Your data. Your choice.

If you select «Essential cookies only», we’ll use cookies and similar technologies to collect information about your device and how you use our website. We need this information to allow you to log in securely and use basic functions such as the shopping cart.

By accepting all cookies, you’re allowing us to use this data to show you personalised offers, improve our website, and display targeted adverts on our website and on other websites or apps. Some data may also be shared with third parties and advertising partners as part of this process.

Background information

The volume trick: Why do hi-fi headphones on smartphones always sound so quiet?

Jürgen Schröder
31.10.2016
Translation: machine translated

Why do mobile headphones with 32 Ohm impedance play significantly louder on a smartphone than large hi-fi headphones with 300 Ohm transducers? Are they inherently louder? Not in principle - the reason for this can be found elsewhere.

Everyone who has ever tried to connect large hi-fi headphones to their smartphone knows the effect: it sounds great, but even with the volume control turned all the way up, the volume is inadequate - with the included button headphones, on the other hand, it almost blows up your ears in this position.

By definition, efficiency always expresses the ratio of power output to power input. The efficiency of headphones is therefore determined exclusively by the efficiency of the sound transducers - and this is primarily characterised by the strength of the magnets used and the magnetic flux density in the air gap in which the voice coil moves during diaphragm drive.

If it's not the impedance, what is it?

The efficiency and thus the sensitivity of a headphone is therefore completely independent of its impedance. However, the question remains: Why do 32-ohm headphones usually play significantly louder on a smartphone than hi-fi headphones with 300 ohm impedance? The crux of the matter is that the sensitivity is a power-related specification - because the reference value is 1 milliwatt.

At this point, we can't help but use the calculator to do a little calculation. Let's assume we have two headphones (A and B) with the same sensitivity (i.e. identical efficiency) of 102 dB/mW - but different impedance: 300 ohms for headphone A, 32 ohms for headphone B.

And this is where the crucial question comes into play: What electrical voltage is required in each case to supply 1 milliwatt of power to both sets of headphones so that they produce identical sound pressure levels of 102 decibels?

Here we go:

Given: the power P (1 milliwatt = 0.001 watts)
and the impedances (headphones A = 300 ohms; headphones B = 32 ohms)
Wanted: the electrical voltage U (in volts, V) for headphones A and B

According to Ohm's law:

P = U2/R

from this follows: √(P x R) = U

Headphones A:

√(0.001W x 300 Ohm) = 0.548 V

Headphones B

√(0.001W x 32 Ohm) = 0.179 V

We can see that the 300 ohm headphones A require a signal voltage more than 3 times as high as headphones B in order to draw 1 milliwatt of power from the amplifier (i.e. the smartphone). Conversely, this also means that 32-ohm headphones B only require a third of the voltage for 1 milliwatt of power consumption (and therefore the same volume as headphones A).

This makes the case clear: at the same volume setting, the 32-ohm headphones B play almost exactly twice as loud (approx. 10 dB) as the 300-ohm headphones A.

Smartphones have too little power

To summarise: Hi-fi headphones with their usually high capsule impedance require significantly higher output voltages from the amplifier than low-impedance mobile headphones to achieve sufficient volume. High-impedance headphones are therefore rather unsuitable for use with smartphones & Co, as the latter usually cannot provide the required output voltage.

You might also be interested in this

68 people like this article


User Avatar
User Avatar

My audio career began as a live sound engineer for renowned artists such as Franz Josef Degenhardt, Hannes Wader, Lydie Auvray and Abdullah Ibrahim. It was at the studio mixing desk that I found my real "home" - as a musician in front of it and as a sound engineer behind it. Today, I enjoy the privilege of being able to live both: the sound engineer in mastering sound carriers and technical depth, the musician in creative romp. At Lowbeats I am responsible for the areas of professional fidelity, digital and recording technology. 


Background information

Interesting facts about products, behind-the-scenes looks at manufacturers and deep-dives on interesting people.

Show all