into the '50s--the century's and Cooper's. Vera Cruz (1954) casts him as a former Confederate officer who's ridden into Emperor Maximilian's Mexico, hoping to make a fortune in the new civil war south of the border so that he can rebuild his own devastated homeland. Costar Burt Lancaster (whose company Hecht-Lancaster was producing) plays another mercenary, a real sociopath, and it's fascinating to watch these two stellar icons of very different Hollywood eras make common cause--Lancaster at the height of his grinning-predator mode, Cooper an aging knight whose aim is still true. Director Robert Aldrich keeps finding dynamic uses for the SuperScope format and flavorfully fills it with sublime uglies like Ernest Borgnine, Jack Elam, Charles Horvath, Jack Lambert, and Charles Buchinsky-about-to-become-Bronson. Pieces of this movie found their way into the dreams of Sam Peckinpah and Sergio Leone. --Richard T. Jameson


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Headphones Stereo Quality DJ Pro HDJ1000 Pioneer
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