When a helmet, you have three basic choices to make. You are going to be “cans” that fit over your head and sit on or around your ears, you can choose headphones - just hang on the “hook” cartilage of the ear , or you can plump for canalphones, the type Whether you are sliding towards the bottom right corner of your ear canals.

The latter has enjoyed great popularity in the absorption in recent years. Once the idea of inserting a foreign object deep into my ears seemed a reprehensible concept, now it seems second nature - and earphones are slowly but surely to also rans.

It is easy to see why this is happening: the passive noise isolation that you can achieve with a pair of snug-fitting canalphones allows you to get closer to the music without having to crank the volume up to deafening levels, and design has proved so popular that all sorts of variations on the theme have emerged.

Range triple flanged fittings rubber cones that go deep inside your ear for single fitments that sit just at the end. This is where the latest Sennheiser canalphones - the CX 95 style - sit down. These are headphones for those who are not yet convinced, or converted by the canalphones concept: they are designed simply to connect the outer part of your ear canal is not right in. As a result, they are very comfortable to wear. Even someone who is not used to bring in headphones will get used to these fairly quickly, and their light weight means they do not tug at your ears than others may earphones.

In the box, there are many opportunities too different ear sizes: small, medium and large fittings are supplied in the box, although I was a little disappointed to see no foam boards. There are other accessories at hand, though. You get a good hard case with the CX 95s with a spool of cable, with a metre long extension cable if the captive cable 30cm long or too short.

The lightness of these headphones and the mid-range of costs - a reasonable £ 63 - are not without drawbacks. They do not feel like the most robust phones I have ever used. The cable is the main culprit: it feels thin and frail, and I was very nervous about the capture in my zip jacket. Ultimate Ears’ Super.fi 4 were much better in this field, combining thick wiring with a remarkable resistance to tangling. The cables on Shure helmets are also thicker and feel stronger than that. The bodies of the headset is light, too - they do not feel as well that the hefty, metal bodied Super.fi 4s or Cerulean X1 When I reviewed last year. The protective sleeves when taking and the end of the jack, at least, are better made - and I like the fact that taking at the end of the extension cable is a rectangle. This means that it is much easier to move your player in a pocket without catching wiring. And there’s more compensation for the frail cable: earphones are slightly tilted tail, which means that the cables hanging vertically against them without straining the sleeves, and the CX 95’s smart or matte black paint and is beautiful to see - in a sub-genre of passage.

But all these considerations take a back seat when you hook these things up and start listening seriously. I place a lot of stall on first impressions with headphones and my immediate reaction by connecting on the CX 95’s and listening to the opening track of Newton Faulkner’s recent album, Handbuilt The presentation was full of zingy detail and warm environment range coupled with the low resolution. The tranquil atmosphere acoustic guitar was made perfectly clear I could hear the low zip fingers on the strings, the rattle and buzz of these channels as they came into contact with the stick and hit the palm of hock as they Faulkner beat out the rhythm on the front of his guitar. And as the pure sound of the acoustic guitar has been replaced by the voice and greater soundtrack, the CX 95’s superbly face with a balance of mid-range - studio singing and instruments were all easy to spot - and bass notes that thumped with Wonderful power and definition.

With headphones you turn up the volume to try to know more detail, with the CX 95’s I have been to increase the volume of the hell of it - because I was enjoying the music so much. They are clearly an important step up the company’s excellent CX 400 - and nothing else in that price range elsewhere.

Then I learned a little more relaxed jazz to test the CX 95 of the ability to make the voice and live music, and was equally impressed. Diana Krall’s smoky vocals wrap yourself in their sensual yet velvety consonants sibilants and keep one step ahead, and when she plays the piano comes into play, the notes ring out effortlessly with the purity and clarity that is difficult not love.

For something a little more energetic, I turned to pave the way Biffy Clyro the magnificent album Puzzle - an ideal way to test the power and control - and yet was not left to be desired. The CX 95 of the balance is due to both the music has the power and drive without sounding woolly, muddy or unclear.

I could go on and waxing lyrical about how these headphones are good, but perhaps the best way to sum them up is to say that they are extremely easy to listen to. A headset with others, such as Ultimate Ears’ Super.fi 4 or iSkin’s Cerulean’s X1, for example, you have to sacrifice one attribute of the other; bass goes for retail diamond, or you lose a little clarity for the visceral, gut - Endnotes roar. These Sennheisers, however, have things that are harder to reach - balance. Pin-sharp detail at the upper end is coupled with a thunderous bass; air are conducted in conjunction with the warmth and softness of delivery means that they sound good, no matter what source you use.

They are not perfect, of course - I would not expect a pair of sub-£ 100 helmet to match a pair costing more than £ 200 for example, and they can not be compared with my Grado SR35is or ‘incredible neutrality offered by the high-end Shure in-ear headphones. And there are small areas of weakness. Sometimes with live recordings you may not feel quite like in the room as you like, on the occasion instrument separation is not all that it could be, and sometimes there is a touch too l ‘emphasis on the sibilant sounds like snare drums and cymbals. But these are tiny, teeny complaints in the overall scheme of things.

Even not so deeply in my ear design works well - at least as well as my now aging Shure E2C’s - to block out noise. In the harsh environs of the London Tube network I never found that I had to turn the volume, even to listen to classical music alone. And while walking in the street, I only became aware of a council worker wielding a chain saw when I went to two metres from him.

Verdict

In simple terms, Sennheiser CX 95 styles are the best headphones that I listened for less than £ 100 by quite some distance. Ignore the name and the cheese slightly frail wiring, and concentrate on sound quality and you have a pair of earphones, which gives an incredible value for money.

These CX 95s pull off difficult trick, balancing detail and crisp warm mids bass in a thunder in a way that I have not heard from any headphones address this price tag. If I had to spend £ 100 on a pair of earphones, it is the headphones I buy - I can think of no better recommendation than that.