Sadly enough, the review's in Korean, written by audio critic Yang Jae Kwon at Hifi Club site:
http://www.hificlub.co.kr/web/board/brd_...23&ishtml=n
I'll generally sum up the review for y'all who've been jonesing for AKG K702 reviews... the review has shortcomings. Doesn't directly compare the performance with the K701s (!) and the reviewer doesn't seem to have tried other cables with the K702s, although he mentions their swappability. Kind of unforgivable, really, in reviewing these, don't you think?
But for what it's worth, the writer mentions that K701 & 702 are identical, specs-wise. He was never too fond of K701s' comfort, as he found that the headband presses down on the top of his head & he says he's disappointed to find that K702 also hasn't changed in ergonimic design.
He mentions that K702's 62 ohm impedance isn't too high, compared to other cans, but they still won't perform at an optimal level connected directly to a portable source sans amp. For the review, he used Audio Technica AT-HA20 for amping.
Anyhoo, the guy finds K702 to be neutral, with great balance to the sound and suppression of undue coloration, and also finds it to lean toward the bright end of the sound spectrum. These traits become apparent in listening to classical music. Listening to Pinnock's Messiah or Brandenburg recordings on Archiv, he is impressed by well-sorted atmosphere of the sound that doesn't detract from the listening experience and the wide soundstage the K702s provide. He is especially impressed by these qualities when listening to Keith Jarrett's performance of the Goldberg Variations on harpsichord, on ECM. He claims that never, with any other headphones, has he felt such a clear and delicate musicality from these recordings. He says he heard recording-related noises in Argerich/Abbado account of Tchaikovsky 1st concerto (DG), so he realizes that K702s may indeed serve as fine monitors for pro use. Also praises the separation of instruments and soundstaging when listening to Mahler.
Yet, he feels a bit let down by its performance on jazz and rock. Doesn't find the mid/bass weighty enough. Listening to Sting's "Englishman in New York," the electronic drum that kicks in during the middle of the song doesn't feel heavy as he'd expected. He says such a letdown will be inevitable for listeners used to Audio Technica or Grado types of headphones. Such a deficiency, he says, is more apparent in listening to Metallica, NIN, Pantera or Linkin Park. (What the hell is he doing listening to Linkin Park?! 
)
To conclude, he says he's owned K171 Studio, K66, K26P among AKG headphones (so he seems pretty well qualified to comment on AKG cans). He says all these other models, he didn't like the tone color & texture, and they all somehow sounded closed-in, but his experience of K702s made him change his mind about AKGs 180 degrees.
That's all, folks.
Sadly enough, the review's in Korean, written by audio critic Yang Jae Kwon at Hifi Club site:
http://www.hificlub.co.kr/web/board/brd_...23&ishtml=n
I'll generally sum up the review for y'all who've been jonesing for AKG K702 reviews... the review has shortcomings. Doesn't directly compare the performance with the K701s (!) and the reviewer doesn't seem to have tried other cables with the K702s, although he mentions their swappability. Kind of unforgivable, really, in reviewing these, don't you think?
But for what it's worth, the writer mentions that K701 & 702 are identical, specs-wise. He was never too fond of K701s' comfort, as he found that the headband presses down on the top of his head & he says he's disappointed to find that K702 also hasn't changed in ergonimic design.
He mentions that K702's 62 ohm impedance isn't too high, compared to other cans, but they still won't perform at an optimal level connected directly to a portable source sans amp. For the review, he used Audio Technica AT-HA20 for amping.
Anyhoo, the guy finds K702 to be neutral, with great balance to the sound and suppression of undue coloration, and also finds it to lean toward the bright end of the sound spectrum. These traits become apparent in listening to classical music. Listening to Pinnock's Messiah or Brandenburg recordings on Archiv, he is impressed by well-sorted atmosphere of the sound that doesn't detract from the listening experience and the wide soundstage the K702s provide. He is especially impressed by these qualities when listening to Keith Jarrett's performance of the Goldberg Variations on harpsichord, on ECM. He claims that never, with any other headphones, has he felt such a clear and delicate musicality from these recordings. He says he heard recording-related noises in Argerich/Abbado account of Tchaikovsky 1st concerto (DG), so he realizes that K702s may indeed serve as fine monitors for pro use. Also praises the separation of instruments and soundstaging when listening to Mahler.
Yet, he feels a bit let down by its performance on jazz and rock. Doesn't find the mid/bass weighty enough. Listening to Sting's "Englishman in New York," the electronic drum that kicks in during the middle of the song doesn't feel heavy as he'd expected. He says such a letdown will be inevitable for listeners used to Audio Technica or Grado types of headphones. Such a deficiency, he says, is more apparent in listening to Metallica, NIN, Pantera or Linkin Park. (What the hell is he doing listening to Linkin Park?!
)
To conclude, he says he's owned K171 Studio, K66, K26P among AKG headphones (so he seems pretty well qualified to comment on AKG cans). He says all these other models, he didn't like the tone color & texture, and they all somehow sounded closed-in, but his experience of K702s made him change his mind about AKGs 180 degrees.
That's all, folks.